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bitmap posted:could have fooled me  After doing my last animation I went back and did some studying on charting my inbetweens properly instead of just straight-aheading everything. Watched this video which was EXTREMELY helpful: https://www.youtube.com/watch?v=0rp3zXBEhCE I tried to apply that to this, and I think it turned out better than a lot of things I've done in the past as regards keeping a good line quality and not being too squishy squashy: 
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Jan 20, 2017 15:31
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now we're talking! edit- shivadas? is...is that you? can I buy a bong?
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Jan 20, 2017 21:57
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I never ended up finishing the Loop challenge I posted before , got this far before deadline hit: https://www.youtube.com/watch?v=5G1cWgRHhzM Might tie it up later. I did finish my loop for this challenge though, I scaled back the idea quite a bit this round: https://www.youtube.com/watch?v=veXd4cf_ucI Critique super appreciated as usual. Edit: watching that video right now Neon Noodle, drat this is really helpful. Thanks for posting Uriah Heep fucked around with this message at 15:14 on Jan 26, 2017 |
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Jan 26, 2017 00:55
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Communist Toast posted:I never ended up finishing the Loop challenge I posted before , got this far before deadline hit: https://www.youtube.com/watch?v=5G1cWgRHhzM I'm working on a big thing right now, I'll post it when it's done. I feel like I'm starting to see the Matrix. 
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Jan 26, 2017 16:05
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I thought I'd try to get back into posting after a 3 year absence. Here's an animation I did for the last Loop de Loop: (the theme was Breakfast) https://vimeo.com/193328655
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Jan 26, 2017 20:53
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Those backgrounds  Also: welcome back!
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Jan 27, 2017 02:02
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Duck Party posted:I thought I'd try to get back into posting after a 3 year absence. tight as all heeeck
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Jan 27, 2017 11:13
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Neon Noodle posted:Yes tie that up, finish that no matter what, it's wonderful. Great moods you have going on there in the layouts! Aw poo poo you think so?  I'll definitely finish it up then
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Jan 27, 2017 16:57
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https://www.youtube.com/watch?v=_YppKKHTVQo Here's what I've been working on this week for an experiment.
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Jan 29, 2017 03:41
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Neon Noodle posted:https://www.youtube.com/watch?v=_YppKKHTVQo This is awesome, wish I could do that much work in a week!
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Jan 29, 2017 15:15
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Neon Noodle posted:https://www.youtube.com/watch?v=_YppKKHTVQo The drawings are good. The poses are getting lost though. Try to hold the poses longer and then have clear breakdowns, right now everything is kind of floating from one pose to the next.
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Jan 29, 2017 20:11
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Ccs posted:The drawings are good. The poses are getting lost though. Try to hold the poses longer and then have clear breakdowns, right now everything is kind of floating from one pose to the next. Yeah after working a ton on it I lost sight of the holds. I think I felt bad if it stopped moving. I have to remember that for next time. Thanks for the feedback  Edit: thinking back on some of the older stuff I have done, I felt like I was leaning too heavily on tracebacks for a while. I think I went too far the other direction. This feedback will be a good triangulation back to something more balanced. Neon Noodle fucked around with this message at 21:45 on Jan 29, 2017 |
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Jan 29, 2017 20:46
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Neon Noodle posted:Those backgrounds bitmap posted:tight as all heeeck I spend quite a bit of time on the backgrounds, I like how it adds a level of polish to design and paint backgrounds properly. It's one place you can add a lot more detail without regretting it when you inbetween. I just finished another loopdeloop for the theme 'cute'. https://vimeo.com/201573415
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Jan 30, 2017 00:15
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Ccs posted:Every studio in Canada right now is going through this because of demands to match the speed of Asia, and also because of the amount of work happening in Canada right now and the inability to recruit experienced crew. If you have a background in comp-sci/math, I would go back to school to learn VFX and concentrate on Houdini, because it will get you a job in this field with much better working conditions and compensation. I'm an animator on 3d shows and we also have the same issues with hours and hours of unpaid overtime, late deliveries, not enough crew, etc. etc. But VFX studios usually do pay overtime and will feed you if you stay late. Yeah this. I started in TV Animation in Toronto and soon as I hopped on the houdini freight train I went from making 35-55k a year up to 100k a year within 3years. Today I'm at double that depending on how much OT I get. I don't take jobs that don't pay OT/DT. Most of my friends came from TV Animation, many were lucky to get to work on shows that had a good enough aesthetic / production value that they were considered for feature animation or VFX live action animation and were able to get a pay bump. Most of my animator friends from the late 90's and early 00's toughed it out in tv animation for about 5 years, then landed a gig in either NZ [weta], London or Los Angeles, got a few years experience there, and today they're supervisors or senior artists in Vancouver/Montreal pulling down 150k+. So there is light at the end of the tunnel, but you got to be always growing/learning, I find too many folks stagnate at one job for too long in the hopes of slowly getting a few percent raise every few years. The downside to all that from an artist perspective is that they all abandoned 2d and went 3d. I had a 2d background originally but bailed on that when there was greater demand/pay for 3d folks. I still draw in my free time. There's no way I'd do anything 2D again unless it was a IATSE/TAG facility [I was an Animation Guild member for a few years in Burbank]. You get wage minimums and paid OT/DT plus benefits/pension. As for other options in the industry in terms of making a living, I'd weigh in looking at the tail end of the production pipeline, VFX [houdini], Lighting and Compositing are all positions that are always in demand, boom or bust, and offers the greatest chance for people to grow into supervisor/director positions and move to studio/client side. People working unpaid OT is bad production practice and I'll poo poo on any animation director in the industry who uses guilt trips or fear tactics to force legitimately good workers to work unpaid OT. That's just leaving money on the table. I better stop typing before I get  .. I just remember the pink sheets* fiasco at George Elliot studio in Toronto.. screw those guys, I'm surprised they're still in business.*- Elliot was pulling some dodgy hours/pay poo poo and had employees as independent contractors which is illegal, and had a few people going to the labor boards. Not too subtly, Elliot printed a warning in writing on pink slips and gave them to the artists which pissed people off even more... (and spread around Toronto very quickly).. people were really pissed off over that. They had a lot of good people there who decided to jump ship. This was back in the early 00's. Small time animation studios can be run like tyrants but nothing puts the fear of god into them than dealing with the labor board and employment lawyers. Big K of Justice fucked around with this message at 14:33 on Jan 31, 2017 |
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Jan 31, 2017 14:27
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I was the creator of a short last year with Nickelodeon it was 2d and I got to pick the animation company they outsourced to. It was important to me that the company I picked treated their animators right because I know if you don't they aren't likely to do the best work they can. I wanted the people animating to be excited about the project and feel like they were not only working on something cool, but have the opportunity to add to it. Not to say that all creators care or can even see the light of day because their heads are so far up their own asses, but if you know certain companies are terrible make it known. The creators who do care are more likely to outsource the work to the companies without bad reputations.
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Feb 1, 2017 00:36
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Big K of Justice posted:
This is good to hear. I'm 2.5 years into TV animation and it can feel a little hopelesss. I'm planning on spending my nights and weekends later this year after a freelance project really trying to get my animation skills up to snuff to jump ship to either a better TV gig or VFX. But I worry that with all the online schools like Animation Mentor and iAnimate pumping out graduates, there's no way the rates for this generation of animators are ever going to hit 150k again. I'd be happy just making 50k a year in my career as an animator. It's similar with Houdini, which is a great program to know, but the rates are dropping because of places like MPC and the sheer amount of graduates. Lots of Russian and Chinese artists with undergraduate degrees in Engineering are coming over to work in the VFX industry, and they pick up the math behind Houdini much faster than someone like me, with my art degree, ever could. But maybe I'm just making excuses and I should just buckle down and learn Houdini if I want to pursue a career in VFX. I actually kinda like TV animation, but working in it means I'll be living like a student for the rest of my life lol. Though I still get paid more than the average wage in Canada because apparently wages have stagnated that much. I guess everyone else is just living on credit and not saving for retirement, yeesh. Thanks for the real talk though, Big K. Your input in this thread is a nice change from conversations with my co-workers who don't seem to be thinking about the future at all. As for companies in Canada that are more legit, the Toronto, Montreal, and Vancouver studios have been forced through competition to treat their workers with more respect than in other provinces. Studios in Ottawa and Halifax have much less competition so they can get away with treating employees much worse and paying lower rates. Vancouver has the most competition and highest cost of living right now, so many of the studios there (aside from Bardel) do pay overtime, but none of the TV studios in the other cities regularly pay overtime, though they might give out Starbucks gift cards to workers they like who put in a lot of extra hours. Ccs fucked around with this message at 03:06 on Feb 1, 2017 |
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Feb 1, 2017 02:58
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you poor tv production bastards could always jump ship to the  freelancer party boat
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Feb 1, 2017 11:35
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Eh, too many clients don't pay or the pay is super unsteady. Plus if you move all the time, especially to different countries, it's difficult to set up how you're going to pay into your home country's social insurance system for when you get old.
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Feb 2, 2017 00:29
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Ccs posted:Eh, too many clients don't pay or the pay is super unsteady. Plus if you move all the time, especially to different countries, it's difficult to set up how you're going to pay into your home country's social insurance system for when you get old. it's hard to hear you with all this loud music on the party boat
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Feb 2, 2017 15:01
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Ccs posted:Eh, too many clients don't pay or the pay is super unsteady. Plus if you move all the time, especially to different countries, it's difficult to set up how you're going to pay into your home country's social insurance system for when you get old. Freelance usually means you can live where you want after a while, and for paying clients, you go where it matters, LA or New York or near there, big media-centric cities. In Canada's case, I'd say Toronto. But with Canada, it always been a small fry in advertising spending compared to the US. Unlike TV/Film you don't have to follow work.
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Feb 2, 2017 18:37
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Big K of Justice posted:Freelance usually means you can live where you want after a while, and for paying clients, you go where it matters, LA or New York or near there, big media-centric cities. Yeah, I feel that for Canadians, staying at either Toronto or Vancouver will net you some decent job opportunities consistently. I've wanted to start freelancing fresh out of college but I find it to be better to do my work in an actual work environment rather than inside my 1-room dingy basement apartment anyway. First priority right now is to pay off student debt, so it helps to not move across the country as much and just stay put in one city. Status report on my earlier posts about my current animation gig; I'm doing much more reasonable work hours now, rather than 60-72 hour work weeks it's more like 40-48 hours per week now. Our team is now up to our third 11 min episode's production, and I feel myself getting more and more confident with my final animations. Beforehand, I used to get crazy amounts of revision notes, which was the primary reason why I needed to pull overtime (other than having to learn toonboom from scratch). But now, I think I receive the least amount of revisions AND retakes out of everyone in my team. I'm really strengthening my acting skills also, which is a huge plus for portfolio material I guess... but that leads to the eventual problem that I get handed the most frames/week quota because of the huge amount of scenes the animation director wants me to 'plus' with good acting. I think I don't mind this, but I hope that I get to do some good action scenes eventually to practice with too!
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Feb 8, 2017 01:38
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It sounds like a fun show. I'm getting to the final few months of production on a pre-school show which is unfortunately not as fun. Most of the time it is a 40 hour week though so that's nice. I'm really wondering how long this animation boom is going to last. At our Christmas party a storyboard artist said he had never seen the industry this hungry for people. I'm wondering if it's an overall trend of more content being produced globally, or if it's just the economics of the lower Canadian dollar plus tax credits. But China, Korea, India, Turkey, Malaysia, Japan, and France all have booming animation sectors right now, so it can't just be that the work has all shifted to Canada. The only place I can think of where the industry really died was NYC, but that's because of crazy rent prices in addition to no tax incentives and a high American dollar. Still, rates are low since salaries in every industry are stagnating and studios like Bardel have a deal with the BC government where they can bring in as many foreign workers as they want. But I guess if rates got too high the clients would just send the work somewhere else, or so they say.
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Feb 8, 2017 03:36
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I can't get over how adorable this is.
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Feb 8, 2017 04:05
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Could use some critique on this before I go to clean it up. Something about the timing feels wonky to me, cant put my finger on it.
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Feb 18, 2017 18:40
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The timing seems extremely even. If I were you I would shorten some of the 12f holds and give it a little more texture.
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Feb 18, 2017 20:46
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Neon Noodle posted:The timing seems extremely even. If I were you I would shorten some of the 12f holds and give it a little more texture. Someone told me the same thing verbatim. I've never heard the phrase texture when referring to animation timing though and googling only brings up unity stuff. Here's a revised version, I tried to add a little more variety to the timing and sped up a couple of things, let me know what you think! Edit: Sliiightly changed it again. 
Uriah Heep fucked around with this message at 22:01 on Feb 18, 2017 |
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Feb 18, 2017 21:39
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I made this Steven Universe thing ages ago and now it's on some weird youtube channel? It was meant to be on TV. I don't know. There was some animation I liked in it but I needed to finish it on short notice so the end really suffered and I dont think I'll even put it on my website. -_- https://www.youtube.com/watch?v=v52PzYK8QSc
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Feb 20, 2017 21:47
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That looks fantastic. Do you use Toon Boom for your animation? And do you build rigs for it, or mostly frame-by-frame? Since we're sharing our work, here's something I worked on: https://www.youtube.com/watch?v=URmttlpiVPo&t=460s It was a fun series with a great director. I'm hoping i end up on Season 2.
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Feb 21, 2017 01:23
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Ccs posted:That looks fantastic. Do you use Toon Boom for your animation? And do you build rigs for it, or mostly frame-by-frame? nah brother, TvPaint and Flash as the jobs dictate. I get really frustrated using rigs and all that, all I know is how to draw every frame V  VI just dropped a bunch of extra jobs on my website. have a gander if anyone is interested: benomm.com
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Feb 23, 2017 21:18
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bitmap posted:I made this Steven Universe thing ages ago and now it's on some weird youtube channel? It was meant to be on TV. I don't know. There was some animation I liked in it but I needed to finish it on short notice so the end really suffered and I dont think I'll even put it on my website. -_-
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Feb 24, 2017 03:23
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Hi thread, the something awful best dog invitational has started and we need to win! I feel that real strongly. As creative convention we are obviously best at creating poo poo. Obviously. So make the best animated dog, and post it in that thread by 3 March. Great will be your glory!
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Feb 25, 2017 12:19
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Yesterday we had a surprise meeting for the animation department held by the producers and director. One of our core staff had to take a month off unexpectedly because of health issues. I was heavily betting that someone in our department would experience a breakdown, I guess it was just a matter of time. This is swell.  In other news though I feel like my animation skills are shooting up like crazy, and yet I've started to envy the storyboarding, layout and design departments because they seem to have a less stressful time around the office. I really want to shoot for storyboard revisionist position once my contract ends (or sooner) 'cause while the learning experience is irreplaceable, my general health isn't.
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Mar 1, 2017 14:41
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Yeah, storyboard artists seem to have it a bit better. Their pay is also higher.
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Mar 1, 2017 23:31
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What should I charge per minute for 2D animatics? Potential freelance gig here but I'm not sure what to charge.
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Mar 3, 2017 19:36
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Neon Noodle posted:What should I charge per minute for 2D animatics? Potential freelance gig here but I'm not sure what to charge. its a lot more common to charge per day for however long the job will be. "per minute" makes me think that this is a big project?
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Mar 3, 2017 22:34
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Yah. I'd be one of multiple artists doing animatics for the basis of overseas 3DCG animation. Client said they need 30 min of animatics total and they're expecting 1 minute per week.
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Mar 3, 2017 22:42
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Neon Noodle posted:Yah. I'd be one of multiple artists doing animatics for the basis of overseas 3DCG animation. Client said they need 30 min of animatics total and they're expecting 1 minute per week. big company? can you do a minute a week? like, 10 weeks?
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Mar 3, 2017 22:50
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No, a tiny studio. The guy I'm corresponding with is running the project, I think he runs the recording studio where they did the dialogue. But there's no info on the site for that studio re: the animation stuff, and he doesn't have any IMDb credits. He says he is paying the freelancers via PayPal. He asked me to do a 10-15 second test of some non-production audio, and showed me the material they're using for the film. It appears to be a Christian themed kids cartoon. This fits in with the recording studio part because they've worked with a lot of CCM artists. Does this all sound horribly sketchy? Are there things that sound like red flags? They offered $400 per minute of animatic, with 2-3 rough drawings (TV storyboard level of detail) per second.
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Mar 3, 2017 23:22
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According to calculator, a minute of animations at 24 frames per second is 1,440. If they're looking for 2-3 drawings per second it sounds like they're still looking for the animation to work in a fast sequence. If it's going to be a 3D animation in the end, it sounds like they don't have someone to animate the 3D models properly which is kind of odd. Instead they will have someone manipulate the model according to your drawings. If you had the 3D model even unrigged, and you had to rig it yourself, $400 for a minute of animations with it would be somewhat sane. I guess this could make sense if they're looking to your drawings for everything like composition and framing, as well as the motion. Can you work at $2 per drawing?
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Mar 4, 2017 00:02
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Eh, go for half up front and half on completion because they don't have a body of work and you havent worked with them before. Push that rate way on up unless you can do it all in a day or two, in my opinion.
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Mar 4, 2017 00:04
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