Monday, December 14, 2009
Stand by Me
So much soul!! :D
Just thought I'd share this! I will be very busy till the new year... Things are really crazy at the studio right now!
Thursday, December 3, 2009
Behind the Scenes: Lighting Setup for the Kitchen
Since we couldn't use global illumation, I tried something crazy on the kitchen by surrounding the window area where the sky light comes in with tons of spot lights that have area lights that do raytraced shadows....
I have a couple volume and point lights for the interior of the kitchen.
I am thinking to start another site that documents all the interviews but that will be on hold for now... I will be taking a break from posting temporarily.
Pixar's Lighting TD, Jeremy Birn is hosting a Lighting Challenge on CGTalk, and I would really love to apply what I learnt from his class to a real competition. The deadline is Dec 31st, so please feel free to join in!
CGTalk: Lighting Challenge 21
Wednesday, December 2, 2009
Interview with Alina Chau. (Technicolor Senior Animator and Animation Professor)
I'm going to try to post weekly the interviews I did with industry professionals for my school assignment! Many of them are informal conversations through a chat, but I'll try to get my stuff together. If you, or you know of someone who is free to be interviewed, let me know! I'd love to talk to you. I get really motivated when I talking to others in the field.
Alina is a super talented animator who has worked on many popular games. Here is the lists!!
CG Animation:
- Gear of War (Epic/2008)
- The Incredible Hulk (Sega/2008)
- Lead CG Animator/Storyboard Artist - Spyro Eternal Darkness Cinematic (Sierra/2007)
- Pre-Visualization CG Animator - Saint Row Cinematic (THQ/2007)
- Spyro 2006 & 2007 TV commercial
- God of War II In-Game Cinematic (Sony/2007)
- CG Animator/Storyboard Artist - Spyro Beginning (2006)
- Silent Hill Cinematic (Konami/2006)
2d Animation/Concept Work
-Operation Valkyrie DVD (2008)
-Battlestar Galactica DVD (2008)
-The Bourne Supremacy DVD (2008)
-The Tale of Despereaux DVD (2008)
- Narnia, The Lion, the Witch and the Wardrobe DVD (Disney/2006)
- Toy Story III Feature Film DVD (Disney/2007)
-2D Animator/Background Painter - Land Before Time 13 Animated Feature DVD (2007)
Blog:
http://alinanimation.blogspot.com/
1) Could you tell me a little bit about yourself Alina? Where are you from and when, and how did you get started to have interest in this field?
Alina: I grew up in Hong Kong. I stumbled into animation a bit by accident actually. I always love drawing since I was a kid barely knowing how to hold onto a pencil. To me drawing is always one of my favorite hobbies, but I didn't take art seriously until college. My undergraduate major is Digital Graphic Communication, in which I was introduced to graphic design, web/interactive design, and animation.
After I graduated, I realized I would like to learn more about animation. So I decided to further my study in animation at UCLA Film School as a graduate student. That starts my career as an animator.
2) I know you love to sketch a lot. Do you think it helped you in terms of modeling or animation when working in 3d?
Alina: Drawing definitely helps a lot. In fact, I sincerely believe drawing is the foundation of learning any visual arts forms. 3D in a way is a lot like sculpting. The idea has to draft and polish on the drawing board first, before it can be put in production. Drawing can help artists to be more observant; understand anatomy and the mechanic of movement. It's also one of the most efficient ways to write down your visual idea.
3) How hard is it for an animator or modeler to break into the business? Is there a difference for a reel for games, animation, and live action models?
Alina: Getting into the industry could be challenging, doesn't matter what job you are applying. The key is to be persistent. If it's the job you want, chase after it. As long as you are constantly improving and learning, you will achieve your dream. There is different between game, animation and live action reel. Even among the same genre, you need to tailor your reel differently, say if you are applying for a
cartoony project versa a hype real style project. Always research on what the particular studios you are applying for is seeking at the time they are hiring, and edit your reel to fit their requirement. If
you know anyone work at certain studios or the HR hotline, no harm to ask them for more information.
4) How is it like working? Is it an intimidating work environment at Technicolor and/or EA? I am thinking about applying to the Vancouver EA as a modeler but I don't really have any connections.. I was recently talking to someone today actually.. He said he has connections with the Singapore LucasArts Animation Studio. He told me they are desperate for people.
Alina: People are usually very friendly and cool. Beside tight deadline and often stressful schedule, usually the work environment are fun and nice.
5) I was wondering what sort of animation work flow you had? Do you act it out in person, and do thumbnail sketches? Or do you dive right into the program and pose stuff out?
Alina: In a production, after the storyboard process; before a scene hand down to animation, there are pre-visualization (Preiz) and 3D layout. This process may be slightly different from studios to studios and
different type of production (ie. game, TV and Film). Previz is pretty much a 3D animatic. Some places may call this process rough layout. The idea is to block out the action, camera and present the story in a
movie format. Very often the elements in a previz file are temporary or rough work in progress models or rigs. The idea of previz is to design the overall cinematography and story pacing of the show. Once
the rough layout is approved by the director, it will hand down to 3D layout. A 3D layout file usually contains the actual camera and assets which are going to be used in production. This file will then
given to animator for animation. At this point, when the animator receives the assignment, usually he/she already see the rough layout of the show, and have a good idea of what the scene is about. Plus the lead animator or director of the show, usually will give the animator acting description of the scene as well.
As for animating a scene ... I usually try to understand the character's motive; listen to the soundtrack a few times, try to relate to the emotion of the character; consider the story as a whole
and what's the character thinking ... Then I will block out the key pose, pay extra attention to the storytelling pose etc.. After the key poses, then do the in-between pose etc.. To me the thinking and
planning process is very very important. Unfortunately in game production, the animators don't always have as much time as they like to think and plan. Very often in game, they require animators to
complete 8 sec animation in a day. This is a much quicker turn around then say feature film production. It forces the animators to think and animate very quickly. The pro is the animator learn a lot of clever
short cut of doing things; good at improvise ideas; develop board efficient acting style. The con is the level of detail usually suffer due to the fast turn around and short deadline.
6) Do you have any suggestions for a recent graduate when constructing the reel, and applying to studios? I am focusing in modeling.. but I am looking at alot of reels... It seems like most modelers know how to texture very well, and also know how to rig their own stuff... It seems much cooler to see the model rotate and move at the same time instead of in a static T-pose. What do you think?
Alina: Keep it short and sweet. Try to keep the reel with title cards within 1 min. Some places would say 3 mins, but I have seen even those places only have the attention span for 1 min. Show only your best
work. Unless you are applying for generalist job, you don't have to show animation, texture or lighting for a modeling position. The most important thing for a modeling job, is the quality of the models. Rigging and animation is not necessary.
7) It seems like there are lots of modelers who are going for character modeling as oppose to enviromental judging from all the reels I see on youtube. Do you think it's harder to get into character modeling? I focus in mainly hard edge modeling, would it be best to do organic as well or should I keep modeling objects the rest of the semester?
Alina: Both jobs are challenging in their own way. However, it's nice to have a modeler who can model both hard surface and character model. It makes you more marketable and give you a wider opportunity to pick up different kind of projects. But there is nothing wrong to be specialized in one area. Someone who is an expert in their specialty can be a valuable talent to a production team as well.
8) Do you have any other 3d artists who inspire you? Could you list their website or reel if possible? I am very curious to see as many talented people as I can.
Alina: My inspiration come from everywhere. It's hard to pin point ... There are so many inspirational and remarkable figures ... let's see ... on top my head, they are more traditional animators and artists ...
My all time favorite piece of animations or animator is Frederic Back. His films has inspired me profoundly on a philosophical level beyond arts. Animation could be a powerful voice to communicate social
consciousness to the audiences, and make the world a more beautiful place. Frederic is a humble down-to-earth animator with masterful artistry. I am very luck get to talk to him at the Academy of Motion Picture Arts and Sciences screening event, and see his original paintings and animation arts. When I ask Frederic about his paintings, the gentle quite man becomes very lively and talkative. He
starts telling me stories - when he was younger, he love to ride bicycle around his home town, stop at places which inspired his imagination or capture the characters of the local culture. He would
paint the scenery on spot. He did all the beautiful elaborate painting in his sketchbook. It seems to me that his intension isn't merely create a perfect painting, but to capture everyday life in its
sincerity and true form. Don't get me wrong though, each of his sketchbook painting is easily a museum piece. Growing up seeing the urbanization of his beloved home town, he becomes very environmental
conscious. His works often reflects his love and care towards the beauty of nature, traditional culture, hope and care towards humanity. Anyone interested to learn more about Frederic's works, you can visit
his site:
http://www.fredericback.com/
There are many other animations which I can watch a millions time over - Michaël Dudok de Wit's Father and Daughter - a beautiful and touching animated short; Alexander Petrov's oil on glass animation,
simply stunning!! Miyazaki, Pixar, Disney etc ...
My favorite Miyazaki is Howls' moving castle. He is an animator grow very close to my heart as I get older. Growing up in Hong Kong, part of the summer fun is to watch the new and latest Miyazaki. So beside associating Miyazaki with happy childhood memory. I think he has a uncanny talent capture the innocent and complexity of a child's mind and emotion. As a kid watching his movie - Totoro for example, I tend to take that quality in his film for granted. It's like what's the big deal ... the characters are so easy to relate to, they pretty much think and act like me - a kid. But when I become an adult, I realize it's actually very challenging to capture the spirit of a child. Adult think and feel very differently from a kid. Say a kid may cry over losing a favourite pencil, to an adult ... losing a pencil is not big deal. Experiences adults see it as an everyday routine; to a kid, it could be a big deal. For example, to a kid, a train ride could be the highlight of fun and excitment ... but to an adult, we may enjoy the ride, but wouldn't get giddy over it.
Favourite concept designs ... all these animators are great artists themselves. Let's see, my inspiration sources are usually all over the place ... on top of my head ... illustrators ... Lisbeth Zwerger, David Wiesner, Oga Kazuo, Tekkon Kinkreet, Craig Thompson, David Shannon, Alexandra Boiger etc.. And there are many amazing artists in the industry ... like Hans Bacher, Mary Blair, Eyvind Earle, Marcelo Vignali, Armand Serrano ... the names can go on and on and on ...
Alina is a super talented animator who has worked on many popular games. Here is the lists!!
CG Animation:
- Gear of War (Epic/2008)
- The Incredible Hulk (Sega/2008)
- Lead CG Animator/Storyboard Artist - Spyro Eternal Darkness Cinematic (Sierra/2007)
- Pre-Visualization CG Animator - Saint Row Cinematic (THQ/2007)
- Spyro 2006 & 2007 TV commercial
- God of War II In-Game Cinematic (Sony/2007)
- CG Animator/Storyboard Artist - Spyro Beginning (2006)
- Silent Hill Cinematic (Konami/2006)
2d Animation/Concept Work
-Operation Valkyrie DVD (2008)
-Battlestar Galactica DVD (2008)
-The Bourne Supremacy DVD (2008)
-The Tale of Despereaux DVD (2008)
- Narnia, The Lion, the Witch and the Wardrobe DVD (Disney/2006)
- Toy Story III Feature Film DVD (Disney/2007)
-2D Animator/Background Painter - Land Before Time 13 Animated Feature DVD (2007)
Blog:
http://alinanimation.blogspot.com/
1) Could you tell me a little bit about yourself Alina? Where are you from and when, and how did you get started to have interest in this field?
Alina: I grew up in Hong Kong. I stumbled into animation a bit by accident actually. I always love drawing since I was a kid barely knowing how to hold onto a pencil. To me drawing is always one of my favorite hobbies, but I didn't take art seriously until college. My undergraduate major is Digital Graphic Communication, in which I was introduced to graphic design, web/interactive design, and animation.
After I graduated, I realized I would like to learn more about animation. So I decided to further my study in animation at UCLA Film School as a graduate student. That starts my career as an animator.
2) I know you love to sketch a lot. Do you think it helped you in terms of modeling or animation when working in 3d?
Alina: Drawing definitely helps a lot. In fact, I sincerely believe drawing is the foundation of learning any visual arts forms. 3D in a way is a lot like sculpting. The idea has to draft and polish on the drawing board first, before it can be put in production. Drawing can help artists to be more observant; understand anatomy and the mechanic of movement. It's also one of the most efficient ways to write down your visual idea.
3) How hard is it for an animator or modeler to break into the business? Is there a difference for a reel for games, animation, and live action models?
Alina: Getting into the industry could be challenging, doesn't matter what job you are applying. The key is to be persistent. If it's the job you want, chase after it. As long as you are constantly improving and learning, you will achieve your dream. There is different between game, animation and live action reel. Even among the same genre, you need to tailor your reel differently, say if you are applying for a
cartoony project versa a hype real style project. Always research on what the particular studios you are applying for is seeking at the time they are hiring, and edit your reel to fit their requirement. If
you know anyone work at certain studios or the HR hotline, no harm to ask them for more information.
4) How is it like working? Is it an intimidating work environment at Technicolor and/or EA? I am thinking about applying to the Vancouver EA as a modeler but I don't really have any connections.. I was recently talking to someone today actually.. He said he has connections with the Singapore LucasArts Animation Studio. He told me they are desperate for people.
Alina: People are usually very friendly and cool. Beside tight deadline and often stressful schedule, usually the work environment are fun and nice.
5) I was wondering what sort of animation work flow you had? Do you act it out in person, and do thumbnail sketches? Or do you dive right into the program and pose stuff out?
Alina: In a production, after the storyboard process; before a scene hand down to animation, there are pre-visualization (Preiz) and 3D layout. This process may be slightly different from studios to studios and
different type of production (ie. game, TV and Film). Previz is pretty much a 3D animatic. Some places may call this process rough layout. The idea is to block out the action, camera and present the story in a
movie format. Very often the elements in a previz file are temporary or rough work in progress models or rigs. The idea of previz is to design the overall cinematography and story pacing of the show. Once
the rough layout is approved by the director, it will hand down to 3D layout. A 3D layout file usually contains the actual camera and assets which are going to be used in production. This file will then
given to animator for animation. At this point, when the animator receives the assignment, usually he/she already see the rough layout of the show, and have a good idea of what the scene is about. Plus the lead animator or director of the show, usually will give the animator acting description of the scene as well.
As for animating a scene ... I usually try to understand the character's motive; listen to the soundtrack a few times, try to relate to the emotion of the character; consider the story as a whole
and what's the character thinking ... Then I will block out the key pose, pay extra attention to the storytelling pose etc.. After the key poses, then do the in-between pose etc.. To me the thinking and
planning process is very very important. Unfortunately in game production, the animators don't always have as much time as they like to think and plan. Very often in game, they require animators to
complete 8 sec animation in a day. This is a much quicker turn around then say feature film production. It forces the animators to think and animate very quickly. The pro is the animator learn a lot of clever
short cut of doing things; good at improvise ideas; develop board efficient acting style. The con is the level of detail usually suffer due to the fast turn around and short deadline.
6) Do you have any suggestions for a recent graduate when constructing the reel, and applying to studios? I am focusing in modeling.. but I am looking at alot of reels... It seems like most modelers know how to texture very well, and also know how to rig their own stuff... It seems much cooler to see the model rotate and move at the same time instead of in a static T-pose. What do you think?
Alina: Keep it short and sweet. Try to keep the reel with title cards within 1 min. Some places would say 3 mins, but I have seen even those places only have the attention span for 1 min. Show only your best
work. Unless you are applying for generalist job, you don't have to show animation, texture or lighting for a modeling position. The most important thing for a modeling job, is the quality of the models. Rigging and animation is not necessary.
7) It seems like there are lots of modelers who are going for character modeling as oppose to enviromental judging from all the reels I see on youtube. Do you think it's harder to get into character modeling? I focus in mainly hard edge modeling, would it be best to do organic as well or should I keep modeling objects the rest of the semester?
Alina: Both jobs are challenging in their own way. However, it's nice to have a modeler who can model both hard surface and character model. It makes you more marketable and give you a wider opportunity to pick up different kind of projects. But there is nothing wrong to be specialized in one area. Someone who is an expert in their specialty can be a valuable talent to a production team as well.
8) Do you have any other 3d artists who inspire you? Could you list their website or reel if possible? I am very curious to see as many talented people as I can.
Alina: My inspiration come from everywhere. It's hard to pin point ... There are so many inspirational and remarkable figures ... let's see ... on top my head, they are more traditional animators and artists ...
My all time favorite piece of animations or animator is Frederic Back. His films has inspired me profoundly on a philosophical level beyond arts. Animation could be a powerful voice to communicate social
consciousness to the audiences, and make the world a more beautiful place. Frederic is a humble down-to-earth animator with masterful artistry. I am very luck get to talk to him at the Academy of Motion Picture Arts and Sciences screening event, and see his original paintings and animation arts. When I ask Frederic about his paintings, the gentle quite man becomes very lively and talkative. He
starts telling me stories - when he was younger, he love to ride bicycle around his home town, stop at places which inspired his imagination or capture the characters of the local culture. He would
paint the scenery on spot. He did all the beautiful elaborate painting in his sketchbook. It seems to me that his intension isn't merely create a perfect painting, but to capture everyday life in its
sincerity and true form. Don't get me wrong though, each of his sketchbook painting is easily a museum piece. Growing up seeing the urbanization of his beloved home town, he becomes very environmental
conscious. His works often reflects his love and care towards the beauty of nature, traditional culture, hope and care towards humanity. Anyone interested to learn more about Frederic's works, you can visit
his site:
http://www.fredericback.co
There are many other animations which I can watch a millions time over - Michaël Dudok de Wit's Father and Daughter - a beautiful and touching animated short; Alexander Petrov's oil on glass animation,
simply stunning!! Miyazaki, Pixar, Disney etc ...
My favorite Miyazaki is Howls' moving castle. He is an animator grow very close to my heart as I get older. Growing up in Hong Kong, part of the summer fun is to watch the new and latest Miyazaki. So beside associating Miyazaki with happy childhood memory. I think he has a uncanny talent capture the innocent and complexity of a child's mind and emotion. As a kid watching his movie - Totoro for example, I tend to take that quality in his film for granted. It's like what's the big deal ... the characters are so easy to relate to, they pretty much think and act like me - a kid. But when I become an adult, I realize it's actually very challenging to capture the spirit of a child. Adult think and feel very differently from a kid. Say a kid may cry over losing a favourite pencil, to an adult ... losing a pencil is not big deal. Experiences adults see it as an everyday routine; to a kid, it could be a big deal. For example, to a kid, a train ride could be the highlight of fun and excitment ... but to an adult, we may enjoy the ride, but wouldn't get giddy over it.
Favourite concept designs ... all these animators are great artists themselves. Let's see, my inspiration sources are usually all over the place ... on top of my head ... illustrators ... Lisbeth Zwerger, David Wiesner, Oga Kazuo, Tekkon Kinkreet, Craig Thompson, David Shannon, Alexandra Boiger etc.. And there are many amazing artists in the industry ... like Hans Bacher, Mary Blair, Eyvind Earle, Marcelo Vignali, Armand Serrano ... the names can go on and on and on ...
Wednesday, November 25, 2009
Interview with Dice Tsutsumi. (Pixar Art Director)
I won't have much time to post any work for a while because of copyright issues. But in the meantime, enjoy this interview with Dice Tsutsumi. For those who aren't on my facebook, this will be a treat. :)
When I was in school, we were suppose to connect with a professional in the industry who we haven't met before and have some kind of conversation like an interview or something.
One of my close friends who is an aspiring animator continues to actively contact people to network with. When that friend told me he got in touch with many Dreamworks and Pixar animators it made me feel like it's possible that someone with so much talent would put out time to talk to students who are trying to break into the industry.
I am going to slowly start posting all my interviews. Some of them I will not be able to post because they were informal MSN chat conversations, and I don't have auto-save history on my computer but I will try to get as many online as possible.
Today is all about Dice Tsutsumi. He's one of my favourite artists in the industry. I first became aware of him from the Robots film and followed his work since.
Dice started his career at Lucasarts, then went to Bluesky, and now is at Pixar! He was at Bluesky Studios on the visual development team and worked on such film titles as Ice Age, Robots, Horton Hears a Who. He recently went to Pixar as the art director. He did a bit on work on Wall-E, and is now on production on another title.
To check out his work click this link. http://www.simplestroke.com/wp/?page_id=2
1) Could you tell me about yourself Dice? How were you first interested in this field? You love painting but did you know you wanted to be working in the animation industry when you first started?
Dice: I studied very traditional oil painting. When I graduated, my visa didn’t allow me to stay in the States unless I got a full time job. That’s how I got into a video game company as a concept artist. Immediately, I fell in love with my job where I collaborate with many other talented artists. I soon made a shift to concept design for animated films.
2) I know that you are born and raised in Tokyo. I am curious as to why you traveled to study art across seas? Was there something here driving you to come here to study like Pixar?
Dice: Like I said above, I never thought of animation until my senior year in collage. I left Japan only because i wanted to experience something different. Wanted to look back to see my own culture from outside. I spoke no English and did not know what I wanted to study.
I always loved Miyazaki films growing up. Never thought I'd work in the same business but that might have affected me a bit.
But my coming to the US was only for life experiences at first.
3) From your blog, I always see that you are doing traditional painting, but in the artbooks, and when it comes to work are they mostly done in Digital? Do you like one over the other, or both are about the same feeling for u? Was it hard to translate traditional painting to digital? Your digital art the painterly brush stroke feel that is really unique in my opinion!
Dice: I have to say i love both just as much. But I do warn every student who is focused on developing their fundamental skills about the digital media. I'm more and more convinced that students these days rely way too much on the convenient side of digital media. While it's very convenient and impressive on the surface, it really allows shortcuts.
I even don't wanna get into a situation where I only paint digitally. I have to paint traditionally to still brush up my skills. I learn way more painting from life traditionally.
4) I read on your info that you first started at Lucas and then moved onto Bluesky! That is amazing! For a recent graduate do you have any tips on applying to studios? Should we start off at a small studio and gain some experience, or go for the big fish? I have a few connections with LucasArts in Singapore so I may try to get into there to gain some valuable experience on bigger projects but I just worry I'm not strong enough considering there's so many professionals out there!
Dice: That's a good question. I'm not sure.
I can see either way works. I started at a small studio. Lucas video game was a very small company. That allowed me to do lots of things I probably didn't qualify for. Same thing with Blue Sky. When I worked on Ice Age 1, their first feature film, they were still in process of figuring out the way to make films themselves so they ended up giving young kids like me lots of responsibility.
Now, after 9 years of experience, I came to Pixar as an art director. I'm not sure if I had been able to get the position if I started at Pixar to start my career. I might have but I don't know.
I think in the end, if you are self motivated, and always looking to improve yourself, you will take advantage of whatever environment. And you will probably know what would be the best environment for you at the time. (I had to change my environment twice to seek my challenge)
5) There has been something bugging me about Wall-E for a long time although I loved the technical and storytelling aspects of it.
I was wondering how come Pixar decided to use a live action footage of the president? I didn't notice it at the beginning but near the end when the captain is watching a video of the president in live action felt like it broke the continuity for me...like the human was a different species or something. Maybe it's just me!
Dice: I have no idea why they did it. (I really was involved with WallE production for very short time)
I personally felt the use of live action footage was a mistake. It stood out too much and made it look less believable.
When I was in school, we were suppose to connect with a professional in the industry who we haven't met before and have some kind of conversation like an interview or something.
One of my close friends who is an aspiring animator continues to actively contact people to network with. When that friend told me he got in touch with many Dreamworks and Pixar animators it made me feel like it's possible that someone with so much talent would put out time to talk to students who are trying to break into the industry.
I am going to slowly start posting all my interviews. Some of them I will not be able to post because they were informal MSN chat conversations, and I don't have auto-save history on my computer but I will try to get as many online as possible.
Today is all about Dice Tsutsumi. He's one of my favourite artists in the industry. I first became aware of him from the Robots film and followed his work since.
Dice started his career at Lucasarts, then went to Bluesky, and now is at Pixar! He was at Bluesky Studios on the visual development team and worked on such film titles as Ice Age, Robots, Horton Hears a Who. He recently went to Pixar as the art director. He did a bit on work on Wall-E, and is now on production on another title.
To check out his work click this link. http://www.simplestroke.co
1) Could you tell me about yourself Dice? How were you first interested in this field? You love painting but did you know you wanted to be working in the animation industry when you first started?
Dice: I studied very traditional oil painting. When I graduated, my visa didn’t allow me to stay in the States unless I got a full time job. That’s how I got into a video game company as a concept artist. Immediately, I fell in love with my job where I collaborate with many other talented artists. I soon made a shift to concept design for animated films.
2) I know that you are born and raised in Tokyo. I am curious as to why you traveled to study art across seas? Was there something here driving you to come here to study like Pixar?
Dice: Like I said above, I never thought of animation until my senior year in collage. I left Japan only because i wanted to experience something different. Wanted to look back to see my own culture from outside. I spoke no English and did not know what I wanted to study.
I always loved Miyazaki films growing up. Never thought I'd work in the same business but that might have affected me a bit.
But my coming to the US was only for life experiences at first.
3) From your blog, I always see that you are doing traditional painting, but in the artbooks, and when it comes to work are they mostly done in Digital? Do you like one over the other, or both are about the same feeling for u? Was it hard to translate traditional painting to digital? Your digital art the painterly brush stroke feel that is really unique in my opinion!
Dice: I have to say i love both just as much. But I do warn every student who is focused on developing their fundamental skills about the digital media. I'm more and more convinced that students these days rely way too much on the convenient side of digital media. While it's very convenient and impressive on the surface, it really allows shortcuts.
I even don't wanna get into a situation where I only paint digitally. I have to paint traditionally to still brush up my skills. I learn way more painting from life traditionally.
4) I read on your info that you first started at Lucas and then moved onto Bluesky! That is amazing! For a recent graduate do you have any tips on applying to studios? Should we start off at a small studio and gain some experience, or go for the big fish? I have a few connections with LucasArts in Singapore so I may try to get into there to gain some valuable experience on bigger projects but I just worry I'm not strong enough considering there's so many professionals out there!
Dice: That's a good question. I'm not sure.
I can see either way works. I started at a small studio. Lucas video game was a very small company. That allowed me to do lots of things I probably didn't qualify for. Same thing with Blue Sky. When I worked on Ice Age 1, their first feature film, they were still in process of figuring out the way to make films themselves so they ended up giving young kids like me lots of responsibility.
Now, after 9 years of experience, I came to Pixar as an art director. I'm not sure if I had been able to get the position if I started at Pixar to start my career. I might have but I don't know.
I think in the end, if you are self motivated, and always looking to improve yourself, you will take advantage of whatever environment. And you will probably know what would be the best environment for you at the time. (I had to change my environment twice to seek my challenge)
5) There has been something bugging me about Wall-E for a long time although I loved the technical and storytelling aspects of it.
I was wondering how come Pixar decided to use a live action footage of the president? I didn't notice it at the beginning but near the end when the captain is watching a video of the president in live action felt like it broke the continuity for me...like the human was a different species or something. Maybe it's just me!
Dice: I have no idea why they did it. (I really was involved with WallE production for very short time)
I personally felt the use of live action footage was a mistake. It stood out too much and made it look less believable.
Saturday, November 14, 2009
:)
Above: Flash sketch with an optical mouse. (I left my tablet at the studio)The past 6 months has been very intense. All I did was sit at the computer for 60-80 hrs a week to absorb as much as I could about 3d, and film...
Lots of work to do at the studio...
3 more weeks left to go with the 4 FXPHD workshops...
2 more weeks of teaching Flash Animation and Digital Painting for the Fall Semester...
It's the last week of the 2 CGTalk workshops...
Finished one of my personal projects, but still have 2 personal projects left...
Right now much of the stuff is wrapping up so I can have some time to chill. I'm really looking forward to being able to catch up with everyone again! I feel so isolated being on the computer at all times!
Another piece of good news!!! The show I'm working on is going to air a lot sooner! Instead of being aired in a year, it's going to be in a few months.
I can't wait to throw away all my student work and update my reel with studio quality pieces! As my favourite professor/friend says.. it's going to be so awesome that it blows your clothes off!! :D
Thursday, November 5, 2009
Snowboard Design!
Photo by Yumi Ip.
Concept Sketch by Yumi Ip.
Flash Illustration Based On Concept Sketch by Andrew K Chan.
Print on Board:
Photo by Yumi Ip
PANTURAL Showreel
I am just so inspired by how crazy this guy is. He understands how to do everything in 3d to a specialist level!
Thanks for the link Erin!! :D
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