Jodie Morris
FD Animation Art Year 1
Work Based Learning
Task 1 Presentation of animated
production research
Film Production
Analysis
Credit list: This
short animated film was created by a young comic-artist called Jesus Orellana,
he was the only one who worked on this film.
Why I chose this
animation: The reason why I like this animation is because it is a sci-fi
and fantasy short movie witch I really like, this movie also reminded me of
Final Fantasy. The reason why the short movie reminds me of Final Fantasy is
that the character design look the same and the way they have done the
background reminds me of it as well.
What role I would
like in the film and why: I would like to do the character design because I
would like to have the honour of creating someone’s dream character.
What skills would I need
to acquire this role: You will have to utilise and combine a whole range of
skills. A character designer must create using a process that is one half
design and the other half visual communication. I would have to develop my
skills in thumb nail drawings and poses the reason why I have to work on my
poses is because I can only do one pose and I would like to create more.
I researched this role to find out more detail on skills
that I would need to qualify for this type of job. I have found Information on
a job vacancy site.
Job Description
The 2D Facial Animator creates facial expressions, extremes
and phonemes for stop motion animated characters. 2D designs and animation need
to convey emotion, movement, action and personality, specifically focusing on
lip sync. This position requires a level of sophistication of technique on a
feature film level.
Note: This position will be located on-site at our Studio in
Oregon. When sending samples, include a demo reel with 2D Animation lip sync
samples, as well as expression sheet and turnarounds.
Essential Job
Functions
* Block in rough
facial animation and phonemes for Director and/or Facial Animation Supervisor
for their approval.
* Work with
Director and/or Facial Animation Supervisor to finalize animation.
* Meet animation
production deadlines as established by management.
* Create facial
expressions and extremes conveying emotion, movement, action and personality.
* Read and break
down dialogue tracks and plan shots.
* Work with Directors
on creating teeth and skull designs.
* Work with Facial
Animation Supervisor and Director of RP in making sure 2D animations fit within
the Stop Motion pipeline
Qualifications
* Bachelor’s
degree in relevant area of study or equivalent combination of education and
experience.
* 3+ years
experience as a 2D Facial Animator in the entertainment industry.
* Experience
working on a fully animated theatrically released Stop Motion and/or CG feature
film a plus.
* Strong
understanding of traditional animation principles.
* Ability to bring
characters to life.
* Stop Motion
animation experience a plus.
http://www.animatedjobs.com/category/character-design/
Accessed 2/12/11
These are the other team members i would work with as a
character designer.
Jobs in Pre-Production:
Production Designer
Storyboard Supervisor
Art Director
Storyboard Artist
Designer
Storyboard Assistant *
Character Designer
Prop Designer
Layout Supervisor
Background Designer
Layout Artist
Colour Stylist
Clean Up Artist /Design Assistant *
http://www.skillset.org/animation/careers/2D_drawn/ Accessed
2/12/11
What influences were
there: I believe there are some similarity to final fantasy and Rosa, the
reason why I believe that is because of the way the characters look and that
detail and color that has been used. This style of work also reminds me of
japans style of work. This film reminds me of tomb raider because of the action
scenes. Another film it reminds me of is the animation Dead Space movie, the
reason why it remind me of Dead Space, is because they both have a hunt scene
and it has a sci-fi aura about it. Please see other post for further analysis
(Comparison between Matrix and Rosa)
Email Request for
Archive:
Dear Sir
I am a student studying for a degree in Animation at
Plymouth College of Art in England. I thought that Jesus Orellana's work Rosa
was really impressive, I especially like the way the character would focus on
objects around her just like a cyborg would do. It would be greatly appreciated
if I could have a copy of the film for our college archives. The reason why I
would like a copy is so that other students can evaluate his style of work.
Many thanks Jodie
Task 2 Creative studio environment
This is an idea I was going to do for the studio. Its a
calendar witch shows ideas improving threw the months.
This is the part that I worked on, I painted and took off
the tape of this section.
Task 3 Personal development plan
Career Profiles
I found these profiles on the internet of the website of
Walt Disney studio
CAREERS IN ANIMATION
Careers in Animation: Artistic & Technical
Artistic
Storyboard Artists
Have the ability to visualize a film script in a series of
panels somewhat like a comic strip. They are able to convey the essence of
story line, scene structure, character emotion and create action and humor in
alignment with the overall direction of the film. Ability to quick sketch, a
mastery of human and animal anatomy, a filmic sense and a design-caricature
ability are all necessary requirements.
Visual Development Artists
Visually explore a concept, which may include Character
Design and/or Environment Design for animated films, shorts and special
projects. Visual Development Artists will experiment with the diverse elements
of film presentation to manipulate dramatic story moments, plot thrusts, moods,
character conflict and place-time motifs to capture the emotional connection to
the story's theme. A rich imagination, a sense of caricature and design, strong
color sense, a mastery of human and animal anatomy, architecture, the ability
to work in different mediums and the versatility to conceptualize visually in a
variety of techniques are required. Children's book illustration, fine art
and/or illustration skills are a plus.
Modelers
Responsible for creating complex organic models needed for
character animation; prop elements for effects; and environmental sets and
structures. A mastery of human and animal anatomy, perspective, weight, volume,
proportion and/or architecture, industrial design or automotive design are
required. Previous experience with traditional sculpting is a plus.
Layout Artists
Responsible for the staging and set up of each shot. Layout
Artists should demonstrate a strong sense of place and environment and be well-versed
in principles of cinematography. Attention to perspective and composition is
critical in developing a variety of environments for characters to live in.
Character Technical Directors
Responsible for constructing 3D character rigs, animation
interfaces and establishing muscle, skin and clothing behaviors (i.e. range
from broad squash and stretch to realistic physical simulations). Traditional
drawing, design and sculpture abilities are applicable, as is knowledge of
anatomy, kinematics and physical behaviors.
Character Animators
Responsible for bringing characters to life. To be a
successful candidate, Character Animators may have a background in any of the
following animation disciplines: traditional, cg, stop motion or claymation.
Prior training should cover anatomy, perspective and composition, including
solving problems in weight, balance, movement, space, construction and
proportion. Animators must be able to demonstrate their understanding of
animation principles such as timing, clear staging, squash and stretch,
anticipation and follow-through, and secondary action.
Background/Matte Painters
Create the final environment for our characters to live in.
A strong sense of design and compositing, color and proportion is essential in
developing 2D and 3D backgrounds.
Look Development Painters
Work with other Look Development staff to achieve the look
of complex 3D elements (i.e. characters, props and environments) in the show.
This could include painting texture maps (e.g. color maps, specular maps,
displacement maps, etc.), working with TDs to enhance the look and creating
lighting setups. Look Development Painters typically have previous production
experience and have demonstrated exceptional skills/abilities in 3D artwork.
Look Development Technical Directors
Work as part of a Look Development team that defines all the
technical aspects needed to create the look of a 3D element. This may include
the development and writing of custom shaders, applying texture maps, or
developing other custom software to accomplish the art-direction goals of an
element or environment.
Hair/Cloth Technical Directors
Work with the Model Department, Look Development, Animation
and Software teams to create art-directable dynamic simulations for character
hair/fur and clothing in 3D feature animation production. Production experience
with procedurally generated objects and dynamic simulations, a thorough
understanding of 3D computer programs and exceptional artistic skills/abilities
in 3D/traditional artwork are required.
Effects Animators
Add natural, and sometimes supernatural phenomena, to an
animated film. An understanding of physical dynamics and natural forces is key,
as it aids in producing a believable world and setting the mood for the story.
An Effects Animator must take direction easily, work well with an artistic team
and deliver scenes in a timely fashion.
Lighting Artists
Responsible for assembling the elements of a shot into a
final composite and composing the digital lighting of the scene. Shot Finalers
must have an understanding of color, contrast, and lighting design, along with
a solid familiarity with 3D lighting in a production environment. Shot Finalers
also possess a strong visual sense and the ability to distinguish subtle
differences that affect the matching of elements created in multiple mediums.
Assistant Technical Directors and Trainee Technical
Directors
Found in each artistic department on a production, they
support digital artists and/or TDs. They must possess a working knowledge of
Linux, the ability to work in a collaborative environment, as well as a basic
understanding of modeling, lighting, compositing and animation. Taking
direction from TDs and/or artistic supervisors, they may be expected to support
and execute various production tasks including muscle and skin dynamics
simulations, particle simulations, cloth simulations, Shell or MEL scripting,
shader writing/support and rendering pipeline support.
Technical
Graphics Tools Software Engineers
Responsible for analyzing the procedures and problems of
animated film production, evaluating the effectiveness of existing systems and
making recommendations to improve output, efficiency and workflow. Areas of
specialty for a Graphics Software Engineer may include rigging and animation,
dynamics, paint, effects, look development and/or rendering tools. They partner
with production personnel to determine user needs and review system
capabilities to decide what changes can be made within the existing systems and
when new systems must be added. They will often work with developers and/or
end-users on multiple films. Design responsibilities include the creation of
new C, C++, MEL, Perl or Python code or the modification of existing code,
whichever meets productions needs in the timeliest manner. Regression testing
and analyzing of software, code check-in/integration and distribution are also
part of the software engineer's implementation responsibilities.
Infrastructure Software Engineers
Responsible for the development and support of productivity
tools for the production of animated films. They are responsible for analyzing
production software procedures and problems, evaluating the effectiveness of
existing systems and making recommendations to improve output, efficiency and
workflow. Their areas of specialty include databases, schedule and shot
tracking tools, pipeline asset management tools and quality assurance testing.
Systems Administrators
Responsible for the configuration, tuning and troubleshooting
of various systems in our production infrastructure. The Systems Administrators
have a particular focus on UNIX/Linux, but also support Windows and Macintosh
systems. They perform hardware and software maintenance on workstations and
servers as well as data protection. Systems Administrators interact with a
variety of production, systems and software teams.
Technical Support Engineers (TSE)
Provide software, hardware and systems support to our crew.
The TSE team requires technical problem solving abilities; an understanding of
animation or visual effects production; strong skills in commercial graphics
packages such as Maya, Shake or Photoshop; and developed Linux, Macintosh and
Windows skills for navigating a heterogeneous computing environment.
Render I/O (RIO) Administrators
Responsible for understanding production's render pipeline
and supporting proprietary production techniques. They monitor and troubleshoot
the render queuing system and rendering workload. Tasks include troubleshooting
and correcting failed tasks, image quality control, technical advice/support
and interfacing with artists, systems administrators and production management
to ensure production deadlines are met.
http://www.disneyanimation.com/careers/animation_careers.html
(Accessed 11.05.2012)
The job that mostly appeals to me is Character Animation.
the reason why is because I like the idea of creating life.
Job Vacancies
Character Design
Company : Dolphin Animation
Compensation : Rs. 25000 - 35000 / Month
Location : Hyderabad / Secunderabad
Posted on : 5/9/2012
No. of Positions: 1
Even though there is
a job for character design I don't want to travel that far.
2D FACIAL ANIMATOR REQUIRED AT LAIKA
The 2D Facial Animator creates facial expressions, extremes
and phonemes for stop motion animated
characters. 2D designs and animation
need to convey emotion, movement, action and personality, specifically focusing
on lip sync. This position requires a level of sophistication of technique on a
feature film level.
Note: This position will be located on-site at our Studio in
Oregon. When sending samples, include a demo reel with 2D Animation lip sync
samples, as well as expression sheet and turnarounds.
Essential Job Functions
* Block in rough
facial animation and phonemes for Director and/or Facial Animation Supervisor
for their approval.
* Work with
Director and/or Facial Animation Supervisor to finalize animation.
* Meet animation
production deadlines as established by management.
* Create facial
expressions and extremes conveying emotion, movement, action and personality.
* Read and break
down dialogue tracks and plan shots.
* Work with
Directors on creating teeth and skull designs.
* Work with Facial
Animation Supervisor and Director of RP in making sure 2D animations fit within
the Stop Motion pipeline
Qualifications
* Bachelor’s
degree in relevant area of study or equivalent combination of education and
experience.
* 3+ years
experience as a 2D Facial Animator in the entertainment industry.
* Experience
working on a fully animated theatrically released Stop Motion and/or CG feature
film a plus.
* Strong
understanding of traditional animation principles.
* Ability to bring
characters to life.
* Stop Motion
animation experience a plus.
This job appeals to
me because this involves character design. The good thing about facial
animation is there is a lot of emotion in the face this gives the character
personality.
Personal Contacts
At the moment I don’t have any contacts in the animation
industry. My tutors know a lot about animation so I think they are my best
source of information at the moment, To make contacts I will need to research
artists that inspire me and email them. Visiting film festivals is another way
that I could get to meet people in the industry.
Jodie Morris
45 Bellamy Close
Plymouth
Devon
PL65LG
Tel. 01752 779065
Personal Profile
I am an enthusiastic
artist and have had a passion for art since an early age. I work well in a
group and can also work well independently. I am capable of working under
pressure and enjoy the challenge of working to a deadline. I have a good sense
of humour and I am pleasant to work with.
Employment History
2010 –Present Babysitting
2009- 2010 Voluntary Library assistant at Eggbuckland
Community College Library.
Education
2011 – Present Plymouth College of Art and
Design FDA Animation Art
2004 -2011
Eggbuckland Community College
Qualifications
Edexcel GCSE
Art & Design: Fine Art C June
2009
Edexcel GCSE
Art & Design: Textiles C June
2009
Edexcel GCSE
Mathematics E June 2009
AQA GCSE English Language E June 2009
AQA GCSE English Literature E June 2009
OCR GCSE Science E
June 2009
OCR GCSE Additional Science F June 2009
ASDAN Certificate
of Personal Effectiveness s(CoPE) Pass
July 2009
Edexcel Key
Skill Level 2 Communication
Pass June 2010
Hobbies and interests
I like to make drawings using a variety of mediums including
paper based and computer based techniques. I enjoy sharing these drawings
online and getting feedback from other artists. I enjoy watching animated films
especially the work of Tim Burton.
References
Available on request
Job application
and/or covering letter
This is an example of a covering letter based on applying
for the job of 2D facial animator at Laika.
Jodie Morris
45 Bellamy Close
Plymouth
Devon
PL65LG
Tel. 01752 779065
Email morrisjodie@eggbuckland.com
Dear Mr Laika
I am writing in response to your advertisement for the post
of 2D Facial Animator. My CV is attached and I have all the necessary
qualifications to fulfil the requirements of this job. I have produced a
variety of animated films both for my own use and for my degree course at
Plymouth College of Art. I am capable of learning new techniques and I believe
I have all the skills necessary to do this job.
I would be grateful if you would consider me for this post.
Yours Sincerely
Jodie Morris
Task 4 Swot Analysis
Strengths
·
Sense
of Humour- This is a good skill to have when you are working in a team
·
Good
Communicator- This is useful when you are planning an animation in a group
·
Creativity-
This is important as any aspect of
animation needs creativity
·
Enthusiastic
– This helps to keep me motivated when working on an idea.
·
Tenacious-
This is important to make sure that the job gets done.
·
Observant-
This helps to make sure I pick up the details which are important in the
animation process
Weaknesses (Areas
for development)
·
I speak my mind too freely – Sometimes it’s
better to speak before you think and I could offend somebody,
·
Timekeeping – In a working environment this
would not be acceptable. I need to work on this.
·
Shyness when first meeting people- Being more
confident would help with networking.
Opportunities
I have the opportunity to gain experience by doing my
degree.
I have the opportunity to work in a group and learn from my
peers
I have the opportunity to improve my knowledge.
Threats
If I didn’t get my degree that would threaten my career
chances.
Being able to finance my BA is a threat because my parents
are in Bristol and can’t afford to finance me so I will have to find a job.
Personal Statement of
my goals
Immediate Goals
To complete all my assignments on time.
·
17.05.12 Complimentary Studies All complete
·
28.05.12 3D Animation I have a lot to catch up
on in this assignment
·
29.05 2D Animation I have nearly completed the animation but
still have to do the sound
·
01.06.12 Work Based Learning I am on schedule to
finish on time.
Action needed I need to concentrate to get it finished.
Goals for the next 18
months
·
To work more independently
·
I hope to sell some of my work on the internet.
·
To have my own website to sell myself as an
artist.
·
To be more confident.
·
To finish my Foundation Degree
Goals for the next
three years
·
Finish my BA in Animation.
·
To have a part time job to help finance things.
·
To have a good network.
Task 5 CV included in task 3
Task 6 Online Profile
An online profile is important because it is a way to get
yourself known.
I found an example of an online profile at this link http://matthewrlyon.blogspot.co.uk/2010/10/online-profile.html
This is like a blog with video and images of his work. This
is quite a basic online profile which could be more eye catching. If I was
looking for an animator this wouldn’t have made me want to work with him.
There are several ways to have an online profile…
Own Website
Having my own website would be good because it would just be
about my work. It is possible to keep updating it. I could include images of my
work and videos of the films I have made. I could include contact details which
would mean people could get in touch with me if they liked my work.
Linkedin
This is an online networking site which lets you communicate
with other animators or others who work in the same industry.
I have set up a Linkedin account today.
DeviantART
This online network
is something I use to get other people’s opinions on my work. These are some of
the different style drawings I developed on the way of using this online
profile.
Task 7 WBL 1 completed
Task 8 Evidence of Structured Plans
for Exploring Work Based Learning Opportunities
If I were to do a work placement now I would want it to be
in Plymouth. The reason why is that I’m not ready, but maybe next year I might
have more confidence in myself to travel away. I have researched animation
companies in Plymouth to find any work placements.
Mentor Digital - Logo : Web Design, Interactive Media and
Video Production
http://www.mentordigital.co.uk/archive/video-animation/plymouth-video-animation.aspx
This is the only animation work placement possibility I
could find in Plymouth.
Another possibility would be to work in college, producing
an animation for a client’s website. It could be an advertisement as part of
their website to help bring in more customers.
Task 9 Reflective Report
I think I have made a reasonable start to my work based
learning. It has been useful because
before I did this I didn’t have a CV so this is something new that I have
learned. The swot analysis has helped me to find my strengths and weaknesses
and I have found areas I can work on to improve. It was useful to work out my
three year plan for my goals. It made things clearer for me. I have started to
develop an online profile which will be an important way of getting noticed as
an animator. I have also thought about how I could achieve my work placement
which will be a useful experience.
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