The whole film took me altogether about 5 grueling months (usually 10-12hours a day) to do. I often felt my butt was going to grow into the chair I usually sat at.
Please note that this was simply my way of doing my film to achieve the soft-shaded style I wanted; there are many other ways of doing this and some are a lot faster with different results~! :)
- My film on DeviantArt | My film on Vimeo
- My film gifs on Tumblr
- You can see my storyboard animatic here (although the original had music, but like I mentioned, my placeholder music was by Joe Hisaishi, you know, Miyazaki’s composer, so it’s not really legal to upload it).
This tut differs a bit from my dA version, because tumblr lets me put the combination of gifs and jpegs :D.
Here’s a book that will really help you start animating:
here’s some books that are good for composition, storytelling and colours:
- Dream Worlds: Production Design for Animation
- The Art of Pixar: The Complete Color Scripts and Select Art from 25 Years of Animation
- Prepare to Board! Creating Story and Characters for Animated Features and Shorts
I hope these helpedI ask that no one removes the credit or source for this tutorial/guide please. thanks :)
coool!
The Night We Were Kings
During the night, a boy and a girl, escape from the city, running away towards nature, only to be the kings of the night.
A video made by Chloe Nicolay, Manddy Wyckens, Anthony Lejeune, Gaspard and Leah Sumeire Justum, five students of the famous French animation School, Gobelins under the production of Cube Creative.
Great atmosphere, very successful visualisation and big credits for the music. Do yourself a favor, full screen it and get lost inside this really great short.
This is a really cool animation! <3
Oh hey look animation that isn’t meant for kids and comes across that way without making stupid goddamn jokes.
Men Are Naturally Interesting and Thought Provoking
Geena Davis relayed this story at a lecture she gave at my university on the lack of decent female representation in children’s media. She’s been leading research on the subject to present it to studio executives and get more respectable female characters in shows.
She presented scores of terrible statistics about what little girls watch on television and recreate themselves at the Writer and Animators Guild. One of the executives in the audience raised his hand to comment, “We’d put more female characters in films, except that they’re so boring.”
Boring my ass.
Since some people here don’t fully understand the situation, I will try to provide some insight.
“VFX studios are having a very difficult time making profit on movies they work on, even if that movies goes on to make millions or over a billion dollars. VFX studios make 5% profit on a GOOD year, but most of the time breaking even or even losing money on a job. This in turn has a very negative effect on vfx workers working at those companies. The entire fault does not lie with movie studios or vfx studios, but both contribute to the bad state of affairs in different ways.
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The most noticeable is that other countries offer tax subsides that do not allow even competition. If a VFX studio in California bids on work for a set price, then a VFX studio in Vancouver can bid that very same price AND offer a 30-35% (not sure of exact figures) tax rebate on that work, but the VFX studio doesn’t get that money, the movie studio does. So they (the movie studio) automatically get 30% of their VFX paid for by tax payers instead of out of their already wealthy pockets. The California VFX studio therefore cannot compete with this situation, so fair competition is impossible.
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Low rung jobs such as roto/paint fixes are being outsourced to China and India by movie studios because they can get the work done far cheaper there.
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Movie studios put vast pressure on VFX houses to lower costs AND do more work at those costs. They also put huge pressure on VFX studios to open offices in subsidized locales so they (the movie studio) can take advantage of tax breaks. Most VFX studios who refuse or can’t afford to offer a subsidized location don’t get the work and go out of business. However, movie studios expect the VFX studio to take care of all the costs of moving to the new country themselves. And still have the nerve to ask for cheaper labor.
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In addition to movie studios asking for more and cheaper work, they want it done in less time. VFX on a movie used to be 1 year long, and now they are trying to take the process down to 6 months or less. Because of this…
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VFX studios often have their staff put in TONS of overtime. 10-12 hour days are a norm, and during crunch time 16 hour days, heck, spending the night at the studio, is not unheard of and in fact common. These horrendous hours can last 3-6 months, 7 days a week. On top of this, several VFX companies are not paying for that overtime, because movie studios refuse to pay for the extra hours (remember they are putting on the pressure for cheaper), even though they have insane deadlines for VFX delivery.
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Every other movie trade except VFX has a union to prevent such gross injustices. VFX artists don’t have a stable 9-5 full time job. They are just temp contract workers, jumping company to company, project to project. As such, they do not have portable benefits, as other unionized trades in filmmaking do.
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Artists are too afraid to speak up against these injustices because they’ll just kick you out the door for causing too much trouble, because there are 100 dumb young kids who would jump at the chance to work on a Hollywood movie for peanuts. Without a union, they don’t have much leverage.
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VFX studios are too chicken to take a stand against the movie studios, because really, they only have about 5-6 clients such as Paramount, Universal, 20th Century Fox, Sony, etc. If a VFX studio stood up to one of these companies about their unfair practices, they’d get black listed as trouble makers and never asked to work again, thus driving them out of business. Likewise, if a VFX worker complains to a supervisor about unfair hours and no overtime pay, he is similarly black listed to not be hired again on the next project.
This is just a handful of problems, but I feel the major ones. VFX artists in Hollywood are treated like shit. VFX artists have a huge passion and love of their skill and trade, and because of it are taken advantage of. It’s time for them to stand up and just be treated like decent hard working human beings.” - Reddit user PixelMagic
A lot of people are confused about how squash-and-stretch works in animation. It’s very simple! They are just exaggerated frames in-between the “alpha frames” that makes very subtle enhancements to the animation, thus creating the beautiful flowing movement in the animated gif we see above. This technique was perfected by Glenjamin Keen Disney
And then there is this beautiful work of art that has it’s own catagory:
YES ^
Being at a color correction session for Book 2 today reminded me that I kicked off this blog a year ago this week with a snapshot of Korra from a Book 1 color correction session. A year later and I’m still behind in all my work, you’re all still mad the show is not out yet (which, please understand, is akin to being mad at a tree for not growing apples fast enough), and Korra is still a badass.
Thanks for caring enough to be mad and for following this blog! Love, BryanPeople are complaining Book 2 isn’t out yet? YOU GUYS THIS STUFF TAKES TIME. Each second of animation is at least 15 drawings, sometimes more based on the quality I’ve seen in Korra.
A single episode generally runs at 22 minutes long, which leaves time for commercials. If they were running their frame rate at 15 frames (or drawings) per second a SINGLE episode would be about 19,800 drawings.
19,800 drawings that need to be animated.
19,800 drawings that need to be cleaned up/inked.
19,800 drawings that need to be colored.That doesn’t even take into account the effects like Korra’s bending, or the background paintings, the storyboard process, or writing. That doesn’t take into account editing, folley (sound effects), voice over, compositing, color correction and music.
Most 2D animated shows the quality of Korra can cost roughly $100,000 to $200,000 per episode. Making a single episode of an animated series takes an army of people. Quite frankly animation is a shit ton of work!You want quality? You want (crossing-my-fingers) good storytelling? That shit takes time, money, energy, education and effort from an entire team of people working at breakneck pace just to be able to make it to a single solitary deadline. Then they have to the same thing all over again the next day. That shit is super stressful. It’s not uncommon that people who work in animation sleep under their desks or in their goddamn offices because they’re working overtime. It’s not uncommon for a studio to have an on-site shower - that alone should tell you something about the dedication and work that these people go through.
So do I have it right that you the loyal fans of this show, are complaining that it’s TAKING TOO LONG? FOR SERIOUS?
Grow the hell up, put on your big adult undies, shut the fuck up, get some patience and let these guys work!/rant
