29 2: Iterations for Developing a Pipeline and Nailing the Moments.
85 4: 2D Characters with 3D Parts (2D Leads). 87 5: 3D Characters with 2D Parts (3D Leads). 156 7: Camera: Flat, Limited, and Deep Space. My résumé says that I have worked at great places.Ģ66 This page intentionally left blank INTRODUCTION AND AN APOLOGY Before we begin this journey together, I must apologize to you. However, I have never served as a great artist. I rarely received much more than a “special thanks” credit on any film.
I am one of many who worked on feature animation films and was only a small, small cog in the feature animation gear mechanism. My cog, however, was a unique and special one. My cog was allowed to fit and morph and change as needed throughout the film. In a large production house, this is not usually the case. One is usually pigeonholed into one area. In this, I can say my experience was different than most. I was not confined to one area of animation. In fact, I was fortunate to have never been limited in my quest for knowledge as it applied to animation.
During my career as a trainer for two feature animation studios and one game studio, I have had rooms of computers where artists would come to learn what they needed to know to do their jobs. Those rooms were sometimes small, such as an old storage closet, and sometimes larger, such as a room with-gasp-windows! A unifier was that they were all warm, except for one it was freezing! The best unifier of all is that in all three of those studios, I was granted this one amazing gift: great artists who did great things and had amazing credits on movies came into those training rooms.
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