glow!!!

One of my works done in photoshop recently!!

jump animation

How to become an animator.

According to AP Benson, a Management Consulting Agency,
animation straddles three strong and rapidly developing sectors:

1. Electronic Entertainment (Computer Gaming)
2. Broadcast/Film Industry
3. Professional Visualization and Simulation

Many jobs require both creative and technical skills, but some are exclusively
creative and others are exclusively technical. Some people specialize in the
art of animation, while others choose to become technical directors.

Below is a brief look at some of the job titles and job descriptions you might encounter in a typical production type of environment
in the animation world:

•2D Animators use drawing, composition, and perspective to create proportion, line of action, structure, and
basic anatomy, while working in areas as varied as animation, character design, clean-up, doping, modeling,
slugging, and story boarding.

• 3D Animators use software tools and rigs to accomplish many of the same things 2D animators do.

• Character Animators create an acting performance and bring a character to life through movement and
expressions, regardless of medium.

• Character FX (hair/cloth/fur) artists are responsible for the design of character effects such as cloth and fur
simulations. They develop tools to enhance the pipeline. A knowledge of Maya, rigging tools and surface modeling
techniques is helpful.

• Lighting supervisors create the lighting look, processes and techniques necessary to portray the art director’s
vision of the movie. They recommend lighting pipelines, tools and procedures for CG production.

• Matte painters design environments based on the story and script. They are painters and artists who can
conceptualize and visualize ideas including complex backgrounds, landscapes and environments. They use tools
like Photoshop, Maya and Renderman.

• Modelers create 3D models of characters and settings based on preliminary graphics.

• Renderers manage the “render farm,” the group of machines that actually render the 3D models into working
animation.

• Roto artists work to embed an animated character into a live-action scene and/or enhance the sense of depth
(such as putting a character behind a tree).

• Storyboard artists interpret scripts into images that best convey the story. They plan and coordinate images
from thumbnails for planning shots to final storyboards that visually demonstrate how the story will develop.

Other job titles include:

• Animation Director
• Animator
• Art Director
• CG Supervisor
• Character Designer
• Cloth Simulation Artist
• Compositor
• Concept Artist
• Creative Director
• Effects Designer
• Environment Designer
• Fur/Feathers FX Artist
• Layout Artists
• Layout Technical Director (TD)
• Modeling Supervisor
• Modeling TD
• Pre-Vis Artist
• Producer
• Production Assistant
• Rigging Supervisor
• Rigging TD
• Roto Artist
• Shading TD
• Shading/Texture Supervisor
• Texture Artist
• Video Game Animator
• Video Game Artist
• Video Game Designer
• Video Game Engineer
• Video Game Producer
• Video Game Programmer
• Video Game Technical Director
• Visual Effects Supervisor
• Water FX Artist



SOME GREAT SITES INCLUDES:

Some other great sites include:
• www.11secondclub.com

• www.3dtotal.com

• www.animationarena.com

• www.animationmagazine.net

• www.animationpodcast.com

• www.animationtipsandtricks.com

• www.awn.com

• www.blendernation.com

• www.bobbyboomblogspot.com

• www.carlosbaena.com

• www.cartoonbrew.com

• www.cgsociety.org

• www.cgw.com

• www.digitalcontentproducer.com

• www.jasonryananimation.com

• www.postmagazine.com

• www.vfxworld.com




GENERAL ANIMATION VALUABLE BOOKS:

Ray Harryhausen: An Animated Life by Ray Harryhausen and Tony Dalton

Animation: From Script to Screen by Shamus Culhane*

Cartoon Animation (The Collector’s Series) by Preston Blair*

Cartooning: Animation 1 with Preston Blair (HT26) by Preston Blair*

Cartooning: Animation 2 with Preston Blair (HT190) by Preston Blair*

Character Animation Crash Course! by Eric Goldberg

Drawn to Life: 20 Golden Years of Disney Master Classes, Volumes I and II: The Walt Stanchfield Lecture by Walt Stanchfield, edited by Don Hahn

Inspired 3D Short Film Production by Pepe Valencia and Jeremy Cantor*

The Animator’s Survival Kit by Richard Williams*

The Complete Animation Course: The Principles, Practice, and Techniques of Successful Animation by Chris Patmore

The Illusion of Life by Frank Thomas and Ollie Johnston*

Timing for Animation by Harold Whitaker and John Halas*

Treasures of Disney Animation Art by John Canemaker*


ANATOMY, DRAWING, AND BODY LANGUAGE:

An Atlas of Animal Anatomy for Artists by W. Ellenberger, H. Baum, H. Dittrich and Lewis S. Brown

Atlas of Human Anatomy of the Artist by Stephen Rogers Peck

An Atlas of Anatomy for Artists by Fritz Schider

Drawing on the Right Side of the Brain by Betty Edwards*

Manwatching: A Field Guide to Human Behavior by Desmond Morris *

Simplified Drawing for Planning Animation by Wayne Gilbert*

Teach Yourself Body Language by Gordon Wainwright*

The Artist’s Complete Guide to Facial Expression by Gary Faigin*

The Natural Way to Draw by Kimon Nicolaides*


MODELING:

Stop Staring: Facial Modeling and Animation Done Right by Jason Osipa

The Art of 3D: Computer Animation and Imaging by Isaac V. Kerlow

3D Human Modeling and Animation by Peter Ratner.

MAYA:

Maya Character Animation by Jae-jin Choi

Maya: Secrets of the Pros by John Kundert-Gibbs and Dariush Derakhshani

The Art of Maya by Alias Wavefront.


Note: Was this information helpful who are seeking animation as a career?
Please leave a comment.

photoshop CS3 works

These pictures are some of my photoshop cs3 works.
pliz comment!!


I was thinking of doing some planets by applying various effects and filters and it turned out really well!! :)



This is one of my favorite abstract done so far. The main technique used in this effect is twirl filter..

Some of my works!!

THE ANIMATION PROCESS in PIXAR ANIMATION STUDIOS

1. STORYBOARDS

Over 4,000 storyboard drawings are created as the blueprint for the action and dialog of a feature-length Pixar animated film. They are revised many times during the creative development process

2. MODELLING

Pixar's proprietary animation software, Marionette, is used to create three-dimensional computer models of characters, props and sets. These computer models describe the shape of the object as well as the motion controls that the animators use to create movement and
expressions.

3.ANIMATION

Pixar's proprietary animation software allows Pixar's animators to choreograph the motion in each scene by defining key frames or poses. The computer then automatically creates the "in-between" frames, which the animator can adjust if necessary. Pixar's animators neither draw, nor paint the scenes, as is required in traditional animation.

4.SHADING

Computer programs that describe surface characteristics, including textures, finishes and colors, are added to every object in the scene. These programs, called "shaders," can simulate a wide variety of appearances, including wood, metal, fabric, glass, hair and skin.

5.LIGHTING

Using "digital lights," every scene is lit in much the same manner as stage lighting. Key, fill and bounce lights and room ambience are all defined and used to enhance the mood and emotion of each scene.

6.RENDERING

Pixar's RenderMan software "draws" the finished image by computing every pixel of the image from the model, animation, shading, and lighting information. Final rendered images use Pixar's patented motion blur, and each one can take from one to twenty hours of computation time to draw. Once rendered, final images are transferred to film, video or CD-ROM.

animation close up

What Animators See as the Future of
the Animation Art Form---


One thing that came through very clearly in the survey is that animation
is an art form. Although animation uses computer technology as well
as drawing tools, it is not about programming or technical expertise.
Animation is about bringing to life believable characters within a
story that moves and inspires audiences.
It is being recognized more and more as an art form, not just as
children’s entertainment.
Although 3D tools and technology will continue to evolve
allowing animators to take more risks, many professionals see a
return to traditional 2D animation as a future trend. Others see a
convergence of the two art forms as 2D and 3D are used together,
borrowing techniques and ideas from one another in order to push
the art form even further.



# Types of Animation



The field of animation includes many specialties; there are many applications for animation skills including creating special effects
for live-action and animated films, TV shows, games and commercials. In addition, there are opportunities available in CGI, visual
effects, and character animation, as well as a variety of specialty jobs within each of these categories: lighting, rigging, rendering,
story-boarding, technical directing, etc. The survey respondents came from a variety of job titles with the majority falling into the
categories outlined below.

• Compositor,storyboard positions : Artist,Supervisor -- 1%
• Art Director, Technical Director -- 3%
• Modeler -- 4%
• Animator -- 65%
• Other -- 21%

# THE TOP FOUR SECTORS ANIMATORS WORK IN:

• 01. Computer and video games
• 02. Feature film character animation
• 03. Advertising/commercials
• 04. TV shows

EARNINGS RANGES FOR
PROFESSIONAL ANIMATORS

Animators often work on specific productions and frequently freelance as independent contractors. Because of this, many are not
on salary. In order to compensate, respondents were asked what their total annual earnings, as opposed to salary, were for 2007
and whether they anticipated an increase in 2008.

51% of professional animators among surveyed
respondents expect to earn between $40,000
and $80,000 in 2008.
Animators’ outlook for 2008 brightened in terms of
total earnings with less than 30% anticipating earning
below $40,000. The majority of respondents (51%) expect
to earn between $40,000 and $80,000. Respondents were
also optimistic about growth in the upper earning ranges with
4% more expecting to earn between $80,000 and $100,000, and
9% expecting to earn more than $100,000 versus 7% in that category
in 2007.

Overall, feature film animators and special effects experts tend to be the highest earners.

• Art Directors --$83,230
• Fine Artists --$48,110
• Multi-Media Artists and Animators --$61,010
• Set and Exhibit Designers --$47,620
• Producers and Directors --$77,070
• Film and Video Editors --$61,180

The income outlook for animators is bright. Average animator earnings are higher than the mean earned by U.S. workers, and there
remain excellent opportunities for career development and earnings growth. However, according to our survey, most animators
were more motivated by fun and creative expression than they were by money.

want to become an animator??

pop quiz: Which was the first ever full-length animated feature film?

Before we get into which one it was, consider this statement by Walt Disney: 'I love Mickey Mouse more than any woman I've ever known.'

There has to be a certain amount of truth in that statement. That little mouse -- who first appeared in October 1928 -- has inspired generations of children and adults, made millions giggle like teenagers, and earned some people a whole lot of money.

Let's face it. There will always be those who find Pinocchio a lot more interesting than Preity Zinta.

For this select bunch, animation is fast becoming a hugely interesting way to make a living.

And, considering the interest now shown by biggies like Walt Disney and Warner Bros in Indian companies, the money they are being paid doesn't hurt either.

"It's fun," says Allwyn Rodrigues, a programmer who might just make the move to animation. "Thanks to Business Process Outsourcing, animators who were earning small sums a few years ago are now being paid big bucks on account of the work coming in from the US."

So, how do you become an animator?

What are the courses you can take to help you make it?

Are there certain skills you must possess if you want to become an animator?

Where do you go from there?

Animation isn't for everyone!

First of all, animation isn't for everyone. You have to love the art form.

More important, those who are artistic, creative and innovative stand a better chance of shining in the field.

After all, it isn't just about making mice run across a screen. Today, an animator in India can find himself or herself doing anything from cartoon films and video games to promos for television serials.

Ask Vanitha Rangaraju-Ramanan. This woman went from Trichy in Tamil Nadu to the team that won an Oscar for 2002's animated film Shrek.

Vanitha works as a Lighting Technical Director, and was part of the team responsible for bringing the components of a shot together in Shrek.

So, is there a market?

You bet. All we had a few months ago was Cartoon Network. Now, almost all channels devote at least a couple of hours to animated content alone.

Consider this as well: Going by the amount of outsourcing currently coming our way, India needs over 20,000 animators. We have less than 4,000!


Absolute newbies in animation will find themselves facing options like 3D and 2D. Then there is computer-generated animation, animation for films, animation for television and multimedia animation.

2D relies on an animator's artistic abilities with ink and paint. It is the kind of work thought of and delivered on paper or cells (like the frames you see in a cartoon strip). Mickey Mouse and Donald Duck, for instance.

3D is a whole other ball of wax. This is a creation delivered with the help of models and sets. Remember the film Chicken Run? Or Toy Story? It also depends on an animator's artistic abilities in modelling.

While 2D involves the placing of each cell before an animation camera and then filming it, 3D animation calls for models to be placed on a set, with body postures manipulated shot by shot. The result is a sequence of movements that is realistic.

Before you join an institute

While joining an institute that offers courses in animation would be an obvious beginning, here are some things you should consider:

1. Do your homework. Do not, for even a minute, assume all courses offered are of the same calibre.

2. You might want to contact these institutes, sit down with faculty and understand their individual strengths before signing off an amount of money to them.

3. Ask questions. Meet people in the industry.

4. Consider the going employment rate after the completion of a particular programme.

5. See if the institute has tie-ups with professionals outside.

6. Check if practical experience is being offered.

7. Find out if they can help you find a job once you have finished the course.

"When I decided to dabble in animation, I did ask a number of institutes about the kind of courses they were offering," says Jasbir Bolar, who relies on animation to support his ventures into advertising online.

"I was surprised by the number of institutes in Mumbai alone, which made picking a course difficult. I opted for software like 'Director' and 'Premier' for my work on 2D animation, moving on to '3D Max' for everything on 3D. Eventually, I picked a course by matching the content offered with my personal requirements. That, I think, is the best way to do it."


What skills do you need to become an animator?

Artistic ability is obviously the most important.

There are other skills that always help though, such as self-motivation, a tremendous amount of patience -- ever tried moving a character centimetre by centimetre to build a sequence that lasts for a minute? -- as well as an ability to communicate easily and work as a team.

Also, mastering the basics of script writing, stop-motion photography and editing would be a definite plus.

Remember, animators often work completely in isolation. They do everything from writing a script and creating a storyboard, to directing, producing and editing their work.

The right age?

There is simply no right age to begin.

You could start now, if you liked, with something simple like a flick book -- pieces of paper with characters moving page by page, creating the illusion of movement when the pages are flipped.

You could also think of possible storylines or try your hand at creating characters with clay modelling.

One more thing

The skills you develop as an animator don't belong to cartoon films alone.

They can be used in a whole lot of other ways. When it comes to making an animated film, an animator is just a cog in the wheel.

There are assistant animators, background and layout artists, visual development artists, animators working on effects alone, storyboard artists, graphic designers -- the list can be pretty exhausting.


While the courses you have access to have a lot to do with where you live, checking what's online can help in some way.

1. There are eight-month courses at institutes like Escotoonz in New Delhi. Their animation services include everything from pre-production and layout posing, to backgrounds, key animation, digital compositing, post-production, flash and 3D animation. You can join the minute you clear your higher secondary examination.

2. Companies like Mumbai-based Crest Communications, and institutes like Arena Multimedia or Pentamedia, also offer courses that are useful.

3. Residents of Delhi also have the option of studying for papers on animation offered by:

Chandigarh College Of Arts
Sector 10C
Chandigarh 160 010

OR

College of Art
Tilak Marg
New Delhi 110 001

The next step

1. You might want to consider creating a showreel of animated sequences you have worked on, because that is what potential employers may ask for.

2. You could also create a portfolio of character designs and storyboards.

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Make your job work for you
The moolah

Depending on your level of expertise, a newbie could walk away with a minimum of Rs 8,000 to Rs 10,000 per month. That figure can go up astronomically as your experience increases.

Here's another reason why you should consider the line. It is not going to disappear in a hurry. Hollywood is increasingly turning to animators, not just for full-fledged films, but also for special sequences.

The recent hit, Sky Captain And The World Of Tomorrow, is an excellent example of animation and sheer computer power taken to the limit. All that changes is, well, the software.

PS: Those who yelled Snow White & The Seven Dwarfs to answer the question at the beginning of this article ought to start making a few calls at once!

Illustration: Dominic Xavier