ICT at USC

I have been working at the Institute of CreativeTtechnologies for the past 6 months. It has beeny interesting working with virtual humans and interactive technologie,s again. Plus, it feels good to be working on something that might help someone out there. Previous to joining the group, I had no idea what ICT was. There are many application for CG outside of movies, games and commercials.

A story in today's Times features the institute, and much of the work is used by the military for purposes including training fighters to combat insurgents and calming nerves of weary soldiers. ICT’s wide-ranging technologies are now found on 65 military sites across the country.Above is a video explaining what ICT is and shows some of the various projects in production.

How NOT to hire an artist

image by Sam Taylor-Wood

How NOT to hire an artist

Everyone working in any creative company should read this article.  

My favorite quote from the article: 

How NOT to find an artist:  "Do not look for either professional artists, or an artist that has done a lot of game design work in the past."

Jon Jones:  "This is the stupidest thing I’ve ever read. Don’t hire experienced professionals? This guy must not value his time at ALL"

Scott Ross for President

Everyone should listen to this interview...

Interview with Scott Ross

This is the most articulate, solution oriented conversation I have heard yet on this subject.  If the VFX shops are awarded the money, respect, education, and deserved appreciation Ross proposes a trade organization would provide... I am confident there would be trickle down to the employees.  Ten years ago, these needs (401k, benefits, fair hiring practices) were being met.  Some shops back in the day even had car washing, dry cleaning services, meals provided, studio sponsored parties, etc.  VFX shops managed to provide these things to artists even on a "next to nothing" profit margin.  Then, times changed.  The movie studios told shops you have half the budget , twice the work, and half the time... even though profits on VFX driven films are higher than ever.  Studios told the shops, if you don't like it, the shop down the street beet your bid by 150k!  So, the VFX shops began to hire cheap labor just to make ends meet.

The VFX companies are not the enemy in this situation and the situation is not personal.  What have we got to lose?  If the shops don't organize and fix the situation now, they are out of business anyways.  Then, no one has a job. If the VFX shops paid dues to a trade organization like artists do to the VES, we might get somewhere.  As long as the new trade organization does the job presented to them and isn't fluff and just talk, like some organizations we know.  I think this is what Scott means by he would be willing to help organize as long as people made a commitment to the mission.  If shops all agreed to pay dues to get the organization started, they might have a fighting chance in this as Ross put it "race to the bottom."

I also agree completely with Ross on a Union.  The biz model for VFX shops is not one that could work with a Union. at this time  The issues that artists have with the shops  (401k, benefits, fair hiring practices) are only symptoms of the bigger problem.  VFX was never working off of fat, it was lean muscle ten years ago... now we are cutting ligaments and bone as far as budgets and any profits.  There is no room for negotiating.  A union could help after we recover from the current circumstances... possibly, but I do not see how a Union would fix the profit margin issue between the Movie Studios and FX shops.  How would a union deal with Runaway Production.  I am curious how are they handling it now?  I am pretty sure 2D ran away to Korea... no?

The one thing that did bother me in their talk was when they said the whole issue since the town hall "died because people are working."  I know more people out of work than ever.  Artists have no power, no money, no leaders, no experience in this stuff and mouths to feed.  We feel helpless.  That is why it died.  If the VFX studios have no cash, you think out of work artists do?  So, artists go overseas to help the lack of local talent for 1/3rd of their salary on even smaller budgeted movies and leave their wife and kids behind to keep a roof over their heads.  It's the unskilled talent pool overseas that needs our artists to make the incentive program work.  Again, worst biz model ever.  And I digress..  Anyways, it's the first real discussion I have seen anywhere so far.

Interview With a Robot

I thought we were supposed to be in hover cars by now and have robots cleaning the house...
this one can barely talk.  

How far Would You Go To Pursue Your Dreams?

My friend Zero quit his job in CG, terminated his lease, sold everything he couldn't fit into his truck... and is now traveling cross country - living his life, taking photos and writing about it!!!

He is accepting activity challenges along the way.

In his words...

 I will go to places that people suggest I visit, do things that people suggest I do, and meet people that want to be met. And I will connect with people around the country.

I posted a challenge for Zero on his forums to help me here at my loft in Los Angeles with a creative project for my paintings.  I suggest you challenge Zero to come to your house and help you clean your bathroom, tap a cold keg of beer or make dinner for your mother-in-law.  It's up to you!!!

What a wonderful idea!  Everyone should follow what their spirit is telling them to do with their life.  Otherwise, you are living skitzophrenic days on this planet doing what other people think you should be doing.  Does that sound like fun?

Check out ZeroDean.COM

VFX Town Hall Brought to you by ARTISTS

Give a listen to a town hall created by working ARTISTS

No need for art posters or self promotion here.

Just a clean and simple website with artists speaking 

on the topics and questions that artists have.

The informality of the first 20 minutes has a charm to it

until...

Listen for yourself

Art by John Van Vliet

At least 40 minutes into it, they bring an actual facilities owner  

to answer the questions and discuss solutions.  
(just scrub ahead if you can to the good stuff)

He is informative and very honest.

He explains the difference between a trade org and a guild.

One of the best points the facilities rep makes 

is that a guild would create more security 

for people who are freelancing and bouncing from job to job

through a "monster benefits package" of residuals, 

pension, welfare and health insurance.

Important thing to fight for, in such a transient industry.

The funny thing is:  He says that his clients say

"You get paid when I get paid."

Well, that chatter has found itself all the way down the tree.

I have heard that more times than I haven't as an artist, since 2007.

Art by John Van Vliet

***********************************************************************

  Here is my Dream Panel (5 people):

VFX Biz Rep

Marty Schindler

Consultant on business in VFX with clients like 

20th Century Fox, Cinesite, ILM, etc.

(I have been on panels with Marty and he is great)

One Big 8 facilitites Rep Possibilities

Examples: 

Tim Sarnoff (Sony), 

Scott Ross (DD), 

Lynwen Brennan (ILM)

One Union Rep 

 Kevin Koch

Steve Huwlett

Tom Sito

James Parris

 

One Guild Rep

SAG President - Ken Howard

One Seasoned Artist

(who has experienced the issues going on right now)

Anyone working right now

I appreciate these guys dealing with the issues 

and not have a separate agenda.

They dealt with issues that artists are concerned with
and specifically spoke about solutions instead of blame.

Lots of talk of how and why to start a trade union.

However, It was frustrating listening to two guys ponder issues 

they, themselves have never experienced.

I cannot wait until an artist who has experienced the issues below...

participates in a panel.

• not being paid at all
• or being paid 3 months after finishing a gig
• being required to be 1099 or accept a 30-day net pay schedule
  
• working for no OT
  
• working a 50 hour week for a flat day rate
  
• the need to place a trashcan next to you on the desk when it rains
• cannot find work anymore because it has all gone overseas
• has been told "you get paid, when I am paid." (up to 60-90 days)

P.S.  I want to make one thing very clear...THIS IS NOT just an issue at big studios.  In fact, my experience the small studios are the biggest offenders.

P.S.S.  I agree Digital Artist Guild (D.A.G.) would be a better name, since it covers all artists who work digitally.

Learning and Working in the Collaborative Age: A New Model for the Workplace

Pixar University's improv coach - Randy Nelson - gave a lecture about Collaboration and Perfection. He makes connections to improv to introduce his ideas on collaboration as a solution for success in the workplace.

I attended the Improv Conservatory at Bang Studio back in 2003 for over a year. Improv taught me more than any formal classes in school. I learned about myself personally and professionally. One of the best lessons is how to heighten a scene. I think society teaches us to resist and for our first instincts to be negative to new ideas, in general. Improv says you must accept every idea in order to take the scene to a new level. Otherwise, the scene or idea simply dies. By accepting the ideas put forth, you will push the envelop of what we think CG animation can be!

Nelson has some great points in this talk. He says..."Depth, Breadth, Communication and Collaboration" create a solid CG Artist. I couldn't agree more.

DEPTH:
I have run into many an animator who can rattle off every bit of his understanding of animation easily, but do they have understanding of anything else that brings a deeper take on what he is animating???

BREADTH:
Without a breadth of experience on both artistic and technical, the same animator will not have creative solutions to the obstacles we all run into in production.

COMMUNICATION:
Communication is one lacking often in CG. Understanding how to communicate your ideas effectively without stomping out anyone else' voice is so very important.

COLLABORATION:
And, finally collaboration is the key to CG because none of the work would be completed without every artists being involved. It's one of the most collaborative industries I have ever experienced.

Check out A New Model for the Workplace

Disney Talk mp3

Per your requests, we now have the Disney Talk in an mp3 format!

We hope you can distinguish who is talking and
without the visuals and this provides a much smaller file.

Disney Talk, mp3 format (50 meg)

Original Video of Disney Talk (100 meg)

Here is the text from the handout we gave to the attendees:

Fleas on The Shoulders of Giants
Thinking Animation Panel and Book Signing
Tuesday, September 26, 2006
12-1:00 pm
Disney Feature Animation

This panel seeks to demystify, debunk, and drive the dialogue about the future of 2D and CG character animation. It is motivated by the sea change that is currently affecting our industry. The introduction of the computer has changed an art form that had been, until now, a pen and paper medium for upward of 80 years. Today, traditional animators and artists are giving up their fear of the machine and embracing CG in droves. The art of classical film animation has been ever-evolving since its early days. Artists and the studios have strived to raise the bar visually through storytelling since the first crude attempts at putting moving images on the screen.

We are talking about classical animation and its evolution into computer-generated feature films—think Steamboat Willie and its progression to The Incredibles. It is important to recognize trends in filmmaking, storytelling, and technology for an animator to increase his or her chances of continued employment. Trends and history reveal how evolution of an art form occurs. Paying close attention to the trends and growth of any field helps predict the future of that industry. Three major shifts are responsible for the progression from pencil to mouse in feature animation: aesthetic, audience, and storytelling.

Looking at the interesting turn of events in animation, many questions come to mind. What makes for a smooth transition? What has helped those who have made the jump? How much of the 2D art form is applicable to the digital realm? What have we gained and lost in the rise of CG? What is the impact of more 2D animators entering the CG industry? Without drawing as a craft threshold, is there room for a new set of animation heroes in CG with a signature style like, say, Ward Kimball’s (of Disney’s Nine Old Men fame)? This is a relatively new art in the broader sense of the word, and we are all learning as we go because we are but fleas on the shoulders of giants.


Organizers/Moderators
Tenny Chonin
Walt Disney Feature Animation

Hanna Hurme
Book Soup Sales

Angie Jones
Digital Domain

Angie Jones began her animation career at a San Diego studio with more than 150 traditional animators 12 years ago called Lightspan. Although she was trained at Atlanta College of Art in Fine Arts, she readily embraced animating with the computer. She has worked on numerous productions, including Stuart Little 2, Disney’s 50th Anniversary commercials, Oddworld: Abe’s Exodus, Garfield, Dino Crises 3, Pan's Labyrinth, Zoom, Scooby Doo Too, XMen 2, and National Treasure. You can find out more about Angie here - Spicy Cricket Animation.


Jamie Oliff
Reel FX

Jamie Oliff was trained in classical animation at Sheridan College of Art and Design and has worked in the animation industry for more than 20 years. An award-winning director and long time feature film animator, his credits include the first season of The Ren and Stimpy Show, and many feature length animated pictures such as Hunchback of Notre Dame, Mulan, Hercules, The Emperor’s New Groove, and CG animation on titles ranging from Kangaroo Jack to Scooby Doo Too and National Treasure. He lives in Burbank, CA. with his wife and two children and a biplane project that he never finds enough time to finish.

Panelists
Richard Taylor
Electronic Arts

Richard Taylor has an extensive background in live-action direction, production design, special effects, and computer-generated images for theatrical films, television commercials, and computer games. He began his career as an artist and holds a BFA in painting and drawing from the University of Utah. In 1971 Richard received The Cole Porter Fellowship to USC graduate school, where he earned his Master’s degree in photography and printmaking. In the past 30 years, Richard has lent his talent to a number of companies, resulting in many award-winning commercial spots and seven Clio awards, along with two Hugo awards and two Mobius awards. Richard was a member of the team at Magi, whose commercial for Atari’s Worm War I was the first to win a Clio for computer animation. His other commercial work includes spots for companies such as Ford, RCA, Kellogg’s, Reebok, McDonald’s, UPS, Honda, Toyota, Bud Light, Intel, Norwegian Cruise Lines, Census 2000, Warner Bros., Disney, Duracell, and 7-Up, for whom he launched the internationally acclaimed “Spot” campaign. Richard’s years in the industry have provided him with a wide array of opportunities in addition to commercial work. He has done everything from directing promotional films for major networks, to designing, supervising, and directing special effects and computer-generated images. Richard has worked in various capacities on features such as Tron, Star Trek: The Motion Picture, Looker, Something Wicked This Way Comes, and Where the Wild Things Are. Presently Richard is cinematics director at Electronic Arts Los Angeles. Over the last four years he has designed and directed cinematics for such games as Top Spin, Links 2004, Lord of the Rings: The Battle for Middle Earth 1 and II, and Command and Conquer 3.

Jerry Beck
Cartoon Brew

Jerry Beck has become one of the most knowledgeable and well-rounded animation historians ever known. His dreams of becoming a cartoonist rooted from his early childhood with cartoons such as Yogi Bear and Huckleberry Hound. Despite the fact that animators were not in demand by the time he graduated from high school, he still found a career in the field that he loved as an animation scholar. Working as an associate alongside Leonard Maltin, an experienced animation researcher, they published Maltin’s book, Of Mice and Magic: A History of American Animated Cartoons in 1980. From then on, Beck would take part in various cartoon research projects, both solo and with partners such as Will Friedwald. Many of his findings on the subject are in the form of books such as The 50 Greatest Cartoons and Warner Bros. Animation Art, but he has also created television specials and has even taught several college courses on the history of cartoons, as well. In addition to being an animation historian, he is also an animation producer, and has been, and is working on creating cartoons.

Floyd Norman
Disney Publishing Group

Floyd Norman began his cartooning career while still in high school assisting Bill Woggon on the Katy Keene series for Archie Comics. He attended Art Center College of Design as an Illustrator major. Floyd started working as an animation artist for the Walt Disney studio on Sleeping Beauty and eventually graduated to the story department where he did story sketch on The Jungle Book. This was the last film Walt Disney personally supervised. Floyd wrote and produced animated segments for Sesame Street, Villa Alegre, and dozens of educational films. Also, Floyd supervised animation layout at Hanna-Barbera Productions and storyboarded several shows including The Flintstones, Smurfs, and Scooby Doo. He wrote scripts for The Quicky Koala Show, The Real Ghostbusters, and Monster Tales. Floyd returned to Disney in the early eighties to join the Disney Publishing Group. He wrote the syndicated Mickey Mouse comic strip and contributed stories for Disney Comics. As Project Supervisor in Creative Development Publishing, Floyd created, wrote and designed several children's books. After a ten year absence from film, Floyd returned to his roots doing story work on several feature length Disney animated films, Hunchback, Mulan, Tigger Movie, Dinosaur, and Toy Story 2. Intrigued by the new digital realm and interactive computer media, Floyd helped develop computer software for painting and animation. After a long and varied career, Floyd enters a new millennium more excited than ever about the possibilities of a new media. Now Floyd works with his previous associates adding his special blend of wit and whimsy to the Afro-Kids.com website.

Disney Talk

Download quicktime of Disney Talk

Above is a link to a quicktime movie of the talk we gave at Disney on September 26th, thanks to Tenny Chonin - Head of Artistic Development at Disney Features. The file was HUGE since the talk was one hour long, but we were able to compress it down to about 100 meg. If anyone has any better ways of compressing it more, please contact Angie.

Jamie and I owe a great thanks to Floyd Norman and Richard Taylor who both wrote forwards to our book, as well as Jerry Beck who was great help with all of the historical information in the book for taking the time to participate in our panel. Each of them added a different perspective to the talk making it balanced and comprehensive. Thanks guys so much for coming!


In case you would like to read Floyd Norman's forward to the book, click here.

And, we have posted Richard Taylor's forward below.

This book has been lovingly crafted by two talented animators who enjoy their work and recognize the value of knowing the history, the art, and the craft of animation. Jamie and Angie have pooled the knowledge of some truly talented professionals to help them convey to the artist, animator, historian, or fan the combination of technology, art, discipline, and heart that it takes to succeed as a contemporary animator. What a phenomenal time this is in the evolution of animation and film. We are surrounded daily by the most complex visual imagery that mankind has ever created; be it in print, movies, television, games, or on the Internet, our lives are bombarded daily by images of seemingly limitless complexity. Today literally any image that a filmmaker can imagine can be realized. True, some dreams cost more than others, but the fact is the tools now exist that allow the artist, the animator, and the filmmaker to create photo-real illusions, fantasy characters that entertain and amaze us in films such as Titanic, The Incredibles, Shrek, Jurassic Park, King Kong, Lord of the Rings, Harry Potter, The Matrix, Alien, Terminator, Blade Runner, Star Wars, and Tron. Films packed with astounding special effects pour out of the studios yearly and on TV weekly. The technological tools to create this imagery are logarithmically improving as they become faster, better, and cheaper annually.

Tron—interesting that I would mention that film. I was co-visual effects supervisor on the picture, which was released in 1982. Tron was the film that introduced the world to computer imaging. So I’ve been involved with computer animation since its first use in the film industry. I’ve watched as art and technology fused to create the most powerful and limitless visual tool in the history of man. Computer-generated imaging (CGI) is now the fundamental tool used in creating visual effects and animated features. If there’s one thing I’ve learned over the years, it’s that computers and software don’t create these fantastic images. A computer is analogous to a Steinway piano—it’s an instrument. It’s the artist who plays the instrument who brings it to life. So how does one become an animator who is adept at the latest technological advances, yet still creates with the spirit and freedom of traditional hand-drawn animation? This book deals directly with that query and should give you plenty of answers.


To begin with, production designers, directors, animators, and other artisans who are legendary in the film industry have several things in common. They know how to draw, they study art and the history of their craft, they hang out with their peers, they are objective, and they make an effort to learn something new every day. But the most essential thing they have in common is self-discipline. Successful artists in painting, photography, music, dance, or animation are joined in an endless dance with their art forms. They put energy into the process daily, and in return it teaches them something new. The more you work at an art process, the more it teaches you. This dance is the mother of happy mistakes and magical revelations.For those who love the art of animation and would like to make animation their life’s work, this book will reveal some basic skills and understandings. Lean to draw 2D animation. The nature of hand-drawn animation allows the animator to exaggerate the elasticity, the personality of a character. Drawing by hand creates a rhythm and flow that’s difficult to achieve in 3D work. It’s the human feeling, the personality, the heart of the animator that can be realized through drawing. Dedicated animators observe the world around them. They constantly watch the way things move; they analyze body language and know that certain gestures convey feelings and emotions. A true animator creates more than anthropomorphic characters; they can bring life, personality, humor, or emotion to anything, be it a teapot, a tree, a lamp, or a chair.


Drawing, I believe, is essential to all the arts, especially the art of animation. The structure, design, and composition of a scene, the gesture of a character, the angle of view, the location, the set, and the props are all created through drawing. Conceptual drawings, storyboard frames, and character studies all seem to start on a napkin or a scrap of paper when an artist quickly sketches an idea before it vanishes. I’m sure you’ve heard the expression, “A picture is worth a thousand words.” In filmmaking and games, thousands of dollars is more like it.


Technology has always affected the arts. Advances in technology spike the creative juices of artists, so it’s inevitable that new ideas, new images, and new animations evolve—images that I like to say “remind you of something you’ve never seen before.” If you really want to be an animator, then begin right now by reading this book. And from this moment on, begin to learn and practice the basic skills of animation and learn to observe and interpret the magic movements of life.


—Richard Taylor (www.richardtaylordesign.com)