(no subject)
I think tonight is the first time Brent has ever approached me directly. The other faculty, yeah... but then again, Brent is the industrial design/technical guy, so it's not my area of the major (as one who gravitates a little more toward the "art" side). Anyways, strange how the most mundane things can feel really weird if they've never happened before.
Not only that, but he wanted to tell me that the success of our film pretty much rests on me. Not in the sense that I am the only animator in our group (because I'm not - I'm not even the lead), but in the sense that there are only a few of us that actually want to pursue animation and have the ability to even try some of the more acting-heavy scenes. So I will have a lot of hard shots that will be crucial that I not ruin. (He implied without saying so that maybe I was the one out of our group best able to tackle some of the stuff we'll have to do, but I bet he was just trying to get me in do-my-best-for-the-film mode. Wouldn't be surprised if he went around to the other main animators and did the same)
It worked, as I really do want to tackle my scenes and make them as good as I can, but I still feel like an idiot fumbling around in Maya D:
but!
but.
I might have made a conceptual breakthrough. One of those "duh! I knew that! I just didn't think about it the right way" kinds of things.
Mental note to self: treat it like you're drawing it. You ruin it when you let the computer do too much. Don't think of it as computer animation. Forget for a minute that the inbetweens will be filled in for you. Just pretend that instead of drawing the picture like you're used to, you're posing it - "drawing" it in 3D space, if you will. Do your keys, do the breakdowns, do some inbetweens as if you were planning to do this straight on ones/twos in the end. The difference is, your character exists inside the computer instead of your head. (hooray no volume fluctuation problems??) Only when the boring straight inbetweens are left, do you spline that sucker and work with the tangents.
Seriously. You've actually read this kind of thing almost verbatim on the blogs of awesome people, but how did it not sink in until now? Moron.
I do work best under pressure. I just hope that I can finally put out some stuff that I won't be embarrassed to put on a demo reel. Oh, and make the film work, too.
Not only that, but he wanted to tell me that the success of our film pretty much rests on me. Not in the sense that I am the only animator in our group (because I'm not - I'm not even the lead), but in the sense that there are only a few of us that actually want to pursue animation and have the ability to even try some of the more acting-heavy scenes. So I will have a lot of hard shots that will be crucial that I not ruin. (He implied without saying so that maybe I was the one out of our group best able to tackle some of the stuff we'll have to do, but I bet he was just trying to get me in do-my-best-for-the-film mode. Wouldn't be surprised if he went around to the other main animators and did the same)
It worked, as I really do want to tackle my scenes and make them as good as I can, but I still feel like an idiot fumbling around in Maya D:
but!
but.
I might have made a conceptual breakthrough. One of those "duh! I knew that! I just didn't think about it the right way" kinds of things.
Mental note to self: treat it like you're drawing it. You ruin it when you let the computer do too much. Don't think of it as computer animation. Forget for a minute that the inbetweens will be filled in for you. Just pretend that instead of drawing the picture like you're used to, you're posing it - "drawing" it in 3D space, if you will. Do your keys, do the breakdowns, do some inbetweens as if you were planning to do this straight on ones/twos in the end. The difference is, your character exists inside the computer instead of your head. (hooray no volume fluctuation problems??) Only when the boring straight inbetweens are left, do you spline that sucker and work with the tangents.
Seriously. You've actually read this kind of thing almost verbatim on the blogs of awesome people, but how did it not sink in until now? Moron.
I do work best under pressure. I just hope that I can finally put out some stuff that I won't be embarrassed to put on a demo reel. Oh, and make the film work, too.