Storytelling, Animation and Creative Posts.
Animation Notes From Richard Williams and Ollie Johnston.
Fuck Yeah.
Irvin Kershner Star Wars Empire Strikes Back DVD audio commentary.
Intellectual Curiosity
Creative Currency.
"When the external validation of success replaces our spiritual sense of purpose, things get messy."
Clues to a Great Story - Andrew Stanton.
Thoughts and experiences on making a movie.
22 Pixar rules of story telling by Emma Coates.
Interviews with Toy Story 3 Directors
What is at stake is nothing less then Life and Death.
Del Toro's words to live by.
Kurt Vonnegut's 8 rules + bonus.
The Action Movie Fairy Tale.
Shatner Kirk vs Pine Kirk
Hayao Miyazaki's Starting Point.
Carlos Beana notes.
Why the hero journey's suck.
Anatomy of Determination.
Why and how we need better villains.
Cinematography Notes.
Story Development in Animated Features
Story
Visual discipline and training the critical eye. AKA I hate drawing! Why do I need to do it if I am doing 3D?
(part 1)
(part 2)
Texture Painting Notes.
(part 1)
(part 2)
(part 3)
hilscreate.blogspot.com
September 22, 2015
Do you really want to step into the animation industry? Part 3.
Continuing from my previous post....
Update : Double Negative Sg just laid off 80 people. Insight of the closure, I have realised that this article written 5 years ago.. is even more relevant today. And it is still a downward spiral.
recently in the Straits times, there were articles about the closure of a few "big" animation companies in Singapore. Big being relatively in size compared to the rest of the cg/media/animation company in Singapore.
One part of the article "Egg Story closes down" stood out for me. Which is that "while Egg Story Creative Production closed down, Egg Story Digital Art School is not affected by the closure."
The fact that the education industry for animation is actually doing relatively well while the actual animation industry in Singapore isn't, for me is a very worrying sign.
I think that the reality of the situation here is actually pretty dire. The market is getting crowded with a lot of graduates jostling for a shrinking pie.
Update : Double Negative Sg just laid off 80 people. Insight of the closure, I have realised that this article written 5 years ago.. is even more relevant today. And it is still a downward spiral.
recently in the Straits times, there were articles about the closure of a few "big" animation companies in Singapore. Big being relatively in size compared to the rest of the cg/media/animation company in Singapore.
One part of the article "Egg Story closes down" stood out for me. Which is that "while Egg Story Creative Production closed down, Egg Story Digital Art School is not affected by the closure."
The fact that the education industry for animation is actually doing relatively well while the actual animation industry in Singapore isn't, for me is a very worrying sign.
I think that the reality of the situation here is actually pretty dire. The market is getting crowded with a lot of graduates jostling for a shrinking pie.
September 18, 2015
the struggle to management your own expectation. aka how not to get pissed off at work.
I often am caught in a dilemma of deciding when is enough and when should I put all my best.
I suppose after years in the industry dealing with situations where people cannot make up their mind and stuff, it becomes hard to give my best to everything. That does not shoddy work. It just means work to the letter.
It seems when it comes to doing my own work, that seems to happen. Part of me just want to go.. "whatever"... but the other part refuses to just give in. It seems to enjoy pain.
But you do it because you are paid to. You are pissed off because your sense of self worth lies in your ability deliver it effectively. But the goal posts keep moving hence frustrations mount.
That is natural.
What I am saying is recognise the reasoning behind it
And do not take it personally
You are helping them realise a vision, and its part of the job description.
If they cannot make up their mind, they cannot make up their mind...
It is also understanding that end result isn't just the goal. You are working with a group of people. And everyone are trying to do their jobs.
Adjust your mindset that allows you to take that role so that they trust you to do the job. The real prize is that you build a reputation of a dependable and pleasant person to work with.
Its an opportunity to build your reputation and reputation goes a long way in any industry.
Maybe its a different perspective, but in 2 years, you will look back at this and laugh at the stupidity.
Try to do the job with a perspective that you are helping someone make their jobs easier and helping them make a decision.
When u help someone, you feel good as well, whether they are aware of it or not. ask yourself how can u help make their decisons easier.
More importantly, do it for your mental well being. you do not want to go home kicking the cat..
And honestly, most of the time,
after all options are explored, its not only how good you can draw or paint.. but just to
assure that you are helping them make a decision. That you are on their side. It triggers a postive response from them. rather then a defensive one.
Once you understand this concept, it is easier not to be pissed off.
I suppose after years in the industry dealing with situations where people cannot make up their mind and stuff, it becomes hard to give my best to everything. That does not shoddy work. It just means work to the letter.
It seems when it comes to doing my own work, that seems to happen. Part of me just want to go.. "whatever"... but the other part refuses to just give in. It seems to enjoy pain.
But you do it because you are paid to. You are pissed off because your sense of self worth lies in your ability deliver it effectively. But the goal posts keep moving hence frustrations mount.
That is natural.
What I am saying is recognise the reasoning behind it
And do not take it personally
You are helping them realise a vision, and its part of the job description.
If they cannot make up their mind, they cannot make up their mind...
It is also understanding that end result isn't just the goal. You are working with a group of people. And everyone are trying to do their jobs.
Adjust your mindset that allows you to take that role so that they trust you to do the job. The real prize is that you build a reputation of a dependable and pleasant person to work with.
Its an opportunity to build your reputation and reputation goes a long way in any industry.
Maybe its a different perspective, but in 2 years, you will look back at this and laugh at the stupidity.
Try to do the job with a perspective that you are helping someone make their jobs easier and helping them make a decision.
When u help someone, you feel good as well, whether they are aware of it or not. ask yourself how can u help make their decisons easier.
More importantly, do it for your mental well being. you do not want to go home kicking the cat..
And honestly, most of the time,
after all options are explored, its not only how good you can draw or paint.. but just to
assure that you are helping them make a decision. That you are on their side. It triggers a postive response from them. rather then a defensive one.
Once you understand this concept, it is easier not to be pissed off.
September 17, 2015
Animation and computer graphics for online media. Aka monetize your content.
With so many schools out there churning out students in software knowledge, animation principles, Teaching maya or animation skillsets have become just the bare necessity for students to be proficient. But then, the next step would be think of themselves as them as creators and even entrepreneurs.
I would even say its a need..
I used to think there is a certain bravado in being able to raise above the competition to secure a job in a decent studio. But obviously that cannot be the end game. Especially when the irony is that online digital content is fighting for an audience's time and eyeballs.
Training students to be animators and artists so that they can be good enough to be hired to work long hours in animation and vfx studios in a ever increasing market place can be rather..... sobering. IF you view it in that context.
“You will always have disgruntled people who feel they have to work long hours, but quite honestly, they should get out of it. We don’t make up the schedules and the budgets for the projects. We live within a commercial environment.”
I agree.. and while other people will advocate unionising or protest.. that is not the purpose of this post.
You need to draw eyeballs to you as an individual or your product/creation.
Why?
July 22, 2015
Animation Notes From Disney Animators Richard Williams and Ollie Johnston.
After animating the open few shots for my short, I realised to my despair but relief that my animation skills while passable, are not as good as I think they are. I will need to improve my animation techniques before I continue.
Below are some of the notes I gathered, while researching online. I will have to put these into practise on a few test scenes. It will take some time but hopefully the quality of the animation will improve.
http://www.3dark.com/archives/animation/richard_williams_notes.html (From a Richard Williams MasterClass by Dave Bailey. )
What is animation?
- Change is the basis of all animation
- There are two types of animation Morphing and the type that gives the illusion of life.
- Animation is all in the timing and spacing
-You must show where the weight is, where it is coming from and where the weight is going to.
KEY FRAMES - are the story telling frames (The story board drawings)Frames where the character makes contact (heel strike pose, touching an object, etc.)
EXTREMES - are the where there is a change of direction. They are NOT Key Frames.
BREAKDOWNS are the middle or passing position.On breakdowns always add an extra bit of movement -- almost anything will work.Don't go from A to B. Go from A to Z to B
Methods of Working:
1) Straight-Ahead - Just start and see what happens. (Creative but lacks control)
2) Pose to Pose - (Lots of control but restricts creativity)
3) The "Best" Method - A combination of "Pose to Pose" and "Straight Ahead".
Steps to take before animating:
1) Before working turn off all other stimulus --"UNPLUG"
2) Write down what you want to do
3) Act it out
4) Work out the timing
5) Then animate
http://www.siggraph.org/education/materials/HyperGraph/animation/character_animation/principles/ollie_johnston.htm
(Animation Notes from Ollie Johnston - from Course 1 at SIGGRAPH 94, "Animation Tricks".)
1. Don’t illustrate words or mechanical movements. Illustrate ideas or thoughts, with the attitudes and actions.
2. Squash and stretch entire body for attitudes.
3. If possible, make definite changes from one attitude to another in timing and expression.
4. What is the character thinking?
5. It is the thought and circumstances behind the action that will make the action interesting.
Example: A man walks up to a mailbox, drops in his letter and walks away.
OR
A man desperately in love with a girl far away carefully mails a letter in which he has poured his heart out.
6. When drawing dialogue, go for phrasing. (Simplify the dialogue into pictures of the dominating vowel and consonant sounds, especially in fast dialogue.
7. Lift the body attitude 4 frames before dialogue modulation (but use identical timing on mouth as on X sheet).
8. Change of expression and major dialogue sounds are a point of interest. Do them, if at all possible, within a pose. If the head moves too much you won’t see the changes.
9. Don’t move anything unless it’s for a purpose.
10. Concentrate on drawing clear, not clean.
11. Don’t be careless.
12. Everything has a function. Don’t draw without knowing why.
13. Let the body attitude echo the facial.
14. Get the best picture in your drawing by thumbnails and exploring all avenues.
15. Analyze a character in a specific pose for the best areas to show stretch and squash. Keep these areas simple.
16. Picture in your head what it is you’re drawing.
17. Think in terms of drawing the whole character, not just the head or eyes, etc. Keep a balanced relation of one part of the drawing to the other.
18. Stage for most effective drawing.
19. Draw a profile of the drawing you’re working on every once in a while. A profile is easier on which to show the proper proportions of the face.
20. Usually the break in the eyebrow relates to the highpoint of the eye.
21. The eye is pulled by the eyebrow muscles.
22. Keep skull size constant but get a plastic quality in face — cheeks, mouth and eyes.
23. Attain a flow thru the body rhythm in your drawing.
24. Simple animated shapes.
25. The audience has a difficult time reading the first 6-8 frames in a scene.
26. Does the added action in a scene contribute to the main idea in that scene? Will it help sell it or confuse it?
27. Don’t animate for the sake of animation but think what the character is thinking and what the scene needs to fit into the sequence.
28. Actions can be eliminated and staging "cheated" if it simplifies the picture you are trying to show and is not disturbing to the audience.
**29. Spend half your time planning your scene and the other half animating.
30. How to animate a scene of a four-legged character acting and walking: Work out the acting patterns first with the stretch and squash in the body, neck and head; then go back in and animate the legs. Finally, adjust the up and down motion on the body according to the legs.
more notes at
http://www.packthecat.com/PersistenceOfVision/Notes/Index.html
http://www.siggraph.org/education/materials/HyperGraph/animation/character_animation/character_animation.htm
The last are a few of John Lasseter's old Siggraph notes.
Below are some of the notes I gathered, while researching online. I will have to put these into practise on a few test scenes. It will take some time but hopefully the quality of the animation will improve.
http://www.3dark.com/archives/animation/richard_williams_notes.html (From a Richard Williams MasterClass by Dave Bailey. )
What is animation?
- Change is the basis of all animation
- There are two types of animation Morphing and the type that gives the illusion of life.
- Animation is all in the timing and spacing
-You must show where the weight is, where it is coming from and where the weight is going to.
KEY FRAMES - are the story telling frames (The story board drawings)Frames where the character makes contact (heel strike pose, touching an object, etc.)
EXTREMES - are the where there is a change of direction. They are NOT Key Frames.
BREAKDOWNS are the middle or passing position.On breakdowns always add an extra bit of movement -- almost anything will work.Don't go from A to B. Go from A to Z to B
Methods of Working:
1) Straight-Ahead - Just start and see what happens. (Creative but lacks control)
2) Pose to Pose - (Lots of control but restricts creativity)
3) The "Best" Method - A combination of "Pose to Pose" and "Straight Ahead".
Steps to take before animating:
1) Before working turn off all other stimulus --"UNPLUG"
2) Write down what you want to do
3) Act it out
4) Work out the timing
5) Then animate
http://www.siggraph.org/education/materials/HyperGraph/animation/character_animation/principles/ollie_johnston.htm
(Animation Notes from Ollie Johnston - from Course 1 at SIGGRAPH 94, "Animation Tricks".)
1. Don’t illustrate words or mechanical movements. Illustrate ideas or thoughts, with the attitudes and actions.
2. Squash and stretch entire body for attitudes.
3. If possible, make definite changes from one attitude to another in timing and expression.
4. What is the character thinking?
5. It is the thought and circumstances behind the action that will make the action interesting.
Example: A man walks up to a mailbox, drops in his letter and walks away.
OR
A man desperately in love with a girl far away carefully mails a letter in which he has poured his heart out.
6. When drawing dialogue, go for phrasing. (Simplify the dialogue into pictures of the dominating vowel and consonant sounds, especially in fast dialogue.
7. Lift the body attitude 4 frames before dialogue modulation (but use identical timing on mouth as on X sheet).
8. Change of expression and major dialogue sounds are a point of interest. Do them, if at all possible, within a pose. If the head moves too much you won’t see the changes.
9. Don’t move anything unless it’s for a purpose.
10. Concentrate on drawing clear, not clean.
11. Don’t be careless.
12. Everything has a function. Don’t draw without knowing why.
13. Let the body attitude echo the facial.
14. Get the best picture in your drawing by thumbnails and exploring all avenues.
15. Analyze a character in a specific pose for the best areas to show stretch and squash. Keep these areas simple.
16. Picture in your head what it is you’re drawing.
17. Think in terms of drawing the whole character, not just the head or eyes, etc. Keep a balanced relation of one part of the drawing to the other.
18. Stage for most effective drawing.
19. Draw a profile of the drawing you’re working on every once in a while. A profile is easier on which to show the proper proportions of the face.
20. Usually the break in the eyebrow relates to the highpoint of the eye.
21. The eye is pulled by the eyebrow muscles.
22. Keep skull size constant but get a plastic quality in face — cheeks, mouth and eyes.
23. Attain a flow thru the body rhythm in your drawing.
24. Simple animated shapes.
25. The audience has a difficult time reading the first 6-8 frames in a scene.
26. Does the added action in a scene contribute to the main idea in that scene? Will it help sell it or confuse it?
27. Don’t animate for the sake of animation but think what the character is thinking and what the scene needs to fit into the sequence.
28. Actions can be eliminated and staging "cheated" if it simplifies the picture you are trying to show and is not disturbing to the audience.
**29. Spend half your time planning your scene and the other half animating.
30. How to animate a scene of a four-legged character acting and walking: Work out the acting patterns first with the stretch and squash in the body, neck and head; then go back in and animate the legs. Finally, adjust the up and down motion on the body according to the legs.
more notes at
http://www.packthecat.com/PersistenceOfVision/Notes/Index.html
http://www.siggraph.org/education/materials/HyperGraph/animation/character_animation/character_animation.htm
The last are a few of John Lasseter's old Siggraph notes.
October 3, 2014
Failure by Kevin Smith.
http://moviepilot.com/posts/2014/10/02/kevin-smith-just-learned-something-about-failure-which-we-all-need-to-learn-it-s-inspiring-2310234?lt_source=external,manual
"Some people will love, some will hate. But it'll make you feel something. And that, they tell me, is art. If that's failing, yes: I'm a big, fat failure. And I hope to fail lots more just like it in the near future."
"Don't be afraid to do weird stuff, so long as you do it cheaply and cover everyone's bets. Be bold. Be stupid, if you have to: so long as you don't hurt anybody, what's it matter how dopey your dream is? Some folks will try to shame you for trying something outside the norm; the only shame is in not trying to accomplish your dreams.
People have been telling me I'm a failure and that I'm doing it all wrong for 20 years now. Never trust anybody when they tell you how your story goes. You know your story. You write your own story."
- Kevin Smith
"Some people will love, some will hate. But it'll make you feel something. And that, they tell me, is art. If that's failing, yes: I'm a big, fat failure. And I hope to fail lots more just like it in the near future."
"Don't be afraid to do weird stuff, so long as you do it cheaply and cover everyone's bets. Be bold. Be stupid, if you have to: so long as you don't hurt anybody, what's it matter how dopey your dream is? Some folks will try to shame you for trying something outside the norm; the only shame is in not trying to accomplish your dreams.
People have been telling me I'm a failure and that I'm doing it all wrong for 20 years now. Never trust anybody when they tell you how your story goes. You know your story. You write your own story."
- Kevin Smith
February 19, 2014
Vfx artists all over both side of the pond squabble over a misrepresentation of some vfx misquote. Meanwhile the world goes on.
Over at VFXSoldier, this article caused quite a ruckus online. His following this article kinda explains the situation quite clearly.
It is amusing but not in a positive manner to see it from this side of the world.
My realisation is that basically vfx industry is just like any other industry. In that if they can make it cheaper somewhere else, they will. That is just basic economics. And the bottom line. If the studios can find a way to make decent vfx from the sweat shops that made nike shoes. You can bet they will go for it.
Back in the 90s, the remake of the Lost in Space movie was supposed to be the showcase of British VFX wizardry of several different houses. They were relatively inexperienced compared to the big studios in America, but it was supposed to be a kickstart for the industry there. Some projects went after but it soon slowed to a crawl until the subsidies kicked in.
Simialr deal that happened to the Irish 2D animation industry in the 80. But the subsidy they didn't sustain and so ends the animation there.
Its similar scenarios that happened in Europe with Disney Europe and smaller 2D studios.
And you know what, nobody gave a fuck. Nobody here represents the consumer who buys. They don't care as long as there is vfx, who the heck cares where is it done.
That is the reality. That is why I find this whole kerfuffle of "Whoever is hungrier or blah blah" to be is irrelevantly sad. Expected but still sad. And a good example to never believe fully about stuff in articles. The writers all have an agenda to stir up some controversy so that more people will read their articles. And everyone got trolled. Cunts.
If you really want to make a difference, the consumers are the one YOU need to have on your side. To be sympathetic with for the guys in the industry. But again.... they don't care. Why should they? As long as people get their iphones, they don't care or know about about the plight of the thousand of Fox-Conn employees. Of what they have to do to get that iphone into their hands. The challenge then is to get\generate\create publicity and awareness?
And what artists all around the world need to realise is the ever changing landscape of the industry. TV, movies in the traditional sense are going the way of the dodo in the next 20-30 years. Once creators (i do not mean the studios) managed to find a way to monetize their creation.And with high speed internet with cinema projectors, the purpose for seeing ever more expansive movies in the cinema is going to be hard to justify. They should find ways and means to get there.
When everyone is jostling for a bite of a ever shrinking pie, its every man, woman, child for themselves....
And I have not even get to China.....
This is depressing... I need to go on facebook to numb my brain....
It is amusing but not in a positive manner to see it from this side of the world.
My realisation is that basically vfx industry is just like any other industry. In that if they can make it cheaper somewhere else, they will. That is just basic economics. And the bottom line. If the studios can find a way to make decent vfx from the sweat shops that made nike shoes. You can bet they will go for it.
Back in the 90s, the remake of the Lost in Space movie was supposed to be the showcase of British VFX wizardry of several different houses. They were relatively inexperienced compared to the big studios in America, but it was supposed to be a kickstart for the industry there. Some projects went after but it soon slowed to a crawl until the subsidies kicked in.
Simialr deal that happened to the Irish 2D animation industry in the 80. But the subsidy they didn't sustain and so ends the animation there.
Its similar scenarios that happened in Europe with Disney Europe and smaller 2D studios.
And you know what, nobody gave a fuck. Nobody here represents the consumer who buys. They don't care as long as there is vfx, who the heck cares where is it done.
That is the reality. That is why I find this whole kerfuffle of "Whoever is hungrier or blah blah" to be is irrelevantly sad. Expected but still sad. And a good example to never believe fully about stuff in articles. The writers all have an agenda to stir up some controversy so that more people will read their articles. And everyone got trolled. Cunts.
If you really want to make a difference, the consumers are the one YOU need to have on your side. To be sympathetic with for the guys in the industry. But again.... they don't care. Why should they? As long as people get their iphones, they don't care or know about about the plight of the thousand of Fox-Conn employees. Of what they have to do to get that iphone into their hands. The challenge then is to get\generate\create publicity and awareness?
And what artists all around the world need to realise is the ever changing landscape of the industry. TV, movies in the traditional sense are going the way of the dodo in the next 20-30 years. Once creators (i do not mean the studios) managed to find a way to monetize their creation.And with high speed internet with cinema projectors, the purpose for seeing ever more expansive movies in the cinema is going to be hard to justify. They should find ways and means to get there.
When everyone is jostling for a bite of a ever shrinking pie, its every man, woman, child for themselves....
And I have not even get to China.....
This is depressing... I need to go on facebook to numb my brain....
November 14, 2013
Write from experiences and things that get a reaction from you.
I have students struggling to come up with ideas for stories to tell.
The traditional method was to come up with a concept/morale and a premise. The problem I found out was that you are often trying to.come up with a variation on a theme. And the concept.or.morale is unrelatable to the students. So my suggestion is to come up with a scenerio or situation that you have experienced or affected you and use that as a starting point. Because you are affected by it. Not just a story you heard or read. But actually experienced. So it immediately becomes relatable. And easier to.come up with situations and responses.
The traditional method was to come up with a concept/morale and a premise. The problem I found out was that you are often trying to.come up with a variation on a theme. And the concept.or.morale is unrelatable to the students. So my suggestion is to come up with a scenerio or situation that you have experienced or affected you and use that as a starting point. Because you are affected by it. Not just a story you heard or read. But actually experienced. So it immediately becomes relatable. And easier to.come up with situations and responses.
August 28, 2013
Carl Sagan's sayings.
- Inspirational stuff.
Carl Sagan once said “Once we overcome our fear
of being tiny, we find ourselves on the threshold of a vast and awesome
universe that utterly dwarfs — in time, in space and in potential — the tidy,
anthropocentric proscenium of our ancestors.”
-
The significance of our lives and our fragile
planet is then determined by our own wisdom and courage. We are the custodians
of life’s meaning.”
-
How much more satisfying had we been placed in a
garden custom-made for us, its other occupants put there for us to use as we
saw fit. There is a celebrated story in the Western tradition like this, except
that not quite everything was there for us. There was one particular tree of
which we were not to partake, a tree of knowledge. Knowledge and understanding
and wisdom were forbidden to us in this story. We were to be kept ignorant. But
we couldn’t help ourselves. We were starving for knowledge—created hungry, you
might say. This was the origin of all our troubles. In particular, it is why we
no longer live in a garden: We found out too much. So long as we were incurious
and obedient, I imagine, we could console ourselves with our importance and
centrality, and tell ourselves that we were the reason the Universe was made.
As we began to indulge our curiosity, though, to explore, to learn how the Universe
really is, we expelled ourselves from Eden. Angels with a flaming sword were
set as sentries at the gates of Paradise to bar our return. The gardeners
became exiles and wanderers. Occasionally we mourn that lost world, but that,
it seems to me, is maudlin and sentimental. We could not happily have remained
ignorant forever.
-
We long for our parents to care for us. To
forgive us our errors, to save us from our childish mistakes. But knowledge is
preferable to ignorance. “
-
Better by far to embrace a hard truth than a
reassuring faith. If we crave a cosmic purpose let us find a worthy goal.
June 11, 2013
Sad state of the Visual Effects Industry and VFX in Los Angeles – 100 hour weeks & homeless
This post below from Scott Squires makes for sobering read of the state of the industry over in the States.
and connected to that story by Jeff Hauser
"Victor has been unable to find other work because he’s often working
so many hours, frequently reaching 80 to 100 hours a week. The stress is
so intense that he feels it is affecting his mental health and mild
dyslexia is getting worse. He worries about legal remedies or going
public because he needs to work and fears the company he works at the
most would be put out of business.
Victor concludes, “There would be a scandal if it was ever found out
that the worlds largest recording artists used a sweat shop/borderline
slave labor in Los Angeles for their own personal gain in digital
cosmetics/beauty.”"
"Are the schools doing enough to prepare graduates for the real world? How can artists deal with abuses and labor law violations? How can we fix an industry where a sort of Stockholm Syndrome exists where artists love the work so much that don’t seek available remedies because they worry the company they work for would go out of business if they had to pay properly or on time as required by law?
All I can try to do here in terms of wrapping up this story is to reiterate some common labor issues. These issues are common to all crafts - visual effects, previs, games, motion graphics… and cross all borders."
These sad state of affairs is coming to be the norm in the industry. And with so many private schools world wide popping up feeding the dreams of the young people. If you are reading this and or know someone who is thinking of entering into the visual effects industry or related fields, please get them to read about the scams that these art for profit schools pull. Do not get into debt trying to get into the industry. Especially to get student loans to get into VFX. Animation is still something doable because it is flexible enough to branch out but even then, you got to have some artistic talent.
"Are the schools doing enough to prepare graduates for the real world? How can artists deal with abuses and labor law violations? How can we fix an industry where a sort of Stockholm Syndrome exists where artists love the work so much that don’t seek available remedies because they worry the company they work for would go out of business if they had to pay properly or on time as required by law?
All I can try to do here in terms of wrapping up this story is to reiterate some common labor issues. These issues are common to all crafts - visual effects, previs, games, motion graphics… and cross all borders."
These sad state of affairs is coming to be the norm in the industry. And with so many private schools world wide popping up feeding the dreams of the young people. If you are reading this and or know someone who is thinking of entering into the visual effects industry or related fields, please get them to read about the scams that these art for profit schools pull. Do not get into debt trying to get into the industry. Especially to get student loans to get into VFX. Animation is still something doable because it is flexible enough to branch out but even then, you got to have some artistic talent.
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