Although the Advanced Diploma Program in 3D Computer Animation and Production teaches and uses Maya, the goals are to educate students so that they will be easily adaptable to proprietary 3D software, gain as much experience as possible animating, and take part in a simulated production experience.We recently held a meeting for all the faculty who will be part of the ’08-’09 academic year. I emerged from this meeting with an energy charge of genuine excitement.We now expect ten of the sixteen 2008 graduates of our 3-year Diploma Program in Classical and Computer Animation Basics to return for year 4. They will be taught, and will work alongside, industry professionals whose areas of expertise complement and reinforce each other. I was impressed by their respect for each other, and their lack of ego. We are amazingly lucky to have these people as part of the Max the Mutt community. STEPHEN BARNES was a character animator on Pixar’s “Toy Story 2,” “A Bug’s Life,” and “Monsters Inc.” He was lead animator on Disney’s “The Wild.” He is currently working on an independent animated film. He will teach animation, supervise pre-production, and direct the group film. Stephen is articulate, highly skilled and cares deeply about the art and quality of animation. BRENT GEORGE has background in both classical and computer animation (including Maya, 3D Studio Max, and Houdini) and most recently was Animation Director for Pseudo Interactive in Toronto where he developed the character-based animation pipeline and supervised all work related to character animation. He was the supervising lead animator for “Sitting Ducks” and was lead animator for the digitally animated feature film “Axis.” He specializes in rigging and animation. In addition to working on the group film, Brent will mentor students on their independent 3D projects.STEPHEN SAYER holds a Bachelor of Science and Bachelor of Arts degree, as well as a diploma in Classical Animation. His combined scientific and animation background has resulted in a deep understanding of 3D Computer Animation. He has his own business specializing in computer animation, traditional and digital artwork, storyboarding and digital photo-editing. BEVERLY MAGUIRE is an experienced editor in a wide range of popular media. She is also a knowledgeable IT person , and will offer technical support. She has also worked as a production manager for animation, and will be the production manager for the group film.TINA SEEMANN, Director of Animation, is a cartoonist and character designer whose work has appeared on TV Ontario’s, “Polka Dot Door,” “Book Mice” and “Today’s Special” to name a few. Tina will assist Stephen Barnes in the film’s direction. She is the character designer for the production, and will also teach Drawing For Animation.SARAH JOY BENNETT is an experienced actress with extensive training in classical theatre, including Shakespearean drama and training in Commedia del Arte in Italy and France. She will teach advanced improv, helping students to find the body language of the characters they will animate. We look forward to an outstanding ’08-’09 fourth year for animation students!For those of you who aren’t already familiar with this program, students are taught the Maya program as an intensive, and then work on a group project with their instructors. They also each work on a short independent project. The main emphasis of our fourth year is animation and a simulated production experience. Although students are taught the entire program, they are presented with modeled and rigged characters, just as they would be if they were working in the industry. Some of them will work on preproduction: storyboards, animatic (all done with ToonBoom Storyboard Pro), background and prop design. They work alongside and under the direction of industry professionals. This is the third year we are offering this program. We had a one year hiatus this academic year and took advantage of the time to refine and develop the program. The excitement is palpable. This is, as far as I know, a unique approach to educating 3D animators. I’m interested in your response to what we are doing! Please leave your comments.
Archive for March, 2008
Tattoo Sound Studio by maxthemutt
We are pleased to have the support of TATTOO SOUND STUDIOS for the 3rd year students’ TOONBOOM films. In the past, students have simply plugged a microphone into a computer, recorded their voice tracks without a second thought- sometimes with the unfortunate result of voice tracks which can’t be heard above what should be their background music.
We visited TATTOO early February- and the students got a tour of their beautiful facility as well as a primer as to the processes of how a soundtrack is ‘married’ to a film’s visuals. It was interesting to hear just how involved the process can be! As we are visual types, the sound track is largely thought of as an ‘invisible’ component- unlike an image- (which you can visually improve upon-) “clean’ sound isn’t something that most people can appreciate! When music accompanying animation works well it can elevate the film experience significantly- it can help ‘make’ a mediocre film, or ‘break’ what might have been a good film!
At best, the music and all sound elements, like good visual effects should indeed play second fiddle to the visuals- we shouldn’t notice them for themselves, but that they should serve the story. (Have you ever just watched a film for its effects- without paying attention to the story- because it was ‘bad’? That means the story has failed its purpose!) Indeed, you can spend the same amount of time with a soundtrack as you can with all the visual work on a film!
Sound Engineer Dave Clarke was on hand to record the student voice tracks. He made short work of the whole process- editing the tracks, substituting one take for another and then ‘stitching’ all the lines for each student’s sound track together so quickly that we were done in half the time we scheduled for! (* Always work with professionals- they get the job done! )
Now the students will begin to animate their films. As mouths have to be animated to sound- it’s important to have the voice tracks broken down prior to beginning any lip synch animation. All the rest of the sound will be ‘dropped-in’ after then animation is completed- in about a month’s time. We will return to the sound studios for the final mix in about a month’s time.
THANKS TATTOO FOR YOUR GREAT SOUND SUPPORT!
Open House April 18 – May 20, 2008 10 a.m.-4 p.m. by maxthemutt
Max the Mutt Open House
MAX THE MUTT WAS VISITED BY CANADIAN TRADE COMMISSIONER. by maxthemutt
EARLIER THIS MONTH MAX THE MUTT WAS VISITED BY CANADIAN TRADE COMMISSIONER CANDICE RICE AND GIN JANG FROM INDUSTRY CANADA.
Left to right: Max the Mutt Computer Animation Director Brent George, Ms. Rice, Max the Mutt Director Maxine Schacker, Mr. Jang, and Max the Mutt Animation Director Tina Seemann.
WE WERE ALSO JOINED BY ARIEL PRADO, (Pictured above) DIRECTOR OF THE UNIVERISDAD DE ARTES DIGITALES OF MEXICO. Mr. Prado was drawn to Max the Mutt because his is a new school with an educational philosophy similar to that of Max the Mutt: we are both small schools that mentor students, emphasize drawing skills, and believe in teaching classical animation before computer animation. Mr. Prado is interested in a potential exchange of students and instructors.
More than one student has approached me about the choice between going after a diploma ( or degree) in Animation ( character animation), Illustration for Comic Books and Graphic Novels, or Concept Art (video game art and design, animation art and design).The students’ main concern seems to be about future employment. My advice is to build a strong skill base. This will leave you flexible and able to adjust to the potential changes that lie ahead. If you have a love of painting and drawing and solid traditional fine art skills, including composition and design, and color theory, and also have computer skills, you are well positioned to be adaptable.Animators are hired by video game companies as well as animation companies. The same is true for concept artists. Graphic novels are proliferating , and so is the need for interesting novels and people who can draw them. So follow your heart!
There seems to be a mistaken idea that jobs in concept art are not available. I just read this on line:
Game Developer Census details nearly 600 companies in North America
The CMP Media Group has an exhaustive list of every significant game publisher and developer in North America. The publication details approximately 510 companies in the United States, and an additional 80 in Canada….In addition to the comprehensive directory, the census also reveals that over 39,700 individuals are currently employed by the games industry in the United States, and around 8,100 in Canada. Of those employees in the United States, over 46% are working in California, with Washington state a far second at 11%, and Texas third with 7.37%.
In a time when traditional fine art skills are in short supply, this would indicate that people with these skills are, and will be, in demand. Max the Mutt has been visited by both EA and UbiSoft, and we’ve had graduates hired straight out of school even before we offered an in depth concept art course of study! If we didn’t feel that this course of study would lead to employment, we wouldn’t offer it.
However, working at anything that doesn’t really interest you can be misery. We can’t be motivated by fear. Ask yourself what you really love. When you have a passion to learn something, doing the work – the work you want to do – is not a burden. Start by following your heart. Then add as many related skills as you can, and you’ll have lots of job possibilities.
Max the Mutt is proud to host our 2008 Industry Night on Thursday May 29th, from 6:00 p.m. to 11:00 pm. Recruiters and representatives from across North America come for the opportunity to interview our graduates and view galleries of student work, student films and demo reels.
Max the Mutt is happy to extend the invitation to tour our school, and view this years student work during our Graduate Open House, starting Saturday May 31st to June 29th, from 10 am-4 pm. Please feel free to contact us to book a personal tour at 416-703-6877. Walk-ins welcome.
At Max the Mutt, now’s the time when students and faculty are beginning to feel the pressure. Why is it that time always seems to pass more quickly second semester than first semester? Deadlines are closing in!For all of you reading this who are in school, just a few reminders:Breathe deeply. Keep your perspective. Hang on to your sense of humor. Watch out for group dynamics that go awry. Be positive! Try to get as much pleasure from your work as possible.When you’re doing your work: your mind should be on the process, not the product. If the process is good, the work will follow. Don’t forget to pat yourselves on the back for everything you’ve achieved before looking at the things you need to improve. But be honest with yourselves and take responsibility. This summer you may want to set up a schedule for yourselves to deal with subject matter you “passed” but didn’t really grasp fully enough.In schools with difficult programs, this is the time of year when due dates may be pressing. They are at Max the Mutt!If you’re having problems with a course, and haven’t done so already, see someone for advice and help!Be sure you’re taking direction well and doing your part.Accept the fact that most of us aren’t great at everything, and some of us have to work extra-hard to get certain skills that come more easily to others.Many successful people have had to redo courses or course work. If you have the passion, most of you will be able to overcome technical difficulties with time and practice.More tips: eat well, exercise (walk to school if that’s all you have time for), do deep breathing if you are tensing up, and try to keep your perspective. Be sure to take some timeouts. Work hard when you are working, play well when you are playing.Accept the fact that there are many frustrations in becoming an artist. There are good days and bad days. Not everything we do lives up to our expectations. We are all human, after all. And please don’t forget how lucky we are to have the opportunity to work at the things we love.At Max the Mutt – and this seems to happen every year - when the student work goes up for year-end shows and student films are running in the theater, we’re all surprised by just how good the work is and how much everyone learned!
Maxine’s column for March 1, 2008: Character Animation by maxthemutt
Max the Mutt began as a school devoted to classical character animation. We now teach digital character animation as well. What should a diploma or degree program in classical or digital character animation include? A broad based education, as recommended by Disney and Warner Bros., is still important! Animators need to understand all the components of making an animated film. This includes storyboarding, layout, background painting and history of animation as well as the courses directly related to character animation.
An important part of any character or digital character animation college curriculum ( and of course, we firmly believe that classical character animation should come before digital character animation) should be life drawing with an emphasis on movement and gesture, as well as anatomy and structure. Cartooning skills are equally important and definitely help students to do successful character animation in any format, be it classical, 2d or 3D computer (digital) animation. A good diploma or degree character animation program should teach cartooning in some depth (we include a full year ) BEFORE asking students to design characters.
Animators are actors, and all character animation schools should include acting and improvisation as part of the program. In addition, character and digital character animation programs should encourage students to act out , and indeed discover, the movements they will animate for a particular character by acting them out in front of the mirror: full length mirrors should be available in all animation class rooms.
Timing, which is part of good acting, is also a critical part of good animation. Character animation and digital character animation programs should ask students to be sensitive to the importance of timing, plan timing, and critique their work in reference to the success of their decisions. It helps to study and analyze great animation.
At the end of a three or four year program, you will be ready to begin. This is a high art form, and I can’t think of any art that doesn’t take at least 10 years of study. If you enter the work force with the understanding that you are at the beginning, and are open to learning from the more experienced animators, you’ll be on your way!
A last word of advice : even if you are a digital animator, keep drawing! Keep up your sketchbook and attend life drawing sessions.
How did I learn all this? I’ve been listening, watching, and asking questions for quite awhile. My own area is painting and figurative drawing, but Max the Mutt is a small school, and we all need to understand the needs of the students in the various diploma programs. When I’m teaching advanced life drawing or anatomy to animation students, I need to be fully aware of what will be particularly useful for them. I couldn’t do that if I didn’t have a good understanding of what it takes to be a good animator.
