The first thing that came to my mind when I read the term working environment is an animation studio., Even before when I was just a kid I was always fascinated on how the animation s where made, on how the drawings move, and especially on the machines that they used to create the incredible works of art. Since I don’t even know what a computer is before and how it contributed to the animation industry, eventually I gave up with those thoughts.
In the past years of my college life and even at present, slowly, I became aware about the involvement of the computers in the development of the animation industry. The common software that the animation companies used in their products where introduced to me. Software like adobe multimedia studio, toon boom, audio converters and video edit pro are some of them. These software were not directly introduced to me and where not even brought up in class. I came up with these software when we were task to make different systems. These applications were used especially when it comes to the design part of the system. It may be not that important but still the design of the system offers some additional points.
Before I put the concentration of my topic on what my position will be most likely in this environment and on what I could contribute to its growth, let me have a little background about this working environment.
Before I put the concentration of my topic on what my position will be most likely in this environment and on what I could contribute to its growth, let me have a little background about this working environment.
Cave paintings
The earliest examples derive from still drawings, which can be found in Palaeolithic cave paintings, where animals are depicted with multiple sets of legs in superimposed positions, clearly attempting to convey the perception of motion.
Pottery of PersiaA 5,200-year old earthen bowl found in Iran in Shahr-i Sokhta has five images painted along the sides. It shows phases of a goat leaping up to a tree to take a pear. However, since no equipment existed to show the images in motion, such a series of images cannot be called animation in a true sense of the word.
Egyptian muralsAn Egyptian mural, approximately 4000 years old, shows wrestlers in action. Even though this may appear similar to a series of animation drawings, there was no way of viewing the images in motion. It does, however, indicate the artist's intention of depicting motion.
Zoetrope
A zoetrope is a device which creates the image of a moving picture. The earliest elementary zoetrope was created in China around 180 AD by the prolific inventor Ting Huan (丁緩). Driven by convection Ting Huan's device hung over a lamp. The rising air turned vanes at the top from which were hung translucent paper or mica panels. Pictures painted on the panels would appear to move if the device is spun at the right speed.
The modern zoetrope contraption was produced in 1834 by William George Horner. The device is basically a cylinder with vertical slits around the sides. Around the inside edge of the cylinder there are a series of pictures on the opposite side to the slits. As the cylinder is spun, the user then looks through the slits producing the illusion of motion. No one thought this small device would be the initial beginnings for the animation world to come. As a matter a fact, in present day beginning animation classes, the Zoetrope is still being used to illustrate early concepts of animation.
Leonardo shoulder study (ca. 1510)
Seven drawings by Leonardo da Vinci extending over two folios in the Windsor Collection, Anatomical Studies of the Muscles of the Neck, Shoulder, Chest, and Arm, show detailed drawings of the upper body (with a less-detailed facial image), illustrating the changes as the torso turns from profile to frontal position and the forearm extends.
The magic lantern
The magic lantern is the predecessor of the modern day projector. It consisted of a translucent oil painting and a simple lamp. When put together in a darkened room, the image would appear larger on a flat surface. Athanasius Kircher spoke about this originating from China in the 16th century. Some slides for the lanterns contained parts that could be mechanically actuated to present limited movement on the screen.
Thaumatrope (1824)
A thaumatrope was a simple toy used in the Victorian era. It was a small circular disk or card with two different pictures on each side that was attached to a piece of string running through the centre. When the strings were twirled quickly between the fingers the two pictures appear to combine into a single image. The creator of this invention may have been either John Ayrton Paris or Charles Babbage.
Phenakistoscope (1831)
A phenakistoscope disc by Eadweard Muybridge (1893).
The phenakistoscope was an early animation device, the predecessor of the zoetrope. It was invented in 1831 simultaneously by the Belgian Joseph Plateau and the Austrian Simon von Stampfer.
The phenakistoscope was an early animation device, the predecessor of the zoetrope. It was invented in 1831 simultaneously by the Belgian Joseph Plateau and the Austrian Simon von Stampfer.
Praxinoscope (1877)
The praxinoscope, invented by French scientist Charles-Émile Reynaud, was a more sophisticated version of the zoetrope. It used the same basic mechanism of a strip of images placed on the inside of a spinning cylinder, but instead of viewing it through slits, it was viewed in a series of small, stationary mirrors around the inside of the cylinder, so that the animation would stay in place, and provide a clearer image and better quality. Reynaud also developed a larger version of the praxinoscope that could be projected onto a screen, called the Théâtre Optique.
Flip book (1868)
The first flip book was patented in 1868 by a John Barns Linnet. Flip books were yet another development that brought us closer to modern animation. Like the Zoetrope, the Flip Book creates the illusion of motion. A set of sequential pictures flipped at a high speed creates this effect. The Mutoscope (1894) is basically a flip book in a box with a crank handle to flip the pages.
Stop motion
Stop motion is used for many animation productions using physical objects rather than images of people, as with traditional animation. An object will be photographed, moved slightly, and then photographed again. When the pictures are played back in normal speed the object will appear to move by itself. This process is used for many productions, for example, clay animations such as Chicken Run and Wallace and Gromit, as well as animated movies which use poseable figures, such as The Nightmare Before Christmas and James and the Giant Peach. Sometimes even objects are used, such as with the films of Jan Švankmajer.
Stop motion animation was also commonly used for special effects work in many live-action films, such as the 1933 version of King Kong and The 7th Voyage of Sinbad.
Stop motion animation was also commonly used for special effects work in many live-action films, such as the 1933 version of King Kong and The 7th Voyage of Sinbad.
CGI animation
Computer-generated imagery (CGI) changed animated films forever. The first film done completely in CGI was Toy Story, produced by Pixar. The process of CGI animation is still very tedious and similar in that sense to traditional animation, and it still adheres to many of the same principles.
A principal difference of CGI Animation compared to traditional animation is that drawing is replaced by 3D modeling, almost like virtual version of stop-motion, though a form of animation that combines the two worlds can be considered to be computer aided animation but on 2D computer drawing (which can be considered close to traditional drawing and sometimes based on it).
Animated humans
Most CGI created films are based on animal characters, monsters, machines or cartoon-like humans. Animation studios are now trying to develop ways of creating realistic-looking humans. Films that have attempted this include Final Fantasy: The Spirits Within in 2001, Final Fantasy: Advent Children in 2005, The Polar Express in 2004, and Beowulf in 2007. However, due to the complexity of human body functions, emotions and interactions, this method of animation is rarely used. The more realistic a CG character becomes, the more difficult it is to create the nuances and details of a living person. The creation of hair and clothing that move convincingly with the animated human character is another area of difficulty.
Cel-shaded animation
Main article: Cel-shaded animation
A type of non-photorealistic rendering designed to make computer graphics appear to be hand-drawn. Cel-shading is often used to mimic the style of a comic book or cartoon. It is a somewhat recent addition to computer graphics, most commonly turning up in console video games. Though the end result of cel-shading has a very simplistic feel like that of hand-drawn animation, the process is complex. The name comes from the clear sheets of acetate, called cels, that are painted on for use in traditional 2D animation. It may be considered a "2.5D" form of animation. True real-time cel-shading was first introduced in 2000 by Sega's Jet Set Radio for their Dreamcast console. Besides video games, a number of anime have also used this style of animation, such as Freedom Project in 2006.
A type of non-photorealistic rendering designed to make computer graphics appear to be hand-drawn. Cel-shading is often used to mimic the style of a comic book or cartoon. It is a somewhat recent addition to computer graphics, most commonly turning up in console video games. Though the end result of cel-shading has a very simplistic feel like that of hand-drawn animation, the process is complex. The name comes from the clear sheets of acetate, called cels, that are painted on for use in traditional 2D animation. It may be considered a "2.5D" form of animation. True real-time cel-shading was first introduced in 2000 by Sega's Jet Set Radio for their Dreamcast console. Besides video games, a number of anime have also used this style of animation, such as Freedom Project in 2006.
Film animation
The history of film animation began in the 1890s with the earliest days of silent films and continues through the present day. The first animated film was created by Charles-Émile Reynaud, inventor of the praxinoscope, an animation system using loops of 12 pictures. On October 28, 1892 at Musée Grévin in Paris, France he exhibited animations consisting of loops of about 500 frames, using his Théâtre Optique system - similar in principle to a modern film projector.
The first animated work on standard picture film was Humorous Phases of Funny Faces (1906) by J. Stuart Blackton. It features a cartoonist drawing faces on a chalkboard, and the faces apparently coming to life.
Fantasmagorie, by the French director Émile Cohl (also called Émile Courtet), is also noteworthy. It was screened for the first time on August 17, 1908 at Théâtre du Gymnase in Paris. Émile Courtet later went to Fort Lee, New Jersey near New York City in 1912, where he worked for French studio Éclair and spread its technique in the US.
The first puppet-animated film was The Beautiful Lukanida (1912) by the Russian-born (ethnically Polish) director Wladyslaw Starewicz (Ladislas Starevich).
The first animated feature film was El Apóstol, made in 1917 by Quirino Cristiani from Argentina. He also directed two other animated feature films, including 1931's Peludopolis, the first to use synchronized sound. None of these, however, survive to the present day. The earliest-surviving animated feature, which used colour-tinted scenes, is the silhouette-animated Adventures of Prince Achmed (1926) directed by German Lotte Reiniger and French/Hungarian Berthold Bartosch. Walt Disney's Snow White and the Seven Dwarfs (1937), often considered to be the first animated feature when in fact at least eight were previously released. However, Snow White was the first to become successful and well-known within the English-speaking world.
The first animation to use the full, three-color Technicolor method was Flowers and Trees (1932) made by Disney Studios which won an academy award for this work.
The first Japanese-made anime film was the propaganda film Momotaro's Divine Sea Warriors (桃太郎 海の神兵) by the Japanese director Mitsuyo Seo. The film, shown in 1945, was ordered to be made to support the war by the Japanese Naval Ministry. The film's song AIEUO no Uta (アイウエオの歌) was later used in Osamu Tezuka's anime series Kimba the White Lion. Originally thought to have been destroyed during the American occupation, a negative copy survived and the film is now available in Japan on VHS.The first animated feature film was El Apóstol, made in 1917 by Quirino Cristiani from Argentina. He also directed two other animated feature films, including 1931's Peludopolis, the first to use synchronized sound. None of these, however, survive to the present day. The earliest-surviving animated feature, which used colour-tinted scenes, is the silhouette-animated Adventures of Prince Achmed (1926) directed by German Lotte Reiniger and French/Hungarian Berthold Bartosch. Walt Disney's Snow White and the Seven Dwarfs (1937), often considered to be the first animated feature when in fact at least eight were previously released. However, Snow White was the first to become successful and well-known within the English-speaking world.
The first animation to use the full, three-color Technicolor method was Flowers and Trees (1932) made by Disney Studios which won an academy award for this work.
The real deal in animation is entertainment. For years a lot of people in this field have dedicated their time and effort to develop this industry and as long as people continue to seek fun and happiness this business will eventually grow.
Base on my current learning and experiences I won’t be able to fit in to any job specification that any position in this business will require, but sooner or later if I will focus my attention in this craft I would be fitted to be a cinematic director/editor. I have a little talent in drawing but as an IT practitioner I would prefer to be in the editing department in the company. It would be very interesting to make astonishing effects that would add more life in the animation, to be the one to arrange the drawings and the scenes using an animation tool to make it more understandable and concise, to fill the drawings with colors and lighting effects that would definitely give it a boost in terms of attraction and fun for the viewers and most important of above all is to be the one to integrate the drawings with the sound effects and music. I came up to the idea that the latter is the most important one because music and audio is the soul of the animation. It gives the animation a great sense of reality and it makes it a lot more fun. The audio will also play a very important role for the animation to have a story. It will give the animation the spirit, the impact, and the ability to attract more viewers and patrons through funny and interesting dialogues
I have browsed the internet regarding the job description of this job and the qualifications that it requires. These are the results and the links to where I found these facts.
I have browsed the internet regarding the job description of this job and the qualifications that it requires. These are the results and the links to where I found these facts.
JOB DESCRIPTION: CINEMATIC DIRECTOR (38 STUDIOS)
Would you like to become part of the team that includes the creative visionaries behind Drizzt Do’Urden and Spawn? 38 Studios is currently seeking an experienced Cinematics Director to join our art department. This is a full-time time position with competitive salary, full benefits and 401k, and the chance to be part of online gaming history!
Position Responsibilities
• Creation of cinematic sequences to the highest quality standards for interactive gaming; this includes both story driven cinematics and elements of game play that require cinematic presentation.
• Overseeing all creative aspects of cinematic production, including the direction of the storyboarding process, workload estimates, blocking direction, and final cinematic presentation.
• Produce art that adheres to a unified studio art vision.
• Collaborate closely with Art Director, Animation Lead, Character Lead, Environment Lead, Design Department and Marketing Department to achieve the best possible fusion of storytelling and aesthetics.
• Establish cinematic production pipeline, protocols, and tools.
• Develop Cinematic Department staff, set and maintain schedules.
• Identify and address risks in the production pipeline.
• Work in conjunction with established pipelines and procedures for game art production, and help to identify additional processes and art tools necessary to do so efficiently.
• Promote a productive and energetic culture within the team and studio.
• Overseeing all creative aspects of cinematic production, including the direction of the storyboarding process, workload estimates, blocking direction, and final cinematic presentation.
• Produce art that adheres to a unified studio art vision.
• Collaborate closely with Art Director, Animation Lead, Character Lead, Environment Lead, Design Department and Marketing Department to achieve the best possible fusion of storytelling and aesthetics.
• Establish cinematic production pipeline, protocols, and tools.
• Develop Cinematic Department staff, set and maintain schedules.
• Identify and address risks in the production pipeline.
• Work in conjunction with established pipelines and procedures for game art production, and help to identify additional processes and art tools necessary to do so efficiently.
• Promote a productive and energetic culture within the team and studio.
Knowledge, skills & ability requirements
• Knowledge:
Strong understanding of cinematic principles (camera direction, editing, lens, etc.). Knowledge and experience with a variety of 2D and 3D software packages, including expert knowledge of Photoshop, Maya, and Unreal. Skill in 3DStudio Max will be considered. Range of interests in cinematic style from live action to CG to 2D animation, etc. Must be able to demonstrate a strong, hands-on knowledge of art creation tools and production experience.
• Competencies:
Exceptional artistic abilities, ideally across a variety of media, both traditional and electronic. Animation and storyboarding skills a plus. Strong time management and organization skills with a proven ability to prioritize, solve problems, and meet deadlines. Able to collaborate with other game team leads in a deadline-driven environment. Effective self-tasker. Firm understanding of art production pipelines, ideally within a game development environment. Excellent oral and written communication skills.
• Experience:
Expected minimum 4 to 6 years of applicable industry experience with at least two completed products as an Artist and one completed product as a Lead.
LINK: http://jobs.gamasutra.com/jobseekerx/viewjobrss.asp?cjid=18621&accountno=210
Job Title : Cinematic Designer
Job Category Artists Location Dallas, Texas, Texas, United States, North America Job Description This Dallas based independent development studio has made a name for itself creating award winning, blockbuster interactive entertainment for all major platforms. By employing the industry's most talented people and using proven production methods they consistently create games that are technologically advanced, creative, and above all, fun to play. They offer excellent benefits, generous profit sharing, and the opportunity to settle in a fun, affordable city.
They are currently seeking a cinematic designer and/or director to work on an upcoming high-profile sci-fi action title currently in development.
Required Skills:
- Understanding of cinematic principles and techniques for visual storytelling
- Be passionate about games and digital media
- Be able to follow direction and work well with a team
Desired Skills:
- Film school or amateur/professional film experience
- Familiarity with cinematic cut-scene setups and animation
- Familiarity with UnrealEd, Hammer/Worldcraft, and/or Q3Radiant
- Ability to design and/or draw rough storyboards
- Professional or published work is a plus Salary $HIGH Date posted 14/09/2007 Recruiter This job is advertised on behalf of Datascope USA using their internal reference DS12119.
LINK: http://www.gamesindustry.biz/jobs/datascope-usa/texas/united-states/north-america/cinematic-designer-id13856
JOB PROFILE: CINEMATIC ARTIST
Job Category Artists
Skills Required 3D modeller, Animator, Character Artist
Location Alberta, Canada, North America
Job Description Cinematic Animators
Our Client has created some of the world's best-selling and award-winning title. They are hard at work on many projects including an epic fantasy RPG and unannounced projects including a highly anticipated massively multiplayer online game.
Their games have continually achieved critical and commercial success. All of their published titles are in the top 5% highest rated games. Today our client has more than 400 staff at its two locations and continues to grow. They have sold over 20 million games (including engine licenses) in the past ten years!
Our client is in search of Cinematic/Character Animators to enhance their animation team. Successful candidates must have at least 3 years experience in character animation for games, and a strong understanding of the fundamentals of traditional animation. Candidates must also have experience with game cinematics; creating storyboards, recording mo-cap, and putting final polish into a cinematic.
Education and Experience
- Post secondary program in computer generated animation is preferred.
- At least 3 years of experience in computer generated animation.
- 3+ years of game development experience would be an asset.
- In-depth technical knowledge of 3D Studio Max would be an asset.
- Experience with mo-cap would be an asset.
Skills / Abilities / Knowledge / Personal Suitability
- An understanding of character creation (model, texture, rig) is preferred.
- Complete knowledge of 3DSMAX's animation tools is required.
- Knowledge of Motion Builder and Motion Capture animation an asset.
- Must be able to work in team environments, and be able to share knowledge.
- Insight into animation pipeline is an asset.
- An understanding of human and animal anatomy is an asset.
- Leadership skills are an asset.
- Passion for animation and gaming is required.
- The ability to take initiative is required.
Duties
- Animate dynamic, believable and appealing characters for both in-game and cut scene environments.
- Be able to take responsibility for an animation or cinematic, seeing it through to completion, in a timely manner, to the highest quality possible.
- As a team player, you must be able to take direction, and both give and receive critiques on animation.
- Clearly communicate your progress to your supervisor, and work with that individual to achieve dynamic, believable, and appealing animation.
Portfolio Requirements
3D portfolio
- Examples of various animations applied to humanoid figures and animal figures
- Examples of cinematic work
- Character rigging examples
2D portfolio (no originals please)
- Storyboarding skills
- Figure drawing
- Color work
This industry has gone far, from the early days of black and white 2d animations to the present digital 3d high definition animations. With regards to what I can help in the development of this industry I would definitely have some great ideas in the future to further enhance my work. But at present I do not have definite suggestions but I have some ideas here that in some point could give the animation business a boost.
1. Realistic approach
Nowadays, animation with the use of the current graphic technologies that are usable, is going to the forefront of reality. I know that the current animations are almost at the verge of their goal but improvement is still possible. I do not know how to do it at present, but with the different experience and learning that I may encounter in the future maybe I will be able to develop a software that will be able to render realistic colors to the drawings and some image editing software that will fix the lines and curves that the artist may have overlooked. I will also give greater attention in the relationship of my animations scenes to its counterpart reality. With more and more developments in technology, sooner or later the concept of reality will definitely be upon the reach of the animation industry.
2. Unique Transitions
As a cinematic director it will be my job to manage and decide on how the scene transitions will work. Base on the animations that I have seen in the past years, their transitions are getting redundant. A common thing is a transition where it fades to black going to another scene or it lightens up. These transitions have been used for decades and are getting overused. Animation must evolve and must always be trendy. It must always give its viewer a new flavor. It must give them something to be excited for, something to look for, and something to make them interested, make them ask for more.
