Animation Careers : How to Become an Animator
Here's one that was posted by an animation mentor student:
Qualifications aren't important in the animation industry.
When you go for a job you send you're employer you're Demo Reel, like a portfolio, it's a collection of all your work and it'll show you have the skills for the job. And that's all they'll care about.
Here are a couple of demo reels:
Character animation is what you want to learn, and it's the job you're after. A character animator would make Wall-E act for Pixar, create a run cycle for Halo's Masterchief, animate Iron Man's full metal suit for the live action movie. These are examples of what you do as a "character animator". It's important to distinguish that from other jobs irrelevant to actually animating, like modelling, texturing, lighting, rendering, all of these as a "3D artist", or creating effects as a "Visual Effects Animator". These are completely different jobs, and an "Animator" never does these.
When looking for a school to study animation, there are very few to choose within the UK. The vast majority titled "Computer Animation" will teach you how to be a 3D Artist, or Visual Effects Animator, they won't teach you the fundamental basics you need to know to make a character act!
Now, being an animator has nothing to do with the computer!
Example: The following animator made this film, and received an internship at Pixar,
Pixar use their own in-house software, and they quickly teach it to you when you're hired there. It doesn't matter if you're a 2D, 3D or Stop Motion animator, if you're good, and know the principles, you can do any of these. Just remember that software doesn't matter! Don't waste your time learning software.
The best schools are outside the UK.
Calarts, Sheridan, Gobelins, Ringling, Capilano, Academy of Art College, AnimationMentor, SJSU, USC and UCLA.
AnimationMentor is an online course which is available in the UK. Note that you need no specific qualifications to get into the school. The course has experienced animators in the industry teaching students the basics and upwards, and preparing them for getting jobs.
The important thing to understand is that most university courses across the UK, if not nearly all, will not teach you the proper fundamental skills you need, to become a professional animator.
Good luck :)
Source(s):
AnimationMentor Student
Animation Arena:
Animation Career
by Shanna Smith
The term "persistence of vision" describes the optical phenomenon that makes animation
possible. The human eye retains
an image for a split second after the source of the image disappears, so when 24 frames
per second of an animated film zip
through a projector, the flow of motion on the screen looks seamless.
The same phrase could also be applied to the mind-set of a young (or not quite so young!)
The same phrase could also be applied to the mind-set of a young (or not quite so young!)
person who has his or her heart
set on becoming a Disney animator. For generations, the debut of each Disney animated
feature film has ignited in the minds
of thousands of individuals the desire to be a part of the marvel they see on the screen.
What does it take to be a Disney animator? What spectrums of talent and elements of training
What does it take to be a Disney animator? What spectrums of talent and elements of training
are needed to produce these
wonder-working "actors with pencils" called animators? We recently put these questions to
Frank Gladstone, Manager of
Animation Training for Disney, who works out of the Disney-MGM Studios at Walt Disney World.
Gladstone begins by explaining that natural talent will come out at a young age. Every parent
Gladstone begins by explaining that natural talent will come out at a young age. Every parent
knows that a child with an
artistic bent considers the family home a vast and inviting canvas. Such children "draw all the
time... everywhere, on
everything. They see Mommy and they try to draw Mommy. They see the dog and they try to draw
the dog," Gladstone says.
Children go through different phases as they explore their skills. Three that Gladstone cites
Children go through different phases as they explore their skills. Three that Gladstone cites
are: 1) The very young child who
tries to render his or her own creative fantasies. Mom or Dad may not be able to recognize it as
such, but according to the
child, that blue scribble is a dinosaur eating an ice-cream cone! (And who is to say it isn't?)
2) The older child who is
fascinated by visuals, who sees cartoons or illustrations and attempts to copy them as
accurately as possible.
(This "draftsman" stage may be difficult and frustrating - more on this later.) 3) The high school
student who goes back to
the beginning
and gives free rein to the imagination, rather than adhering to straight copying."This is the bridge," Gladstone says. "This is when someone may be a serious artist.
If they draw things they see - the real
world - that is a big jump. The intent to interpret what they see in the three-dimensional world is,
for me, the tell-all that
somebody's interested in art in a serious way."
Getting to that "bridge," that third phase, though, requires passing through phase two - easier
Getting to that "bridge," that third phase, though, requires passing through phase two - easier
said than done.
Gladstone explains, "Most young people who start drawing are trying to make things as accurate
Gladstone explains, "Most young people who start drawing are trying to make things as accurate
as possible. They work
very hard to get the eye right, and that's where a lot of people get discouraged.
"There's a certain strength in being an artist, he says "in that at some point every artist I know is
"There's a certain strength in being an artist, he says "in that at some point every artist I know is
trying to draw Mom or
Dad and somebody will come up behind them and say `that doesn't look like that.' This is when
many people's art career
ends."
He continues, "The only time they'll draw again is if they can copy something exactly, which is why
He continues, "The only time they'll draw again is if they can copy something exactly, which is why
many people are good at
drawing from a picture, but they can't do the other [draw from life]. The person who is strong enough
to say `So what? It's
my version of this'- that's another step."
Practice is paramount to maturing as an artist. "Go to the zoo and sketch: draw your friends,"
Practice is paramount to maturing as an artist. "Go to the zoo and sketch: draw your friends,"
Gladstone suggests
. "Drawing people and their animals, trying to capture something that's moving - this kind of
thing comes with time. It's
not something that many children do early on. It comes with experience."
Milton Gray, in his book Cartoon Animation: Introduction to a Career, recommends studying
Milton Gray, in his book Cartoon Animation: Introduction to a Career, recommends studying
animated films frame by
frame, using a VCR or laser videodiscs.
Gladstone agrees. "I had the opportunity to put an old-time print of "Pinocchio" on a Moviola
Gladstone agrees. "I had the opportunity to put an old-time print of "Pinocchio" on a Moviola
and spent an entire
night going through the scenes I like frame by frame and finding out how they created that movie.
"It won't teach you everything," he warns, but, "we still do that. We still study how [certain segments]
"It won't teach you everything," he warns, but, "we still do that. We still study how [certain segments]
were done - how
did Frank Thomas approach this problem. It's a very good way to do things, but it's only
one of the ways."
Hand-in-hand with practice is formal art training. A young person, brimming with talent though
Hand-in-hand with practice is formal art training. A young person, brimming with talent though
she or he may be, needs
structured schooling to make animation a career.
"They're not going to get a job here when they're fifteen years old," Gladstone says. "We
"They're not going to get a job here when they're fifteen years old," Gladstone says. "We
recommend not only high school,
but additional schooling as well - hopefully a college degree."
This schooling would, of course, have art as its primary focus - not merely drawing, but other
This schooling would, of course, have art as its primary focus - not merely drawing, but other
disciplines as well, such as
painting and sculpting. Milton Gray recommends studying actors and books on acting, learning
something of staging,
choreography, and principles of music.
Beyond the fine arts, some background in history, geography, the life sciences, et al., makes for
Beyond the fine arts, some background in history, geography, the life sciences, et al., makes for
a more knowledgeable,
flexible animator.
"You have to bring things to the table," Gladstone explains. "Half of doing Disney-style feature
"You have to bring things to the table," Gladstone explains. "Half of doing Disney-style feature
animation is the ability to
draw, paint, run a computer, or whatever, but the other half is communication skill. We find that
people who have some
post-secondary education are more well-rounded, more adapted to the needs of our studio.
"We realize," he adds "that not everybody can go to college, but we seem to see more
"We realize," he adds "that not everybody can go to college, but we seem to see more
seasoned players if they have."
Can you be an animator without being able to draw? Gladstone replies, "If a kid wants to do
animation and he or she
can't draw, there are ways to do that. There always have been ways to do that - stop-action,
pixilation (which is stop-action
using people instead of objects), things like that. Now there's another one, the computer.
You don't have to learn to draw to
learn how to animate on a computer."
He cautions, however, "Computer animators just have a very fancy electronic pencil.
He cautions, however, "Computer animators just have a very fancy electronic pencil.
If they can draw traditionally, they're
that much ahead of the game. In all the computer work that I've seen in my life, [work] that
has really pushed the animation
limits - not just the movement limits, there's a difference - the animators have either come
from traditional areas or had
good traditional skills."
These skills, be they traditional or high-tech, can be utilized in a variety of ways. An animated
These skills, be they traditional or high-tech, can be utilized in a variety of ways. An animated
feature film employs the
talents of a wide variety of artists. Animators make up a fairly small population of the people
that create an animated film.
There are also assistant animators; in-betweeners; breakdown, background and layout
artists; effects animators;
storyboard artists; visual development or inspirational artists; computer animators; and
graphic designers - to name a few!
All these individuals work as a team (hence the importance of communication) during the
All these individuals work as a team (hence the importance of communication) during the
long, arduous process of
producing an animated film. Gladstone gives an example of how the artist (in this case the
layout artist), director, and
art director work together. These individuals interpret the storyboard into the various sets,
backgrounds and foregrounds
for each shot of an animated film.
"The layout artist has a lot to do with the lighting of the film, the scope, the way the camera
"The layout artist has a lot to do with the lighting of the film, the scope, the way the camera
moves through the sets," he
explains. "The layout artist is in a very great way the cinematographer of an animated film,
deciding what the camera is
going to see and where the characters will be blocked in a scene."
The in-betweener has traditionally been looked upon as the first rung on the ladder of a
The in-betweener has traditionally been looked upon as the first rung on the ladder of a
animation career. Although there
are exceptions, Gladstone says, "Most people come up through the ranks, starting as
an in-betweener and working their
way up to an animator. I think that's a good way to do it. Eventually, if they become an
animator, they will have had the
experience of the people that follow them up. They were there before."
So, the path is charted - now, where to go for the all-important formal instruction?
So, the path is charted - now, where to go for the all-important formal instruction?
There are many schools that offer
good fundamental art programs and consistently produce graduates with the skills
necessary to become Disney
animators. These schools are by no means the only choices available to the future
animator.
Gladstone speaks from experience, "If you need to go to a state school - great! Find a
Gladstone speaks from experience, "If you need to go to a state school - great! Find a
state school that has an art program
and take the best advantage of it you can. Learn how to draw well. Draw better than
everybody there. If you can only go to
trade school, great! Go to trade school and do it that way."
The various roads to an animation career all demand hard work, discipline, and
The various roads to an animation career all demand hard work, discipline, and
patience. We asked Frank Gladstone
what crucial advice he would give animators. He responded, "Keep trying. Don't
get too frustrated. Realize your potential,
be honest with yourself, and apply yourself to whatever that particular goal is you
want to reach."
It takes, in a word, persistence!
For information on the Disney Animator Training Program, please write to:
Walt Disney World Casting,
P.O. Box 10,000,
Lake Buena Vista, FL 32830-1000.
It takes, in a word, persistence!
For information on the Disney Animator Training Program, please write to:
Walt Disney World Casting,
P.O. Box 10,000,
Lake Buena Vista, FL 32830-1000.
Letter of note .com:
How to Train an Animator, by Walt Disney
It's difficult to overstate the importance of the following eight-page memo. Written by Walt Disney in December of 1935 to Don Graham - a highly respected art teacher from Chounaird Art Institute tasked with helming art classes for Disney animators - this missive signalled the birth of a structured training program that would subsequently enable Walt's studio to produce hit-after-hit during the Golden Age of Animation. For aspiring animators, this is absolutely essential reading; for everyone else, assuming you have even the slightest interest in the development of one of the world's most influential entertainment companies, this is simply an engrossing, inspiring read.
How to Become an Animator: Education and Career Roadmap
Animators use their creativity and artistry to create moving images for video games, websites, movies and television. Aspiring animators can enroll in an art or animation degree program as a first step into the challenging world of animation.
Animation Careers
What do cartoons, video games and websites have in common? They all require the skills of an animator. Animators work in various industries, including the Web, video game, television and film industries. Animators create moving images by drawing with ink or using specialized computer software.
Education Requirements for Becoming an Animator
Most animators earn a bachelor's degree in fine art or animation. Degree programs in this field include courses in 2-D and 3-D animation. In these courses, students learn to develop characters and create storyboards and models. The U.S. Bureau of Labor Statistics reports that those who wish to pursue a career in animation and other art-oriented jobs need to learn computer graphics (www.bls.gov).
Aspiring animators participate in internships in order to learn from professionals in the animation field. In order to be successful animators, students need to possess a high degree of creativity. An artistic eye is also an important asset for designing characters and images that suit each project. Many animators study anatomy to gain a deeper understanding of human and animal structure and movement. Students use this knowledge to more realistically animate characters.
Careers in the Animation Field
Entry-level animators find employment by compiling a portfolio of their best animation work. This portfolio gives employers an idea of an applicant's talent and skill level. Animators find work animating for video games, websites and within the entertainment industry. New animators may find themselves initially assigned to repetitive work, building on the work of other animators; however, over time, successful animators are given more responsibility. They can then become lead animators or creative directors, leading to higher salaries and increased creative opportunities.
Video Games
The video game industry requires the talents of skilled animators who can create cutting-edge characters and animation designed to delight gamers of all ages. Consumers demand realistic video game worlds where they can immerse themselves in the game events and interact with realistic-looking characters.
Websites
Animators create moving advertisements and other colorful images for the Internet. Websites use animators to design interesting pictures to encourage Web surfers to spend time perusing their Web pages. Innovative and sophisticated animation helps to distinguish a website from the plentiful competition on the World Wide Web.
Television and Movies
Whether designing 2-D cartoons, computer animated cartoons or special effects, animators can find steady work creating the moving images that populate movies, commercials and even the evening news.
tnx everyone!!!
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