Month: November 2024

Before starting this course, I would have likely mentioned character design as one of my primary areas of interest. Actually, one of the main reasons I was drawn to this course was its focus on “character” animation, encompassing elements like performance, emotions, expressions, and movement—areas I’ve always been passionate about mastering. However, as we progressed through the process of creating our one-minute film, where we were responsible for every step of animation production, I initially found it intimidating. I had no prior experience with tasks like storyboarding or creating animatics, which made the process seem daunting.

Despite these challenges, as I began learning and familiarizing myself with the workflow, I discovered a surprising enjoyment for the process. Storyboarding, in particular, stood out as a potential area of interest for me moving forward.

Initially, I assumed that success in storyboarding primarily relied on a strong grasp of story, narrative, and performance. While this is true, I quickly realized that a solid understanding and application of film language and techniques are equally crucial. I found my ability to tell stories visually to be quite limited, as I lack formal experience with filmic techniques and have never critically studied them in depth.

To address this, I began watching online courses on LinkedIn and learning from former Disney animators, which helped spark my interest in the craft. Having started this course with no background in animation, I’ve discovered a deep enjoyment for the craft and a strong desire to improve.

Working on my first animation project—a one-minute film—was especially challenging, as I struggled to tell a compelling, clear, and engaging story visually. However, through experimenting with camera angles and compositions and animating each shot, I experienced a deep sense of accomplishment and satisfaction. This experience, combined with watching films and animated series, has instilled in me a habit of analyzing shot compositions, camera angles, and storytelling techniques. I’ve learned that instead of treating my characters as static figures on a fixed stage, I need to focus more on dynamic camera movement. This is an area where I recognize I lack experience and need to dedicate time to skill development.

According to the ScreenSkills website, storyboard artist roles are considered entry-level positions, and apprenticeships offer an excellent opportunity to earn while learning. Apprenticeships for junior animators and storyboard artists are currently in development. 

As described by ScreenSkills:

• Storyboard Artists “help the head of story create a visual representation of the animation’s narrative. They translate the script and the director’s vision into panels of images, planning shots and ensuring continuity. These panels form the foundation for animation in the next stage of production.”

Currently, I’m thoroughly enjoying animation itself, particularly the challenge of conveying a character’s personality and movement. Designing characters, exploring the best camera angles, and experimenting with composition are also areas of interest for me as I consider potential career paths in the animation industry.

https://www.screenskills.com/job-profiles/browse/animation/pre-production/storyboard-artist/

https://www.screenskills.com/job-profiles/browse/animation/pre-production/character-designer/

When I started this course, I had very little knowledge of the professional processes in the animation industry or the roles involved. I didn’t even know how to animate, let alone which roles or studios might interest me. All I knew was that I was passionate about 2D animation and dreamed of working at studios like Disney or Pixar. Watching Klaus by SPA Studio sparked my interest in the innovative use of 3D lighting in 2D animation, while Arcane fascinated me with its blend of 2D and 3D techniques and its unique artistic style. These approaches align closely with the kind of work I’d love to learn and contribute to in the future. Unfortunately, I haven’t yet researched which London-based studios adopt similar styles, though I do have a list of studios to investigate further, which I aim to complete by the end of this course.

During my research, I discovered a website that provides a comprehensive list of animation jobs, which I found to be highly useful. I plan to review each role and explore the associated studios in detail during my Christmas holiday.

Find a job in Animation or VFX

Working on the LIAF project and currently on my one-minute film has given me greater insight into the people, skills, and processes required to bring a project to life. However, I’m still uncertain about the specific role I want to pursue in this framework. During the LIAF project, I had the opportunity to act as an assistant director, contributing as an effective member of a client-based project. It was an intense, time-limited experience, which didn’t allow me to explore every part of the filmmaking process in depth. At the same time, I assisted second-year students with their final project, gaining some experience in pre-production by supporting in the character design development process, and in production by cleaning up and coloring some shots.

In terms of my drawing skills, particularly during life drawing classes, I’ve found that my strengths lie in character design, clean-up, and capturing movement—areas where I feel most confident. However, I recognize that my weakest skills are in post-production and producing/marketing, as these aspects were primarily managed by our director during the LIAF project.

Throughout this course, I’ve come to realize that I struggle with time management and need to develop the skills and mindset required to handle time-sensitive projects. This experience has motivated me to focus my research on roles where I lack familiarity or have skill gaps, as well as roles I’m more likely to pursue professionally. The roles I currently plan to explore in more detail include:

Pre-production:

• Art Director

• Storyboard Artist

• Character Designer

Production:

• Animator

• Clean-Up Artist

• Compositor

Post-production:

• Editor

This focus may evolve as my research progresses, but for now, these roles either align with my interests, represent areas where I lack knowledge, or both. I’ve been using resources like ScreenSkills’ animation job map to help map out potential roles and pinpoint where I’d like to gain further experience and understanding.

After reflecting on what I’ve enjoyed throughout this course and researching a few roles I’m interested in within the animation industry, I’ve realized that the path I’d like to pursue after graduation—at least initially—is to work as an animator.

Based on my research and understanding from the ScreenSkills’ Animation Industry Career Map, I’ve learned that in 2D animation— the medium I most enjoy and want to pursue after graduation—starting as a junior animator is the first step toward becoming an animator. This role, often referred to as an inbetweener or clean-up artist, involves filling in frames created by senior animators or adding the final ‘line’ to their drawing. I have some experience with this through a university project. While working on our LIAF project, I also assisted second-year students with their graduation film called Sea Silk. I contributed by doing some cleanup and coloring shots in Adobe Animate, which I found both challenging and rewarding. While my ultimate dream would be to work on animated feature films or animated series, I believe the most valuable step for me as a practitioner right now is to continue developing my skills and knowledge in a studio environment.

Having started this course with no background in animation, I decided to further my knowledge and develop my skills over the past summer. I spent time researching, taking online LinkedIn courses, and learning from renowned Disney animators like Dermot O’Connor and Aaron Blaise. I’ve come to realize that not only was being an animator my childhood dream, but it’s also the most fulfilling and exciting thing I’ve done—and something I’m eager to continue exploring.

Ultimately, I aspire to tell my own stories and create work I’m deeply passionate about. For now, though, my focus is on becoming the best animator I can be and learning from experienced professionals in the industry. I want to understand how they make creative decisions to enhance their storytelling and improve my own ability to do the same.

I came across an interview with Swedish animator Simone Giampaolo on the Zippy Frames website, which deeply inspired me to pursue the path I mentioned earlier. In the interview, he shared that he began his career as a junior animator and generalist at Blue Zoo Animation in London. Giampaolo explained that he didn’t join the studio—or the industry—with the goal of becoming a director. Instead, his primary motivation was to push his own story ideas forward, pitch concepts, and suggest his own creative visions. Blue Zoo fostered this drive through an inspiring program that allowed employees to pitch ideas for short films annually. In 2015, his idea was selected, and he was given the opportunity to direct a Christmas short. Over time, he directed three short films at Blue Zoo before moving on. He emphasized that being able to pitch ideas and collaborate with a team was a crucial step in his growth from a junior animator to a filmmaker and storyteller—precisely the journey I aspire to undertake. The chance to pitch ideas and turn them into reality, as he described, was transformative and made all the difference.

References:

https://www.cgspectrum.com/career-pathways/2d-animator

https://www.screenskills.com/job-profiles/browse/animation/production/animator-animation/

https://www.zippyframes.com/interviews/simone-giampaolo-interview