NFB puts 50 animated shorts online

Growing up in the Pacific Northwest, I watched a lot of Canadian TV, and was exposed here and there to some of the great animated work done through the National Film Board of Canada (NFB). When a DVD was released of some their top animated shorts, I jumped on it. While it's not all character animation, even their experimental stuff intrigues me. Recently I also learned of the release of a DVD cataloging the work of one of their more popular animators, Norman McLaren, and I'll jump on that when I get the dough. And now I find that the NFB has put fifty of their animated short films on their web site! Sweet!!!

Everyone's Hero clips

Just posted a couple Everyone's Hero clips on the animation page. One is from the film, the other is a fun test from pre-production.

And yes, I know this note is redundant considering that I posted the same note to the front page of my site, but that page doesn't have an RSS feed. One of these days that front page will be this blog...or this blog will be the front page...or something...

Everyone's Hero, Part 2...sort of

I'd originally planned to post this part closer on the heels of the first one, and ideally before the film was released. Now that the film has been out for a short stretch, it probably won't mean as much, but here it is in a nutshell...

I'd heard/read several comments prior to the film's release about how the first trailer gave away the plot of the film, and people were less interested in seeing it if they already knew the ending. True, it did reveal a lot about the begininng and end of the film. What it didn't reveal much, though, was the middle...the journey.

You see, if films were about nothing more than beginnings and endings, they'd be dull. A lot of what makes them interesting and appealing is the journey in the middle...the experiences the characters go through on the way from the beginning to the end, and how those experiences change and influence them. While the end of a film is certainly important, it is nothing without the journey. So while we may say we go to a film to see how it ends, I have a hunch we're really going for the journey. It's the journey that gives the ending its power.

Now, while the journey in Everyone's Hero may not be earth-shattering or mind-blowing in its depth and complexity, it most certainly has an impact on the end, and there are some fun things that happen during that journey that make the end more meaningful. So even though you may know how the film ends, I think it's worth seeing for the journey.

Everyone's Hero, Part 1

My involvement with Everyone's Hero has a bit of an odd twist to it. It started when I was working as the lead animator at DPS, which was/is a sub-company of IDT. Somewhere during late 2003/early 2004, we got word that the head of IDT, Howard Jonas, had written a story called Yankee Irving that he wanted to have made into a feature film. At first, all I knew was that the title character was a young boy, and the story had something to do with baseball. Next we heard that Christopher Reeve was going to be directing it, and he even came through the DPS office at one point (I saw his bald forehead as he rolled down the aisle on the other side of my cubicle wall and into the editing suite for a meeting). Before I left DPS in the spring of '04, modeling had begun on a Yankee and the baseball, Screwie, but I still didn't know anything more about the story. After leaving DPS, I freelanced for Reel FX before they hired me full-time in the summer of '04.

Fast-forward to the late fall of 2005. I'm walking past one of the Reel FX conference rooms, and as I glance in, I catch a glimpse of an animatic that's being projected on the wall. My eye latches onto the lower part of the image, where I read "Property of IDT Entertainment." That made me stop and look more closely at the animatic drawings, and I saw that they were of a boy and a baseball. Was this Yankee Irving? I checked with my sup, and sure enough it was. We were bidding to help with animation and lighting on a project that I almost worked on at my previous job. How weird is that!

Not long after that, we started getting the character rigs to play with, and by late January of this year, we had started animating the first shots out of of roughly 20 minutes of footage that we were assigned from the film. A short while later, we got word that the name of the film had changed to Everyone's Hero, and about that same time I had to shift gears as I was starting to take over as animation supervisor for the BOZ video series. In the end, I only animated five shots for the film, and I'm probably only going to post one of those on the animation page of my site once the film comes out. Despite my short time on the project, I'm pretty happy with how my shots turned out, and I'm grateful for the things I learned in the process.

I was going to write more tonight, but I gotta crash. In Part 2, I'll be responding to a comment/complaint I've heard about the film's trailer...

tweenMachine v2.02

Didn't announce 2.01, so I'll cover that and 2.02 in this little update...

For v2.01, which was posted a couple weeks back, the major update was to make the tweenMachine play well with character sets. Now you can easily key character set data with it, using one of two methods. You can create a custom character set group (using a special menu item) that will key the active character set, or you can import your character sets into the tweenMachine.

2.02 just got posted, and adds the ability for those using Maya 7 and higher to toggle the use of Maya's "special" tick color for keys created using the tweenMachine.

tweenMachine v2.00 is ready!

Yep, it's approaching 5:00 in the morning. And I'm gonna get an earful from my wife for staying up so late. But at this point, I really don't care. I've felt this crazy urgency to get v2 of the tweenMachine assembled ever since all the upgrade ideas came to me late last month, and this is the final push to get it out there for people to use. There are still some "icing" features to add, but those will come more slowly. For now, I'm happy with the "cake" I was able to assemble during the last month or so, and hope it tastes good to the folks out there.

In releasing this beastie that has taken so much of my free time and brain power lately, I must first and foremost give thanks to God for giving me the capacity to make this tool and share it with the animation community. Thanks to the folks on my "beta team" for their patience and willingness to take it for a spin in the early stages of development, and for helping me work out various display issues and bugs that cropped up. Thanks for the notes of enthusiasm I've received, in reference to both the original version and the beta of v2. It makes me feel good to know that it's helping folks with their animation process. I'm especially grateful for comments I've received from folks making the transition from 2D to 3D, expressing how the tweenMachine has helped make the shift easier.

All right, off to bed wit' me. Enjoy!

tweenMachine v2 in the works

While a tiny UI with one slider that operates on selected objects is useful, it's also extremely limited. I'm in the early stages of development on v2.0 of the tweenMachine, and wanted to let folks know what's coming. This will be a major update with a number of new features, including:

Sets: Users will be able to create custom sliders that affect a specific set of controls. With this feature, you can more easily sculpt the start of a breakdown pose without selecting a single object. For example, make a slider that affects the entire body, another that only affects the spine, one for the left arm, etc. Controls can be assigned to any number of sets.

Groups: Any number of set sliders can be organized into collapsable named groups. For example, you could create a group for each character in your scene.

Save with scene: Data for groups and sets is saved with your scene file. When you reload your scene and start the tweenMachine, it will read the existing data and rebuild the UI automatically.

Load/Save: Save data for all groups and sets to a text file, and load it into another scene.

Import: Import specific sets or groups from a saved data file.

Timeline ticks: Enable/disable ticks on the timeline for any set or group, so you can see where your poses are without having to select anything.

Stay tuned for more!

New animation software: Reflex

Work buddy Bryan Engram just shared some info he found about a new animation package being developed by some CG animation industry vets. Gotta keep a close eye on this puppy...

tweenMachine Update

Updated the tweenMachine tool last night (a.k.a. early this morning). Now it recognizes when channels are selected in Maya's channel box, and only operates on those channels. This allows you to easily favor specific channels in different ways, which should make it a lot easier to block out arcs, overlap, and other things I probably haven't even considered. I've been wanting to add this feature for some time now, and finally got the "oomph" after reading a post on an Animation Mentor forum from David Martinez that he was looking forward to it. Ask and ye shall receive and all that. ;)

La Linea

La Linea! It's online! I remember watching these cool little animated shorts when I was a kid. A student on AnimationMentor.com posted a link (found on the Drawn blog) to this site that has 50 of the shorts online. Now here's the funny part...I remember watching them on American TV, they're of Italian origin, and now a French site is hosting a bunch of them. Gotta love it!

EDIT: Apologies to Justin Weg for not properly crediting him as the source of the post on AM.

Trailer for Everyone's Hero

The first trailer for Everyone's Hero is up on the film site. Kinda small, though. Oh well...it's up!

"The Myth of Talent"

Found a link on a photography forum to this really cool article called "The Myth of Talent". Very inspiring read!

Site up for Everyone's Hero

The official site is up for Everyone's Hero, a film we're helping with at Reel FX. We just finished animating about 20-odd minutes of footage, and we're lighting a good chunk more than that. The characters were very fun to work with, and the story's got some heart to it. I only animated about five shots on it before I had to back out and focus on supervising the next BOZ video. It would've been fun to do more. Here's hoping I'll be free when the next one comes along...

House up, e-mail down

Well, it's not exactly like that, but anyway...

With the move into our new house that happened last weekend, we've had some hiccups getting phone and DSL service installed. Long story short, I've been without access to my home e-mail account for just over a week. So if you've written and haven't had a reply yet (or if my mail server is bouncing stuff 'cause it's full...I hope not), I apologize. Only a few more days to go before it'll be up and running again. Thanks for your patience...

Crazy Hair Day at Reel FX

To celebrate the release of the first two BOZ videos, the folks here did a five-business-day countdown with different activities each day. Today being the final day, with the theme "Wild about BOZ!," the challenge was to come to work with crazy hair. It was about time for me to cut mine anyway, so I decided to be creative with the cut. My wife helped to sculpt the back into the nice V shape. And of course I couldn't stop at the hair, so I decked out the rest of me as well. Pics are posted in our family photo gallery.

And I won! Woohoo! :D

"You're nuts...I applaud that!"

Following the ceremony for the first Texas Avery Animation Award last November, Reel FX hosted a private party at the studio for award recipient Brad Bird, Reel FX employees and their families, and selected other guests. I had my camera in tow, and shot a ton of photos and video throughout the evening. This is just the first of several posts I'll be making to share little tidbits from the event.

The focus of this first post is a comment that Brad made to a budding young filmmaker. Chuck Peil, our executive director of business development, told Brad that the young man wanted to be a filmmaker. Here's the entire exchange, which I was lucky enough to capture on video...

Quicktime - H.264 - 1.44 MB

I like Brad's final follow-up remark just as much as his initial reaction, because it really says a lot about this industry. There's nothing the least bit logical about making animated films. Where's the logic in taking several years to craft an experience that's over in an hour or two? Or in telling stories with characters that don't really exist except as drawings on paper, or as numbers on a computer? Logic has nothing to do with it. It's all about emotion. If you're willing to let your emotions -- and your desire to share those emotions -- carry you through the roller-coaster ride that is the creation of an animated film, you've gotta be just a teensy bit loopy.

Personally, I think that's part of the attraction. :)

Gugulix and Sushipajamas online!

Quick note to plug a couple blogs. First is a new blog created by a friend of mine, Doron Meir (nickname: Gugulix). I worked remotely with Doron when I was at DPS a couple years back. He was the anim supervisor at DPSI (DPS Israel), so we got to chatting quite a bit online. He's quite an accomplished artist in both 2D and 3D, and his work has inspired me a lot. I was stoked to hear about his new blog, and I can't wait to see more of his work on a regular basis!

On another note, my friend Lydia Williams (latest nick: Sushipajamas) put up a blog not too long ago. She's currently a student at SCAD, but we first met several years ago when I was working at Big Idea. She's learning a lot at school, and is developing a really fun style with her artwork. In addition to studying animation, she and some friends started a program to teach animation to students at an elementary school near SCAD. Way to go, Lydia!

Simplicity and story

Just read a great bit of commentary from a story artist on the beauty of simplicity when it comes to story. Well worth checking out!

Ray Harryhausen coming to Dallas!

Got wind of this from a friend a couple days ago, and today the official announcement is online. Woohoo! Can't wait for this one! I've still gotta post some stuff from the Brad Bird event last fall. Not sure when I'll get to that...hopefully soon.

Observations: "The Runaway"

A while back I was sitting in a doctor's office, waiting for the doctor to return to my exam room. Naturally I was doing what we all tend to do while waiting for doctors to return: I was glancing at the collection of Norman Rockwell artwork hung on the walls. I'd seen most of the pieces before, but seeing that the doctor was keeping me away from animating, I decided to study the prints to see what could help me as an animator.

One favorite on display was Rockwell's classic, "The Runaway." It's such a deceptively simple image, and yet it's clear that Rockwell took great care to construct the image in such a way that your eye can't help but go where he wants it to go, which is to the facial exchange between the kid and the cop. Some of these guiding elements are related to the tonal values chosen for the setting and the characters, but there are also a number of things in the characters' poses that are good to study from an animation standpoint:

• One of the biggest pose "guides" is the angle of the cop's right leg. Follow that up and it'll take you directly to the kid's face. Notice how the cop's gun is angled to nearly match the leg angle. Also notice the nice negative-space triangle formed by the right leg, the stool post, and the seat. That also helps the right leg to draw our eye.
• To contrast that, notice the cop's left leg. Even though it's angled in the opposite direction, it has been posed in such a way that it doesn't lead the eye nearly as clearly as the right leg. There's no negative space associated with that leg, either, so that also helps put more focus on the right leg and where it's leading us.
• The cop's right arm is angled similarly to the right leg. While it doesn't point directly to the kid's face, it does aim at the well-crafted negative space between the two lead characters' faces. Looking at the left arm, the forearm angle blends with the edge of the countertop so it doesn't really stand out, while the upper arm guides the eye up and over the cop's left shoulder toward his face.
• Working with that upper left arm is the radio on the back wall. The cord coming up on the left, the shelf upon which the radio sits, and the little extra dangly bit of cord on the right all work to subtly emphasize that shape of the cop's upper left arm and shoulder, and guide your eye where it needs to go. In case that wasn't clear enough, that little dangly loop of cord to the right of the radio is pointing at the cop's head.
• While the cop's eyes are clearly looking at the kid, the brim of his hat adds an extra bit of emphasis. It looks like it's pointing right toward the kid's eyes.
• Check out the notebook in the cop's back pocket. The bright white silhouette of the pages points directly toward the kid.
• Even the face of the counter man has some guides. The angle of his smile leads you to his cigarette, which is pointing directly at the kid's face. The very trianglar shape of his head also leads you into the heart of the action.
• From a more broad perspective, compare the poses between the kid and the cop. While there is a little countering between the kid's hips and shoulders, his pose is essentially vertical, whereas the cop is arcing to the right. Combine that with the cop's bulk compared to the kid, and your eye goes to the pinnacle of the two poses, right to their faces. The angled bulk of the cop feels like a towering mass toppling in the direction of the kid, which further emphasizes the emotion of the scene.
• While checking out the background info about this image on the site linked above, I was clued in to another guide: the stick on the kid's hobo sack. The site points out how the stick's diagonal angle guides your eye toward the stools, and from there up to the characters, but it doesn't mention exactly why the stick works so well. I believe it works because the right end of the stick was carefully placed out of frame. That only leaves the left end to act as a pointer into the scene.

Such carefully crafted poses that show you exactly where to look, and yet it feels so comfortable and natural...so "un-posed". Awesome stuff!