Supporting vs. Confirming : Dayo

I heard so many things about the 2nd Pinoy Animated Feature, Some good and some are really bad. Some questioning the reason and logic behind the animation direction, animation scoring, animation editing, art direction as well as the mounting of the scenes which is basically directed towards the director and storyboard supervisor.

Nonetheless, I do feel that this is not the time for public debates in this case. I have this feeling that we are just hurting ourselves and eliminating the possibilities of future investments and productions in the Philippine Animation Context.

There is definitely a clear line that divides supporting and confirming. I do believe that the said pinoy animated ferature does not define the elegance and functions of what is "Philippine Animation". But, one must never deny the courage of those who are behind the said animation production for giving it a 2nd try with the hope of the doing "big time" in the box office.

As for me, I have seen the said animated movie and with conviction that I must support such action for this is one of those possibilities as we try to capture the imagination of the broad audience through original content animation. Furthermore, I will end this discourse by the act of buying a ticket in order to support the movie with no intention whatsoever of evaluating the said animated movie. This is not the time for evaluations and grand-standing criticisms...

This is the time for encouragements.

Mom and Pop Softwares

If we follow the path of those who are before us, we will be also like them. Unable to break away from their technological addiction. Limiting one's imagination and letting commercial and static technology suppress the development of grass root animation softwares and hardwares that are both viable and practical for the eventual growth of a robust animation industry and market.

Over dependence on the " off the shelf softwares" is like subscribing to "over the counter" medicines in order to achieve a narcotic high that is often temporary and harmful. What motivates software vendors are their desire to increase profit margins by spreading this propaganda oriented perception that if you do not use their software... your animation is inferior. But the funny thing is that the reason why our animation is in the dumps is simply because for the longest time we were and still are using their mom and pop softwares.

For us to achieve animation technological emancipation, we need to shift to Open Sourced Production. This is the utilization of " Techno-Emancipating Softwares For Animation" that challenges us to innovate as well as participate in spreading popular animation softwares for Grass Roots Consumption.

These corporate monsters with their "local bitches" are nothing but parasites that suck us dry. They control us through their technology and limit our ability to be technologically creative in finding "out of the box" solutions by setting up parameters that are pre-conditioned for their commercial benefits.

Spread the word and never let these A-holes tell us what to do. Do not give them the power to make the choice for us. Now you know!

Game Design In The Philippines

What should come first, the technological content or the creative content? For budding Game Design Studios, this is a crucial question to answer. One should survey the whole landscape, in my opinion. Game Design is not just about designing a game, rather, it is about designing a game that sells.

This is a highly competitive market in the global scale. Thus, one must be able to understand the whole dynamics of game design. For example, in East Asia, Korea has schools that develop young talents in terms of game design, development and management . Varying types of games from casual, online up to platform based creations are constantly reviewed and tested with the need to innovate or even set new trends through new games.

Game Development and Management, in this case, is geared towards a unified program. Wherein subjects ranges from artistic content, technological innovation, commercial process and cultural impact more so in terms of contemporary needs and wants of consumers given a well defined stakeholder or set of stakeholders.

We tend to dwell on technology when we talk about game design. This is the usual mistake. We can not put the whole design in a box without considering the bigger picture in terms of industry needs & wants and market's supply and demand cycle. The sad part of the whole scenario is that we are constantly catching up and eventually left with obsolete technology that often mislead us in terms of the direction we want to go.

3D Computer Animation : Dressed Ballet Dancer (Petite Danseuse de Quatorze Ans), Sep 25, '08 9:00 AM

Unlike 2D Computer Animation Professionals, 3D Computer Animation Professionals should be oriented towards the composition of 3 dimensional sculptures and how such scupltures relate to their "real space". I found this article about Dressed Ballet Dancer (Petite Danseuse de Quatorze Ans) in the site of National Gallery of Art site. The sculpture is by Edgar Degas (19 July 1834 – 27 September 1917).

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Degas at the Races: Sculpture

Degas' use of mixed media is epitomized by the only sculpture he ever exhibited: Dressed Ballet Dancer, which was in the Sixth Impressionist Exhibition of 1881. Degas was supposed to display the sculpture in the 1880 Paris Salon, the official exhibition of the French arts establishment, but feeling that it wasn't ready, he exhibited only the empty glass case he had made. It was a fascinating way for Degas to build anticipation for his work.

When the Dancer was shown the following year, it received mixed reviews. The majority of critics disliked the piece. They thought it was ugly, that it looked like a museum specimen, in part because Degas exhibited it inside a case. Some considered the head and face grotesque, and they compared her to a little monkey. Degas was thought to have called his dancers the "little rats of the opera." But this girl--who was actually a young dance student named Marie van Goethem--looks like a typical early adolescent, with her protruding belly, flat chest, and practiced ballet pose.

In addition to its forthright portrayal of a youthful body type, Degas' use of mixed media also rocked the art world at the time. Having modeled her in fleshlike tinted wax, Degas gave the Dancer a real cloth skirt, a real silk bodice, a wig of real hair with a green ribbon tied around its long braid, and pink ballet slippers. On one of his many drawings of Marie, Degas had written the address of a dollmaker and dressmaker where he probably purchased the hair and the tiny slippers.

To understand public reaction to this work, it helps to be aware of the debate in artistic circles at the end of the nineteenth century concerning polychrome versus monochrome sculpture. People were used to dark bronzes and white marbles. Degas' wax tinting and his addition of other colorful, nontraditional elements such as the dancer's net skirt, hair, and satin bodice and shoes, presented an array of textures and surface finishes that took people by surprise and would later influence the modern sculpture of cubists, surrealists, and later twentieth-century artists. Despite dissenting opinions on Degas' brash young figure, however, there were also critics who praised the Dancer as the epitome of authenticity.

The largest and most famous of Degas' wax sculpture, Dressed Ballet Dancer was first cast in plaster before it was cast in bronze. The National Gallery is fortunate to have received the plaster as well as a promised gift of the wax. It is believed that plasters were made from the wax in this instance only, possibly because the figure was so large and required a number of mold sections. The plaster was painted faithfully to reproduce the coloration (patina) of the wax, thereby providing the Hébrard Foundry a good record of the sculpture's surface finish to work from when the bronzes were patinated and dressed the same way as the wax sculpture.

Degas' Dancer became one of the most beloved works of sculpture in the history of Western art. Like the wax horses, it is a result of the high degree of technical and artistic experimentation that the modernist Degas employed throughout his career. His innovative strategies to capture the essence of attitude, stance, movement, gesture, and consciousness--a realm beyond realism of appearance--lie at the heart of his contribution to art.

Character Animation is different

http://characterfactory.multiply.com/

There is a big difference. You better wise up or else be an easy target for multimedia schools that will charge you a lot but just gives you the plug in know how. Character design is a function of Design Principles, Basic Organic or Inorganic Form Construction and Composition. Usually, a designer knows two things namely a) Construction on Paper and b) Construction using a Model.

Character Animation is different. It deals with Basic Principles of Motion and Space. It requires a lot of creative analysis and familiarity with the fundamental laws of Physics. Now that you know the basic info, be wise and asks your teacher about these things. Maybe you are spending the right money on the wrong school

Understanding The Volume of Space : 3D Computer Animation

In animation, we often neglect the need to understand the volume of space. Simply put, the need to understand the principles of perspective. In the painting Niccolò Mauruzi da Tolentino at the Battle of San Romano by Paolo Uccello, one can notice Uccello's efficient use of perspective. He was able to allocate the given space within the needs of his composition.

Check out the clear drawn horizon and diagonal lines that creates defined intersections. And if you notice the broken lances and swords, said weapons are within the system of grids the draw our eyes in a layering effect.

In 3D Art, efficient allocation of the space is also important. There is a need to understand the space from which the 3d Art will occupy. Neglecting the need to understand the said space, ultimately the 3d composition will suffer.



Basic principles of perspective is true for 3D animation in general and 3D computer animation in terms of technological appreciation. Take for example this sample 3d created by Eric of Kor-Phil's 3d computer animation program. Notice that there is no reference with regards to the space occupied by the two organic forms. It is difficult to understand the action or the activity. At the same time , because of the lack of reference with regards to the allocation of space, an observer is unable to discern the perspective of the composition.




By adding a defined space of reference, there is an improvement in the composition. Now we know the line of sight of the two forms. We are able to calibrate our eyes 360 degrees and see the activity or the action much more clearly. We can easily identify the rigidity and flexibility of the forms. The contrast is more visible though it could be further augmented. Best of all, we can see a developing perspective wherein there is a faint identifiable relationship between the positive space and the negative space.

This is the reason why it is important to do exercises within the scope of 3D art and animation. The technology, which is 3D computer animation, is only a tool that help us create forms with functions that engage the stakeholders.

Space is not a domain of technology. Rather , space is a principle that governs technology. If, as animation students or professionals, we are not able to imbibe this principle, no matter how cutting edge our technology is, still it won't engage the human emotion.

7th Akira's Nightmare Animation Atelier 2009 April

7th Akira's Nightmare Alternative Animation Basic Animation Material, Outline, Treatment and Script Development and Management is slated for the month of April 2009/ Summer. We thank those who are participating in the ongoing animation workshop (6th Akira). For Registration: Please indicate full name and contact number mobile phone : 09215081060 This new workshop series will focus on four distinct fields namely;

1. Animation Material Development and Management
2. Animation Beat Outline Development and Management
3. Animation Treatment Development and Management
4. Animation Script Development and Management

The newly improved program will aid animation professionals create commercial animation contents that are within the contemporary sense and sensibility of the general population. For students ( UP, La Salle - St. Benilde, UST and Ateneo) who are about to take up their multimedia-animation thesis projects or are preparing for their thesis projects, the workshop will serve as a tutorial aid in order to augment their needs to finish their respective projects. The Animation Scriptwriter : The Creative Process When an animation writer is ask to write a material, he or she starts with the vision. The vision is the abstract form that needs a function. The function is provided by the commercial model when dealing with mainstream animation or by the artistic model when dealing with alternative animation. After constructing the model, the writer proceeds to examine the model and determine the source and the type of idea or ideas. After interpreting, validating and analyzing, the writer will now construct the concept using several parameters. The parameters gives the concept the needed form and function. From the parameters of the concept, the writer will start to construct the premise of the material. The premise is divided into three arcs, the story, the characters and the world. The said arcs will create the Bible of the material. With a tight Bible, the writer begins to construct the material's outline using the animation beat method. From the beat outline, the writer will expand it and from the treatment. And finally, form the treatment a master script will be created. The master script will be transformed into a story board.

The Problem With This Definition?

The difficulty in trying to deploy a clear message about animation is real. Usually, in this country, when we talk about animation... we only refer to animators. Probably this is the problem. If we just equate animation to animators, we are in fact limiting the animation process and putting it inside a box.

I am not underestimating the contributions of animators in animation but to over-estimate such contributions often lead to devastating myths that often turn into nightmares.

Animation is made up of animation professionals that work together in order to come up with an animation material that is able to engage the audience. Movements without sound, color, tecture, artistic layers, structural direction, dialogue , environment and ambiance are useless.

This is proven, again and again, when group of animators do not acknowledge the roles that non-animators in the animation biz play. As a result, animator driven projects are often marginalized or worst... transformed into white elephants.

I see this as a consequence of the outsourcing sensibility wherein the animation process is deliberately chopped down into several pieces without any respect to the integrity of the creative process and teamwork. As a result, animators are given this false notion that animation is their inherent monopoly.

3D animation is always defined within the parameters of its immediate science

3D animation is always defined within the parameters of its immediate science. In terms of technology that may pertain to the inherent logic and order of the process and how it is able to perform under the guidance of efficiency. If you google it the definition, one might encounter this definition;

"The creation of moving pictures in a three-dimensional digital environment. This is done by sequencing consecutive images, or "frames", that simulate motion by each image showing the next in a gradual progression of steps, filmed by a virtual "camera" and then output to video by a rendering engine. The eye can be "fooled" into perceiving motion when these consecutive images are shown at a rate of 24 frames per second or faster."


But this definition tend to be out of place when 2D computer animation is able to display, despite of the hard work behind it, 3D qualities wherein one can argue that 2D animation, when treated properly, can deploy the illussion that moving pictures are created in a three dimesional environment... perhaps digital as well.

Bottomline, the inclusion of computer technology tend to make the boundary that separates 2D from 3D almost invisible. For one thing, both 2D and 3D share the same animation principles. Yet, when we talk about the technological discipline, one can say that it is largely different.

Getting hold of a firm definition is not an easy task. Technological difference, in my opinion, is not enough to make the distinction. When ask what is the artistic difference... technology soon melts behind the perplexing question.

It puzzles me when someone tells me that this material is for 3D and this material is for 2D. If there is such a distinction, then what is the artistic explanation? Technology, for sure, can not give a concrete answer to a question that is basically answerable by artistic merits.

To complicate matters, qualifying the word "Filipino" distracts the whole construct and we are left scratching our heads. To be truthful, pondering on the need to spread our culture through animation is not a walk in the park. For one thing, what is a Filipino? I mean, we know that we are Filipinos but what makes us Filipinos. Is it the way we look? Is it the way we act? Is it the soul or the mind?

Designing a 3D computer animation feature using the Filipino template is an elusive muse. Somehow, we are near yet we are so far in understanding the whole equation the will yield an accurate account of the essence behing this culture we fondly call Pinoy.

I feel, at this point, as animation professionals, we should trust our inner voices. I feel that being a Filipino is best served if we just express ourselves and be "Pinoys" in our own ways. What is important that we are given the choice to express, choice to supress choice to progress or even choice to regress.

3D Computer Animation is a technology that we use in order to create animated images that are constantly validated by our inherent talents and skills to express ourselves through a compelling material that defines our essence, not as Filipinos, but as human beings

Animation Exodus : Changing Philippine Animation Paradigm

I have been advocating the constructive exodus of animation studios from saturated metropolitan cities to viable rural locations. Though I still retain that there is no domestic animation market to speak off, the international possibilities of selling original content animation is real.

The high cost of living, the terrible transportation system, air & noise pollution, non-competitive compensation, expensive rents & maintenance and compressed human resources management contribute to the lack of competitiveness in terms of technical and creative innovations among domestic animation studios.

The mortality rate for animation studios are high and those studios that are surviving resort to unfriendly and incompetent means like under-employment, contractual loop-holes, low pay (worst… below minimum wage), subcontracting the subcontracted and non-payment of labor fees.

Shifting The Animation Process to viable rural locations enhances the competitiveness of Animation Studios. This shift is possible through the advances in communication and data transmition technologies as well as the creation of permanent conduits (like Kor-Phil IT Center) that will support and will augment overseas transmittal of output.

Given that the cost of living is low in viable rural locations like Davao, Naga or Legaspi Cities compared to NCR, adequate space is given for proper compensation of the creative and technical labor forces as guided by the Regional Minumum Wage. Transportation and Air Quality are friendly given the low population density for both residents and migrants.

By organizing a work force that is within the immediate reach of animation studios, productivity has the potential to increase 30 to 50 percent compared to metropolitan counterparts given that the work force is provided adequate time to deal with public, personal and private needs. As they say, a happy person is a productive person.

Energy is the most crucial necessity for animation studios. Unlike in Quezon City, residents in Legaspi City for example pay less for their electricity. Thus, the potential of further reducing cost for operation is real and not imaginary. Enterprising individuals tend to come up with self-sustaining measures like solar power, wind power or even bio-diesel driven generators (converting coconut oil to bio-diesel).

The competitive edge of Philippine Animation Studios is a collection of technological resourcefulness, creative innovation and unconventional business strategies. If we will constantly do it the old way, we won’t be able to compete because there is no domestic market that will support such a young industry.

In the end, we need to accept the fact that the battle ground is in the international market and the game plan is within the values of sustainable strategies and regional partnership with other animation studios. We must bring the fight to them, otherwise, we will always be in the defensive.

Tech Toons ( Batch 2) : Designs Part 2

Tech Toons ( Batch 2)
( Animation Short)
Approach To Reality : Pop Art/ Cartoon
Genre : Comedy ( Mode : Spoof)
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For Comments and Suggestions
http://techtoon.multiply.com/
http://jrbortoloy.multiply.com/

Tech Toons ( Batch 2)
( Animation Short)
Approach To Reality : Pop Art/ Cartoon
Genre : Comedy ( Mode : Spoof)
=============
For Comments and Suggestions
http://techtoon.multiply.com/
http://jrbortoloy.multiply.com/

2 Animation Studios under Batch1 and Batch 2 / 2D Animation Pre-Production Class

These designs with Storyboards ( not posted) are the outputs of 2 Animation Studios under Batch1 and Batch 2 / 2D Animation Pre-Production Class. For Comments, you can click on their given multiply sites.

Tech Toons ( Batch 2)
( Animation Short)
Approach To Reality : Pop Art/ Cartoon
Genre : Comedy ( Mode : Spoof)
=============
For Comments and Suggestions
http://techtoon.multiply.com/
http://jrbortoloy.multiply.com/







Magic Hands ( Batch 1)
( Project : Short Feature Animation)
Approach To Reality : Kawaii/Anime
Genre : Fantasy/ Romance
====================
For Comments and Suggestions :
http://eifunu67.multiply.com/
http://elvishmind.multiply.com/

Exploring The Possibilities In 3D Animation

3D Animation and Animation Technology yield great potentials in Commercials and Music Videos. I am not talking about Motion Graphics, though I can say that this field is heavily utilized in both the market and industry, more emphasis on 3D Animation and Animation Technology.

In Europe, Korean and Japan, 3D animation commercials and music videos are common. Usually, these commercials, sometimes music videos, offer a unique take with regards to salesmanship and connecting with the audience.

At the moment, what we see in "advertising" through commercials are graphics heavy with motion graphics hybrids. We do not really see " hard" execution of 3D animation commercials. Perhaps there are some, but usually such displays are " add-ons" rather than the primary deployment.

I think, emerging studios should be more sensitive on this field. Considering "commercials" may extend to industrial promotions of consumer goods with a twist. Perhaps, this is another way for this fetus industry, 3D animation and animation technology, to begin its journey in developing itself.

The Fear Of Lines

As I contemplate on my past lectures as well as brainstorm ways to make it more "now" and "active, I realize one of the most basic fear that we have as an emerging movement in animation that we hope to confront in 2D ... LINES!

I remember what one of my students told me in 2D; " sir, kung mas maraming lines, mas mahirap ang animation." Now we wonder why we keep on coming up with low quality animation outputs in terms of look and feel. I bravely presume, with grace and humble respect, that this sensibility came from those " old timers" who were trained under an oppressive beast that we now call animation outsourcing. I do not berate them by calling them old timers, in fact, I state this two words with sublime fondness.

I saw this program from which an animator said that animation in this country is deeply rooted from early traditions that predates other animation constructs in our region. What tradition? Scooby Doo? Flinstones? Yabada ba doo? I am sorry, perhaps his sordid notion that we have a deep tradition in animation is a means to cover up actions that are rooted, perhaps, from extensions of foreign animation industries.

We do not have a tradition in animation. That fact that old timers in animation discourages young aspirants to embrace the inherent movements of lines is a tragedy in itself. This misguided notion of perverted simplicity within the framework of incompetence makes my blood boil. Simplicity is not about fewer lines to make the animation easy. No! It is about the movements of lines to make the animation natural as framed within the look and the feel of the material.

The initial draft of the design is the initial template for large artistic brush strokes.

The initial draft of the design is the initial template for large artistic brush strokes. It is the primary form from which a designer will eventually refine. Yes, it will take time. But eventually, the more you practice the art and craft of your artistic design skills, the more efficient your senses as well as your sensibility in understanding in one deep gaze the potentials and possibilities of composition and emotion. The following are example of the evolutionary nature of designs.

Pin-X- Wheel Animation Studios

This is the initial conception of T-Binary in physical model as submitted by Alvin, one of the founders of the said animation studio. What you see below is the Virtual Model of T-Binary after, I assume, several modifications in the design. From this example, one can see the massive design innovations from the physical to the virtual.

( physical model)

(virtual model)



Another good example is the ZionBot by PJ under PJ Animation. One can also notice the same evolutionary nature of his design. The first picture is the initial virtual model of ZionBot. What you see below it is the present Virtual Model of ZionBot after, I assume, several modifications in the design.


For more of their art works and works in progress, you can visit their sites and give your comments, suggestions as well as positive inputs.

http://pjanem.multiply.com/

http://pinxwheel.multiply.com

Economics of Animation : Marketing, Distribution and Exhibition

It is a big mistake to think that the process of animation ends once post-production draws to a close. This is a common mistake. In reality, the animation process begins with a vision and ends with the exhibition of the output . If you are the type who wants to succeed in the animation biz, one must never neglect marketing, distribution and exhibition.

The Economics of Animation is a powerful tool in making sure that the animation output is given the appropriate exposure and protection as well. At the moment, we are still trying to develop a practical module for it in order to train animation professionals with regards the business side of animation. After all, animation should be economically sustainable in order for it to become an attractive industry in both domestic and global markets.

The Animation Assistant?

There is a clear difference between an assistant animator and an assistant to the animator. For one, the former refers to someone who knows teh general flow of the animation process. The latter is a production assistant who servers under the logic or sometimes whims of a boss. There is a clear vertical career path for any assistant animator in 2D in the global scene. Usually, an assistant animator will eventually become the director for animation.

But the assistant to the animator has a more static career path. Yes, it is true that this role is a very speedy entry level position for any outsourcing animation company,yet, its long term "promise" is so bleak you could not even see if there is any "promise" at all. In the end, we keep on telling ourselves that it is better to have a job rather that to have no job at all. But in the final analysis, having a job that put you in deep shit and stupid financial debt is not a good thing.

SCHOOL OF ARTS AND ANIMATION @ MINDTAP STUDIOS

SCHOOL OF ARTS AND ANIMATION @ MINDTAP STUDIOS

http://www.mindtap-ph.com

* In ANIMA: Creating 3D Animated Shorts

(Special Program)

This intense one-year training program on 3D animation focuses on technical skills vis-a-vis the conceptual component of creating a 3D animated flick. It also tackles areas of specialization and a walk-through in standard studio procedures for the production of 3D animated shorts.

The 3D Animation Process

Pre-production

Scriptwriting for Animation

Advanced Techniques in Character Animation

Character Development and Design

Art and Composition in Background Design

Animatic

Sound Design and Engineering

Production

Story and Dialogue Treatment

3D Modeling and Texturing

Rigging your Characters

3D Animation Basics

Advanced Techniques in 3D Animation

Art of Lighting and Rendering

Post-production

Motion Graphics and Special Effects

Sound Editing

Compositing and Digital Editing

Elective:Mel Scripting for MAYA

Elective:3D Animation using Freewares

Elective:Intellectual Property Rights

Elective:Web Design and Development

Schedule of Meetings: Saturdays and night classes only
Duration: 12 months
Enrollment Fee: Php 120,000.00

Contact Number : 7295951 (Maila / Bong)

(http://www.mindtap-ph.com/MODULE.htm#scriptcom

Vision, by the word itself, is the way you see a particular abstract construct as it moves through the market of ideas.

A project always starts with a defined vision. From the abstract vision, we slolwly develop the model that we will use in order to execute the plan. Strictly speaking, the vision always comes first. Usually, the common mistake is to immediately construct the model. Well, this is a fatal one if you ask me.

Vision, by the word itself, is the way you see a particular abstract construct as it moves through the market of ideas. The initial thread from which your vision moves is determined by either your learned knowledge or gained experience. Thus, limited learning or real life immersion tends to yield limited vision.

The Model, on the other hand, is the by-product of the vision. It is the physical representation of the motivation behind an abstract construct. In a way, it is the language formed by an individual to communicate a vision that is often personal in meaning and structure. If the model is unable to communicate the vision, then execution becomes a big problem.

That is why, it is vital to determine the parameters of the model. These parameters determines the language, the tone and the mode of communication. If the parameters are not properly handled, a creative team usually end up with a non-communicating entity which is troublesome when we are required to deploy such model to a wider market.

For me, both vision and model are equally important. Though the vision always comes first before the model, still, if the model is weak, no matter how strong the vision is, it will find it hard to engage the immediate stakeholders and the eventual end-users