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Author Topic: Jason Schleifer  (Read 11972 times)

Rick May

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Jason Schleifer
« on: June 14, 2006, 01:16:50 PM »
On Monday, June 19th, we will begin our next ATP session.  This time around is DreamWorks Animator - Jason SchleiferThose of you that attended the 2005 CGCHAR & Siggraph may remember Jason's Madagascar presentation. 

This forum will be open to Jason immediately, however questions will not be permitted until Monday morning (PST). 



Quote
Jason Schleifer is wrapped work as a Senior Character Animator on DreamWorks Animation’s recent release, Over the Hedge.  His next project will be in the same role on Shrek the Third.
Since joining the studio in 2003, Schleifer has been able to juggle multiple responsibilities while maintaining a consistent quality of work as a character animator. His main duties require him to translate the visions of the Director(s), Production Designer and VFX Supervisor into a movement and an emotion of a character within the film. Schleifer has also been involved in collaborating with the Character Rigging Department in testing and providing feedback for new rigs, which can be seen in the recent hit film Madagascar and its spin-off short, The Madagascar Penguins in a Christmas Caper.  During his off-hours away from the studio, Schleifer enjoys being a mentor for an online animation school, Animation Mentor.com. 

Prior to his career at PDI/DreamWorks, Schleifer had extensive involvement at Weta Digtial beginning as a Creature Technical Director and later promoted to an Animation Lead while making the Lord of the Rings Trilogy. In addition to his film career, Schleifer has developed a couple of DVD’s for Alias on creating animation rigs, as well as being a co-author and co-presenter in a SIGGRAPH 2002 course on character rigging.

Schleifer has a B.A. in High Honors from the University of Califorina, Santa Barbara.


Thanks Jason for joining us!

jschleifer

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Re: Jason Schleifer
« Reply #1 on: June 15, 2006, 12:43:44 PM »
Heya folks! 

Thanks for the kind words, rick!  Looking forward to answering as many questions as humanly possible.  In fact, I plan on asking for the days to be extended a few hours, just so I can get those few extra questions answered.

Anyone know who to talk to about that?

Anyone?

A phone number?  Email?  Fax?  Anything?

There's gotta be SOMEONE in charge of those extra hours.. I mean, somebody's gotta know somebody who knows somebody..

Well, regardless, I'll answer 'em as fast as I can. :)

Cheers!
-jason
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jschleifer

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Re: Jason Schleifer
« Reply #2 on: June 19, 2006, 08:03:05 AM »
Otay, it's monday morning!

I've got my coffee.. got my fingers ready on the keyboard.. ready to answer as many questions as possible! :)
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Rick May

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Re: Jason Schleifer
« Reply #3 on: June 19, 2006, 08:16:32 AM »
The forum is now open to everyone.

Pramod Shantharam

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Re: Jason Schleifer
« Reply #4 on: June 19, 2006, 08:29:11 AM »
Hey Jason. A big warm welcome to cg-char!!

How do you manage time!! Btw your work , your film , the forums and blog and your social life, how do you squeeze in the extra hours for animation. I'm curious.
Also - I do like rigging but i find it extremely hard to transition from rigging to animation. I mean, if i've been rigging a character for 2 weeks (especially if its a challenging rigg) it takes me a while to get back to my animation zone!!
Hiow do you deal with this at work or on your film, are you constantly hopping around btw different aspects of the production?
Thanks for your awesome contribution to the community.
Cheers
Modi.
 
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Pramod Shantharam (Modi)
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www.modianimation.com

Virgil Mihailescu

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Re: Jason Schleifer
« Reply #5 on: June 19, 2006, 09:11:54 AM »
Hi Jason
How much do you work to get a pose or an expression right and how do you deal with deformations, in the face most of all - the fact that the smooth rendered final result looks mighty different from the one you interact with in the viewport...?... (especially on a complex facial setup)
Virgil

jschleifer

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Re: Jason Schleifer
« Reply #6 on: June 19, 2006, 09:31:19 AM »
Heya Pramod!

Thanks for the welcome! :)

Q: How do you manage time!! Btw your work , your film , the forums and blog and your social life, how do you squeeze in the extra hours for animation. I'm curious.


Awesome question!  it's all about making sure you know what's important, and giving that priority, while still giving yourself a little time for each additional thing.  For me, normally I try and have family be the most important (even though it's easy to let that slide.. you gotta at least sit down for dinner with your partner) and remember that there is life outside of work.  Work can sometimes take precidence.. but only when the other people in your life are okay with it.  My wife is incredibly understanding, and knows that right now I've got a lot going on, so it's okay that I spend too many hours in front of the computer because the REASON I've got a lot going on is something we agreed on being important.

So in terms of time management, here's what I'm doing.. getting up early (6 or 7 am), working for an hour or two on my DVD/Masterclass/Website.  Chat for a little bit with my wife, and then head off to work about 9 am.  animate at PDI until about 7pm.  My wife will then show up at work with the dogs & we'll have a little run with them on the field.  Then, we'll go home and prepare dinner together (very important to have the together time!), watch the daily show, and then I'm back on the computer until about 1 or 2 am.

All of this is so that once the baby is here (woo!) I can focus more on family and less on the computer :)  But it's all about balance.. never give up your social and family life for more computer time.. always make them a priority, and then they'll help you when you need to make work a priority temporarily.

Also - I do like rigging but i find it extremely hard to transition from rigging to animation. I mean, if i've been rigging a character for 2 weeks (especially if its a challenging rigg) it takes me a while to get back to my animation zone!!
Hiow do you deal with this at work or on your film, are you constantly hopping around btw different aspects of the production?


It's really tough, and I've found that the older I get the tougher it is!  The thing that helps is actually taking a break between working on various things.  Literally get up, move around, read a chapter of a book, watch tv for a half hour, go for a walk, go work out, do something NOT animation/rigging/computer related to let your mind reset itself.  Then when you sit back down to do the other thing, let yourself get fully immersed in it. Don't be tempted to go back and work on the other thing.. just focus on the animation, or the rigging (depending no which direction you're switching).  Sometimes I'll do little animation exercises with Plastic Animation Paper (http://plasticanimationpaper.dk), just to get back in the habit of animating.

One good thing is that at work, I use a product called Emo which is PDI/Dreamwork's own internal animation package.  It's quite different from Maya, so when I open EMO I KNOW I'm in animation mode, and not rigging mode.  Heck, I wouldn't even know how to rig in EMO if you asked me to :)  When at home, I'm working in Maya.. so it's much easier to slip into rigging/workflow/pipeline mode.

Cheers! :)
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jschleifer

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Re: Jason Schleifer
« Reply #7 on: June 19, 2006, 09:42:28 AM »
Hey there Virgil!

Quote
How much do you work to get a pose or an expression right and how do you deal with deformations, in the face most of all - the fact that the smooth rendered final result looks mighty different from the one you interact with in the viewport...?... (especially on a complex facial setup)

It depends on the face & the expression I'm going for, but usually I'll try and sketch out an idea of the expression I want first, just using really simple forms.. what do the brows look like.. what shape are the eyes.. the mouth.. are the cheeks intersecting the bottom of the eye.. etc.  just going for really iconographic representation of the expression, so you can look at it and know what the expression is that I'm going for.

Then I'll pose the expression using a low resolution facial representation.. at PDI/Dreamworks we have multiple-levels of facial detail available to us, a low resolution that has no deformation, a fast version which is pretty representative of the final shape, and then a high one which is 99% of what we'll get from the renderer (w/out fur & displacement & stuff).  So I'll rough things in with the fast version, and then once I've got it close I'll check with the high resolution one.

It's important to always check the final render of your face as well, since lighting can DRAMATICALLY alter an expression.. simply changing the light can make the character look like they're angry or sad.. change the direction of their eyes.. etc.  it's amazing how a shadow can help or hinder an expression, and once fur is added.. all bets are off.

Once you get to know a character, you can start to guess what the face will look like once it's rendered & tweak your animation so it looks right once it is rendered.. but at first, it's a bit of a learning process. :)
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jschleifer

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Re: Jason Schleifer
« Reply #8 on: June 19, 2006, 09:45:58 AM »
hah!  I noticed that the smiley shapes I'm making are just turning into the word "smiley".

I don't just say "smiley" a lot.. I promise!   -_-
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Robin Salonen

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Re: Jason Schleifer
« Reply #9 on: June 19, 2006, 10:01:04 AM »
Shh-Greetings Schleifer!

Awesome to see you here on Ask the Pro! You been a great inspiration for me through the years, and the stuff you share with the community, such as scripts etc, is just awesome!!

Got a few que-shh-stions for you:

1. First of all, just wonder if you could share some shots you worked on for Over the Hedge? I have not seen it yet but when I do it'll be fun to see what were yours! Perhaps without spoiling too much :)

2. When you're working on a movie I assume you have several animators working on same characters in different shots. How do you maintain an overall look of a character when it's passed between different animators? I mean you need to be able to recognize it through the movie, you gotta keep it's movement within some limits so you don’t go off totally and i.e. changing his walk, don't you?
It's just one of those things I kept wondering, how you maintain the "character" of the, well..Ehh.. character through the movie when many people work on it.

3. After you are done animating on a project, what do you do then? Is it a month’s long vacation or is next project starting right away? I assume it's many projects juggling at once over at Dreamworks so I guess you can hop onto a new one pretty fast?

I'll be thinking of some more questions for later, I never seem to come up with the useful stuff to ask when I have the chance :)

Anyway shh-take care and I hope you find sometime through your busy schedule to answer our questions!

Best regards,

Robin
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