Hi there Mike,

Thanks a lot for staying with us for a bit.

My questions would be:

1: Why and in which conditions animators use linear interpolation in a Final Shot?
   
2: Far too many times in various animated movies I have noticed that Body Language,Head Tilts,Expressions,even
    Poses...etc...are dramaticaly over used.....or who knows...reused....just like a stencil. If you know what I mean.
    Lately,the animation didn`t evoluate for a bit.Only got polished.
    Is that the Students are molded in that manner and they`re just happy they can emulate X or Z animator?
    I know the fight with the clishee is not easy,but is not imposible either.

Thanks a lot once again Mike and good luck.

   

   

Hey Cristinel

Using a linear interpolation for final shots would come in two areas that I can see.  One is that is that if the style of the show wanted that harder edge feel (which I don’t so much care for) or if they basically key frame just about every frame.  This is where I’ve seen success.  If the animator is keying every frame it does not matter if it is spline or linear because the end result from frame to frame is controlled.  This is a lot of work with my workflow so I don’t work that way.


I don’t see this as an issue with the medium more than it is with the animator.  The same held true back in the golden age where you had say 9 incredible animators at Disney and others who may have been good but not up to that same level.  Not cheating the audience and coming up with fresh new ways to show an action or pose is key.  I think many animators today go with their gut reaction and animate what first strikes them.  The need to thumbnail, act out and look at reference is something that is not always done.  Yet it’s through this labor intensive process to determine what the best action for the shot is what can separate some good animators from average ones.  I hope that addresses your question.

Thanks for the questions,
Mike

Hi Mike,

I have a couple more questions to throw at you.


Looking back at your carreer so far could you give a couple of things
that have helped or inspired you. Advice you were given, working with
other animators for example.


When animating do you ever get the " I can't do this shot"  feeling even with the large
amount of experience you have?


What do you feel your stop motion experience has given that has helped
you in the CG medium?


Thanks in advance


Also just like to say I went to a lecture at LEAF around 2001 in London you gave
about your work on dinosaur which I found very inspiring as I was just getting into
CG at the time.

Hi Darren

Sorry missed one of your questions… When animating do you ever get the " I can't do this shot"  feeling even with the large amount off experience you have?

You BET!!!  I think art is something that many people who do it, question their abilities.  Animation is a process where you put your work up time and time again for people to pull at, rip on and poke and prod to see if it and you will withstand the pressure.  I think as long as you have a deep confidence that you can and a willingness to hear constructive criticism to improve you art you will survive the tough times.  At least that’s how I get through the times I question my abilities.

Thanks,
Mike

Thanks for the great replys Mike.



darren

Hi Mike,
           You guys did a great job on "Meet the Robinsons". 

-   I'm still a student and almost finishing up my class ,reel and a solid Workflow, I'm kinda curious and a bit nervous of the transition from a regular stable deadend job to a sort of gypsy animator enjoyable job?
Any advice on this to keep Animating forever.   

-  What make's a person a Great Animator vs. an Okay One?

                       Appreciate your Time

Hi Herman,

I’m glad you like MTR.  There are always things to look back on with a shoulda’ coulda’ woulda’ attitude but by in large I’m very pleased with it. 

I understand you apprehension with the whole job thing.  It is a “Gypsy” life as you say.  Just as anything in life… there are no guarantees.  The one thing I do know is that if you are happy in what you do you’ve made the right choice.  If animating is what you love to do that go for it and trust that it will work out.  Things most likely will not unfold the way you want or plan, but that is a good thing.  I think those who stay open to opportunity and flow with things rather than fight to open a closed door find more success.  This is not to say don’t have goals or dreams.   If there is a place you want to work, shoot for that.  Just know that it may take time and a different path to get there. 

As far as animating forever… love what you do and never settle.  Constantly push yourself artistically and professionally and I believe this pays off for people in the long run.

A Great animator vs. an Okay one.  That is a tough one because there are so many aspects to that.  One important factor I believe in that I was just talking to an animator yesterday about is exploring your shot/character.  We are artists and as such we are visual people.  We see how something may be animated before we do it.  Yet don’t just gravitate toward that first initial idea.  Explore different ideas.  Understand the character fully and where he is coming from and going to.  You may very well go back to your first idea but by exploring a full range of ideas you open yourself up creatively to find inventive ways to see shots.  “Don’t cheat the audience” by tossing out your first idea to them.  I’ll give you an example of a shot from the Incredibles that I love.  This can be considered a throw away shot yet the animator really made the shot stand out to me.  The shot is once Mr. I. has landed on the island for the first time and he is running around trying to find the robot.  There is a single low angle shot looking up toward a ridge of Mr. I. running screen left to screen right.  Simple right?  This could have easily been cranked out with a run cycle and been a “fine” shot.  What made it a great shot for me was how he leaned back for a moment to take a deep breath as he ran.  This told so much more of a story that a character going from point A to point B.  This told us that he was slightly out of shape even though he was a super hero.  We all could suddenly relate more to the character for this.  To me this was a throw away shot that was made great.  Without exploring the shot I’m sure that the animator could have easily phoned this shot it.

Best of luck on your journey in animation!
 
Mike

Thanks Mike!

I'd like to sneak a couple more in

What are your top 5 things you'd like to know about your character, to allow the acting choices to be  congruent in the way he/she/it presents itself or holds itself, before you start planning?

What would be the best prank you've seen pulled over in any of the studios you've worked at?

If you found yourself coming back from dailies with a shot that didn't show well- How or what steps would you take to approach the shot to bring out the richness in the scene, once back at your desk?

Do you know where my keys are?

Given the chance, who would you like to interview and what 3 questions would you ask them?

Thanks so much for coming here and taking the time out- I've really enjoyed it!

Steve

Hi Stephen,

Welcome back.  As to your first question, I don’t think I can cull it down to 5 things.  Basically I’ll draft out an outline of the character in question.  What was his story?  What he eats? Habits?  Anything and everything I can think of to paint a picture of the character.  Most of this will never been seen by the audience.  Ed Hook wrote a great book “Acting for Animators”.  He goes into detail about his analysis as well.  Basically you want to know the whole picture of the character so when the character is in a situation you’ll know him well enough that you can make a judgment call as to what the character may do or how he’d react.


What would be the best prank you've seen pulled over in any of the studios you've worked at?

The parking garage on Nightmare was right next to the shop.  Every Friday night we’d have a happy hour(s) and much beer would be “enjoyed”.  Well one particular night a few of the guys had lifted a car of one guy how had left early, onto one of the shop tables.  Picture a Honda civic on a huge table 3 feet off the ground.  Well when this person came in on the Saturday to pick up his car he was a bit out of sorts when he saw his car on the table with no way of getting it down.  I’d rank that as a pretty good gag I can remember.


If you found yourself coming back from dailies with a shot that didn't show well- How or what steps would you take to approach the shot to bring out the richness in the scene, once back at your desk?

After drinking heavily… just kidding… in a word I’d “collaborate”.  This is such a wonderful medium that has a thousand different ways to do or see things.  By asking opinions of others I may grab onto an idea or notion that someone says which may be the missing link or at the very least spark an idea that helps me think about it differently.  That and take to heart whatever the supervisor and or director may have offered up.

Do you know where my keys are?

In the Honda’s glove box parked in the shop.


Given the chance, who would you like to interview and what 3 questions would you ask them?

Walt Disney
Charlie Chaplin
Jesus

Not in that particular order.

For Walt and Charlie I’d ask how they would define success?  What were they most proud of?  What inspires them?

For Jesus- To many questions to list.



Thanks for the great questions and I’m happy to have been part of this forum.


Mike