Business of Animation

Pre-production, in filmmaking and animation, refers to the design process that begins with the initial concept or idea that becomes moulded into a pitch, beat boards, first treatment, final script, storyboarding, character design, set design, animatics etc- right the way through to the moment where ‘production’ begins, this being the actual animating or filming. In the pre-production pipe-line alone there are a vast number of factors to take into consideration, with an equally as large amount of specific job elements one can find themselves specialising in. This stage of the process is the most important, and acts as the backbone throughout to the very end of post-production. Without a script, there can be no story to animate and film, without a storyboard there can be no visual narrative, without any character designers there can be no characters. Specialising in any one of these aspects requires an over-all universal understanding of filmmaking and the language of film. A storyboard artist needs to understand how to frame scenes, and may often be dictated by the director, which all aids in the practicality of shooting on sets, and the restrictions that come from the set designing can dictate how the shot is framed- the list of cross pollination in each of these specialised areas is endless. Team-work is essential, even at this early stage.

http://indieauteur.com/2009/08/25/film-pipeline-overview-pt-1-preproduction/


Due to the nature of designing and producing films and animations, pre-production artists tend to remain relatively incognito as opposed to , for example, the directors and cinematographers who gain widespread recognition for their work. However, there are certain sought after designers who often find themselves circulating around the industry working on various projects. One of the latest stop motion animation films to come out, in itself a wonderful departure from the pure CGI trend, called The Fantastic Mr Fox. I found an interesting interview with the storyboarder who discussed his approach to designing the sequences in relation to the restrictions of stop motion animation.


http://drawn.ca/2009/11/09/an-interview-with-fantastic-mr-fox-storyboard-artist-christian-devita/


Its quite evident that the director’s preference in composing shots and art style was clearly the dominating factor in how Christian went about storyboarding the script. There were quite some detailed aspects to the interview that intrigued me too such as:



‘’It was complex to adapt to Wes’s style initially, as doing storyboards you’re always looking for interesting angles, nice positions to place the camera and cutting back and forth between characters to get a narrative going, so the first thing was to get accustomed to playing long shots in one camera position.
I think I adapted quickly to the style and I worked closely with Wes so I got first hand direction from him any time needed.’’



I love how his own style clashed with the director’s and he had to alter his mindset in order to accommodate, which would have been an amazing learning curve for him. This shows how important the relationship between a storyboard artist and a director must be in order to successfully realize the narrative visually.


‘’I was heavily involved in the animatic production. There was a small team working solely with Wes in Paris which included myself, 2-3 editors who cut all the storyboard panels together with sound and Jeremy Dawson, one of the producers and long time collaborator of Wes. I spent about a year working in different hotel rooms and apartments in Paris, taking direction from Wes and drawing like a demon so that the editors could take my drawings and work their magic. As I come from a traditional 2D background I drew the panels as I would a 2D animation, and had my notes for the editors regarding animation timing, but Wes was involved throughout timing the whole thing, from length of shots to timing of actions, and even sound. He was very hands on.’’


This offers a wonderful insight as to how Christian’s traditional background had its advantages and disadvantages during the pre-production process. On the one hand his knowledge of 2d drawing, and his teamworking with the editors meant that they could pool their ideas and experiences together to help make the animatic, however the downside to this could have been that his traditional style of drawing, and having to scan in could have been very time consuming, something that could have been avoided if, for example, he had been trained in photoshop and other digital drawing programs that could be manipulated instantly. Perhaps with the filmmaker’s desire to become more streamlined, that is where it may go, but then his traditional knowledge and background clearly proved invaluable on a stop motion production such as this. Another thing that intrigued me was to learn of his heavy involvement with the animatic, something that I assumed was logical but never actually found proof of it happening, until now!



Going backwards in time slightly, a prominent storyboard artist named David Russell was famed for his concept work on films such as Batman, Terminator 2 right up to modern day productions such as X-men Wolverine, and even the new Chronicles of Narnia film. In contrast to Christian’s adherence to the director’s vision, David speaks of how some storyboard artists become their own directors:

http://www.storyboardart.com/media.php

"Some directors know from the outset exactly how they want their film to look," says Russell. "For these "Some directors know from the outset exactly how they want their film to look," says Russell. "For these individuals, the storyboard artist simply realises on paper their ideas for shots. Others, however, set out only rough guidelines, and give the storyboard artist more creative freedom. The storyboard artist then must rise to the task of essentially directing on paper"iduals, the storyboard artist simply realises on paper their ideas for shots. Others, however, set out only rough guidelines, and give the storyboard artist more creative freedom. The storyboard artist then must rise to the task of essentially directing on paper"



This again enforces the idea of having to have a sound understanding of how the entire language of film works, because it would seem some storyboarders have the ability to direct the imagery for themselves, and push it even into the animatic stage, or they can be dictated and adhere to the director’s specific style who may have their own artistic flair. Either way, it would seem all illustrators in the film industry have to be adaptable and prepared for any kind of change in their work style.



There are constant changes and adaptations in the pipe-line, often caused by a new need in filmmaking that the current methods cannot cater for. One early example was during the making of attack of the clones. When the design team set about making the animatic for their battle sequence, they quickly realised that utilising CGI to loosely bulk out the entire flow was needed, rather than to animate using 2d as was often the norm.







CGI animatics have since become frequently used, alongside the still existing 2d method, to make these storyboards come to life, helping with managing sweeping shots and odd angles that couldn’t truly be communicated as effectively with drawings. This also adds an entirely new fluid way of editing too, something not normally taken into consideration at quite the same level so early on in the process.


During Pixar’s production process of making The Incredibles. This film dates back to 2000 in production and director Brad Bird found that his ability to communicate to his team became hampered due to his drawing edits over roughs but being unable to apply that digitally. A new software was specifically developed for this new method of the director communicating with his team which enabled him to digitally draw edits directly onto the works of his collegues so they could visually understand what he was trying to get across. Also an interesting quote from the above article describes how much of an improvement story reels went through:

http://www.adaptivepath.com/blog/2008/07/14/conversation-with-michael-b-johnson-of-pixar-part-1/

‘’The Incredibles really set a new bar for the effectiveness of story reels. I think that had to do with particular leadership in place on that film – director Brad Bird, head of story Mark Andrews and director of photography Andy Jimenez.’’


This clearly shows that the combined effort of the team, pooling their ideas together, is the key to how they succeed in progressing the art of fine tuning many of the elements of pre-production. Their story reels were edited and drawn to an impressively high standard, showcasing their enthusiasm to do the best job they can and also how collectively the mindset of creative people can produce bar-raising works.


http://digitalcontentproducer.com/dcc/revfeat/video_tool_time_pixar/


As the article describes, this new technology has now been employed by all the pixar team, and has been used subsequently in all of their productions to date. This is a clear example of how visual communication at the very heart of the pre-production aspect played such a pivotal role in their work-force that they actually catered for it by adapting their existing technology and methods.

“Brad's always giving a pen to someone and saying, ‘Well, draw it,’” says Johnson.

Another example in the development of pre-production is the hiring of talent that is OUTISDE of their normal industry, for example rather than roping in a specific storyboard artist, the Iron Man 2 production team decided to employ a well known animator and illustrator.


http://www.ugo.com/movies/genndy-tartakovsky-storyboarding-iron-man-2


This speaks volumes to me as to where the industry could very well be heading with such methods, pooling ideas from outside and unusual sources to lend their imagination and flare to proceedings. Iron Man 2’s actions scenes certainly gain a much needed boost and zing to the imagery and sequences, especially to the composition and framing. I would imagine the future of pre-production is essentially to be pushed into being as streamlined as possible, for economic reasons and also for creative satisfaction, knowing that ideas and concepts can be better realised, especially when its quite clear being able to communicate any theme and concept visually is the key to a successful piece of filmmaking. As camera angles become more ambitious, so too will the storyboard art have to evolve, most likely merging with the story reel/animatics using modern technology.


Over the course of the year I have taken part in several briefs, live and module ones, with the focus upon my pre-production knowledge, more often than not I have found myself as either the character designers or storyboard artist, often both and even on the rare occasion as the maker of the animatic. During the Rountrees group project my main emphasis became the character designer, whilst another took on the role of storyboarding. It was a very useful experience to be put outside my normal area of practice and actually have to work with someone else’s ideas and imaginations about composition and framing. The most rewarding parts were the times where he and I would sit down with our sketchbooks and compare ideas, discuss concepts and inspire each other in our own area. His suggestions for some of the camera angles and dynamics of the shots did actually have an influence on how I created the characters, and vice versa.


In another group project, a live brief this time, I once again became the character designer however I was given much more freedom with my group as they encouraged me to draft up the storyboard too. As we were designing it became increasingly apparent that I needed to talk to my entire group for every shot, in particular a moment where I had envisaged a wide panning shot revealing many signs and posters all across a street. I had to sit down with one of my group members who were in charge of creating the banners and the street layout and discuss what exactly would be shown and how much there would need to be done.


On the narrative brief this required me to work alone and to apply my skills in visually telling the story via the scene boards using body language, in this case I had much more freedom to act and decide at my own will and the story featured predominately the characters with next to no backgrounds, however I do wonder how the storyboard may have turned out had I been in a group. In particular the most satisfying aspect of that brief was turning the written word into images, knowing how to send the same message in a totally different medium. Drawing inspiration from outside sources was also key, such as cinematography and defining trademark camera work from certain directors- but rather than shoe horning them into the storyboard for the sake of an homage, I had to understand the intent behind the shot in order to place it in my own story logically so it ensured the narrative was being served.


For my own understanding of pre-production, and in particular the storyboarding aspect, I’ve realised that you need to understand how production and post-production works. Having that awareness of the entire pipe-line ensures you know exactly where you stand within that, and what it is you have to achieve. To storyboard you need to be a cinematographer, on some levels, and also an editor and mini director, however your work can only function with the guidance of the aforementioned creative minds, a blend of team work and your own self-suficiency then. A sound understanding of movement, lifedrawing, perspective and ‘energy’ in your images are also needed to compliment the script. These are the basic skills, however in light of the changing environment around pre-production, I would imagine learning to use such programs as photoshop, coral painter and illustrator are useful mediums to employ, all helping to streamline your abilities. The more streamlined the process goes, the more money is saved on the budget. So wherever technology can aid that, that is where artists and creative minds alike will find themselves having to adapt to. It could well be less people are used in the design teams, due to streamlined methods cutting out alot of the middle-men, and so each member would have more than one skill? Perhaps a storyboarder could also be a proficient editor- having a knowledge of both enhances your abilities in both section etc. For me, I think the best bet is to gain a broader understanding of the entire pipe-line, and to pick up skills that compliment each stage. That way, when I come to storyboard I have the foreknowledge of how this certain frame or scene is going to be shot, and my pre-emption and make some creative choices early on before certain bumps come and disrupt the flow of production. The wider your knowledge in a broader field, the better you can narrow your skill to compliment one small aspect.

Concepts

This diagram illustrates the development of CGI production in or around the making of a film/video output. The same pipeline applies to any form, be it full CG animation, or merely adding special effects to live action footage, e.g Avatar.

This process can also interlink with each other, and backtrack where needed. Each stage is connected by solid communication from each department, and they all rely on each other to ensure the production process runs smoothly.

Online Space business plan.

My idea would be to create an umbrella webspace that pulls in underground artists in both animation, gaming and filmmaking, utilising existing social networking sites and external websites dedicated to each medium, offering forums, review sections, a free space to post independent films, and a place for sponsers and mainstream representatives to turn to when roping in some of the ideology and methodology of 'underground' filmmaking.


Strategy;
In the current age of online communication and distribution of media amongst certain communities, this has offered an entire range of perks and bonuses to those wishing to find access into the wide industry that caters for it. Various ‘indie’ or underground productions have found fan bases and lives of their own via the online medium. There are downsides however, and prejudices to the underground filmmaking that mainstream features often

If an online space were to be created to cater for the needs of up and coming filmmakers, animators and games designers, then there are certain aspects that would need to be considered. For example this strategy would need to offer an extensive resource for up and coming artists to learn from, add to, and to eventually use and post their results. A library of useful links to various tutorial sites, leading practitioners, free independent videos and films to view and even sponsors to aid in the funding and promoting of said films.






I would imagine this would function as a social ‘hub’ for all filmmakers in all three aspects; games, animation and live action filmmaking, with this umbrella site pooling all the methodologies and minds of the practitioners involved. A questions and answer section, perhaps in the form of a blog could prove useful, with leading artists in the various fields lending their knowledge and support to this endeavour, sharing insider knowledge of the industry. Also a ‘review’ area would be pivotal for critiques and feedback from all fields of filmmaking, and would also generate talk about certain pieces of work. Socialising is also key for advertisement and recognition, and can be applied naturally via linking various networking websites such as Face book, MySpace, and leading forums in games and filmmaking. Allowing independent filmmakers to show case their works and generate visible support on forums is the fundamental backbone of this strategy, as the feedback from the community will generate the talk, and get the ball rolling which solves most of the other issues by its natural progression. Clear examples of external sources that could be pulled under this webspaces can be seen below.

Indi filmmaking forum http://www.indietalk.com/

Animation forum http://www.animationforum.net/forum/forumdisplay.php?f=7

Online freelance games forum http://board.flashkit.com/board/forumdisplay.php?forumid=5

Below are some existing social animation and filmmaking communities that can be found on networking sites, just browsing through the comments page, the video posts, the mixing of various talented people shows this is a firm yet aptly loose community which has a wealth of natural knowledge that people can glean from at their own pace.

http://www.facebook.com/pages/Independent-Film/104661818133

http://www.facebook.com/massanimation#!/massanimation?v=wall

http://www.filmmaking.net/

In reversal this umbrella webspace could act as a means of constructive criticism and analysis on the mainstream industry as a whole, acting as the voice of the raw filmmakers and their opinions on marketing and distribution. The latest developments and marketing strategies could also be discussed and attempted using this space as a means of experimenting, plus the results and feedback would be available for all to take notice of, especially the industry that would no doubt keep an eye on this space. Essentially this would become a platform of the underground community becoming autonomous, and its successes and failures acting as a litmus test in the eyes of mainstream pioneers. Both remain separate, which is essential, bonuses and pit-falls too, but at the same time both would relate to and inform the development of each other.

Having a free space to distribute your work, social feedback, and a wealth of resources from other like minded individuals would be the key elements in this online space, the umbrella link to many other sites as listed above. Would this be capable of being self sufficient? Or would it need monitoring? Forums alone would require administrators due to the inevitable heated topics, arguments, and the touchy subject matters that underground films are notorious for delving into. I think this structure would ensure recognition amongst their peers, whilst not sacrificing the one fundamental aspect that makes the indie world so much more imaginative, compelling, and visionary in light of Hollywood’s mainstream features.

Video Journal. Quick video I made recording myself talking about digital animation in two films, 'The age of stupid' and 'A scanner darkly' discussing how the animation in both complimented the narrative message in each, and why the varied techniques, particularly in Age of Stupid, really helped.

The top cat

As a natural progression from the fat cats it was a retty straight forward decision to make the 'boss' the fattest cat of them all, and in this case it was a simple matter of looking back at my comic book research into various characters that dominated crime via a business perspective.


This is a painting of one of the batman villains, the penguin, in the likeness of Alfred hitchcock. The sophisticated snobbery that can be seen here emulates alot of the perceptions of the current bankers in the media. What I also quite like is the iconic monocle which seems to represent the entire upper-class 'aura'.

Couldn't really have a post about a 'Top Cat' without having THE top cat himself. Plus he is also a good example of a less sinister rogue, and perhaps a lovable rogue in this case, though I don't quite think he would fit what we were after as the general message we are aiming to send is one without pity for the bankers, and more for those workers who have suffered.

Another example of the penguin, this time a more pantomime effect with the bright pinks alluding to a more playful and less sinister approach. If we went down the avenue of ridiculing the villains of our story then this is certainly a good referencing point.

Another prime example of the cruel and tight fisted business men is Mr. Burns from the Simpsons tv show, and his feeble manner is an interesting addition to the greedy stereotype. Here he appears weak in physical stature, old, and slouched with a heavy brow and relatively unhandsome features- all traits that enhance his personality and cruel nature, and despite all of this he still remains somewhat intimidating.

The classic example in the comic books of a cruel business man, the kinpin. He frequently pops up in a variety of stories in the marvel universe and appears as a legitimate business who's morality is questionable when being subtle, and when outright being villainous he is a character that you love to hate.

I quite like the oversized stature of him, in all his appearances, especially the image below. Even though it is an illogical size to be, it says everything about his 'presense' of character. This is something I will want to emulate when designing the main 'villain' of our story.

The Fat cats

Seeing as bankers were going to be the antagonists in our story I drew inspiration from the 'fat-cat' painting during my previous research, and started to look into the current media and whom they were targeting as the 'villains' in this current affiar.


Alot can be read into various photographs of the main bankers of the world, such as this one. The obvious attempt to appear friendly, the gesture of shaking hands, the proud and haughty look to the one, and the over-all confidence that bankers exude are the trademarks of their every appearance in the media, intentional or by manipulation of the media.

As with tabloids there are of course various artists who have parodied the apparent greedy nature of Bankers via various sattirical works. Below are some examples that gel with our ideas quite well, and offer the right sort of humour.

After mapping out the general story, which would feature an officer worker going against greedy bankers, I decided to take the idea of 'Fat cats' quite literally and started to explore the idea.

As can be seen, it is quite a popular idea and often employed in the media, and so because of our target audience being those who read the newspaper, scouring for any news about the economic climate, it would be best to give them what they are familiar with and change very little about this idea that has already been explores so well.

''Stresser!''

Martin and I sat down and discussed the main protagonist of our story, who would represent the downtrodden people, and their current state in the economic climate. In this case we wanted to go for your 'average' middle-class officer worker, possibly a family man- the sort of person who wold symbolise those effected by the credit crunch.

In my digging around for appropriate sources of inspiraton and reference I happened across this magazine advert insert, which is steeped in sattire. The symbolism of the noose around the Banker's neck as his tie is quite poinant and is precisely the sort of tone we wish to strike with our story.

Above and below are some examples of how the main protagonist may appear, I wanted to find images that really encaptulated this entire essense of being an officer-worker bogged down and under pressure due to financial issues.

One of my favourite pictures here of an office worker surrounded by 'fat-cats', perhaps alluding the greedy nature of bankers? That is certainly how I would interpret it, and I think this really nails the satirical nature of what we are after.

Jack kirby

When discussing amongst the group about the potential outcome of this project, we eventually came to an agreement about the style we would be aiming for. I was tasked with looking back at the old school comic book genre, in this case Jack Kirby in particular.

One of the things I particularly wanted to look into was his use of panel layouts, which would help me in my storyboarding and compositioning of certain frames. I also like his simple linework, mostly being dictated by the block inking as aside to a huge amount of detail mostly seen in current comics. For purposes of making an animation it is essential to consider the principles and opt for something that caters for economy of line and speed.

Here is a good example of using wide shots for crowds, and how the environment can be used to draw the eye inwards to the focul point of the image. Often an invisible arrow can be traced by the mind's eye, a trick often employed by comic book artists and storyboarders who wish to alert the viewer to something specific in the scene.

I particularly like this bottom image, the dynamic and energy of the framing is superb, especially for its time, and is something that perhaps I can emulate in my storyboarding.