Some Advice For A Professional Animator

Some Advice For A Professional Animator

The animation is one of the most exciting professions in the world of design, but also one that requires more effort and dedication.

The animation is becoming one of the fastest-growing sectors in recent years worldwide, and especially where we are gradually getting lay the groundwork for what I hope we can be termed as a serious and stable industry in of not long. At the moment, we continue to learn and meet increasingly important objectives, which has allowed many large animated feature films to be on view for the next few years. If you want to dedicate yourself to this and be part of one of those projects, here are some tips that you should take into account.

The job of an animator is certainly complicated. We work with something as abstract as movement, and we have to master concepts like space, time, trajectories, poses. They are not exactly something tangible that is easy to work with. Assimilate the bases to solve a performance is not exactly trivial. You have to have infinite patience and an open mind to be willing to learn new things throughout your life. So make sure you fit this profile so that you don’t feel frustrated once you decide you want to be an entertainer because you’re never going to stop training.

When times tighten, no one will tell you the virtues, and they will only make you see the defects. Nothing happens, it happens like this with any artistic work, and you only want to get to achieve a specific goal in the best possible way. But if you are one of those who can’t stand a bad review, you’d better think about dedicating yourself to something else.

One of the main mistakes in the first months that you dedicate yourself to the animation is that, when they ask you to make a change in your plane, you try to execute exactly what they have asked you without thinking about why they have asked you. If they tell you to add a link to a part of the performance, don’t just do it. Understand if the blink has been asked to anticipate a change in gaze, to indicate that the character is sleepy, that something has gotten into his eye, or simply that he has not blinked for too long and wants to make it look natural. That is, stick with the narrative and artistic sense of the feedback, not the technical sense.

Look in your colleagues for an objective point of view that helps you both to find errors and to seek new approaches that had not occurred to you.

When you present them, they will mark you a stricter path that, now, you will have to respect as much as possible. Remember that recording yourself dozens of times doing different performances (or looking for references in other films) is a very agile process. Animating the characters is not, so you have to minimize errors and make sure that what you are doing is what they have asked you.

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