One of the most important things ever in any project is the ability to save time. Perfectionists need to save time, so they can improve their work. Directors need to have the project ahead of time to review the work again and again and handle any changes before the deadline. Big studios need to be ahead of schedule.

So, here comes the bummer. Who is the one with the responsibility to deliver an animation on time? Well. Bad news. You. Yes, you, the Animator. The fate of humanity rests on your shoulders, think of yourself of a Hero on a journey that needs a couple of tips to make the adventure more enjoyable and short.

I. HAVE A HIGH APM (Actions Per Minute)

To be faster at anything, you need to have a way to measure Actions Per Minute. There are two ways to copy and paste anything in the virtual world. Navigating to the EDIT Menu, and select COPY, then move your mouse again all the way to the EDIT menu, and then click on PASTE. Or! You can press and hold the CTRL key on your keyboard (CMD on Mac), and rapidly press “C” then “V”. Right? Using your keyboard can get a higher APM than navigating through menus.

Use Shortcuts! I’ve seen some professionals navigate through menus to get things done, it’s embarrassing. Believe it or not, just by using shortcuts, I’m 20% faster than other animators. So what? Well, when I do freelance projects, clients hire me because they know I deliver ahead of time, because, even though we do the same things sharing the same process, I do it faster (using shortcuts).

Customize Shortcuts. Some software like After Effects doesn’t allow you to customize your shortcuts, but if you can, DO IT! The best Keyboard Profile is the one that handles your most used shortcuts near your right hand. The less your right hand has to move from left to right on the keyboard, the better. That’s why you should try to have all the major functions close in your keyboard “mapping”. Examples could be: CTRL+F, CTRL+G, CTRL+TAB, CTRL+SHIFT+W, SHIFT+3, ALT+SHIFT+3, etc. They are all close together.

Consider using a Gaming Keyboard, Gaming Mouse or Gaming Keypad. The one I recommend the most is the Gaming Keypad (like Razer Orbweaver or Logitech G13) because when the software doesn’t support shortcut customization, you can customize your Keypad to have all the major functions next to each other, and better yet, instead of pressing 3 keys (like CTRL+SHFT+P), you only press one single key on your keypad.

Automate using Macros. You can do this if you have a Gaming Mouse, Gaming Keyboard or Gaming Keypad. A macro is a sequence of key presses that can be automated into a single press of a dedicated key on your keypad. For example. In after effects

II. OPTIMIZE YOUR ANIMATION PROCESS

Optimizing means to make the best use of the resources at your disposal for your project. So the best way to approach your animation process is by handling the 2 most important things in any project. Your Pipeline and your starting Keyframes

Optimized Pipeline. The folder structure of all your files is vital to handling the project with ease. Have folders separately for your sounds, music, pictures, video references, characters and project files (toon boom, after effects, etc.). In our studio, if we do a bit of motion graphics, we have them in a folder named AFTER EFFECTS, and the main project in a folder named TOON BOOM, then the edited animation on PREMIERE. So if any changes have to be made, we know what folder to look, and if we need an audio file, we know exactly where to find it. Every Animation school is teaching the importance of this, and is not just because it looks cleaner and more beautiful, but because it works.

Set Up Key Poses first, handle details later. Yes, yes, you want to impress your boss or your friends, with how expressive your characters can be. It’s better if you block (pose your character) the important keyframes first, the starting position, the middle of the action and the aftermath. And then add additional animation later on.

III. USE A GOOD RIG (Avoid unreliable ones)

Using a good quality rig is essential, having to modify keyframes and poses only means that the rig is not good and is making you waste time. A good rig allows you to be free and more creative, because you can make your character change it’s posing with ease, so your animation process is more dynamic. If you are unable to come up with a good rig, then outsource (have someone else do it for you) or use the rig only to get the key poses, then, forget about the rig and handle additional animation (like hands, tail, hair) manually.

Original video animation, or animated films and series made especially for release in home video formats, has become a burgeoning enterprise in the entertainment realm, particularly in Japan, where it originated. But OVA also holds promise here as a unique means to convey a corporate promotional message, especially when your audience is techno-savvy and entertainment-minded. Here are five ways animation can introduce or enhance a brand – or simply tell a story in a different way.

Introduce a world that supports your message – Yamaha created an animated video series called “The Master of Torque.” It features stories told in two to seven minutes that contain various characters who experience all manner of adventures, many of which include rides on Yamaha motorcycles. The good guys always seem to outrace the bad guys, subtly suggesting that the Yamaha motorcycle is special.

Present characters that the audience will associate with you – A common theme in animation is the hero or heroine. As with conventional comic-book-based animated films, there can be flaws or complex circumstances that have rendered an unconventional protagonist. But the protagonist is almost always compelling – to the point that at the end of an episode the viewer can’t wait to see what takes place in the next one. Speaking of…

Take advantage of the serial format – Animation is best employed when it is part of an ongoing series. Episode One introduces something that ties to Episode Two. Episode Two is wrought with adventures that create the need for resolution, which you find in Episode Three. And so on. If it is done well, original video animation creates a bond between the story’s characters (and its adventures) and the viewer. Engaging the audience is top priority with any type of communication, and OVA is an excellent way to appeal to the demographic noted in the first paragraph.

Make beautiful music together – By together, we mean the integration of the images in the video and music you choose to share with your audience. MTV introduced the music video back in the 1980s, and gradually, as the first song that ever played on the network predicted, “Video Killed the Radio Star.” Everyone wanted an image to go along with the song. Why? Because a song took on a whole new dynamic as a video, as it escaped the sound realm and ventured into sight, as well. Video animating can do the same thing, only in a “next generation” way. Here’s an example of a company creating compelling characters, enhancing their situation with music, and reinforcing just how cool this company is for doing all that, in just over three minutes, no less.

Enjoy the sizzle, but focus on the steak – Almost any technological bell or whistle will hold some appeal for a time, but unless it gives the audience a practical reason to respond or react to a brand, product, or service, it is doomed to be a near miss. You want hits. A well-focused original video animation can hit a home run.

One of the most notable things about whiteboard videos, is how much people enjoy watching them. They take viewers on a visual ride. The messages that whiteboard videos portray are often technical, but their story telling method simplifies the information, and makes them enjoyable to watch. Because people enjoy watching these videos, they do not think of them like ads, and often times do not realize they are being taught or sold too. Whiteboard animation videos are a great, modern marketing technique.

Utilizing new marketing techniques can make all the difference for a business of any size. Companies that begin using modern technology to spread the word about their products and services have been proven to increase revenue. Whiteboard animation was created through the Internet marketing evolution. These videos give businesses a unique opportunity to connect with customers in a way that can greatly increase revenue and sales.

Benefits of using whiteboard animation videos in a marketing plan:

Studies have shown that using a whiteboard video as a marketing tool is an effective way to reach out to customers and grab their attention. Whiteboard animations are interesting, they provide a better understanding of ideas that are complicated or complex, and they are able to bypass filters in the brain that are set up to stop advertising messages. These videos often are shared through email, and on social media platforms, which spreads their message further than you could ever imagine.

Traditional advertising methods often cause customers to be resistant to what businesses are trying to tell them. More advanced, innovative marketing methods are able to clearly deliver the message customers need to hear, and they are able to learn and understand what that business can do for them.

Did you know that products that have a video are 95% more likely to be bought than those without one? Many businesses advertise their services with a testimonial page, explaining why the customer needs their product or service. Truth is, people just do not have time to read through text-heavy marketing material. This is why video marketing exists. This marketing style simplifies ideas, and makes it easy for customers to quickly learn everything they need to. These videos are an engaging, entertaining way for businesses to connect with customers, and easily share with them the features of products and services.

Whether we’re looking at Shakespeare or SpongeBob, there are common character archetypes that appear in stories across time and cultures. Archetypes are characterized or classified by the role they serve or their purpose in a story. The classical archetypes of a good story include the protagonist and antagonist, the mentor, the sidekick, and the love interest. Let’s take a closer look at these five archetypes and how animation studios bring them to life.

The Protagonist

This protagonist is the main character in a story, show or movie. In many cases, this character turns out to be the hero. It is usually easy to identify the protagonist because the storyline revolves around them and their lives, problems and internal conflicts. Roughly, in Greek, the word protagonist translates to “player of the first part” or “chief actor.”

Why is a protagonist so important? They aren’t always the heroes; sometimes they are just the focal point in a show or even in an advertisement. A protagonist is typically on the “good side,” and follows a moral compass that many deem good. The protagonist is likely to change throughout a story and that action expresses the theme of a story an animation studio is trying to put out. A protagonist serves as a doorway into an emotional story or an emotional heart. They tend to draw a viewer or reader into the story. The best protagonists are characters that people can relate to. As a viewer, you may have shared hopes, fears or goals with a protagonist.

When we look to animation and some of the most well known protagonists we see characters like Buzz and Woody or Superman. Though heroes in our eyes, protagonists are far from perfect. They hold some type of flaw, whether it be internal or within their environment. The conflict they face then causes them to fight back or fall back from the big obstacle, and the way they choose to react to a situation is how we choose to interpret the character’s qualities.

The Antagonist

Classical forms of storytelling feature a main character known as the protagonist, which we discussed. This character will typically enter the story first. Then enters the antagonist. This character is typically depicted as the “bad guy” or the “villain.” Antagonists are without a doubt entertaining and bring a moral conflict to light, which as a result puts our hero at a fork in a moral road.

These characters serve to teach viewers wrong from right. These characters are an essential component to any story for many reasons. They are the primary opposition for a protagonist. They elicit the protagonist in the story to change their perception and try to live in a less flawed world, no matter who or what they must hurt to attain it.

When an antagonist or a villain in any story is personifying a central conflict, it brings a different element to a story that will benefit it. The pressure an antagonist puts on the protagonist eventually brings forth inner conflicts. These characters typically test their counterpart’s moral compass and commitment to being morally just.

The Sidekick

The role of a sidekick was once referred to as the “close companion.” This role dates back more than a century. Specifically, we have our first literary glimpse at a sidekick in The Epic of Gilgamesh, which features a protagonist-sidekick. The main character seeks not only friendship, but also advice from Enkidu. This character has defined many of the consistent and quality characteristics we seek in a great sidekick in regards to a production of a film, book or television series and more.

Gilgamesh was unarguably the main character. However, the epic reveals that the secondary character, Enkidu, played a smaller but still meaningful role in the story. When Enkidu is killed, Gilgamesh responds aggressively because he has grown close to his friend and confidant. The depth of the reaction Gilgamesh has not only adds depth to him as a character, but also lets the audience know how significant the bond was between the protagonist and sidekick.

Another common trope of the sidekick is to infuse the story with humor. This is especially true of animated characters. Where would Bugs Bunny be without Daffy Duck to set him off? Some may see Daffy as more of an antagonist, but he’s not really out to get Bugs. The two characters play off of each other and add lots of laughs along the way.

Other great sidekicks in time include Dr. Watson and Sancho Panza. These sidekicks perform different roles and functions in support of the main character they assist throughout a storyline. They serve a grander purpose than simply being a companion or assistant. They humanize the characteristics of a protagonist. They are also the character that moves the story.

The Mentor

The mentor is usually a great help for the protagonist in any story. They guard or protect them during a big quest or journey that involves both physically harmful obstacles as well as emotionally harmful obstacles. They can take many forms. Typically we imagine a grey-haired and aged man, but sometimes the mentor can take the most unsuspecting form.

These characters usually provide support and guide their “student” toward the right path. Mentors are known for having high morals and standards that can often challenge the student they are looking after. They always find a way to inspire them and push them to aspire for something good.

The Love Interest

This character might often be over-looked, but also plays a very important role in many stories. They are the person with whom the main character falls in love with. They serve, as a catalyst in the journey a protagonist must go through. Depending on the ultimate goal of the protagonist, the person who is their love interest can be of great assistance and motivation, much like a mentor can be.

So the next time you’re watching your favorite cartoons, pay close attention to more than the character design quality. Look into the roles you believe each character plays and their significant contribution to a story line. You’ll find it is hard to have a compelling story without these staple archetypes.

Since the 1990s, 3D animation has enjoyed an explosion in popularity. Nowadays, major motion pictures around the world use its techniques to create lifelike images that allow the viewer to feel as if they are part of the animated world being depicted on the screen. Despite the advantages and popularity of 3D animation, however, traditional animation in the form of 2D animation and elsewhere is still playing a central role in the world of animation. Since its advent in the early 1900s, it has provided a slew of benefits to animated projects. Following are just a few of the many advantages that 2D animation provides.

Efficiency

One benefit of 2D animation is the efficiency with which it can be produced. Animation by its very nature is never a simple process. As an art form, it requires a great deal of skill and creativity to produce objects, characters, and worlds that appeal to the target audiences and that accurately convey stories and messages. In addition, the numerous techniques and styles that have developed throughout the past century provide an array of tools from which the animator can choose.

However, while 2D animation demands as much skill as does 3D animation, it is generally faster to create simply because it does not require a third dimension. 2D animation companies do not need to create lifelike images the way that 3D animators do. Their cityscapes, for instance, do not need to consist of buildings with details that make them look like real buildings. This faster design can be beneficial to those who need a project completed in a timely manner.

Simplicity

A second benefit of 2D animation is the fact that its designs tend to be less complex than those provided by 3D animation. How beneficial a simpler design is depends upon the project. For instance, action films usually benefit from 3D animation because of the detailed action and complex images they use to draw the viewer in.

However, when the design needs to highlight the message, the services of a 2D animation studio are usually preferable. For instance, a clean design is often more effective in advertising, because it more clearly conveys the advertiser’s message to the viewer. Certain games, such as Candy Crush, also depend upon a simpler design to appeal to their audiences. Some television shows, such as South Park, have built their success on a 2D animated design. Even some educational applications or explainer videos require a design that will not distract the viewers from the message that the project is trying to convey.

Cost effectiveness

The efficiency and simplicity of 2D animation lead to greater cost effectiveness, another boon to people who want the benefits of animation but who cannot afford the sometime steep price tag that accompanies 3D animation. The fact that this type of animation takes less time and is less complex means that it can be accomplished with fewer resources, savings that often translate into a smaller price tag. In fact, many projects utilize 2D instead of 3D animation at least in part because it is more cost effective for tight budgets and small companies. Any provider of 2D animation should be able to work with your budget to create a project that meets not only your creative needs but also your financial constraints.

Artistic freedom

Each type of animation brings with it numerous creative possibilities. However, 3D animation must always appear lifelike and realistic, no matter what scene, objects, or people it is depicting. As a result, the fanciful and exaggerated generally do not translate well to the 3D screen, and styles such as anime are more difficult to create through the use of 3D tools.

2D animation, on the other hand, makes entirely new worlds possible. For instance, through traditional animation, the animator can create people, animated cartoons, and more that do not exist in real life. As a result, anyone needing an animated project can use 2D animation to more easily create images and worlds that would otherwise be very hard to film and/or create using 3D tools. This aspect of 2D animation also lends itself well to creating projects targeted to specific audiences. Not only can the animator use their imaginations to create characters and worlds that are not lifelike or realistic, but, by doing so, they can engage in character design and other practices that result in projects tailored to the sensibilities of specific audiences.

Because of the artistic freedom that 2D animation provides, this type of animation requires a high level of talent that makes the animator as skilled as anyone working on a 3D project. The animator must use their creativity and knowledge of the art form to develop characters and worlds that meet the needs of the project, instead of focusing simply on creating as lifelike images as possible. From concept design to character design to storyboards, they must utilize their expertise to create exactly the type of project being envisioned and the goals that are in place for the project.

Choosing 2D animation for your animated project does not mean that you are limiting your choices. Instead, its efficiency, simplicity, cost effectiveness, and the artistic freedom that allows the animator to bring your idea to life provide you with advantages that in many cases make it a better choice than 3D animation for successfully completing your animated project.

The definition of 3D animation is, “Animating objects that appear in a three-dimensional space. They can be rotated and moved like real objects. 3D animation is at the heart of games and virtual reality, but it may also be used in presentation graphics to add flair to the visuals.” How did 3D animation come to be?

William Fetter, an American computer graphics art director, is often attributed to being the founder and creator of 3D animation. In 1960, while working for Boeing Aircraft in Wichita Kansas, he coined the term “computer graphics” after creating the first computer model of the human body. This first 3D model is known as “The Boeing Man.” Fetter was the Supervisor of Advanced Design Graphics at Boeing Aircraft. He and his team explored new techniques, using computer graphics, to assist in the design of airplanes.

Being that 3D animation was founded on the grounds of an engineering company, it makes sense that much of the 3D videos that are created are for the engineering industry. 3D animation can show the inner workings of machine or what has not yet been built, the exact thing William Fetter and his team were working on when 3D animation was created.

Besides engineering, there are many other industries that use 3D animation visualizations. Such as, medical, architectural and retail. In the retail industry, many products are hard or confusing to describe, so companies use 3D modeling to explain the functions of the product. This can be extremely helpful for things that cannot be photographed. Such as, microscopic elements or multiple dimensions and angles.

Anything you can imagine, an animator can create. Other industries that commonly use 3D animation include mining, gaming and construction. Fluid simulations are one 3D animation technique that can be used in the previously mentioned industries and many more. 3D fluid simulations can show how the lubrication of a piston aircraft works, or blood flowing through veins or water flowing through the pipes of a building that hasn’t been built yet.

3D animation is a great way to bring to life a product or design that is still on the drawing board. It is also great to use for something that is difficult to explain verbally. 3D animation can make things visible that are normally invisible or hard to understand. Although there are a few industries who commonly use 3D animation, it is now used for much more. 3D animation can be used to describe or show the details of any product, service or function.

At the heart of successful animation lie 12 principles. One of these is exaggeration, which refers to the act of taking certain elements and stretching them beyond the realm of normal. All animation requires some sort of exaggeration, even animation that strives to be realistic, because it is exaggeration that makes animation come alive, appeal to audiences, and add comedic relief to otherwise intense scenes. Poorly executed exaggeration, however, can detract rather than add to the appeal and impact of an animated work. As a result, effective exaggeration requires careful work by the traditional animation studio. Following are a few tips for successfully using exaggeration in any animated production.

Exaggerate The Most Important Elements.

The first step in creating effective exaggeration is to choose which elements to exaggerate. The key when making this decision is to remember that exaggerated elements will get the most attention from viewers. Therefore, the element you choose will change the way the viewer understands the scene. As a result, you need to choose the elements that are most important for understanding the scene.

For instance, if you are animating a scene in which a character is sailing, you may decide that the waves’ movements are most important and exaggerate those. On the other hand, you may decide that the character’s reaction is most vital, and, therefore, focus on their facial features. In the first instance, the viewer learns about the environment in which the character is sailing, while in the latter, the viewer learns about the personality of the character. Making the right choice will allow you to create exaggeration that contributes to rather than detracts from your work.

Know What Your Goals Are.

Once you decide which elements to exaggerate, you will need to decide how much exaggeration to use. In order to make this decision, you must have a clear idea of what you hope to achieve with the exaggeration. Exaggeration can be used in a number of different ways. For instance, you can use it to add fluid motions that make the animation look more realistic. On the other hand, you can use it to create caricatured movements that add comedy, or that add personality and appeal.

Each of these goals, however, requires a slightly different use of exaggeration. Take, for instance, the sailor discussed above. If you desire a realistic look, you may choose to slightly exaggerate his facial expressions. However, if you wish to interject humor, you may use extreme exaggeration to give him comedic facial expressions. The right choice will be the one that best contributes to your overall goals for the scene.

Retain The Essence of The Exaggerated Elements.

As soon as you decide to exaggerate an element, you are no longer bound by the strict parameters of reality. However, in order for your exaggeration to retain its appeal, it must still have some connection to reality. If it does not, the object or character being exaggerated will become confusing to viewers, who will no longer be able to mesh what they see on the screen with the basic rules of reality to which they are accustomed.

For instance, say you choose to exaggerate the facial features of the character sailing on the boat. If you remove all identifying elements from the face in order to twist it into a complete caricature of fear or surprise, or delight, you will lose the essence of the character design. The viewer will no longer be able to identify or connect with them. As a result, when exaggerating any animated element, a good rule of thumb is to take what is already there as far as expressions, physical features, or emotions, and exaggerate those elements. By doing so, you increase the appeal of the scene for viewers instead of detracting from it.

Create Balance.

Even though viewers of animation expect to see exaggeration and fantasy, they also want to keep one foot in reality. As a result, another key to effective exaggeration is to create balance within the scene. You can do so by only selecting a few elements in each scene to exaggerate. The rest of the elements must remain more natural and realistic. Doing so will avoid an absurd or disturbing look that will leave viewers confused or dismayed with your work.

For instance, if you exaggerate your sailing character’s facial features, you should refrain from exaggerating their other physical features. If you choose to exaggerate the movement of the waves, you may need to refrain from exaggerating the character’s facial features too. With a balanced scene, you draw the viewer’s attention to the elements they need to see, and keep them grounded enough in reality to enjoy the exaggerated elements.

Keep Your Project Appealing.

Finally, when using exaggeration in your animated production, you will need to maintain appeal. Appeal is a fairly subjective, yet crucial, element to animation. It is what makes even a villain a character the viewers will enjoy watching. Making mistakes in the steps discussed above can result in a loss of appeal. For instance, if you use too much exaggeration, viewers will be less likely to enjoy the animated production.

As a result, the last question you must ask yourself is how the exaggeration contributes to the scene’s overall appeal. It may fit all the criteria above, yet detract from the overall entertainment value. On the other hand, you may find that pushing the boundaries a bit yields a bolder look and greater appeal. As a result, exaggeration, as with any element of animation, requires careful crafting in order to achieve the most powerful and appealing work of art possible.

Exaggeration is an effective way to bring your animation to life, whether you are doing video game animation, advertising animation, or a feature length film. By exaggerating the most important elements, knowing what you want to achieve, retaining the essence of the exaggerated elements, creating balance, and keeping your project appealing can help you to create truly effective exaggeration in your animated art.

Inside Out is a Disney-Pixar animated film which successfully uses graphics and humour to show what is going on inside someone’s head. This promises to be an entertaining way to teach emotional intelligence.

General scenario of Inside Out

Growing up can be a difficult time. This is true for 11-year-old Riley. Her father starts a new job on the West Coast and so she is uprooted from her life in Minnesota when the family moves to San Francisco.

Riley’s mind is portrayed by five small characters called Joy, Fear, Disgust, Sadness and Anger. These are personified in the film as human-like creatures who live in Headquarters. This is the headquarters of Riley’s head where executive decisions take place. She responds to events according to which little figure is taking charge.

The emotional characters in Inside Out

• Joy is a light-hearted optimist trying to ensure Riley is happy.
• Fear is awake to any hazards and is concerned to keep Riley safe.
• Disgust wants to show Riley what physically and socially poisons her.
• Sadness dwells on the unhappy side of things.
• Anger cares a lot about protesting when things are unfair.

As Riley’s emotions struggle to adjust to her new life, chaos ensues in Headquarters.

Portrayal of core memories in Inside Out

Riley’s past experiences are stacked as core memory balls in long-term storage. Each of these can be called on but sometimes they get dumped and lost. The memories are coloured and distorted if touched by one of the emotion characters. For example, an experience is remembered differently by being turned blue if touched by Sadness.

The view of Inside Out regarding the causes of behaviour

Inside Out suggests that the emotional figures can make Riley feel what they want according to which of them is in charge of the controls and which can touch a core memory. Children need to learn to recognise how emotions affect the way we all behave and learn to put names to them. In addition, there is the useful point that we can misremember the past according to our current feelings.

Riley is shown to be a victim of her emotions. She appears to have no choices. According to Inside Out, it is the specific situation one finds oneself in that determines one’s emotional response. What emotional attitude we adopt comes from experiences in life or rather the way these are remembered. In line with the story of Inside Out, core memories can be coloured by which emotion currently in charge touches them.

An alternative view to that conveyed by Inside Out

In my opinion the film omits the important dimension of personal choice. Perhaps this was necessary because of the simple nature of the plot. Is Riley to be thought of as a mere robot just responding to which emotion is the strongest at any one particular moment? A different view is that we ourselves are in charge of which emotion rules us. According to this standpoint, each person has volition (free-will). In other words, we can make personal choices which can go beyond what might be expected from experience and current adversity.

Did Riley have to snap back at her parents when they tried to talk to her after her unhappy day at the new school? Did anger have to be in charge?

Was there no other response available to her other than to abruptly end the phone call from the old friend? She had been told there is a new girl on her old team who played really well with Meg. Did social disgust have to rule her mind at that point?

Had she no choice other than to roll over and face the wall after Dad tries to cheer her up by acting goofy? Did sadness really make her do this?

Rational thoughts

Just as our core memories can be coloured by our emotions, so can our thoughts. I feel afraid so I am likely to think about dangers around me. However, it also works the other way around. My thoughts can affect my feelings. So if I reflect on my situation and think about it from a wider perspective, I may feel differently. For this reason, I believe our natural passions need not dominate us.

Riley is only a child, and her responses to what happened to her are perhaps only what we might expect from a child. As an adult she might look back and think that when her parents tried to talk with her perhaps she could have discussed the reasons for the house move instead of snapping at them thus ending the conversation.

When Meg spoke about a new friend, perhaps Riley could have thought about the new friends she might expect to make in her new school and talked with Meg about their keeping contact instead of rudely ending the call.

In addition, when her father tried to make up with her by acting goofy perhaps she might have thought about making the best of her new circumstances and get his help to do this instead of turning away from him.

Who is a Visual Effects Animator?

A visual effects animator is a professional that’s responsible for special effects in films. Now interestingly, they focus on the special effects that cannot be added during the live action shoot. For example, a lot of times, the green screen is used when shooting actors in the studio.

The actual, exciting background we see in the movie however is inserted later. Similarly, these professionals are also responsible for actually creating entire characters. As such all they use is computer software programs to create these entities and integrate them in the film. These characters can be so lively that they can also interact with live action characters.

Remember the dinosaurs and the Anaconda in those blockbuster movies? Well that’s what the visual effects animators can do! Thus the TV shows, commercials, films and other such projects actually become more realistic and exciting.

Background Education / Training

Though it may be safely said that you do not require a formal study to be a visual animator, they certainly train themselves hard and create a strong background in multimedia art and animation. Most of them actually work a other artists and work on their story telling and aesthetic skills for long before they actually realize their dream of being a visual effects animators.

It is usually recommended that professionals interested in this career study arts, fine arts, photography or similar art related fields. Some of them actually go for higher specializations in visual media and visual effects eventually. The ability and training to use computer software with speed is highly valued as a skill.

Work Environment

Most of these professionals spend a lot of time in an office using their computers and animation software. However, those that work with larger media agencies and film studios may actually travel to document, understand and watch the actual filming happen, for research and development.

Their hours are often long and they can be commonly seen working in tight deadlines, on weekends and nights. A lot of them are self-employed and freelance or consult.

The industries that conventionally used to employ them were motion pictures, film industry and video game companies, but of late media agencies, larger YouTube channels, companies that create content for schools, companies that create DIY projects for school and even digital marketing agencies employ them. A lot of content development companies employ animators to create ad videos or films for their clients.

Salary

If it wasn’t exciting enough to transport people to a fantasy / realistic world using art and technology, the salary is lucrative. While disregarding the top-notch in the industry who earn in millions, even the junior animators earn good amounts as they freelance and / or get employed full-time. The more credentials and portfolio you have, the better your earning potential is.

Vector Art is a technique, which means art created with vector-based programs. Vector art basically uses dots, lines, and curves. Vector programs take note of the relationship between these elements. This allows images created to vary their scale without losing quality or pixelating. In comparison, pixels lose quality when they are raised above 100% of their size.

Popular vector programs are Illustrator, Freehand, Corel Draw, and Flash. Almost everything created with these programs is considered as vector work. I say “almost” because there are exceptions to each rule. If your vector work combines vector images with raster images, I’m afraid that it is no longer a vectorial work (and consequently does not belong to the Vector Gallery).

For example: to finish your vectorial work, you think that your work is missing something, and you put it in Photoshop to give it a small texture, trying to complete it more. At that moment it is no longer a vector work, and you should upload it to “Digital art> Mixed Media”. In the same way, if you take the rasterized texture and put it in Illustrator by applying a layer style, nor would it be a vector work.

As this texture cannot be increased by over 100%, it makes your vector technically useless after raster images in original size. Do not even think that you cannot add textures to your vector work. Many of these programs come equipped with samples of detailed patterns, textured brushes, even with “Live Trace”, which as its name indicates, traces raster images and converts them into vector graphics.

Reiterating and ensuring there is no confusion, here is a list with programs generally considered as raster-based: Photoshop, Painter, MS Paint and a great free alternative, Gimp. Basically, everything created with this program is considered rasterized image. A few of these programs are able to create images with points, lines, and curves, just as a vector program would do.

The same Photoshop can make images based on vectors, however, they are usually considered “vexel” because vexel artists usually include brush strokes on their images (for hair, etc.).

Speaking of brushes. Just because you have downloaded and installed a set of brushes for Photoshop (or any other raster image program) that has the word “vector” in its title, it does NOT mean that your work is vectorial. These brushes come in various sizes, and no matter what resolution you apply them, they can never be increased above 100% of their size without losing quality.