#3D Studio Employment
24 messages in this thread
Dear Chris,
To make yourself employable, important things to know all about are
storyboarding, scheduling, and client relations. I know artists who are very
talented but don't get as much work as they could because they can't plan a
job, or even can't stick to a schedule. The ability to be organized and do
your job in a timely manner is VERY important to employers.
Second most important would be the ability to talk to customers. You'll do
this all throughout a job — ask the customer if they wanted a blue or purple
background, for example. Also, if the customer has made what you consider to
be a horrible artistic decision, it is up to you to gently talk him out of it
without offending him — you don't want your name on something ugly! These
seemingly insignificant skills will make you a hero on your job.
If you're at least aware of the importance of these things, you should be able
to impress your employer in the interview by mentioning that you consider these
things part of your job. Even if you won't do actual storyboarding, for
example, it's your responsibility to make sure that any storyboard you have to
animate is workable and can be done in the time frame you've been allotted.
Nobody likes an animator who can only animate 🙂
Michele
Michele,
Did you ever come thru DC?
Ang
Yes, but we were in DC for just 1-1/2 days, and I was with a non-3DSer, and it
_was_ my vacation after all, so no chance of stopping in, really.
Someday I'll do the "3DS US Tour" and visit all you people with names but no
faces… <g>
Michele
Michelle,
>> names but no faces… <g> <<
Now there's a good name for a rock band! … "Names Without Faces"
Ang
Michele,
Thanks for the advice. I noticed that Inside 3D Studio had some info of
planning and storyboarding while I was leafing through it at the bookstore. I
will probably purchase it when I am done with 3D Studio Applied. Do you know
of any good books on storyboarding? I may check with the local Art Academy for
any classes they may offer related to storyboarding.
Chris
The best way to learn how to storyboard is to actually do it. If you take a
class in it I doubt you'll learn more than what's in Greg's book. Just do a
few for some animation projects of your own and you'll get a feel for what
storyboarding is for, and the part they play in good planning.
Storyboarding is probably the easiest part of an animation project, and a very
necessary part, but for some reason some artists absolutely hate doing it.
They either refuse to do it or do a lousy job of it because they hate it so
much. What I was saying is, if you tell a potential employer, "I know how to
storyboard and I enjoy it" or at least that you're willing to do it, this will
be a point in your favor.
Michele
Michele,
Thanks for the advice on storyboarding.
I was browsing at the bookstore today and ran across your AutoCad 3D Design and
Presentation. I'll probably get a copy after I work through 3D Studio Applied
and Inside 3D Studio. I am pretty familiar with Autocad. I have about 8 months
of classroom training in Autocad from the local Autodesk Training Center. I
have also used it in most of my other classes. I even own release 12.
Chris
Dear Chris,
In all fairness I must remind you that AutoCAD 3D Design and Presentation was
written four years ago. The AutoCAD 3D modeling info is still current, from
what I gather. But the book was written when 3DS was still in R1, and Animator
Pro was still Animator at 320×200.
A lot of the info, like on storyboarding, how to prepare a presentation, etc.
is always valid. I just wanted to make sure you knew that technically, the
book is out of date.
Michele <always wanting happy readers>
Michele,
<<I just wanted to make sure you knew that technically, the book is out of
date.>>
Thanks for letting me know.
Chris
I think one of the reasons animators (some) hate storyboarding is because it is
the time when you make a lot of really difficult decisions – carving something
real out of a bunch of floating neurotransmitters and whatnot. Screenwriters
often complain about doing treatments – I think it's the same syndrome <g>.
John Tissavary (LUNA cie, inc)
>> I think one of the reasons animators (some) hate storyboarding is because it
is the time when you make a lot of really difficutl decisions… <<
That and the fact that to do it right requires a lot of time and effort. On the
other hand, its one of the most important tools an animator has for defining
the scope and magnitude of a project; the commitment to the task by both
parties. If done right it will save you from countless after thoughts which can
absolutely devistate your budget, as well as provide a framework to negotiate
the bid and any further changes the client might make.
Definitely well worth the effort. But as you know, you don't always have the
option to spend as much time on or get as detailed a storyboard as you might
wish. I'd hope that most animators do spend the effort as it the best way I
know of to safeguard the integrity of a project and its good for the image of
our profession.
John
Hi John – haven't typed <g> with you in a little while. I get lazy with story
boards often, but I at least do some stick figure type drawings on a napkin
before I get going, then I jump around the room pretending to be the objects in
my scene <g>. It can be a scary sight. I've also got someone who does great
storyboards really fast if I need good looking ones for a client or other
animators working with me. Indispensable, IMHO, unless it's the simplest of
animations.
John Tissavary (LUNA cie, inc)
Hey John,
>> haven't type <g> with you in a little while. <<
Yeah it has been awhile. I can't believe were this summer has gone!
You've got the same secret I do; working with an illustrator that doesn't mind
doing storyboards. <g> It really helps, especially at the preliminary stages of
a project. I am can speak with the client while the illustrator is sketching
out the concept, which can then be discussed as we're going along. Later, the
storyboard can be refined and resubmitted for approval.
The difficult part has been finding an illustrator that can draws in true
perspective and scale. I've been suprised by how illustrations can look correct
but when modeled in 3D are totally out of wack. This may have to do with camera
limitations in 3D but I suspect its got more to do with how many illustrators
draw for balance and content as opposed to real scale and true perspective.
BTW I like the picture you paint of your creative process. I wonder how you
would act out a floating island hovering over a vortex. I hope you don't go
jumping off any tables. <G>
John
I do get quite acrobatic when "acting" out my scenes, but I do it mostly for
timing. I find getting physical really helps my sense of timing and I can
track down keyframes easier.
Floating islands would probably require a trip to the beach with an inner tube
<g>.
John Tissavary (LUNA cie, inc)
How about the bathtub with a rubber duckie <g>
ME
Bathtub would be great for the duckie, but mine's too small for me =-(
John Tissavary (LUNA cie, inc)
<carving something real out of a bunch of floating neurotransmitters and
whatnot>
PMJI, John – This was pretty funny – when I read your comment I first thought
you were doing the exactly same animations as I am! Which is, literally,
making animations OF of a bunch of floating neurotransmitters and other
(molecular) whatnots …
Gayle G de N, SAVANTES
Geez, I've been a big fan of neurotransmitters ever since my hallucinogenic
days… <g>. Nowadays I get my neuro fix from staring at SVGA screens and
moving polygons and splines around <g>. I'd love to see the animation.
John Tissavary (LUNA cie, inc)
Well, if we get our MAX, and it's as wonderful as you say, maybe I can persuade
my partner to send you something on tape. Actually, I'm starting to feel the
same way about flying molecules as some people feel about flying logos … I've
just started working on the "drug intake" scenes, which have been alot more
fun!
Gayle G de N
Drug intake scenes, huh? <g>. That'll probably be the closest I'll get to drug
intake for quite some time (hopefully <g>).
John Tissavary (LUNA cie, inc)
Hi Christopher,
I'm responisble for that introduction to storyboarding in "Inside 3D Studio".
I have yet to come across a book soley dedicated to the techniques of
storyboarding although most good books on design and presentation techniques
will make reference to it.
Some books that I've found interesting are:
"Animation From Script to Screen" by Shamus Culhane
"Creating Multimedia Presentations" by Douglas Wolfgram
"Experiences in Visual Thinking" by Robert McKim
All of these books have useful information about the development of creative
concepts and how to document them graphically. I'm also still trying to get
my hands on "Disney Animation – The Illusion of Life".
Hope you find this helpful.
Steven
Steven,
I appreciate the recommendations on the books. I was browsing at the bookstore
today and was overwhelmed by all the books on animation. It is difficult to
know which ones would be the most helpful.
My current plan is to finish the reference manual, maybe repeat the tutorials,
tackle 3D Studio Applied and then work through Inside 3D Studio. At that point,
if I still have any hair left and can still stand to look at my monitor, I'll
probably do some practice projects on my own. Then I will move on to something
like Autocad 3D Design and Presentation and/or some of the Tips & Tricks series
books. By next summer, I hope to have good understanding of 3D Studio.
I also plan on monitoring the Asoft forum as well.
Thanks
Chris
Steven,
Since you showed an interest in books, <g>, you ought to "Media Magic" a call
at 800-882-8284 and request their catalog, "Computers in Science and Art". It's
131 pages of books, videos, etc., on nothing but computer graphics, visual
reality, multimedia, etc. Some truly *amazing* things. Tell them my friend
Kathy Warner mentioned it. (Thru me and CIS.)
John
Chris:
I'm down in Lexington, and new to the market as well. I graduated last may,
and now work with a Lex. Video production/Post house as their graphics person.
(kindof a full time contract work thing.) My education was mainly in video
production, and found it to be invaluable in getting together a good
storyboard, and to learn about lighting, pacing, composition, etc. You may
want to consider some classes in video as well. From my experience, art
classes don't have storyboarding classes, unless you go to some sort of
animation specific class. Just an idea.
You're definately going the right way. 3D is a booming field in a slow
economy.
JNJ
BTW- I have Inside 3DS, and think it's a good value- once you're ready. There
are some other books available as well. There may be a list in the files
section.