Portfolio & current plan for future career

The direction of my career goals are 2D animation and storyboarding.

Over the past two years, I have been focusing on 2D animation during my studies at MACA courses. The process of creating movements and storytelling through hand-drawn frames fascinated me, and I dedicated myself to mastering this art form. In addition to searching for a job as an animator, I am also passionate about contributing to the pre-production stage of film and animation projects. I aspire to be involved in the early stages of project development, where I can help shape the narrative and visual style through storyboarding and concept design.

My primary objective is to secure an internship or a full-time position as a 2D animator. I aim to apply my skills and passion for 2D animation in a professional setting, contributing to creative projects while gaining valuable industry experience and expanding my network.

  • Target studios to send the showreel and portfolio:
  • Art&Graft
  • Golden Wolf
  • The Line

Self-Analysis & highlights in preparing my personal showreel

Self-analysis

I’ve been studying animation for six years, four years as an undergraduate, and two years in MACA, which seems like a really long time, but I still feel it’s too short. During these years my animation skills have grown a lot, and I have gained a lot in what I did. In the beginning, I was full of enthusiasm in creating new things and exploring different methods in animation, but now I feel that I get stuck. As I’m approaching the end of my MA now, I feel that I can’t be stuck in this situation anymore, so I decided to do a self-analysis to understand my strengths, weaknesses, and needs, and to make a clear plan for my professional future.

  • The skills I have:
  • animating characters realistically and softly (this one is also my problems, recently I’ve been stuck in this style which limits my animation skills.)
  • detailed character performance, exaggerated morphing
  • character and background design skills
  • good understanding in storyboarding with proficiency in multiple compositions and different perspectives of the camera.
  • variety of software: TVpaint, clip studio painting, toonboom harmony, Adobe Photoshop, Adobe After Effects
  • My weakness:
  • A relatively single production style (In the early days, I used to work in different styles…Sadly, now I get stuck)
  • time management, very slow production process
  • understanding of performance. I need to make the action into a performance, I should put more emotion into the character acting rather than just a variety of movements.
  • low skills in timing, the principle of animation, clean-up, and color matching

Highlights in preparing showreel for industry

  • put the best and the most memorable shot first!
  • explore different styles!!!
  • show different capabilities/skills in different shots
  • 20-25sec / 45sec, don’t try to include every exercise
  • not rely on sound, check it without music

what should I do next

  • update CV/ portfolio/ showreel
  • keep applying for the internship
  • update homepage and add project to the linke

Showreel , Applying for internships and information of studios/companies

https://vimeo.com/928365964?share=copy

As I’m about to graduate, the first problem I need to face is getting a job. At the same time, our tutors also shared a lot of internship information. So I updated my showreel, however, the final graduate project is still processing, so there are not many new works.

  • The list of my applications for the internship
  • Art & Graft (summer internship) —— no reply

Japanese 2D animation production process and division of labor

01

Author

The source of creativity that gave birth to animation

“Author” refers to the original work that will be animated and the author who created the work. However, even if it is the origin of the idea, if the story and plot are significantly changed with intention, it will sometimes be called “original project” on the staff list. In recent years, with the popularity of cross-media animation, content from various media such as comics, games, novels, etc. are being animated as original works. The producer needs to interpret the original work in detail and learn the intention of the work through communication with the original author. The original producer needs to participate in the meeting and confirm whether there will be any discord in the image of the work by checking the animation settings, scripts, storyboards, etc. In order to create a synergistic effect between the original work and the animation, close communication between the original author and the producer is indispensable.

The differences in the industry running model between Japanese and American animation

I really like the styles of Japanese animation and American animation, but they are totally different.

In unit 2, my drawing style is more like Japanese animation, but it is not what I originally imagined. I want to find a style between Japanese animation and American animation, which has both Japanese animation(anime) high-quality realistic painting and American animation smooth acting and exaggerated performance. I also want to understand the differences in industry running models between these two styles, and the possibility of combining them together. So I did research on the combination of Japanese and American animation and the differences in working models within the industry.

There are essential differences in the audio-visual language and narrative between Japan’s commercial animation series and American animation.

On March 29, Adult Swim in the United States released a 5-minute short film “Samurai & Shogun” from “Rick and Morty”, which attracted much attention with its unique style.

Different from the previous “Rick and Morty” short films, this “Samurai and the Shogun” is set the times in Japan’s Shogunate time. Rick became a samurai named “Rick WTM72”, and Morty became a young general on the run. To protect Morty, Rick fought fiercely with a group of ninjas.

Adult Swim has found the Japanese animation team Studio DEEN (representative works of “Rurouni Kenshin”, “Showa Genroku Rakugo “, “The Virgin”, etc.) to cooperate. The director/screenwriter is the new director Huaichi Sato who has made a name for himself at overseas film festivals, and the storyboard is handled by the experienced veteran director Hiroshi Watanabe (his representative work “Arrest Warrant”). Even the dubbing was done by the Japanese version of “Rick and Morty”.

Outsourcing project

As early as the 1960s, Japanese animators were already participating in the production of American animation.

In 1966, a TV animated series called “The King Kong Show” was broadcast on American television. This series is adapted from the famous American movie “King Kong”. Each episode is broadcast for 30 minutes. In addition to King Kong-related plots, it includes an additional series called “Tom of T.H.U.M.B.” (Tom of T.H.U.M.B.).

What few people know is that the producer of this American TV animated series is the American Rankin/Bass company. The script was also provided by the United States, but the actual production was all completed by Toei Animation in Japan. Participants included a large number of Japanese original painting masters including the “God of Japanese Animation” Mori Yasuji. This is also the first time that Japan has outsourced 2d animation series from the United States, which has ushered in Japan’s era as a major animation outsourcing country.

With the popularity of television in the 1960s, many people in the animation industry turned to television animation, and some emerging companies also took advantage of opportunities to enter this field.

year2 collaborative project

year2: chongwen men. project: no one but you.

-What where the roles you were given?
 rough animation, make sweet and juicy pose for two character.

-Did you complete the roles and what feedback did you receive?
 I was unfortunately infected with the Covid during the week of cooperation, and I only helped the second year with a small part of the shot.
 feedback: Acting performance needs to be smoother and more natural

-How did you perform during this project?
 I'm so sorry I got sick the whole time, but I tried my best to do a small shot.

-What could you have improved on?
 I need to improve my acting performance, I always only pay attention to the action, but ignore the meaning of it, the performance I create always are difficult for people to understand, I am also have this problem in normal exercise, I will improve this in the future and try to make more natural acting performance in animation .


my work part:
rough pose1
rough pose2
rough pose3
rough animation

Conclusion

My feelings and something I have learnt from this experience:
I'm so sorry I was unfortunately infected with the Covid during the week of cooperation, and I only helped the second grade with a small part of the shot.
In the process of cooperation, I found that this is actually very different from our usual practice. We need to communicate more with our year2 to complete the work. After I tried to understand the synsis and drew a short rough animtion that I thought was fine, but it didn't satisfied the second grade. Our ideas diverged, so I realized that communication is very important in teamwork, which can avoid a lot of unnecessary duplication of work. Even so, there may still be situations where we disagree with the visual representation of a shot.

lipsync recorded

original video
The reference video I chose came from a variety show, two artists were imitating the conversation between mother and daughter. It is a mother-daughter battle(fight) in daily life.
(Translation: m:It's because you don't even know how to say good things to the elders...
d:I'm not going to eat! m:Why aren't you eating!?(angry))
This is an interesting mother-daughter quarrel dialogue. I chose the character of the Lady Tremaine in Cinderella to play the mother. I think it will be very interesting to use a Disney character to interpret a story in another cultural background, meanwhile the two mothers have completely different personalities, which also brings a contrasting effect to this performance.
I created a scene where a mother is having a conversation with her daughter while making kimchi.
 I try to draw the movement of the face first.Because the speech speed of this audio is very fast, I try to keep up with the speed to draw the mouth shape, and the body movement only has a rough sketch, which also makes me not as organized as the last lip sync work when I continue this work. 
And Christina gave me the feedback said the movement feels very static in terms of position. 

animal lipsync

thumbnail
rough key(Determine the approximate action with mouth)
After determining the thumbnail, I import the thumbnail into tvp and adjusted the timing to determine the approximate movement.In this step, I add the general movement of the mouth according to the timing.
key and breakdown(without mouth)
The next step is further work on keyframe.I find it difficult here, because I choose animal to do the lipsync exercise,and I don't know what to do when I start to progressing the keyframes.
After asking Christina for advice, I roughly understand the steps of painting, first draw the movement of the animal's head, and use the nose as a reference point to ensure that there is no excessive deformation. Then add the movement of the mouth.
About the movement of animal mouths, I have watched a lot of video materials including real images and animations.

First is to understand the structure of the canine mouth.
Second is to observe the opening and closing movement of the mouth.
Through the information I collected, I learned that the hunting method determines that it takes a long time for the dog's nose to bite the prey continuously, and the bite force is related to the size of the skull and the degree of opening and closing of the mouth, so the dog's nose is very prominent, but the size of the occlusal angle is not as large as that of cats.
Although I did not draw the structure of the teeth and mouth in detail and accurately in the animation, I have a rough idea of ​​where they are and how they are laid out.
reference: dog’s skull structure, different perspectives of real Dobermans, animation (101 dalmatians, Beastars, lady and tramp)
improve with the mouth shape
I further added the movement of the mouth and uploaded it on padlet for feedback from Christina. The advice Christina gave me was the mouth shape feels off is at the end of the first word "hi", I need held for a while the "e" mouth shape needs inbetweens.
I added two inbetweens to make the "e" mouth longer.

reading notes__The Anime Machine

This book is from Thomas Lamarre. I first knew about this book was when I read a blog about animation, and out of curiosity, I downloaded the digital version of the book and started reading and taking some reading notes.

In the prepage Thomas said This book presents a theory of animation that is unabashedly centered on Japanese animation, which are commonly particularized and grouped under the loose heading “anime” or even“Japanimation.”At the same time, this book is about “how to read anime.” In fact, it was the difficulties that he confronted trying to read anime that led him in the direction of animation theory.
conclusion of my understanding
"The Animation Machine" provides theoretical support for us to observe the diversity of animation from the moving images. It suggests that we can start from the way of image compositing to reinterpret the reason why animations have the same origin and different streams, and to observe whether the guidance of animation works on the potential of moving images is more like animation or like film.