12/14/2023 0 Comments Toon animator![]() My amazing producer dropped my entire workstation to my flat! I have my work PC with dual monitors and a Wacom for when I do rigging or testing. I’m extremely excited for it to be aired next year. We are just starting production on MysteryQ’s very first animated TV show, aimed at 12 year olds. Also, it’s harder to tell if the information is sinking in when people have their cameras off - or if they’re even still there on the other end! I think people are less likely to ask questions over online training. Training has had to be done over video call with screen sharing, which isn’t ideal. ![]() Thankfully, it seems to be going pretty well! Our remote pipeline has really been a huge group effort between the amazing production team, leads and IT manager. I have had to create a pipeline to work remotely before getting the pipeline up and running in the studio. I started in this new role three weeks before lockdown started. Most recent production(s): TBA series (MysteryQ) It’s Pony (Harmony rigger, Blue Zoo Animation) Transformers: Rescue Bots Academy, Littlest Pet Shop and Dorothy and the Wizard of Oz (Harmony rigger, Boulder Media) Place of employment: MysteryQ, a new subsidiary of Blink Industries I’ve also become partial to the digital art workshops, so I’d like to continue that. I think having video meetings is more personable, especially since our work is visual - it’s just more efficient. We hope to incorporate more features into future productions, it’s really sparking new creative ideas.Īre there any new practices that you would like to carry over after the pandemic ends? I’m currently going over Storyboard Pro, while our compositors are learning more about Harmony’s nodes. We use Toon Boom’s suite for everything, but this time has actually given us a little space to really buckle down and learn other parts of the software. How has working with Storyboard Pro/Harmony helped you stay creative, productive and effective as an artist during this time? Seeing how other artists whom I admire work and seeing progress in my own abilities keeps me respecting the process. Recently, I’ve started joining virtual art workshops. What tips do you have for staying motivated and productive?įind other motivated individuals and do something new with them that drives creativity. I love watching documentaries and reading biographies on how someone stayed on their path to success. Another source I’ve always used for inspiration is the success of great individuals. Because we’re currently working on music videos, music has definitely become another source of creative energy. How are you staying creatively inspired at the moment? A foldable workout bench doubles as my office chair and desk. My home office is very basic, the majority of the space is filled with gym equipment. We are currently working on two music videos for another amazing artist, which will be out shortly, as well as developing a few in-house ideas. ![]() My makeshift gym room is now doubling as my home office - now I jumpstart my creative process by exercising if I start to drift. Living in Japan, we don’t have the luxury of space. How has working from home changed your creative and professional processes? Most recent production(s): Sound & Fury (Netflix Original Animation) We spoke to five animators and story artists around the world to see how they have adapted to working from home, what they are doing to stay motivated and inspired, and what they have learned and loved from the experience. Fortunately, with digital solutions like Storyboard Pro and Harmony, teams can still share projects and collaborate. The animation pipeline is the embodiment of the industry’s collaborative foundation and for those used to being in an in-studio team, shifting to working from home may not be so easy. While plenty of artists already had their own work stations, not all were prepared for the psychological challenges of staying creative and motivated in isolation. With the right hardware set up, a strong Wi-fi connection and digital tools, the transition from the studio to a home office can be seamless. With broadcasters and streaming platforms unable to create live-action content indefinitely, the demand for original animation is poised to continue growing. Prior to the current situation, many major animated features and series were co-produced with teams working remotely around the world - making the recent adjustment relatively smooth. One the perks of being an animator or story artist is it is possible to work from almost anywhere. ![]()
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