3D Animation Courses

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2D VERSUS 3D ANIMATION  As a Placement Head of an Institute of Animation and Art, it is difficult to ignore the whimsical variations and its crests cres ts and trough troughs s of spec specializa ialization tion specific industry requirements requirements,, at diffe different rent points in time. It’s gradual meander from varying timelines acts as a guide to where the industry is at present and allows feeble speculations of where its future is headed. he e!istence and the rise of "isual #ffects in its gargantuan form was a predictable ascension because of the undeniable need for post$production in a cinema germinated soil, such as ours, not to mention the beauty of outsourcing, which has Hollywood giants ma%ing their ne!t bloc%buster at our  doorsteps. &hat scratched my head was the studio call for '( Animation artists, rearing its head from rarity to more often and then to frequently and more frequently. (espite priding ourselves as an institute who taught the lost and forgotten art of )lassical '( Animation to its students to ingrain and inculcate aestheticism, I was frazzled by the minimal or non$e!istence of the specialization amongst our students. &hat de$motivated students from '( Animation, when every studio aspires to recruit such artists* his dilemma of mine of '( versus +( Animation and which one is more in demand and rewarded inspired me to write this. ne Animator quoted his mentor once, -Animation is not about drawing, boy $ it is about the math and the counting. /o he stopped being so precise 01.  A lot of s%illed people in the field repeated the same quote including 2len 3eane 4American animator, author and illustrator, best %nown for his character animation at &alt (isney Animation Animation /tudios for feature films including he 5ittle 6ermaid, Aladdin, 7eauty and the 7east, arzan, and angled. 3eane received the 899' Annie Award for  character animation, the '::; &insor 6c)ay Award for lifetime contribution to the field of animation and in ':8+ was named a (isney 5egend1, who once said, -I %now I can draw nice pictures but what I need in animating is action and movement... 5ater if I need to, I clean up some of the %eys. )onsidering the value of +(, it is true that the medium has tons of advantages. #ven for a newbie, +( tools are made to help the animator doing his acting in nes. #verything in +( happens in nes and it is always better in nes, said <ichard &illiams 4)anadian=7ritish animator, best %nown for serving as animation director on (isney>Amblin?s -&ho @ramed <oger <abbit*1. #ach of us in the Animation business are well aware with the capacity of +( however, if someone decides to leap directly to +(, sooner or later, he will find the lac% of the basic understanding understanding of '( invol involving ving movement, movement, actin acting, g, chara character cter design and mos mostt impor importantly tantly,, timin timing g and spacing. )omputers are Bust toolsC the best that can happen to an Animator, however computers do not animate, people do. nly and only '( can really teach what timing and spacing is and how ho w to wor% properly with them, according to the 8' basic principles of Animation. &hat is more rewarding* &ell, it is %ind of an individual opinion and it depends on what %ind of person the artist is, who decides to Bump into the cesspool of this madness. It is a fact that +( too% advantage of cinema with its stunning visual effectsC movies with impossibly designed but still acting three headed and one legged creatures and soaring battleships in intra$galactic space battles in Hollywood bloc%bustersD /o +( hit the Bac%potD #ven a person with average +( technical s%ills could garner a Bob in the industry, without the %nowledge of '(, bringing about the mediocrity in production value and quality. &hy is that* +( is cheaper and faster. People li%e it. It is

 

shiny and fancy 01 and effects such as those in the 6atri! and Avatar cannot be made in '(. However trying to imagine 6iyaza%i?s movies in +( would be sheer devastationD If one were to measure the rewards to money money,, wor%, career and fame... they, the y, li%e all other things would ultimately be achieved after a lot l ot of efforts, tenacity and consistent hard wor%. f course for some artists, be it '( or +(, the opportunity oppor tunity and ability to bring dreams and imagination imagination to life, through any medium, using shapes, shapes, color colors s and shades coming directly from the heart and soul of an artist is the biggest and only demanding reward any animator can ever getD @rom another perspective it is said that '( needs +( and +( needs '(. In AEF film there are many elements of  '(C storyboards, concept art, scenes, set design and several others. +( is only used to ma%e the shots which don?t e!ist. he age old debate is fueled by the very question that has been as%ed, but the answer is not what one would e!pect. Gohn 5asseter 4PIA<1 answered this very question in -7ehind the /cenes of PIA< with, -hey cannot e!ist without each other. o summarize, I feel that too many of us are loo%ing at this question from a hobbyist point of view. If you want to ma%e a living as an artist then you need to dive into what you enBoy, %nowing that there are positions for both fields, however if a student aspires for a future in the +( Animation industry, he would need to base it on his %nowledge and s%ill of '( Animation, to ta%e it to a level and quality that supersedes the e!isting mediocrity of the industry to a more international one. hat’s when we will %now that we have arrived

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