IMMERSION (1ST SEM 2ND QTR REV)

Show Runner/Series Director/Creator

The person who pitched their idea to a studio and pretty much the ones that make sure that all the departments and what they do in each department, whether it be art, story, CG, animation, is in alignment with what it is that they want.

Director/Episodic Director/Head of Story

This people work very closely with the show runner, or the director is pretty much the show runner, but instead of a TV show, it’s for a film,

Assistant Director

Either works very closely with the story team, making sure that everybody is doing something that is in alignment with the showrunner and director’s vision. Mentor the storyboard artists and revisionists in overall their general skills

Producer/Line Producer/ Executive Producer

Makes sure the whole project, whole series is done on time and within a certain budget

Production Coordinator

They make sure whatever it is, you need to get your job done at the studio. Helps in coordinating such as the needed certain equipment or certain thing

Production Assistant

Similar to the production coordinator, they also help take notes and write down things

Writers

Helps in writing out the whole script, outline. Most of the time they’re the ones that playout how the story is going to happen and write out the screenplay

Script Coordinator

People who work more closely and directly with the scripts. They make sure that all the people who need the scripts to get their jobs done are working with the most updates version of the scripts

Storyboard Artist

Takes the script and translates it to how it will play out visually

Storyboard Revisionist

Kind of like storyboard artist, but more of the entry-level position for storyboard artist.

Animatic Storyboard Artist

Help with the more immediate changes needed that you see when you’re watching the animatic especially when it’s not working.

Editor

Editor of the Animatic, the one who assemble all the storyboard sequences and make sure that pacing, timing, sound effects, music, are timed out the way that it will eventually be in the final product

Assistant Editor

Help assist the editors, whether if it is with getting new storyboard fixes or different things that will be eventually imported into the editors’ sequence.

Art Directors

Overlook everything happening within the different art departments, whether it be the style, design, the texture, the lighting, everything is what the show runner envisioned.

Character Designers

People who design the characters and create variations of the characters to provide options, as well as those who create a lineup of all the different characters who will appear in the show

Prop Designer

Design the props on the show, make sure that it’s in the same style that the show runner or director envisioned

Layout Artist (2d)/Background Designer

Draw or layout the different backgrounds and settings in the show. Can be in CG (layout artists may be more known as Previs artist) and 2D

Background Painter

Paint over the backgrounds done by the layout artist or background designers

Visual Development Artist

More in charge of the overall look of the whole show. Also the ones who draw and layout or color the overall look of the show

Color Designer/Color Stylist

The person who does the color keys for different shots of the show, including variations of different color combinations or choices available for the character

2D Animators

Animate what it is that they get from the storyboards and direction form the show runner

Key Animator

Draw out the basic key poses for what’s going to be happening in shots

Inbetween Animator/Inbetweener

in charge of in-betweening those key poses

CG Modeler/Modeler

Make sure that whatever they sculpt in CG is similar to what it is that the character designer made

Rigger/Skeletal Animation

The person who do the technical work of making sure the skeleton within the model works

CG Animator

Takes whatever the modeler and rigger did together, and then actually animates it out

Look Development Artist

Make sure that everything is again in alignment with what the show runner and visual development department wants, but make sure it does not get list in translation in the CG World

Effects Animator

Make sure that you’re the one who designs what the effect will look like and make sure that they look believable in animation

Lighting Artist/Lighter

In charge of lighting the scene in different shots

Graphic Designer

Might be used for like credits or the introduction of the film or show and might be the ones designing either logos or different things that exists within the show itself

Story Consultant

Gives opinion and guidance on how your story is going

Art/Design Consultant

Gives guidance on how the look of your whole project is looking, like what could be improved

Animation Consultant

Help improve the animation of your film

Apprentice

Often called as “trainees” in some studios. Someone on the way to getting into the studio full time

Intern

One of the most inductor ways that you can get a role in animation is just getting an internship

Joseph Plateau

invented the Phenakistoscope

1832

 Joseph Plateau in Brussels invented the Phenakistoscope  Looking through slits at the reflection in the mirror, the slits break up for each frame of movement so that it isn’t a blur  This disc demonstrates continuous movement for the first time

William George Horner

invented the Daedalum later called as the Zoetrope or “wheel of life”

1833

 William George Horner invented the Daedalum later called as the Zoetrope or “wheel of life”  The phases of movement are also seen in a form of an infinite loop through the slits

Eadweard Muybridge

took a sequence of photographs of a horse to see if all the legs lifted up off the ground

1872

 Eadweard Muybridge took a sequence of photographs of a horse to see if all the legs lifted up off the ground  He then continued to photograph sequences of movement, from humans and different animals

Émile Reynaud

built Praxinoscope

1877

 Émile Reynaud built his Praxinoscope  You see the images in the mirrors  The function of the dark face between the slits is taken over by the angle in which the mirrors are set up

1928

 “Steamboat Willie” was created by Walt Disney, using cel animation  Each frame of movement was drawing on to celluloid and then photographed with a multipane camera The background is on a different layer than the characters, so that they can change but the background stays the same  Many cycles are used

1936

 “Rainbow Dance” was created by Len Lye, using direct animation  He drew and painted over existing footage, which is called Rotoscoping  His work is experimental and not commercial but it pushed the boundaries of film and animation

1940

 Norman Mclaren also used direct animation to create “Dots”  He instead, drew and painted on blank film  He times and designs the visuals to represent the sounds

1957

 Hanna Barbera used limited animation to create their programs  This means that lots of cycles were used and the animation is choppy because it’s cheap and fast to make  Drawings are done on celluloid but the bare minimum is done in order to get the point and action across  Cost Effective Techniques: Smears, Looping Cycles, Suggestion

 Disney was also in their “Golden Era”, creating beautiful feature films

1968

 Yellow Submarine was commissioned by The Beatles  The animation is limited. The result is artsy, alternative and psychedelic  It uses various types of animation: cel animation, rotoscoping, stop frame with cut-outs, direct animation on footage

1988

 Jan Svankmajer created “Alice” using stop motion animation  This involves using the doll as a puppet and photographing small, different movements  The animation is much more tangible and realistic because the objects actually exist

 Studio Ghibli use cel animation  Backgrounds are painted with watercolors  They have now become one of the only studios producing hand drawn feature films, as Disney have moved on to 3D animation

1993

 Aardman use stop motion animation/ Claymation  Characters are made out of plasticine and sets also have to be made from many materials  Aardman’s work is much smoother and refined that Jan Svankmajer’s

2006

 A “Scanner Darkly” was directed by Richard Linklater  It was filmed digitally and then animated with Rotoshop  Rotoshop makes vector keyframes form the video and interpolates the in-between frames automatically  The animators add detail to the vectors with drawing tablets

2015

 Most animated TV shows are now made with a software called ToonBoom  ToonBoom works like a multipane camera, there are layers for each asset (characters, backgrounds)  It’s the same as cel animation but everything is done digitally on a computer  Animators use drawing tablets or screens to draw directly on to the computer