Do you want to become a Professional Photographer? Do you have a great passion for taking photographs? If so, you can turn this passion into a great career and moreover, you can earn a good salary. There are many industries that require photographers for wedding, portrait, crime-scene or news etc. If you are coupled with great imagination, having an artistic bend and a good eye for spotting the usual, you can make a lucrative career in the field of photography.
In Photography, there are three different areas of photography – general, commercial and advertising. General Photography is the easiest one to get started in this field. If you want to build your Career in Commercial and Advertising Photography, you can get success with general knowledge and some formal training in photography. For a photographer, there are some general job responsibilities such as preparing marketing plans for advertising and promoting products, preparing photo sessions like coordinating equipment, logistics, models, permits, props etc.editing and backup the images, interacting with customers on proposals for securing the job, managing business accounts and much more.
The competition in the field of photography is very hard as it requires lots of high qualities for instance, creativity, imagination and technical aspects of photography. An individual should also know how to manipulate the subjects, lights, environment for having the desired effect. There are many Top Institutes that run courses varying from beginner to advanced. After completing a course in photography, you can kick start your career as a studio photographer, a wedding photographer, a fine art photographer and a magazine photographer. By concluding, we can say that photography is an emerging career. You can become a successful career in this field, if you have a good eye sight, imagination, coordination and accuracy. Having all these qualities, you can see your name in magazines, on TV shows, billboards and in other media channels.
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Wednesday, September 8, 2010
Describe Your Workflow When You Start Animating a Shot. Is There a Right or Wrong Way?
I've definitely learned that there is no "right way" to animate a shot. I've seen people animate in ways that seem insane to me, but somehow they get amazing results. I've also had some co-workers look at my method with puzzled looks in their eyes, but it works for me. So anyone that tells you there is one way to animate hasn't been exposed to enough animators yet.
However, there is a right and a wrong way to plan your shots. It's very simple. ALWAYS PLAN YOUR SHOTS!!! I have been guilty in the past of trying to rush through my planning and start on a shot to save time. Inevitably, I end up wasting more time stumbling through my animation, and my work never looks as good.
My work flow has become pretty consistent since I've started working. If my shot has dialogue, I will listen to it repeatedly until I have a very solid feel for the timing and dynamics. No matter what kind of shot it is, I always shoot video reference. I try to take the time to do many different takes so that I have a lot of options to choose from. It is a lot quicker to explore ideas in front of a camera than it is to animate them. One thing I always try to keep in mind when filming myself is to try to not be too conscious of what I'm going to look like on screen. I've found that if I am thinking about how I am posing myself my reference will end up looking unnatural and will also be filled with generic animation ideas. However, if I simply try to put myself in the mindset of the character, forget the camera, and actually react to the situation in a natural way, my reference will be full of little ticks and behaviors that I probably wouldn't have thought of. It makes for more believable and interesting animation.
Once I have a direction that I am happy with, I thumbnail out my key poses and take notes for myself. I don't worry about whether the drawings are good or whether anyone else can understand my notes. They are a blueprint for me to be able to build my shot, and the process of drawing them forces me to really study what is happening in the reference. I always make sure to pay attention to not only the main poses, but how the different body parts move from pose to pose. I often find it is the spaces between the poses that can make the difference between a character feeling real or animated. Clean arcs are of course one of the fundamentals of animation, but sometimes you need a little messiness in the movement. This is especially true in visual effects animation for live action films.
At this point, I can finally jump onto the computer and start my blocking. My first blocking pass usually sticks very close to the thumbnails and reference. I personally like to have my first set of keys be a performance that I know is already solid before I start deviating. My final animation may end up vastly different than my original reference, but it gives me a great foundation to start with. Once I feel like that is working, I will begin pushing the poses, tweaking the timing, and exploring ideas. Also, this is around the point when I try to get feedback from my leads or co-workers to see what they feel is or isn't working well.
After that, it is hopefully (but not always) a painless process of getting notes and making revisions until you end up with a fantastic final product!
Related Link's
However, there is a right and a wrong way to plan your shots. It's very simple. ALWAYS PLAN YOUR SHOTS!!! I have been guilty in the past of trying to rush through my planning and start on a shot to save time. Inevitably, I end up wasting more time stumbling through my animation, and my work never looks as good.
My work flow has become pretty consistent since I've started working. If my shot has dialogue, I will listen to it repeatedly until I have a very solid feel for the timing and dynamics. No matter what kind of shot it is, I always shoot video reference. I try to take the time to do many different takes so that I have a lot of options to choose from. It is a lot quicker to explore ideas in front of a camera than it is to animate them. One thing I always try to keep in mind when filming myself is to try to not be too conscious of what I'm going to look like on screen. I've found that if I am thinking about how I am posing myself my reference will end up looking unnatural and will also be filled with generic animation ideas. However, if I simply try to put myself in the mindset of the character, forget the camera, and actually react to the situation in a natural way, my reference will be full of little ticks and behaviors that I probably wouldn't have thought of. It makes for more believable and interesting animation.
Once I have a direction that I am happy with, I thumbnail out my key poses and take notes for myself. I don't worry about whether the drawings are good or whether anyone else can understand my notes. They are a blueprint for me to be able to build my shot, and the process of drawing them forces me to really study what is happening in the reference. I always make sure to pay attention to not only the main poses, but how the different body parts move from pose to pose. I often find it is the spaces between the poses that can make the difference between a character feeling real or animated. Clean arcs are of course one of the fundamentals of animation, but sometimes you need a little messiness in the movement. This is especially true in visual effects animation for live action films.
At this point, I can finally jump onto the computer and start my blocking. My first blocking pass usually sticks very close to the thumbnails and reference. I personally like to have my first set of keys be a performance that I know is already solid before I start deviating. My final animation may end up vastly different than my original reference, but it gives me a great foundation to start with. Once I feel like that is working, I will begin pushing the poses, tweaking the timing, and exploring ideas. Also, this is around the point when I try to get feedback from my leads or co-workers to see what they feel is or isn't working well.
After that, it is hopefully (but not always) a painless process of getting notes and making revisions until you end up with a fantastic final product!
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One Hundred Years of Cinema Animation
It’s clear that the author derives the majority of his references from Europe’s history of Animation, which might explain why many people have not heard of the animators he talks about. But considering that these artists did take part in the history behind animation, it is good that Bendazzi made the effort to bring their names to light. He makes some remarks and does look at other countries, such as America’s infamous Walt Disney and Japan’s rising anime films, but for the most part, he concentrates on the growth within Europe’s artistic groups.
This book is less about the big names in cinematic animation and more about the independent artists and studios who worked in animation during a time when the animator’s names and the dates their works were created weren’t exactly recorded and copyrighted properly. Many of the animators here can also be identified as fine artists, often working experimentally within the media. This is how animation as cinema started (way before the time of Walt Disney and his overshadowing fame) and is continuing to be produced on the other side of Hollywood.
This book definitely has a text-book feel, but as far as a text book goes, it’s not too terribly dry. It’s informative and gives a very in-depth look at animation, from its beginning as optical illusions to the cinematic phenomena it has become today.
Also, as a final personal comment, this book is like a documentation of the independent films (as well as mainstream films) of the animation industry. Most people will not have seen them (unless they have access to an animation/video library), but that doesn’t mean the films aren’t important to history.
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This book is less about the big names in cinematic animation and more about the independent artists and studios who worked in animation during a time when the animator’s names and the dates their works were created weren’t exactly recorded and copyrighted properly. Many of the animators here can also be identified as fine artists, often working experimentally within the media. This is how animation as cinema started (way before the time of Walt Disney and his overshadowing fame) and is continuing to be produced on the other side of Hollywood.
This book definitely has a text-book feel, but as far as a text book goes, it’s not too terribly dry. It’s informative and gives a very in-depth look at animation, from its beginning as optical illusions to the cinematic phenomena it has become today.
Also, as a final personal comment, this book is like a documentation of the independent films (as well as mainstream films) of the animation industry. Most people will not have seen them (unless they have access to an animation/video library), but that doesn’t mean the films aren’t important to history.
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Take a breath and feel what matters
Photos are from all the lighting test shots and painting on walls for installation.
Yesterday in the afternoon I went with Jiajia and ate at NJC for lunch. It was really good, some chicken karaage rice that was really delicious. The security guard was really cute, he asked me to act damn paiseh when he questioned me about my student status in front of his anal boss, so I just play-acted along and got in our grey neighbour safely. Anyway I went to look at their Courseworks and their AEP is pretty slow from what I saw. ):
There was some girl I talked to, she said that all she wants is to get an A for coursework. And suddenly I start wondering why the hell I put in so much effort for AEP for, because I know for a (sad?) fact I am not going for this to get an A on my A Levels. Sounds like a noble cause but I just feel far from noble, just feels pretty confusing not knowing why I bother. Maybe I’m doing this to kill time and make myself happy. Great reason for dissatisfaction.
The sad thing is that I think I’m beginning to feel sick of my coursework again. Maybe it’s because I really look at everything way too often, but all I see are the pages which I am too lazy to do till I am satisfied. And then I’ll get annoyed at how bland it all seems. I wish it wasn’t coursework so I can just relax over this and… look at it less and thus be more inspired by myself. I keep moving on so fast I hate everything that’s remotely dated.
In the afternoon I just decided to fuck it and go fuck up my walls anyway. Wanted to just layer the white as texture but then I kind of went insane with the paint. I think the final lighting will be something like that, with just bulbs, plain and simple. Wondering whether to use my friend’s suggestion to make the viewer hold the bulb. It was really cool, like an illuminating magnifying glass or something. I got damn dirty painting and making texture and flinging paint.
So at night my father helped me buy an IKEA table and bring it over. Okay so I lugged it to the gallery, and started screwing a stupid drawer together. Before I was done with one drawer I already made two mistakes. And Bryan was next to me trying to paint the Rorschach test design onto the wall. So I said to him, “hey Bryan, can you help me make my table and I help you paint?” and to my surprise he was damn happy and said making the table is fun. Fun!?
I think I might still be making my table right now and he will still be painting that Batman logo. The funny thing is that I realised our courseworks kind of have things in common, the entire split into two, and the format of being a book. Haha, and Bryan is going to become an IKEA deliveryman when he grows up. We saw Weirong’s coursework also, but the bed doesn’t look like a bed. And the music pervades the gallery.
It was quite interesting because usually I don’t say more than 2 words to some classmates even after 2 years in the same school or class. But it was quite fun painting the white ink blot on the wall because compared to white acrylic paint, emulsion paint is a fucking godsend. It’s damn opaque. Should have used it in my books. Then later on Jasmine also came and she helped me paint, since Bryan finished the table first and went off to “sleep”.
When guys say they want to sleep, chances are they will still spend half a day wandering around and eating Mee Goreng until the fucking pantry is crawling with ants. Damn disgusting. Today I went to clean up the Media Studio because the place is where the guys sleep and live these days and it is more disgusting than the house in ANTM. And the male toilet where we shower is seriously smelly. I have a lot to complain about.
Then Jasmine helped me with my installation walls. Splashed a lot of colour, what we did was lay a lot of newspapers and then mix paint with water, then I just grab and throw the diluted paint. It’s insanely fun and I feel like vandalising all the walls with it. Maybe I should do the same at home one day, I seriously love it that much. There was a lot of layering of texture and sudden gorgeous paint splashes like this one:
I guess the installation walls are… just an accessory that’s meant to unite the entire space and make it atmospheric. Or maybe just provide a sort of backdrop to everything. We worked all the way till morning, and I accidentally cut my hand on a tin can of paint and then washed the paint rollers. So I think I’m just going to have to die a few years earlier from lead poisoning. Haha when it was 7 I was going to edit photos but I seriously just sat and died.
I don’t remember but I managed to drag myself to RC somehow, since I woke up at 11 in my beanbag feeling like a punchbag after a workout. And then people say my walls a bit too drippy and contrived so I went and fixed the place and now I’m really satisfied with how it looks. Particularly the face, which was some experimental doodle which turned into a motif on the wall. Must seriously thank Jasmine for the gorgeous colours and effects haha.
You must all come to the gallery someday, somehow right now I like my wall more than my books. Haha. I like the feeling of being secluded in my own little space. Later at night I shall touch up my books and just let them be. And then I have to think of what to do with the drawers and the instruction sheet. And if I need anything to be on the floor of the cubicle. That’s a lot of things I think I’ll sleep only minimally again.
Unlike the previous table,this one fits, and I’m sitting with it typing away right now. I wish I can move my cubicle over, really love this space a lot after I’ve painted it. I just voiced Lingxue’s monkey in her animation, so now I am immortalised forever in the gorgeous video of a girl and her monkey. Sam just got me Hakka noodles from home, oh my god I’m so in love. Haha Really happy to be eating decent food. And an apple too. I’m so blessed.
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The Pebbles and Bamm-Bamm Show – The Complete Series
Follows the prehistoric antics of a teenaged Pebbles Flintstone and her boyfriend Bamm-Bamm Rubble at Bedrock High School.The Pebbles and Bamm-Bamm Show is an animated, 1971 Hanna-Barbera spin-off of The Flintstones television series that follows Fred’s and Wilma’s daughter Pebbles (Sally Struthers) and Barney’s and Betty’s son Bamm-Bamm (Jay North) through their high-school days in Bedrock. The bubbly Pebbles is always enthusiastic and can be counted upon to convince Bamm-Bamm and their friends Wiggy, Penny, and Moonrock to join her in one crazy scheme after another, whether it’s catching a widely-feared snorkosaurus for the local Sea Rock World, testing a super fuel in the Grand Prix, safeguarding Bamm-Bamm’s dogosaurus Snoots from the clutches of the local dog catcher, training to become an artist or witch, or saving Fred’s job at the gravel pit. While Pebbles’ intentions are always good, her definite knack for misinterpreting a situation often renders her efforts a major hindrance. Pebbles’ Archie-inspired friends are more than a little unique and include astrologically obsessed Wiggy, down-to-earth Penny, and brainy Moonrock. The Bronto gang (Bronto, Noodles, Stub, and Zonk) alternates between functioning as a bothersome motorcycle gang and much needed allies while Cindy fills the role of Pebbles’ snooty rival and Schleprock is the consistent harbinger of bad luck. Comedy reigns throughout all 16 episodes–from simple word play to slapstick and satire. Four 8-minute bonus episodes from the 1972 “Flintstone Comedy Hour” round out this two-disc set.
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