Hi hi!!
Just so say in advance but for some reason i cant write questionmarks so ive just put them in brackets of where they go lmao.
I wanted to shoot you a message and so I hope you dont mind but I was wondering what sort of portfolio you submitted to be able to work on Unicorn Warriors Eternal, I currently am an animator who has been struggling on getting a 2d animation job for a few years now and I was wondering if you would have any advice for someone who feels like they are struggling to get into the industry (Questionmark) Your animation for the show is amazing and I love the little bit of fanart that you made of melinda and edred too!!
Once again, sorry if this is a bother but I figured that I would atleast try to ask :)
Heya! No worries at all!
I still feel super lucky honestly and I've only ever been at this one studio so far, so I don't know how helpful this is gonna be but I'll give it my best shot haha
This was my old showreel straight from the end of university which I had on my portfolio site when I applied:
https://youtu.be/42ubnrPGx2Y
I was lucky in the fact that the main thing I enjoyed doing during uni was animation clean-up in TVPaint, aaaand then I saw the job listing looking for... animation clean-up in TVPaint! I'm still not the best at rough animation, but as you can see my reel had lots and lots of clean-up examples, and that was exactly what Studio Zmei was looking for.
So, first tip: Focus your showreel on what you want to get a job for! If you're applying for rough traditional animation, show your roughs vs the final thing, or a clean-up heavy reel like mine if you wanna do clean-up, or a reel just for ToonBoom rigged animation if that's what you're applying for.
Second? Tip? Look for more obscure studios, or ask around your local studios (if you have any) if they offer internships or even junior level jobs? Studios are often really biased towards local people, and I was lucky that Zmei just happened to be situated in my home city. We often get interns not from any listings but just from people showing interest in an email. But I also know that's a bit unusual and a lot of studios are more closed off?? And going back to the more obscure studios part: The more well known a studio is, the more insane the competition to get a spot is, hence why usually it's not so much your portfolio's fault rather than the huge influx of candidates. This is where looking at general animation job listings sites can help a lot, and I even found Zmei's listing here in the first place:
https://animatedjobs.com/
aaand there's one for games too: https://gamejobs.work/
Lots of studios use these and they also have twitter/instagram pages to keep you updated as well. If a job is listed as remote, go for it! A lot of smaller studios that handle outsource animation are often starved for animators. (a lot of those do 2D rigged animation in ToonBoom or Adobe too, so it's def worth making a fresh reel for that if it's up your alley) Following a lot of studios on social media and especially LinkedIn helps too, as some of them post listings there exclusively.
And, third tip - there's no shame in starting small. I constantly get spammed by studios looking for mobile game animators or educational video animators on LinkedIn. Sure not all of those are gonna be worth looking into, but a lot of my friends started off like that. Every little bit of experience counts and builds up your CV. It's really hard to jump straight into being a rough animator, or a designer, or a storyboarder. Even my role of doing clean-up is considered more junior, and we had lots of people who did only coloring and shading too. And the more entry level version of a storyboard artist would be a storyboard revisionist. Everyone starts somewhere!
Other things like putting a direct link or linktree to your portfolio site or showreel easily accessible on all of your social medias could also help, as recruiters often have no time to dig for that stuff. (altho I'll be honest I've only ever been approached once (1) by a local studio on just instagram, so that's a really rare occurrence. still helps to be prepared though!)
I hope this was somewhat helpful haha. Good luck!!!
@staticderp
No worries! It’s a bit of a mix. We were indeed encouraged to use the transform tool as much as possible to save time wherever we can, but it’s very situational and can cause things to look very stiff if not used in moderation. I know I definitely used it as a bit of a crutch when I was a beginner. I would suggest only ever using it for smaller parts of the character in a single go (like transforming just a head or just a forearm separately, or even just a small detail like an eye), not most of the character at once. It also blurs and lowers the quality of whatever you’re transforming, but most programs have a fix for that!
This is a cutout from our internal tutorial on how to do it in TVPaint, after you transform something and before deselecting you can follow the guide and it’ll un-blur your lines. Other programs should have similar options you can tinker with too. In Clip Studio Paint: Filter -> Sharpen does a decent job. Basically this is just to make your lines crisp again after the transform tool inevitably blurs them.
In short there’s nothing wrong with using the transform tool if the situation is appropriate, like if the movement is veeery close or the object is very complicated. Just try to use your better judgement on if its too noticeable you used the transform tool or not. There are often cases where I use it and realize it just doesn’t look very good in that specific scenario so I go in and draw the thing manually anyway. In the end most shots end up being a big mix of the two, like you can transform one complicated body part that moves less and manually draw the other things that need it. Hope this helps! :D
Your cleanup shots look awesome!! How did you learn to keep them so smooth??
omg Thank you so much!!!
I'm not sure if I have a good answer for this haha I do my best! I've always loved drawing super clean lineart; but keeping moving, animated lines stable in motion is a whole different monster to tackle. 😵
Lots and lots of replays and doing your best to spot and fix any parts that wobble too much is a good place to start. As for actually drawing the inbetweens always use the onion skin!!! And if your program allows it tinker around with its settings till it looks the best/most useful to you.
For UWE we used TVPaint, and it has probably the best onion skin tab I've ever used omg. There's an extra option to take previous and upcoming frames "off the pegs" which is basically just to only visually move the onion skin frames temporarily so you can reeeally get them where its most comfortable to draw those super tight inbetweens. Uuuh I'm probably doing a bad job at explaining this so I'll send some links on that :D
TV Paint Out-of-Pegs Feature
YouTube Tutorial for that feature (explanation at about 5:15ish)
(I also got great rough keys and instructions with timing charts to work with from Studio La Cachette which makes my job so much easier! It's hard to make something smooth if the keys are bad) But yes in general for any other program I guess I'd just say lots of replays and vigilance, if a line wobbles enough to bother you then go in and see if you can fix it! 😤
Your cleanup shots look awesome!! How did you learn to keep them so smooth??
omg Thank you so much!!!
I'm not sure if I have a good answer for this haha I do my best! I've always loved drawing super clean lineart; but keeping moving, animated lines stable in motion is a whole different monster to tackle. 😵
Lots and lots of replays and doing your best to spot and fix any parts that wobble too much is a good place to start. As for actually drawing the inbetweens always use the onion skin!!! And if your program allows it tinker around with its settings till it looks the best/most useful to you.
For UWE we used TVPaint, and it has probably the best onion skin tab I've ever used omg. There's an extra option to take previous and upcoming frames "off the pegs" which is basically just to only visually move the onion skin frames temporarily so you can reeeally get them where its most comfortable to draw those super tight inbetweens. Uuuh I'm probably doing a bad job at explaining this so I'll send some links on that :D
TV Paint Out-of-Pegs Feature
YouTube Tutorial for that feature (explanation at about 5:15ish)
(I also got great rough keys and instructions with timing charts to work with from Studio La Cachette which makes my job so much easier! It's hard to make something smooth if the keys are bad) But yes in general for any other program I guess I'd just say lots of replays and vigilance, if a line wobbles enough to bother you then go in and see if you can fix it! 😤
Yep! All fully hand drawn traditional 2D animation done in TVPaint - a program which doesn't even have rig capabilities :D It's a lot of work for sure but I love it haha (sorry tumblr doesn’t let me reply through an alt blog jsdhfjahsdf)
Clean-up shots I did for Episode 3 of Unicorn Warriors Eternal! 🦄