of 2008 that is....
It is late, and I have just come back from the studio here at Pratt. It’s one of those nights where I have lost all objectivity of my own work. I am at a point in my film where I am going through a lot of these episodes. I can't judge my own work, I can't seem to figure out if something is working, or if it will function to an audience (you have to be your own audience in these situations). When this happens, I run the risk of making animation that is unclear and compositions/shots that have too much or too little.
These episodes wear off, but I still need to talk about them. I hate losing objectivity in my own work. It causes me to lose motivation. We usually have critiques every Monday morning. Even though we can e-mail stuff to other people, we are not always motivated to do so. For me, my schedule is so tight, I am afraid to re-work a scene, I worry about losing time on the rest of the film (which I feel like I am). Everything has to be finished by May 1: eight months of work in a short film
I know schedules work differently for different independent animators. Some work fast enough to get at least one film done every year. Others pace themselves out for one or two years or more. But most of these animators, unlike most students, have employees/interns working for them. Even if it is only four or five people, it still provides plenty of objectivity for the directors.
I need more than one person to look at my work. At this point, until something evolves, I need some more objectives than what I usually get every week. Andy London, my thesis adviser, always spells out the challenges of making a film. His point are very clear, but I wish to hear ways to get around them, or accept them. How do we accept these challenges if we want to spend the rest of our lives working in film and/or animation?
I end this by spreading the blogs of some of my fellow animators.
David (Dav-odd) Meehan
I apologize for leaving anyone out. If they wish to be added, just let me know, and I will add you to the list.