Final Piece

First Final piece 

My first final piece was done on Cinema 4D and was a simple exploration of shapes, and how shapes follow an abstract form. It is an extension of my curiosity of shapes and how shapes are able to express and impact ones own emotions, but also the individual expression of shapes themselves and how shapes influence space. How shapes are able to create and hold another dimension with the structure of their own form, how they can be multiplied and divided. It is just such an interesting topic for me, as when looking around at our own environment they affect everything. They exist as a mentor to our expression, as they can not only help us understand, but also show us an insight into worlds that we can not visually access. Th world itself is made up of shapes, as are we, and it just goes to show the infinite magnitude in which shapes exist.

Second Final Piece

My second final piece was a response to a piece of digital artwork that was part of the big bang data at somerset house. It was an interesting experience as I got to experience two different perspectives on its value as an art piece. I personally just genuinely enjoyed the simple movement of shapes, and how the artist combined the movement and placement of shapes with the sound to create a sort of visual transportation to an empty and quiet space. The animation being put in a space isolated from the rest of the exhibition further emphasized this effect. My teacher however had a different perspective, which was that she was surprised at how this can be put on an exhibition as with her knowledge of animation she understood how easy it was to do such a thing. This perspective interested me as it gave me an insight into many things, including how artist can fool an audience, more specifically how an artist can amplify the value of their work by specifically targeting an audience that may not have the knowledge of what they are doing. It is a very intelligent selling technique, however I would never use it as not only do I believe that art is meant to explore the truth, but that (I have been told many times) that true art speaks for itself.  This experience also inspired me to expand my knowledge as the fault of using such a trick is that there will always be artists in that area who will see through it (like my teacher). I would want my creations to exceed their own limits, and to do this my knoweldge in every subject as to be up to a professional standard. As it is humiliating to ones own creations, to belittle their own growth by using cheap and quick methods (Which I am also guilty of doing at times).

My second version in itself was an experience, and whilst creating it the movement of shapes inspired me, as the movement of shapes with the sound further emphasized the impact of the sound as I was able to visualize how this sound is able to effect an object, and with the vibrations of the shapes it started to remind me of the beating heart. How despite how small we know the heart is and how we know what it is filled with, there always seems to be this magical space involved, the core of all our own emotions and the residing place in which our soul rests. How at times it seems almost insane that such a thing can exist, and although we can not see it, it exists. This is the purpose of this animation, to help those who see it to explore beyond, to help them become aware of what they feel and how it impacts them. As I moved this shape in sync with how my heart felt with the movement of sound. 

Evaluation

Graphic Design

This project-involved creating a number of different animations, whilst producing in-depth research of the animation field. To complete this design situation successfully I created a weekly schedule where every week I did one post on the blog, and did a topic on my sketchbook. At first it took me a long time to adjust to the topic of animation as I was confused at what I had to specifically research as it is such a massive topic, but after breaking it up into many smaller topics I was able to progress through the work in small steps.

The project was structured practically with the lessons focusing on how to use the programmes and create animation forms (pixilation, stop motion, kinetic animation), and theory was researched and practiced independently, such as the walking cycle. Both forms of researching were incredibly useful as with the practical lessons I was able to practice and put forward the styles and techniques that I learned independently though theory, and through the practical I was able to see if there were any techniques I missed out on, and needed to research with more depth. Researching the history of animation and the roles involved was very useful to me as it made me understand not only the purpose of animation, but the beauty of animation as I didn’t know it took that many people and that much time and effort to make an animation. The fact that it takes teamwork to make an animation, to me made it just that more amazing and inspirational.

This is partially why making the cutout animation was my favourite to do, as I got to experience how individuals can work together and share their skills to create a piece of art, as everybody in that group was getting involved and partaking in the animation in some way, I was able to learn some skills and see the different ways a subject or theme can be approached just by seeing the way another individual reacts to The subject (theme) from the ideas they come up with. My negative experience with the groups I worked with before (pixilation animation) helped me learn how to encourage a group to work and take part in a project which I am grateful for.

I developed my ideas mainly through the experience of the digital programmes (such as Adobe after effects, flash, cinema 4D)  and what I thought was the most effective drawing approach to slowly come up with the best solution of what would make an effective, rememberable and visually inspiring animation. Whilst researching, seeing the way directors and animators comment on their own productions helped me understand the moments where my work was lacking in quality, and weather I was just being lazy, for instance when making the final animation I first used flash and was planning on having a simple motion tween animation, this was very easy for me to pick up and with doing this I wasn’t challenging myself, I also remembered how dedicated everyone involved in an animation usually is and this also inspired me to push myself to do something more, which is why I changed to using a programme I have never used before known as Cinema 4D. I had a lot of fun using this programme and am looking forward to continue using it and improving my skill with it.

Overall I do believe I achieved my objectives as I explored animation and all the topics involved within it as much as I could. I also experimented with a range of media to create a solid combination of digital and traditional (drawing) media.  I really enjoyed looking at animation, mainly because I always wondered (when seeing animations) how it was done and am beyond happy that I am now able to understand it. My own target now is to continue practicing with these programmes as in modern day having an understanding of digital media is essential.

Cutout Animation

We based this project on an article that reflected upon British Values, our group chose an article that was based on homophobia, this was what we decided to choose as our theme for our cut out animation.

Main Idea

A boy is searching for love and is constantly having his heart broken, he eventually gives up on the idea of love, until someone comes and shows him true love and fixes his broken heart. The moral of the story is that love knows no bounds, and how love should never be used against someone as something that makes them strange. 

Props (made by the group)

Background - Park

Those who break his heart - Silhouettes 

The two in love - the ones in colour

Little heart 

Storyline (Key frames/scenes)

1. Main character walking across park

2. MC gives his heart to one he loves

3. His love gets rejected and thus MCs heart is broken

4. MC picks up heart and does not give up on love 

The scenes 3 and 4 are repeated twice 

The third time it is repeated MC does not pick up the heart and gives up 

5. The second main character picks up the heart for MC and helps him put it back together 

6. True love is found.

Making the animation

Strangely making this animation was done quiet quickly as it took around half an hour to photograph each scene, and then around 10 minutes to edit the animation on Adobe After Effects. I believe this was done quickly as in this project it was the first time everybody in the group got involved and truly worked together, because of this making this animation was also a lot more enjoyable as we got to learn skills and technique from one another and push ourselves to work harder. It was also done a lot quicker as everybody now had quiet a solid knowledge and experience of how to use these programmes to create an animation.

Sound

I used a titanic piano instrumental as the sound of the animation as I felt the animation needed a sound that was soft and sweet, but at the same time emotionally conveyed the emotion of heartbreak.

Here is the Cutout Animation

Project Three : Kinetic Animation (Production)

This task was the first task were we were all making an animation individually, the task involved using typography to convey a certain message within a chosen political speech to make an overall kinetic animation. I was very excited to do this as I was always very curious as to how those who would do kinetic animation would do it.

To start off we had to view a selection of famous political speeches and choose the one we favored.

Choice one
Speech: Charlie Chaplin Speech
This was the speech I wanted to do first as I felt that it gave the strongest impact to me as a viewer, I was also wanting to experiment with the increase/decrease of volume of his voice during the speech , and how that can be emphasized to create a bigger impact with the use of typography. I was already able to imagine how I wanted to visually produce the speech. What I admire about Charlie Chaplin is that the power of his voice is able to individually communicate and relate to every viewer, he is able to somehow speak for all those watching from generation to generation.

Choice two
Speech: Martin Luther King
This was my second choice as not only do I believe that many of the topics involved in the speech are still (sadly) relevant today, but that I have always admired the use of the word dream in the speech, and how that is still today able to make a giant impact. I also greatly admire Martin Luther King, and how he stood up for his dream with such power and bravery, how he was able to spark a fire of bravery in others, encouraging them to stand up to what is rightfully theirs. A right to be treated respectfully and equally. A dream that I as well as many others still believe and fight for today.

Final Choice
My final choice ended up being speech number two, this is mainly because a lot of other students chose the Charlie Chaplin speech and I personally wanted my speech to maintain an individual quality. As if everyone goes the same way, the results would be too similar. It was also a comfortable choice for me as I could already visually imagine the way I wanted the Charlie Chaplin speech to look like, whereas the Martin Luther King speech was more challenging in the fact that I was able to imagine how I would do it. Therefore the Martin Luther King speech would be more of a challenge, and help me progress my skills at a higher level.

After I have chosen the speech, I had to find an audio version of the speech, convert it to MP3, and then use Adobe after effects to crop the parts of the speech I did not what. It was surprsingly quite time consuming to find an mp3 file of the speech, as

Here is the part I used of the speech:

I have a dream that one day this nation will rise up and live out the true meaning of its creed: "We hold these truths to be self-evident; that all men are created equal."

I have a dream that one day on the red hills of Georgia the sons of former slaves and the sons of former slave owners will be able to sit down together at the table of brotherhood.

I have a dream that one day even the state of Mississippi, a state sweltering with the heat of injustice

I chose this part of the speech as I thought it was one of the most powerful segments with the repetitive use of I have a dream, and summarizes the context and the overall purpose of the speech to the viewer. 

Production

To make this animation I used Adobe After Effects, this was the first time I used this programme with the purpose of making a kinetic animation. To do this, I added each sentence letter by letter so that I would be able to freely edit the structure and rhythm of the entire word. This way of working was rather long, however I quickly got the hang of putting each word together and lining it up with the correct timing. It also didn't bother me as I am more concerned about the quality of the animation as a whole, rather then the time it takes me to do it.  Here are some screenshots of me making the animation. 

Font:Rekoner Bold

I chose this font as it wasn't bold , over complicated or too plain for use

Overall I really enjoyed making this animation and learned a lot of skills and knowledge about what one has to do to make a kinetic animation. It also reminded me if the influence of a great speech and what makes a great speech. I believe that what makes a great speech is one where the motive of the speaker somehow becomes yours, where the words of the speech continue to live on with you for as long as you live. It also made me see the power of typography and the way typography empowers speech and visually emphasizes the purpose of speech and visual communication. I was happy with the way I pushed myself to experiment with the positioning of speech, and din't stick to a simple and un-moving animation. If I were to make a target for the next time I attempt a kinetic animation, it would be to be more ambitious with the text and look at ways of manipulating the text in more ways, such as changing the colour or adding an animation in-between the text. 

Here is the Final Animation

Martin Luther King Kinetic Animation










Thir motives become youtrs, a great speech is one that immeidatley evokes hange, that has words that stay with you forever

Project Three : Kinetic Animation (History of Typography)

Before starting the Kinetic Animation project it is important to assess and explore the history of typography and why it is such an important tool and visual art form for artists today?

Typography is the art form of expressing ideas and words visually. It is known to be created by Johannes Gutenberg who was a German publisher. What brought upon the creation of typography was that beforehand it was done by hand in book, Gutenberg was aware of how time consuming, expensive, but most of all unnecessary it was to society at the time which is what inspired him to create the first ever type face, known as Black Letter.

Black Letter typeface


It consist of thick vertical lines and thin horizontal connectors. The advantage of this typeface was that it was very useful for scribing, despite this the main disadvantage of this typeface is that it was very easy (especially when put close together in print) to look dense and squashed together, resulting in it being quite hard to understand by readers.

One man saw this and felt the need to somehow develop and fix this fault, this man was Nicolas Jenson, a Frenchman that worked in Venice (Italy) during the 15th century. Jenson was greatly inspired by the ancient Roman buildings and felt the need to replicate and transform the order of the ancient buildings structure into a typeface known as "The Roman Type"

The Roman typeface


This typeface consisted of straight lines and regular curves which resulted in the typeface being very clear and legible, addressing and successfully correcting the issue of the typeface being too dense. This typeface was an instant success and spread quite quickly across the whole of Europe.

The next development was the invention of "Italics" (by Aldus Maniutius) which were very similar to the typeface Roman, except for the letters being slanted and majorly stylized. The purpose behind the development was a way of addressing cost issues, as Italics was made as a way to fit more letters on the page to save money.

Italics typeface




This typeface was extraordinary and fulfilled its purpose, it lasted until the 18th century.

The next major development of typography was a typeface named "Caslon" which was made in England by a man named William Caslon.

Caslon typeface




This typeface was based off castle lines and is referred to in Typography as "Old Style", this means that the typeface consists of low contrasts between thick and thin strokes.

A few years later, this was developed by John Baskerville to a typeface known as a "Transitional" typeface. This typeface consists of a finer and higher contrast between thick and thin strokes.

Transitional typeface




Then this was later on developed to an Italian typeface known as Didot by a man called Edo and Bidoni which is classified as a "Modern" typeface. This consists of an extreme contrast between strokes.

Modern typeface





William Caslons great grandson (Caslon the 4th) got aggravated with the sight of seraphs and so he decided to remove it and create the typeface known as "Sans Serif".

Sans Serif typeface





This typeface did not succeed immediately but was later on very successful with the coming of the second industrial revolution, as it was a popular choice for all the posters and billboards during that time, of course the letters were manipulated to be wider and taller, to fit the billboards proportionally.

The popular use of "Sans Serif" on billboards brought upon the typeface known as "Egyptian" (slab-serif) which consisted of thick serifs and was mainly used for titles.

Egyptian typeface



This however resulted in the audiences in the 90s being sick of these typefaces as they were all becoming either too similar or too complicated. The solution to this? In the 20th century Paul Renner created the typeface known as "Futura" which consists of simple geometric ships (also known as geometric sans)

Futura typeface




As we have seen before in the history of typography, this typeface was later developed by Eric Gill to a type face known as "Gill Sans" which was very similar to "geometric sans" but had gentler and had more natural and harmonic curves. This is also referred to as "Humanist Sans".

Gill Sans typeface



The next development happened in Switzerland in 1957 , where the typeface "Helvetica" was first introduced. This typeface consists of simple curves and was available in a variety of different weights. This typeface was a major success and some often refer to it as the worlds favourite typeface.

Helvetica typeface



With the production of the computer, everything changed.

Typography is now accessible to all, and can be characterized and manipulated by all with the use of digital programmes.

Animation Production Process

To make an Animation, there are four initial key stages to ensure a successful animation, here are the four stages:

(The key stages are underlined and in bold)

Pre-production 

Before any animation can truly begin, there needs to be a solid idea of what the animation will be and its purpose, the basic principles of the animation tends to be summed up during this phase, such as the target audience and how it will appeal to them. The content of the idea tends to rely on the chosen medium. This aspect is only the beginning and because of that it needs to be kept simple and effective, but from the beginning of creating an animation a specific budget has to always be kept in mind, as it determines what will be available to avoid time consumption later on when certain materials might not be available later. 

Once this stage is complete a script is often made to follow the story of the initial idea, this stage is crucial as through the narrative content the characters purpose is summed up, this helps the writer to later on communicate clearly to the director on what the best camera framing may be that will best emphasize and clearly communicate the characters thoughts and feelings, more specifically on what will create the biggest impact. As this is what breaks down the initial idea into frames and scenes, and most importantly time length.

Next, the script needs to be finalized into a visual format, which is better known as the storyboard. This method of presenting is popularly used as not only is it time effective, but it is also cost effective as it is a format available throughout regardless of available media and technology. It is also easy to manipulate and do again, in case the client is not pleased with the result, this also leaves the client comfortable with speaking changes, as they don't have to worry about wasting expensive material. The storyboard is very effective as it sums up the main key points of the scene, such as the camera moves of every frame and the details of the setting, such as (if in a park) the number of trees that are needed to create impact, and if the sky is needed in the shot. The production of the animation essentially does not start unless this has been approved by the client.

After the storyboard has been approved and completed, it is given to an individual with the role known as the Animiatic to transfer it into a digital format, more specifically to edit and add audio effects, this is then finalized a a blueprint. The Animiatic helps decide the appropriate length of each frame, so as to not overdo, overwork or go over the budget with the animation. To ensure an efficient and strong foundation for the ending result. The time taken to do this depends on the number of frames given to edit,  for instance if an advert it will possibly take a few days, whereas if it is a movie it will possibly take a few weeks.

The next stage is a  technique that is often used for 3D animation rather then 2D animation to add special effects. This is known as Previsualization (previs). It is used as it is very const-effective for what it provides to the animation. What is significant about this technique is that it can be used and estimated so that it can instantly put into the final product of the animation. Again the time for this stage depends on the time length of the frames that are given. 

Traditionally after this is when the signature style (trademark) of the design is worked out for the overall project, however this is determined by the client and animation type and can occur at any stage of the project. For instance, if it was an advert, the design would be needed from a very early stage.  The design can be done in a variation of mediums, it is often started on a 2D medium and then later transferred into a digital medium, as digital manipulation is often found as having a professional finish and being more time efficient (depending on the users skill).  This stage is continued on until the client themselves have approved of the product. 

The next stage is often used if the type of animation is 2D, this stage is known as Modelling which can vary from a clay model, a puppet, and to a simple prop. This stage must be accurately and precisely done, as any mistakes can affect the overall precision and quality of the animation. Modeling is also not cheap, therefore a mistake can result in extra funds being needed to correct and redo mistakes. When it is 2D, the object is often manipulated to add the illusion of depth, this is usually done on 3D software (3D scanner). The time involved for the stage depends on the detail, amount, and size of the object and materials that are needed. After this (most likely if the object is a puppet) Rigging is done to ring the characters form (such as the legs and arms) together. A variation of techniques can be used to keep it together and allow controlled movement, such as 3D mesh bends and armatures. This process can be quite complicated and time consuming, especially when combined with 3D elements. 

The Final stage of pre-production is adding the overall texturing to the set. This is usually added on the models and flat surfaces that need added depth and final details to ensure the quality and impact of the objects. It can be used in both 3D and 2D animation, there are even instances where 3D animation is used to give a model a two dimensional effect. In 3D animation, a popular technique used is mapping that allows the user to manipulate and control the surfaces overall finish and depth, whereas in 2D animation it often involves puppets, and therefore the final textures are either sculpted or hand painted. The time involved in this depends on the quality and quantity of detail that is needed. 

Once this is completed, the next stage which is production. Concentration is crucial for pre-production as the progress and attention to detail put during pre-production simplifies and eases the production stages, especially in terms of the budget.

Production 

The first step in production is creating a Layout that is based on the storyboard that was made during pre-production. This is done by focusing on the panels of the storyboard and developing them to resemble scenes in more detail. In a 2D animation it is often the background that is focused on first, the animators mark the areas that the character would be involved in to maintain accuracy and efficiency. In 3D animation the focus is first put on the position on the camera and the space of each model that is being use. The time involved in this stage depends on the detail and space of the background, this stage can also be expensive depending on the cameras that are needed.

Once this is done the actual Animation is now being made, this stage is different depending on the type of animation that it is. If it is a 2D Animation (also known as classical animation) the first thing that is done is that the key frames are each successfully done and ready for the characters poses. This is then filmed, and to maintain quality the frames in-between the scenes are evened out to maintain smoothness of speed throughout the animation. Additional effects are also added if there are any rough lines that are still present within the characters movement that need to be cleaned up. This type of animation is known for its smoothness frame by frame.

Normal 2D animation is usually done with the use of drawings, that are scanned and digitally manipulated to match a variation of expressions, this is done as a way to maintain time efficiency rather then drawing each facial expression from scratch (which was often done when animation was first introduced.). This maintains character performance, allowing the viewer to clearly understand and communicate visually with the character. This type of animation is popular for its time and cost efficiency.

In 3D Animation, what makes this process complicated is the use of a model as many issues and technical difficulties can arise from the use of a virtual puppet. This animation requires those working in it to be highlight specialized as the model is often manipulated and controlled by coordinates rather then simply by hand. regardless of all this the technique is often worth all the time, as it presents the most realistic results that are always able to impress, engage, and fascinate users. The result of 3D animation never lacks quality and what I like about it is that the viewer themselves are able to recognize and understand the effort put in, helping them to better appreciate what they are seeing.

The time and cost involved during this overall stage relies on the length and the props needed for the animation.

After the animation has successfully been recorded, it is sent to be Rendered, putting together each frame to process a final image. This time length (and cost) of this stage depends on how many frames are being put together, for instance for a high percentage of frames, it is usually sent to a render farm to render the animation as quickly and efficiently as possible. This stage is also mainly done for 3D animation.

Once this is all completed, all that is left is to add the final effects that are needed, this is known as Post - Production.

Post Production

The first steps of post production is usually to add the Special Effects to the animation, this includes creating the illusion of a bigger set, making props seem realistic, manipulating the time of the setting, or adding extra digital details. Effects are often easier to add on 2D animation as the effects are often quite simple, ranging from simple saturation highlights, tones, and shadows. What's easier about 2D animation is that the effects can also be drawn, allowing the user to add  unique individual style to the animation, drawing can also sometimes be more time-effective then digital manipulation. As with using programmes data is more prone to problematic issues such as being easily be lost, certain computers can also be slow increasing the time it takes to add the effects. 3D effects are more time consuming with both rendering and creating 3D effects. 3D effects also tend to be more complicated then simple shadows and highlights and cannot be drawn, but must be made in digital programmes.

After this the animation is sent to Compositing where it is put together into one final composition. This stage often involves colour correction, masking, rotoscoping and any needed screen corrections.This also includes wanting to erase certain objects from scenes. The animations final form and how it will be viewed to the public is finally decided within this stage, which is why attention to detail is absolutely crucial at this stage, as are final checkups on each frame. This stage can be time consuming depending on the quantity on final corrections that are needed.

After this the only thing left to add is the (Audio) sound effects that occur throughout the whole animation, this is usually done lightly during pre-production to decide on a final atmosphere but is not fully incorporated in the animation until post production. The audio has a massive effect in an animation, as it can emphasize the impact of a scene, whilst also having the potential to ruin it, because of this sound engineers and Foley artists are hired to ensure that the audio is at its finest throughout the animation, creating a harmonious balance, rather then a disturbance. The time involved in this aspect depends on the priority the director (and client) has on the audio, as the creation and finalization of music is not something that can be rushed or have a planned deadline. Cost also depends on the amount of musicians involved, for instance if an orchestra is used it will not be cheap.

Packaging

The final stage is deciding upon the packaging of the product and weather it needs any additional exposure, such as an illustrated advert in a magazine, or a digital advert that is available across the digital media. This of course relies completely on the target audience. 

Different Job Roles Within The Animation Sector

Animation is a massive sector that has many roles within it, each role is crucial and commits to the ending result of an animation, these roles include:

The Director

The directors role in an animation is to guide the vision that is wanted for the specific animation, this includes being the individual that determines the overall decision of what is included and what isn't, such as what is said by a character,the visual production of the animation, soundtrack, production costs and process, storyboard and much more. To be a director, one must possess a variation of skills, such as not only having a  highly imaginative approach, but also being able to process and visually guide a storyboard. A director has to be able to easily communicate and guide every aspect of the animation, this includes being able to maintain a balance between the creative team so that everyone is treated fairly and is equally pleased with the result, in addition to this they must also have a very strong and tough personality, as to ensure that deadlines are met whilst still not going over the budget that was given. They must be highly responsible individuals as if anything goes wrong they will be the ones held responsible.


Model Maker 

The role of a model maker in an animation is to produce and guide the models used in an animation, such as props or puppets. This role requires complete precision and accuracy as a small mistake in detail as part of a model can endanger the whole animation. Individuals partaking in this role must have a strong knowledge over a wide range of materials including the possible health and safety dangers with the materials they are using. They must also have a  high level quality in their own craft skills including casting, metal working, costume making and more. As individuals they must be able to clearly and easily communicate with production managers of any possible problems, they often work with art directors or assistant directors with the job.They are expected to work effectively under pressure as with this role a short time is often given then needed.

Researcher

The role of a researcher is to make sure that in an animation the detail of the content involved is both accurate and original, to do this researchers tend to communicate with academic experts to ensure that the accuracy and quality of the content is met for the animation. They often keep tabs and records on the variety of different records that are both available and used, as to successfully source the material. Researches are expected to be both fast and efficient in their job as a mistake in detail can not only ruin an entire animation, but can accidentally offend and bring on law suits if not successfully sourced. This is why Researchers are required to have excellent organisation skills as to avoid such silly mistakes. They often work with Production Designers and the art department (of the animation) to ensure that everything on set is correct, they also tend to work during the pre-production of an animation.

Lightning Assistant 

The role of a lightning assistant requires adjusting positioning of light to suit and match a specific shot, to do this the Lightning assistance is expected to have efficient and excellent technical skills and have a professional knowledge of lightning to be able to operate and adjust to a number of specific positions of lightning, but to also know how to approach certain problems with efficient solutions, such as if the lightning equipment were to not work the assistant must know how to quickly solve this. They must also have a sound knowledge of the health and safety regulations that follow the addition of lightning equipment and those it surrounds. A lightning assistant is expected to have a great attention to every small detail to get the best shot possible (this also requires efficient colour vision)  they are also expected to work for long hours both physically and mentally. They often work with operators and electricians that are part of the animation, and must be involved in the script reading to fully understand what shot is needed for the scene, preparing a lighting plan as a response that includes the positioning, colour and type of light that is used.

Key Animator 

The role of a key animator requires focusing on the basis of the development of the characters that are part of the production, and figuring out both the concepts and content of the characters roles and how they will act to successfully communicate the personality of the character to the viewer. To do this the animator will most likely be working and communicating very closely with the director. A key animator must have very precise observational and timing skills as they often work with stop motion, which also requires not only very high quality sculpting skills, but also patience and efficient working as stop motion animation tends to be a very long process, They are more often working in groups and therefore must be able to clearly communicate with the group to acquire the best result. Key animators often work during the pre-production of an animation.  

Film And Video Editor 

The role of a film and video editor involves editing the content shown to the audience, this also requires deciding weather the content is both appropriate and accurate for the purpose of the specific animation. To do this, individuals specializing in this area are often required to have a sound knowledge and experience in editing software such as adobe after effects and Photoshop , in addition to this they should also be able to manipulate  the sound and add any needed special effects. They are responsible for the scenes that are shown in the animation and the time that every frame takes depending on its importance to gain the most entertaining and clear piece the specific animation can get.

Photographer

The role of the photographer in an animation studio is to take photos that help to both advertise (And sell) the product in its later stage, but also in animation techniques such as stop motion, the photographer is the individual who is in charge of capturing each frame with the precise movement and action. This requires utmost patience and precision as with just the smallest mistake, the animation will have to be done all over again. The individual must be able to effetely solve any visual issues and be skilled in using photography successful to convey certain thoughts and feelings. They must also be able to clearly communicate with the team in order to ensure that they are given all the materials that are needed. In some cases, this role also requires the individual to have experience with image manipulation and editing software as to both erase and add any needed special effects. Most of the work is usually done in a set or a studio.

Storyboard Artist

The role of a storyboard artist is one of the most crucial aspects of the whole animation as it determines the overall direction of the animation. The storyboard artist is in charge of illustrating (visually) the action and purpose of each frame, this includes the setting, the characters movement, and the narrative content of that particular frame. This role requires the individual to have a complete understanding and skill of composing a story, such a being able to clearly layout each scene and have drawing skills that are able to visually communicate clearly and effectively sum up the characters mood, action and overall demeanor.  This also includes having excellent organisation and presentation skills whilst being able to communicate the direction of the story through digital media and editing software. The storyboard artist must also be aware of what is available through the budget, as this helps them plan the overall time and make any technical changes, such as a change of scenery because of cost. They tend to work with the producer, director and the client.