Wes Ball 的 RUIN

Wes Ball from OddBall Animation has completed the RUIN project, a stereo short he has been working on for six months. A graduate of Florida State film school, Ball has had a solid background of live action. In fact, his final year thesis film ended up being his first animated film, in fact the school’s first animated film project.
來自OddBall Animation的Wes Ball剛完成一部立體短片RUIN，花了六個月的製作時間。Ball畢業於美國佛羅里達電影學院，擁有很紮實的實拍電影背景，有趣的是他畢業時完成的是一部動畫影片，事實上也是該學院的第一部動畫作品。

Animation Quality-vs-Quantity - Intent

In the last post I spoke about achieving quality in our work. We separated the idea of a “quality” animation into two main things – great movement & technique (arcs, spacing, timing, rhythm, etc), and great acting. Through an exercise with sticky notes, I broke acting up into two areas – character and intent.
上一篇文章我提到如何在工作時保持品質，「品質」在動畫上主要包括兩件事：好的動作(spacing、timing、弧線、節奏等等)和好的表演，先不論動作的技術層面，延續上一篇的便利貼方類法，我將表演也分出兩塊，角色(character)和目的(intent)。

Animation Quality-vs-Quantity -learning-to-focus

In my previous post I talked a little about the challenge we all face when trying to decide whether to spend our energy on quantity of animation or quality.  The conventional wisdom says that you can’t have both. Given a set time period, you can either get a few shots great, or a great number of shots good.I mentioned a few techniques I used once I became a supervising animator to help me focus and get more quality animation done in a shorter amount of time. I wanted to get a little bit more into the details of this technique.
在上篇文章中我提到一些關於在製作動畫時該注重品質還是數量上的難題，傳統經驗告訴我們：魚與熊掌不可兼得。在一定時間內，你要不是把少量的shot做得超好，不然就是把很多的shot做得普普通通。然後我提到了一些小秘訣，幫助我作為動畫總監時集中焦點，在短時間內完成更多品質好的動畫，我想要更深入分享這些小秘訣。

Work/Life: The 40 Hour Work Week

工作/生活：一週工作40小時

Original Posted by Justin Cone Photo by adesigna
The headline for this post probably strikes most of you as a joke — at least those of you working in motion design in the US, and especially those of you working in LA or NYC.
But it’s no joke to J.D. Meier, a Principal Project Manager at Microsoft for over 10 years, who uses the 40 hour work week as his barometer for project management success. As he says on his blog
這標題對大多數的影像工作者來說簡直是個笑話，至少對在美國從事影像設計的人來說就是個大笑話，尤其是那些在洛杉磯和紐約工作的傢伙。但是對於在微軟擔任超過十年首席專案經理的J.D. Meier來說，這並非開玩笑，他用這個法則作為他審核底下專案是否順利的標準，他說：

In my experience, a 40 hour work week is a benchmark of the most effective teams.  They have work-life balance.  They have buffer to respond to opportunity and to deal with crunches.
依我的經驗，一周40小時的工時是一支有效率的團隊的標準，他們取得了生活與工作的平衡，並且擁有緩衝時間去把握每一個機會，或是處理意外的困難。

________是假的(五雷轟頂，誤入)

有一種故事模式：
大家以為某些理所當然的事
像是太陽東升西落
打開水龍頭就有水
氧氣不必花錢購買
地球外面就是宇宙
但其實可能根本不是這樣，而是  ..... 國民黨的陰謀啦！

動畫創作新模式 Live Music 現象

Live Music 現象
Mass Animation讓分散在世界各地的動畫師共同為一部動畫合作

PIXAR John Lasseter 的七大創意原則

一：永遠不要只抱著一個點子

"不管你是去寫一本書，還是去設計一件家具，又或是像我一樣去製作一部動畫電影，一開始，你不能只抱著一個點子，你至少應該有三個點子在腦袋中。