Become more effi cient
Despite a later stint as senior animator on PlayStation 3 game Killzone 2, most of In-Ah’s animation work has been for films – albeit a huge variety of them in terms of subject matter. Does the way she approaches her craft differ with the subject?
“Well, generally the main rules of animation, like weight, timing and spacing, all apply no matter what style you’re working in,” she says. “The biggest differences between VFX animation and fully animated features is that in VFX you normally need to animate more realistically. Performances need to be subtle, like the china doll in Oz the Great and Powerful, compared to a more free Tex Avery-style of animation, as in Hotel Transylvania – where you can stretch and exaggerate the characters into shapes that aren’t possible if you have realistic bones and muscles.”
Unlike, say, creating concept art or being an illustrator, where you can spend days if not weeks working on your own, creating animation means constantly liaising with others in a team. It’s a very social job, and In-Ah says it’s important to listen to others, especially when you’re just starting out.
“On my first job, Harry Potter, I had the best time. The team was incredible and even though I was intimidated, and afraid
You always wonder if you’re doing well enough. Will they discover you have no talent for this and fire your ass?
More from Universal Pictures’ The Tale of Despereaux, showing
some subtle facial animation.