Be­come more effi cient

ImagineFX - - Imagine Nation -

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.

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