#IndustryQs

[38sr]

I know this is gonna be a strange one, but I do have an industry question;

I've been looking for a job for the last 4 years post-grad, I've tried every bit of advice I've gotten over my 6 years in school and 4 years out. Is it too late for me?? Or more so what advice would you have at this point?? I'm starting to feel really negatively about this venture, and getting a day job has been just as difficult;;

Hello Sky! Hope it's okay to call you that. Ah post-grad job hunting.....I don't miss that period of my life at all. Before I begin, just want to preface that what I say going forward is strictly from my perspective/experience. I am not the absolute of the animation industry so if what I say doesn't align with you, you do not have to follow it haha. Alright, advice for post grad job hunting.... Well, I think I want to start off giving a bit of context for the animation landscape these past 4 years that has been rough for everyone (trust me it'll come back around to your question): 1.) COVID Pandemic

This one might be a confusing for some people because when COVID hit in 2020, the only facet of entertainment that was able to keep going was animation. If you remember, during this time streaming numbers went up because people were stuck at home, every studio was launching their own streaming platform (HBO Max, Disney+, Peacock, etc.) and celebrities were given animated shows because live-action had stopped dead in its tracks. This period allowed artists outside of California state to get hired because what's the point of capping the talent to the local area when we're already working remotely? In short, it was a boom. But an exponential boom rather than a gradual boom. You never wanna grow too fast because you'll crash out quicker (and harder) which leads us to our second factor.... 2.) Netflix's first ever round of layoffs in summer 2022, streaming actually isn't profitable?????

In short, this year is when Netflix's growth finally stopped and was the beginning of The Great Animation Contraction. Other studios who were looking to Netflix as a the new model of distributing/creating entertainment had realized Netflix wasn't invincible. As well as their business model. So naturally, they got scared and and take action (aka layoffs). I was affected by these layoffs while working at Marvel Studios and many artists got laid off at studios to save face from the mistake that was streaming (though at this point studios were still double downing on it). Also, around this time live-action was slowly restarting thanks to vaccines and social distancing protocols. So those celebrity studded animated productions dwindled down (and also they caused so much havoc for us animation workers because most of those celebrities had no animation production experience). Which now leads us to...

3.) Mergers everywhere! Yeah, uh, mergers fucking suck. People kept losing their jobs because companies kept absorbing into each other and multiplying their debts to ungodly dollars amounts! Apparently no one took a math class and understood if you multiply any number by zero you will always get a zero. These merger also caused more shows to get shelved and canned, making the job market even slimmer. And by then we get to 2023 and the....

4.) WGA, SAG and TAG Contract Negotiations By now, studios have realized that streaming is losing them money because it costs a butt load of money to not only create a streaming site, but also maintain it, update it, create new media for it, acquire established franchises for it, and maintain the current library. Streaming shows aren't being advertised like they used to on cable so shows don't last beyond one or two seasons. Worker contracts are becoming shorter and shorter (I had a co-worker who had a 3 month contract! Isn't that insane?). And what happens in the midst of this streaming meltdown?

WGA, SAG and TAG are gearing up for their contract negotiations. And as we know SAG (actors) and WGA (writers) did strike which good for them! But now there are no live-action jobs and once again, animation (TAG) is the only one running because our negotiations don't officially start until 2024. At this point, so many animated productions have been cancelled left and right for the sake of "saving money and cutting costs". And the effects were very much being felt in the animation work force. Some animation workers were starting to leave the state of California to more affordable cities, some getting day jobs as baristas, hell some leaving the industry all together. It didn't help that studios were kind of withholding production greenlights 'cause 1) they're greedy corporations 2) these strikes were putting pressure on them. And when we did enter 2024 for our contract negotiations, that contraction was at the tightest. The job market for animation had become so bone dry that you have director-level talent taking entry level jobs to stay afloat. But because of that new, emerging artists are blocked out from breaking in. Anytime a job listing would go up people would go in a frenzy and try every thing they could to get the job. That's how little shows were in production this year specifically. Of course, by now it is public that TAG has ratified the contract (meaning we will not strike). But up until then, studios were quite literally waiting with baited breath for the duration of negotiations. A ton of stuff was in development but nothing was getting a greenlight in fear of a strike. So many animation workers at this point have been laid off for at least 2 years, got priced out of LA county, or got so burned by the industry that they left for a more sustainable paycheck. At this point of the post you're probably thinking, "Why is she talking about all of this and not answering my question?"

And the reason for that is because I what to highlight you didn't miss your chance. You unfortunately graduated at a time where the circumstances were not good for breaking in for the past 4 years.

I'm not saying this to deter you from animation either. I just want to be transparent and honest about the current state of animation because it really has been bleak for the past 4 years. So it's not your fault but rather the industry was just in a seriously bad drought. Both emerging and veteran artists have been struggling to find work and when they do it didn't even last for 6 months. Hopefully, with the renewed contract studios will start greenlighting productions again so everyone isn't fighting for one job opening. But I can't tell 'cause I am not Raven Baxter haha. But what advice can I give during this tough time? Start developing your own projects. Things may be pretty dry right now but now is the time when you can create and develop your own original stuff that can be used in your portfolio. Short or long form, showing progress videos, just create. Because once you start working it's gonna be hard to find that personal project time (trust me I'm going through that right now haha). Also, you'd be surprised how just doing your own thing can garner the attention of someone who does have the power to hire you. How do you think I got to work on the shows I have in the animation industry? Almost all of my jobs happened because I was just creating my own thing and it just happened to match the sensibilities of a show produced by a Hollywood studio. And if I had any additional advice... it would probably be don't think that Hollywood is the only way you can tell your stories.

This one is more of....a recent revelation I've had after going through a pretty bad work experience but Hollywood isn't the only way you can be a storyteller. Whether it's comics, games, streaming, animation, or film....the Hollywood system isn't the end all be all. And by Hollywood system I'm referring to breaking into a big studio like Disney, Nick or something and trying to get your own movie/tv show to win an award or something. That system often works for a certain group of people and fails other groups. That's why I say develop and create your own thing because you might find something that fits your creative voice more than Disney or any other Hollywood studio. Maybe that's inconsiderate of me to say as someone who's been incredibly lucky to work in the animation industry for almost 8 years now....but I still wanna be honest that there are other avenues that isn't the Hollywood way. All in all, please don't give up or beat yourself up. The current state of animation within America was out your control and resulted in many artists struggling to find a job. You aren't too late. In fact, I would say now is your time to do your thing in preparation for when that hiring boom comes again (or you can just take another route to tell your stories). I hope that answered your question!

[bitcofunblog]

Table of ContentsIntroductionDAGs: A Revolutionary Approach to Cryptocurrency ConsensusUnderstanding the Benefits and Challenges of DAG-Based CryptocurrenciesPractical Applications of DAGs in the Cryptocurrency IndustryQ&AConclusionUnveiling the Power of DAG-Based Cryptocurrencies: A Path to Scalability and EfficiencyIntroductionDirected Acyclic Graphs (DAGs) are a type of distributed ledger technology that has gained popularity in the cryptocurrency space. Unlike traditional blockchains, which use a linear structure to record transactions, DAGs use a more complex structure that allows for faster and more efficient processing. This introduction will provide an overview of DAG-based cryptocurrencies, including their key features, benefits, and challenges.DAGs: A Revolutionary Approach to Cryptocurrency Consensus**Understanding Directed Acyclic Graph (DAG) Based Cryptocurrencies** In the realm of cryptocurrencies, Directed Acyclic Graphs (DAGs) have emerged as a revolutionary approach to consensus mechanisms. Unlike traditional blockchain-based cryptocurrencies, which rely on a linear chain of blocks, DAGs employ a more flexible and efficient structure. DAGs are composed of a network of interconnected nodes, each representing a transaction. Transactions are ordered chronologically and linked to their predecessors, forming a directed graph. This structure allows for parallel processing, enabling faster transaction confirmation times and higher scalability. One of the key advantages of DAG-based cryptocurrencies is their ability to achieve consensus without the need for energy-intensive mining. Instead, they utilize a variety of consensus algorithms, such as Proof-of-Work (PoW) or Proof-of-Stake (PoS), to validate transactions and secure the network. Another benefit of DAGs is their resistance to double-spending attacks. Since transactions are linked to their predecessors, it becomes computationally difficult to alter or reverse a transaction once it has been confirmed. This enhances the security and integrity of the network. However, DAG-based cryptocurrencies also face certain challenges. One potential issue is the risk of forks, where the network splits into multiple branches. To address this, DAGs employ various mechanisms, such as "tip selection" algorithms, to ensure that the longest and most valid branch is chosen as the canonical chain. Additionally, DAGs may require more storage space compared to traditional blockchains, as each node in the graph stores a portion of the transaction history. However, ongoing research and development efforts are focused on optimizing storage efficiency. Overall, DAG-based cryptocurrencies offer a promising alternative to traditional blockchain-based systems. Their parallel processing capabilities, energy efficiency, and enhanced security make them well-suited for high-volume transaction applications and the future of digital currency. As the technology continues to evolve, DAGs are poised to play a significant role in shaping the landscape of cryptocurrencies.Understanding the Benefits and Challenges of DAG-Based Cryptocurrencies**Understanding Directed Acyclic Graph (DAG) Based Cryptocurrencies** Directed Acyclic Graphs (DAGs) have emerged as an innovative data structure in the realm of cryptocurrencies, offering unique advantages over traditional blockchain-based systems. DAG-based cryptocurrencies leverage this technology to create a more efficient and scalable network. Unlike blockchains, which store transactions in linear blocks, DAGs organize transactions in a directed graph where each transaction is connected to its predecessors. This structure eliminates the need for miners to validate transactions, as each transaction is validated by its incoming connections. One of the primary benefits of DAG-based cryptocurrencies is their high transaction throughput. By eliminating the block validation process, DAGs can handle a significantly higher volume of transactions per second compared to blockchains.

This makes them ideal for applications that require fast and efficient transactions, such as micropayments or IoT devices. Another advantage of DAGs is their scalability. As the network grows, the transaction capacity also increases, as each new transaction adds to the network's overall capacity. This scalability allows DAG-based cryptocurrencies to handle a large number of users and transactions without experiencing congestion or delays. However, DAG-based cryptocurrencies also face certain challenges. One challenge is the potential for double-spending attacks. In a DAG, transactions are not finalized until they receive a sufficient number of confirmations. This can create a window of opportunity for attackers to double-spend funds before the transactions are fully confirmed. Another challenge is the complexity of DAG-based systems. The interconnected nature of transactions in a DAG can make it difficult to track and verify the validity of transactions. This complexity can also pose challenges for developers and users who need to interact with the network. Despite these challenges, DAG-based cryptocurrencies offer significant potential for innovation in the cryptocurrency space. Their high transaction throughput, scalability, and potential for reduced fees make them attractive for a wide range of applications. As research and development continue, DAG-based cryptocurrencies are likely to play an increasingly important role in the future of digital currencies.Practical Applications of DAGs in the Cryptocurrency Industry**Understanding Directed Acyclic Graph (DAG) Based Cryptocurrencies** In the realm of cryptocurrencies, Directed Acyclic Graphs (DAGs) have emerged as a promising alternative to traditional blockchain architectures. Unlike blockchains, which rely on a linear chain of blocks, DAGs utilize a more flexible and efficient structure. DAG-based cryptocurrencies, such as IOTA and Nano, offer several advantages over their blockchain counterparts. Firstly, they eliminate the need for mining, which consumes significant computational resources and energy. Instead, transactions are validated through a consensus mechanism that involves multiple nodes confirming their authenticity. Secondly, DAGs enable parallel processing, allowing for faster transaction speeds and higher scalability. Transactions can be processed simultaneously on different branches of the graph, reducing congestion and latency. Thirdly, DAGs provide enhanced security. The absence of a central ledger makes it more difficult for malicious actors to manipulate or double-spend transactions. Each transaction is cryptographically linked to its predecessors, creating a tamper-proof record. However, DAG-based cryptocurrencies also face certain challenges. One concern is the potential for forks, where multiple versions of the graph can exist simultaneously. This can lead to confusion and uncertainty among users. Another challenge is the need for a robust consensus mechanism. DAGs require a high level of coordination among nodes to ensure the validity of transactions. This can be more difficult to achieve than in blockchain systems, where the linear structure provides a clear ordering of events. Despite these challenges, DAG-based cryptocurrencies continue to gain traction in the industry. Their potential for scalability, efficiency, and security makes them a promising option for future cryptocurrency applications. One notable use case for DAGs is in the Internet of Things (IoT). DAG-based cryptocurrencies can facilitate secure and efficient data transfer between IoT devices, enabling new possibilities for automation and connectivity. Additionally, DAGs are being explored for use in supply chain management, where they can provide transparency and traceability throughout the entire supply chain. By recording transactions on a tamper-proof graph, businesses can gain greater visibility and control over their operations. As the cryptocurrency industry continues

to evolve, DAG-based cryptocurrencies are likely to play an increasingly significant role. Their unique advantages offer the potential to address some of the limitations of traditional blockchain systems and open up new possibilities for innovation and adoption.Q&A**Question 1:** What is a Directed Acyclic Graph (DAG) in the context of cryptocurrencies? **Answer:** A DAG is a data structure that represents a collection of nodes connected by directed edges, where no cycles exist. In the context of cryptocurrencies, a DAG is used to record transactions and maintain the order of events. **Question 2:** How does a DAG-based cryptocurrency differ from a blockchain-based cryptocurrency? **Answer:** In a blockchain-based cryptocurrency, transactions are recorded in blocks that are linked together in a linear chain. In a DAG-based cryptocurrency, transactions are recorded in a DAG, which allows for more flexibility and scalability. **Question 3:** What are some advantages of using a DAG-based cryptocurrency? **Answer:** DAG-based cryptocurrencies offer several advantages, including: * **Faster transaction times:** DAGs can process transactions more quickly than blockchains. * **Higher scalability:** DAGs can handle a larger volume of transactions than blockchains. * **Reduced energy consumption:** DAGs require less energy to operate than blockchains.Conclusion**Conclusion:** Directed Acyclic Graphs (DAGs) offer a novel approach to cryptocurrency design, addressing scalability and security challenges faced by traditional blockchain networks. DAG-based cryptocurrencies leverage the inherent properties of DAGs to create a more efficient and resilient distributed ledger system. By eliminating the need for miners and relying on a consensus mechanism based on directed edges, DAGs enable faster transaction processing, reduced energy consumption, and enhanced security. As the technology continues to evolve, DAG-based cryptocurrencies have the potential to revolutionize the cryptocurrency landscape, offering a viable alternative to traditional blockchain-based systems.

[38sr]

same anon that asked about shadows ! , i have another question , how does different budgets for different animes change the way it is drawn , animated etc , like how does it go from average to ultra quality like demon slayer for example ..

Ah so with anime it’s a very nuanced topic. Firstly, I want to preface that what I am about to say is strictly from my experience working in anime for three years now and even then I would highly implore to study the Animator Dormitory Project to learn from animators who are PHYSICALLY dealing with the imbalanced system that is the anime industry. ALSO, it is important to clarify more money does not equal better art visually. More money means more time and resources. How you use said resources and time is what determines the quality of art (as well as the quality of work environment for the people making said product). If we were to follow the logic that more money equals better art, that would mean the average Family Guy episode should look like an average Demon Slayer episode. That is simply not the truth because 1) every production is different therefore their needs and overall artistic vision will differ 2) you’d be surprised on how the money is actually spent versus what you think it should be spent on (ie American animated films choosing to do celebrity voice casting which eats up a shit ton of the budget when that could have gone to the production crew’s schedule and needs). So with that, please understand money does not play in the ways you think it does (ie if it makes the drawings better) but it cannot be denied it’s one of many factors. Alright?

Basically, anime is funded through production committees which are a group of investors (such as manga publishers, merchandise manufacturers, tv broadcast executives, etc). In America, we have a similar system known as the AMPTP however unlike America where an investor can invest in cross industry projects (ie. Mattel can invest in toys and film entertainment) in Japan they can only choose one industry. This leaves budgets for anime to not become incredibly inflated like we have here in America (ie most blockbuster movies nowadays). BUT because of this rule along with the rule of budget caps, the actual budgets of full seasons of animes have not changed much since maybe the 1960/70s. To bring it back to Family Guy, the average episode of that show from script to final broadcast has been reported to cost anywhere between $1-2 million PER EPISODE. If you multiply that with the full episode order (let’s say 13 just to match the average season of anime), you’re working with $13-26 million FOR A SEASON.

Anime, specifically TV anime, is not seeing that. Shinkai’s Your Name was reported to have $4.5mil for actual movie production (not including the advertising budget which would make it 7.5 or roughly 8mil). $4.5mil. For an anime film.

$4.5 million is a good (and rare) budget by American TV animation standards for PER EPISODE. Unless you’re like, Disney or something you can afford to do that but most average American TV animation is anywhere between $1-3 million per episode. And the average anime is seeing that $1-3mil PER SEASON due to budget caps. So if we do the math of dividing that $1-3mil across 13 episodes (and I’m gonna do this evenly because this is a hypothetical and in reality some episodes do have more money put into for more TIME and RESOURCES)…that would mean your average anime episode, from script to final broadcast, is only seeing a couple hundred thousand dollars unlike here in American where we have a couple million.

And so at this point you’re probably thinking, “Wait, this doesn’t make sense. How can Your Name look like the way it is if that’s what America could spend on a single animated episode? Why is there such a wide disparity between the actual budget versus the final product’s visuals?” And that, my dear Shadow (sorry if that came off weird) is where we have to talk about communication. You see, even though Demon Slayer might not be seeing the same episode budget like we do in America what Japanese studios have in spades that American studios spent over 2 DECADES eradicating is in house layout and animation teams.

The reason why anime looks the way it is on such smaller budgets is quite honestly because they are communicating with each other in real time. In America, we ship our storyboards to a studio overseas (usually Korea, Philippines, India, etc) where we are basically playing a gambling game of whether or not the overseas studios produce the desired work we want. And spoiler alert: it hardly ever truly happens because of language barriers and these overseas are often not given enough money (remember that means time and resources) to actually succeed. Hence, you go into retakes which cost money and spend it back to overseas which cost money, and then it comes back and retakes are still needed which cost money yet again and I think you’re beginning to see why this system in American studios is awful.

Because the amount of money you spent doing that back and forth with retakes and shipping with an overseas studio who was not set up for success could have been spent on having an in house layout and animation team like they do in Japanese studios.

As someone who has freelanced on animes as well worked at vendor overseas studios for American made productions, I cannot understate how having that instant communication (as well as cultural understanding) can drastically change how things get animated. Being able to talk to your director about their intent for a scene at an instant is much more productive than waiting 6-8 months for a Russian roulette bullet. So my point is, the direct communication Japanese studios have within is the true unsung hero as to why 1) visually beautiful shows like Dandadan or Demon Slayer exist 2) they are able to have such a wide variety of visual styles under the anime umbrella because Japanese studios do value auteurship just a tad bit more than American studios who as of late is homogenizing our media cause it’s “safe”.

Also, another component that can factor into why anime looks the way it does despite smaller budgets is because Japan as a society heavily values reputation. On one hand, it’s cool that artists are willing to come together to bring the vision of an artist they admire to fruition. But on the other, it is often used to exploit these artists into very shitty work situations (ie me when I worked on JJK). It’s such a hard thing to talk about because as artists we do tend to sacrifice our well being for the sake of art but I could understand why someone on the outside might feel confused (or frustrated) that we would choose to put ourselves in a poor situation. Sometimes, you’re just willing to take a lesser pay and tighter deadlines to work on a project that speaks to you creatively. And it really do just be that. But for the case of anime, it is often because these artist want to work with a person they admire so who I am to judge them when I’ve done the same haha. But my point being, because Japanese studios have that in house communication and are more open to artist auteurship there’s just more room to have visually distinctive episodes, animated sequences, designs and so on despite the budgets not being the greatest (if we’re going by American standard of living because it is objectively true that Japan is not as costly as places like NY and LA).

I could go on and on about this but I think this answer has become way too long haha. But in summary, Japan isn’t seeing as big as budgets as you think you are from an American perspective. Anime budgets virtually have not changed that much for decades despite it being mainstream and incredibly profitable. I will add that studios like Kyoani and Ufotable have the advantage of potentially self funding their projects, which allows more creative power to the studio itself rather than having to comply to the production committee’s whims. But those studios are like….rare gems ‘cause they chose to nurture talent and be selective with their art over time as opposed to Mappa who is spreading the talent and production crew super thin by adapting too many shows. What makes the art in anime look that way is more so a result of passion and respect for the craft (as well as they’re just open to a lot more versus American execs who are risk-adverse). It would be great if they were given more money so they weren’t producing episodes on such tight schedules (usually a handful of months before official broadcast) but it’s really a testament of how they effectively allocate the money where it’s needed as well. It’s truly an amazing balancing act in a system that’s equally imbalanced.

Phew, that was a long one but I hope I answered your question. And with that, always remember kids that money does not equal better art. Money means more time and resources and how you use it is what determines the overall artistic vision of a production.

[38sr]

#industryQs Hello and thank you so much for sharing your animation and industry knowledge :) What is your process for animating a difficult scene like difficult movement, angle, acting, etc?

Hello Anon! I'm glad my posts can be helpful for you and others haha. Oh my process for animating a difficult scene....so something I like to do is thumbnail out all the poses of an animation in my sketchbook before doing it digitally:

I do this type of thing when the animation is more so about character acting rather than high octane action. It helps me figure out all the poses I need (and can alter) so that I'm not staring at my Cintiq pulling my hair out haha. My process for animating complex action scenes is a bit different. I have this thing where I'll do a rhythm pass before I even draw any figures. It's hard to explain into words but basically I plot out all the rhythm (timing, spacing, frame exposure, speed) of each figure in the shot with just dots (colored coded). Doing this rhythm pass helps me create variation in timing for each character so that they all don't feel one note. I guess in way, it's like creating an orchestra piece with different instruments that will play at different times but in harmony with each other. I did that a lot on Castlevania Nocturne since the action set pieces feature at least 5 characters moving at once. You don't want two characters to move with the exact e same timing and spacing so you gotta add variation to build a rhythm that will be pleasing to the eye. Once I get that rhythm pass down I pretty much go into drawing rough mannequins and lock down my essential key and breakdown poses. At this stage, I'm also thinking how to build that rhythm and contrast between key poses by playing with the spacing of the drawings (halves, thirds, favors). For action, you can get away with being less accurate (anatomy wise) and having less drawings since it'll play super fast. But the drawback is that you have to be an incredible draftsmanship and animator to understand what poses you need, what poses you can omit, and what poses you can intentionally break. Castlevania required a lot of that since it's heavily inspired by sakuga fights haha. But all in all, when it comes to animating complex action scenes I focus a lot of nailing down the rhythm in the rough key/breakdown stage of animation that way my in-between and tie down process is much easier since I did all the heavy lifting right from the start. I hope that answered your question!

[38sr]

How did you get where you are now? Job wise I mean? Were you a college student before doing this or did you go looking for jobs in the art industry straight away?

Oh, well it's been quite a journey for me in terms of how I got to where I am right now but here's the full timeline (?):

August 1996 - BIRTH

April 2007 - I watch Brave Story at Tribeca Film Festival, life is changed and I decide to purse animation

June 2014 - Graduate high school and accepted into Montserrat College of Art for Animation & Interactive Media

Summer of 2016 - Studied abroad in Japan attending Niigata School of Art & Design

Summer of 2017 - First animation job as an animation intern for Sesame Street (yes that Sesame Street)

December 2017 - Graduated from college (yes I graduated early due to having college credits in high school), did not have a job lined up

2018 to 2019 - Living back in NY with my parents, working on indie animation productions, creating emotes and animated intros for content creators, applying and getting rejected from many job listings, received and fail multiple storyboard tests, developing my own projects and story ideas after years of not being able to for school work

July 2019 - Fly to California for the first time, made the decision to move in order to further pursue a career in animation, at this time the Nickelodeon Artist Program were accepting submissions so I busted out boards for a personal project in 3 days and submitted it (please do not be like me, take your time haha)

September 2019 - I receive a call from Nickelodeon and I go through a series of interviews for 2 months straight

Thanksgiving 2019 - I receive news I was selected as a trainee for the Nickelodeon Artist Program

January 2020 - Move to California and begin work as a trainee at Nickelodeon (specifically for Rugrats reboot)

March 2020 - The pandemic

July 2020 - I leave Nickelodeon and move onto Titmouse as a storyboard revisionist for Star Trek Lower Decks

November 2020 - My Supervising Director for Lower Decks recommends me to the first Critical Role show Legend of Vox Machina

December 2020 - I do freelance boards for Vox Machina and get hired as a full time revisionist for season 2

January 2021 - I receive a interview request for a job on WondLa at SkyDance due to one of the directors finding my work online, I heavily consider the job

May 2021 - My Adventures of Superman is announced, I draw a piece of fanart that goes viral

July 2021 - Vox Machina season 2 wraps, I receive an offer to return to Lower Decks season 3 as well to work on X-Men 97 (I said yes to Lower Decks)

August 2021 - Spiderman Freshmen Year (now known as Your Friendly Neighborhood Spiderman) asks if I be interested to do boards, I decline not knowing what it was for

September 2021 - Showrunner for Spiderman contacts me personally for interview, my Superman fanart from May 2021 finds it way in front of the eyes of one of the creators for MAWS, still currently doing revisions for Lower Decks S3

October 2021 - Accept job offer as board artist for Spiderman, freelancing on MAWS as a character designer (first time doing this job), turn down SkyDance job offer

December 2021 - Wrapped on Lower Decks S3

January 2022 - Launch as board artist for Spiderman at Marvel Studios, still been developing my own personal projects at this point

February 2022 - Studio Shaft offers layout and genga work for Madoka Magia Record after seeing animation work of my personal projects, I accept

April 2022 - My episode of Madoka Magia Record airs, Studio Pierrot sends offer for work on Boruto

May 2022 - After my first episode on Boruto I am offered to work on Bleach Thousand Year Blood War, I accept and continue to on Bleach as of this post (3 seasons in total), Studio Mir offers me animation work for XMen 97 (I accept but only work on the first episode)

Summer of 2022 - Working on Spiderman, animating on animes, I think at some point this is when I was offered to do animation work for Castlevania Nocturne

November 2022 - Complete season 1 of Spiderman, Marvel/Disney lays me off for *reasons*, I receive an email about potential work on an unannounced show at Nickelodeon, I'm unemployed at this point

January 2023 - Collecting unemployment, freelancing on animes, trying to survive in general, also approached by Colosso to create my own course

February 2023 - Land a short gig on Big City Greens movie over at Disney TVA, Studio Mir once again offer me work but this time for second animated Witcher film

March 2023 - Land an interview as a character designer for that unannounced Nick show, didn't get the job

May 2023 - Wrap up on Big City Greens and Witcher, fly to Japan to relax (I failed)

July 2023 - Land a layout artist position at A24 (no it's not for Hazbin Hotel), Studio Mappa offer me work on Jujutsu Kaisen Shibuya Arc

September 2023 - Land another interview with Nickelodeon (this time for storyboard artist), freelancing on layouts and animation for Castlevania Nocturne S2, A24 job is stressing me out way too much so I decide to leave, MAWS hits me up for retakes on season 2

October 2023 - Wrap up at A24, I land the board artist job at Nick, I am also drowning in Jujutsu Kaisen production meltdown, complete my online course for Colosso, wrap up on MAWS S2

November 2023 - I start at Nick as a board artist, Colosso course release, I am still dying by the hands of Studio Mappa

January 2024 till now - Still boarding over at Nick and still animating on animes (I am VERY selective now about it though after JJK), I am also in therapy now Yeah so that's like, a real rough timeline over everything from school till now (and even then I am missing a lot of work details like video games and development projects due to NDAs). But pretty much what carried me was putting myself and my art out there on social media along with building relationships with people in the studios (outside of just my production) and that's how I've been able to maintain a steady work flow even when I was unemployed. Also not being afraid to develop my own ideas and share them since most of the times that gives the leadership a pretty good idea what sensibilities I have (and they just happen to match). I hope that answered your question!

[38sr]

#industryQ Can I ask what was your favorite thing to animate last year was? Professional or Personal project.

Oh hands down this shot I did for Castlevania Nocturne. I spent hours getting the slight drag on the harpie's boob right and it's my greatest work EVER.

[38sr]

hi! I'm the anon from a few days ago that said that you're amazing and inspiring. you said you also didn't have the best school for animation, do you have any tips or videos, courses or anything that you used to learn 2d animation? or get better at it? and how did you break into the industry?

I'm latina and after 4 years I'm starting to feel like it's impossible to break in unless you're extremly talented or come from an amazing school

Hello again, Anon! Hmmmmm, I remember watching Toniko's videos a lot when I was in college because it was the closest thing I could get to a real animation course (and for free). But if I had to make a list I would recommend the following (all Youtube):

Toniko Pantoja

Modern Day James

Dong Chang

Howard Wimshurst

As for tips, I would suggest invest in good foundation drawing classes (mainly figure drawing, design and perspective). This is just from my experience, but what has carried me through my career was having solid draftsmanship skills. Animation requires you to draw consistently for multiple frames and a lot of younger webgen animators don't have that foundation (so while they are great at conveying motion they aren't the greatest draftsmanship). Schools actually don't matter as much as people think it does. I didn't go to a well known school and have worked with many people who didn't go to art school altogether (some even had a completely different career like engineering or biologists). It's more so about being a solid, versatile artist that's great to work with rather than being a genius artist who's hard to work with.

But I wanna also share that it's never too late or that you missed your prime chance to break in. Breaking in is different for everyone and part of it is about being the right fit (which is something you cannot quantify or try to code break). I've talked about this extensively about this in previous asks if you wish to read that. I hope that was helpful!

[38sr]

#industryQs

i started animation just recently and one thing I’ve always wandered is the ideal or standard fps. I know it varies but how many do you usually use? For anime for example.

Oh! The standard is 24fps for 2D TV animation (though there was a time when the standard was 12fps but technology changed). I think for 3D/CGI animation and video games they aim for 30 or 60fps depending on the engine they're using. I only use 24fps for my work because 24 is easily divisible by 2, 3, 4, and 6. So, doing frame modulation is much easier to split up and experiment with different acceleration and deceleration speeds.

[38sr]

hello :) i was curious what considerations you have before taking up a gig if a studio reaches out to you and if you will become more inclined to work with them if it an animation / anime you enjoy a lot ?

Hello again, Beyonder! Hm, to be honest I have an hierarchy of what I consider when choosing projects: People, Project, Payment People meaning who I will be working with and will they challenge me? Will I like working with them? What can I learn from the people on the project? Project meaning if I vibe with the production's story tone. Bonus points if it's something I'm already a fan of but that doesn't heavily sway my decision as much as it used to a couple years ago haha.

And lastly payment. I'm not saying I don't care about money (I do 'cause bills gotta be paid). But I don't really chase money or big titles that would get me the big bucks. As long as my needs are meant, I'm okay. I think overall, especially since this year is my 8th year working in animation, what I want out of my career is to keep making cool stories with people I admire/love working with.

[38sr]

#industryQ Is it recommended to include fanwork in the style of a or even the show/company you're applying for? Specifically talking about animation demoreels for students fresh out of school with no professional experience.

I feel like I've answered this before but while I'm in the camp of making fanart and fanfic, I would implore you emerging artists to create their own original work. The reason why is because on the job you'll be taught how to draw in the style of the show and sometimes getting hired is about whether or not you have the sensibility the team is looking for. And what is that sensibility? It's hard to define 'cause every show is different and therefore will have different needs. That's why original work is so fun to make because you can communicate what you like and it still be uniquely you. And 9 out of 10 times, there is at leats one person in animation who vibes with the sensibilities you have. Again, I'm not saying you shouldn't draw fanart because I'd be a hypocrite when I have gotten jobs from drawing fanart (never the full reason why but a good portion of how I got them). But you also wanna showcase who you are an as artist outside of fanart. I hope that answered your question!

[38sr]

Hi Lee Cree!! I love your animations and I'm a big fan of styled Art and animations. I wanted to ask you how did you develop your art style, what brushes do you use, and did you go to an animation school!

Hello Night! Thank you so much for your support! As for your questions, Imma go backwards haha.

No, I didn't go to an animation school but a private fine arts college in Massachusetts. They did have an animation program but it was so new (4 years old) that it didn't have any real resources for me. So I ended up teaching myself how to animate the way I like.

Second, brushes. I've already answered the brush question in a previous ask . Though I will be honest in that I haven't really been using these brushes lately since I am a fickle being haha. But in all seriousness, I'm very much a default brush tool gal 'cause I don't really believe in a "brush tool that will make me draw better." By no means is this targeted towards you, Night, but I want people who are reading this to understand knowing an artist's specific brush tool and settings won't suddenly make your art change. You still have to learn how to use that tool in a way that works for yourself. For myself, I don't need fancy settings and effects. I'm the type of artist that will take a Crayola marker over a Copic marker because I just need something that works and will bend it to my liking. But as of right now, I've been using the default G-pen tool in Clip Studio with default settings (7-10px) 'cause I just like how it looks. I'm sure it'll change again but my point is that please don't get too fixated on what brushes I use because it's not as fancy as you think it is. ^^; Last one, style. So lemme let you in on a secret, Night: I don't really have a style haha. This is such a hard topic for me to explain because I....don't really care about "style" but rather I look for how artists execute certain things in art. I'm just good at breaking down someone's style and figuring out how they execute foundational drawing cornerstones. For example, Tite Kubo (Bleach) draws the lower of the face longer (which gives a more angular, mature look) as opposed to Furudate (Haikyuu) who draws the lower portion of face shorter than real life (which make the style read more youthful). This is something I learned during my time in art school since I mostly took fine arts classes. We often spent a lot of time dissecting other artists work and trying to replicate it. So, I approach my work in the sense where one day I'll go, "I'm gonna draw the eyes like Christie Tseng" but then the next day I'll go, "What if I drew the eyes like Mitsuru Adachi?" My "style" thrives off of learning the visual cues of artists and seeing if I can replicate it. And once I do, I adjust it to fit my sensibilities so I can add it to my arsenal of "styles" haha. And, if you've noticed that's how I'm able to switch up my drawing between shows like My Adventures with Superman and One Piece. And at the end of the day, what y'all are seeing is an accumulation of years of analyzing, deconstructing and reconstructing techniques from artists I really admire and trying to mix them together into something that feels uniquely me. And it's always changing. I think a lot of emerging artists can fall into the worry of not having a "distinct visual style" and in my art journey that visual style is just a result of practice, experience and experimentation. Of course, y'all can probably tell I'm super influenced by anime but outside of anime I'm also inspired by western artists (like Manet and Degas). I guess what I'm trying to say is that when it came to developing my "style" I gave up of being a "stand out" which was very freeing for me back in college. It allowed me to study artists outside of my field and experiment with their techniques to create my own unique hodgepodge you see today.

[38sr]

#industryQs any tips and how to break into the industry? also any tips on what a portfolio should and shouldn't have?

Hello Shannina! I've actually answered these questions before so you can refer to these previous asks: Networking

Portfolios vs Resumes How Hard is it to Break into Animation? How I Broke into Animation What Should be in a Portfolio? Do You Need to Have a Specific Style?

[38sr]

Hey li cree :) , i recently got into watching anime and I'm fascinated by the shadows drawn on characters and objects , i would like to know how animators like yourself know where to place shadows and what kind of shadows to draw …..

Hello hello! Well the honest answer is basic drawing fundamentals. I wish there was a more fancy answer but understanding light and shadows is a drawing skill you should learn in any discipline of art. When building that skill, you can start to understand how a shadow on a sphere is different to a shadow on a cube. Or how harsh direct lighting creates more crisp shadow lines versus diffused lighting which create softer almost edgeless shadows. All of that becomes secondhand nature and you can start to create shadows just by being told, "It's backlit" (meaning there will be a rim light affect on the characters). For the case of animation, we're often given an indication of the lighting direction with a color script, or shade blocking in a storyboard or just indicated by the director. But every show is different when it comes to their lighting treatments. But overall, it's just a drawing fundamental skill most artists know from their schooling (school or self taught).

[38sr]

Hi! I have learned a lot from you videos and i notice you used clip studio paint. Im sorry if you had this as before and if so ignore this message but. What are your clip studio settings or the type of layout you use since i would like to practice knowing the rigth brushes and setting that they use in the industry. Thanks for your time and stay hydrated!! Oh and thanks for the videos they are really educational!!

Hello Anon! If you're asking about animating brushes I've already answered this in a previous ask. But in general, I use default brushes with default settings (like G-pen). No custom settings. Even for the ones in the previous ask I have set on default settings. This is just a me thing but I don't care much for customization since I just need it to work haha. There really isn't a "right" or "industry professional" brush because each production is different according their art direction/design and every artist has different tastes. And as for layouts, those templates are different from production to production and are provided to me when I work on a show. But in general we are working 1920x1080 and 24 fps for standard TV animation.

[38sr]

What is the best way, in your opinion, to break into the animation industry?

#IndustryQs

Hello Anon! Honestly, the honest truth there is no "best way" because everyone's path is different. But if you are curious about my journey and what I've learn along the way I've already answered those type of questions in previous asks.