#IndustryQs

[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!

[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]

#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]

#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]

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.

[38sr]

#industryQs

Hello!

For your course, are there any additional courses you feel should be taken alongside what you offer in yours?

For animation/drawing, programs to be used, or to get hired?

Id love a list! I currently have a Bachelors in GameArt and would like to get into 2D animation for my career.

Thank you!

Hello!

Hmmm, I can't really think of any since I made the class with the intent of it being more of all the knowledge can be applied to any software you need. But if I had to say one probably Toniko Pantoja's videos would be a good additional since that's where I learned how to animate in the first place haha.

As for programs the following goes: Storyboarding - Toon Boom Storyboard Pro (TV), Photoshop (Feature Film)

Animation: Toon Boom Harmony (American TV), Clip Studio Paint (Japan), TVPaint (American and Japan), Adobe Flash/Animate (America and Japan)

There are professionals who use Procreate but as of right now studios haven't adapted it yet since I don't think there's a Desktop version. So they primarily use Adobe and Toon Boom programs. But recently American studios have been using Clip Studio for designs, layouts and animation slowly.

[38sr]

#IndustryQ

I’m not sure if I remember this correctly, but didn’t you work at titmouse for a little bit? if so, I was wondering, how did you get the job?

Titmouse is one of the companies I’ve always wanted to work at since I live in the New York area and there isn’t a lot of animation studios (that not marketing) here.

-Rainbow anon

Hello again, Rainbow! Oh yeah I worked at Titmouse for Star Trek: Lower Decks and Critical Role: Legend of Vox Machina. As to how I got there....to be honest they found me and I never really applied to anything to get my first job there. ^^; Back in 2020, I had just finished the Nick Artist program and didn't have a full time job lined up (I had some animation freelance though). It might have been a week or so after I left Nick that the Line Producer of Lower Decks had emailed me personally, saying he found my work online and asked if I would be interested in interviewing for a storyboard revisionist position for Lower Decks. I said yes and that interview lasted an hour since I had such a fun time talking to the Line Producer and Supervising Director about Star Trek, anime and all types of nerdy stuff. I wanna maybe within that day or next they offered me the job and that's pretty much how I got to work at Titmouse. It was very much a case of I had been posting on social media (personal work along with a comic series I was doing for the Nick Artist Program). It caught the attention of someone who had the power to hire and offered me an interview. Normally, you would test for stuff like that...but I never asked them why they went straight for an interview even now years later... I ended up working for Titmouse from 2020-2021 bouncing between two shows (I think that's the longest I'ver ever stayed at an American studio). Sorry fi that wasn't really helpful since I sort of skipped the usable steps of getting hired for an animation job in this particular experience. ^^;

[38sr]

Hi! Hope you're having a good day

Sorry to be a bother, I wanted to ask how do you make sure that the character design remains consistant while drawing/animating different perspectives..?

Hello Anon! You're not a bother at all! Hmmm, to be honest maintaining consistency is a result of developing solid drawing skills over time (like since high school). There are tricks you can use like flipping (flipping back and forth between key frames while drawing) or arcs (using curved arcs at certain anchor points to maintain line of motion and volume). But if I'm being honest, having solid draftsmanship skills in animation is super important whether the designs are complex or simple. It's hard to explain but I just visualize the character and motion in a 3D space in my head and try my best to translate that onto a 2D plane. And that was a skill I developed while improving my draftsmanship skills during college and when I started working in animation professionally. Also, I studied a lot of Kihyun Ryu and Ilkwang Kim (famously known for their work on Legend of Korra and Voltron) which has a heavy emphasis on solid volumetric drawing when it comes to the human body. There are other artists I study like Yoshiyuki Sadamoto (Evangelion Rebuild movies), Tadashi Hiramatsu (Parastye), Mamoru Hosoda (The Girl Who Leapt through Time) who also have that same core of strong volumetric drawing (but I would argue for those they are very skilled at simplifying their line work and shape language to fit that anime aesthetic). So it's really a combination of things but I'd say solid drawing skills can carry you a very long way if you're able to look at a design and break down everything into simple shapes and develop the ability to visualize those shapes in a 3D space. At this point in my career, it's become second hand nature to me but I still think I have much more to improve. I hope that answered your question!

[38sr]

As someone who wants to work in character design or storyboarding, how difficult is it to get into that industry? Do you need a bachelor’s degree or is it just recommended and how did you get your foot in the door? #industryQ’s

Forgot to mention this but if you are a U.S. citizen you do not need a degree to work in animation but if you are an international artist you do need a degree to qualify for work visas and sponsorships. I don't have much information about this since I am a U.S. citizen but I just wanted to give that clarification since I didn't in the video response.

[38sr]

This is a bit long, but how long had you been working in the animation industry before you began working on Superman and now Spiderman? And how long have you spent practicing animation as a whole?

#industryQs

Oh! Well, I started animating when I was 16 so now it's been 11 years since I've practicing animation (I turn 27 next week as of this post).

As for when I started working in animation, my very first job was working on Sesame Street (yes, that Sesame Street) in 2017. I was an animation intern that assisted in animation retakes for Elmo's Wonderful World and other animated projects in the studio. So it's been....holy cow 6 years in total haha. So for Superman and Spider-Man I started those projects back in 2021 (4 years into working in animation). Sadly, I no longer work on Spider-Man Freshman Year due to being laid off last November (corporate BS reasoning as usual). I hope that answered your question!

[38sr]

#industryQ hi had question I’m currently learning animation student and like had question for u about how get into industry and aslo do u Need degree ti get into like big animation company’s since I currently trying to get animation certification wasn’t sure if I could get in job for animation if I having certificate I hope I making sense aslo do have any advice for beginners animation aslo out curiosity what type softwares for animating do u suggest? I hope my question makes sense aslo love ur art sm

Hello Super! I actually answered a question about whether or not a college degree is needed to pursue animation a while back (you can see the previous ask here). As for your question about advice for animation beginners, hmmmmmm, honestly what got me to where I am today is studying the 12 animation principles heavily and also applying those 12 principles in my personal work/portfolio. I think a lot of people wanna do the super cool action sequences first but the greatest animators out there have a super solid understanding of the 12 animation principles and that's why they can make such amazing animated pieces. I like to think of the 12 principles as lego blocks that you can build on top of each other to create something bigger and greater. But in order to do that, you gotta understand how each principle works and how you can apply them in different ways to create different effects/feelings (ex. if you combine timing/spacing with easing you can achieve the principle of anticipation). I know it sounds boring but developing the skill to identify and analyze when, how and why an animator uses a certain principle will help you out in the long run. Take the time to watch your favorite animated sequence and test yourself if you can identify what principle they are using to make it look cool and appealing! I do this all the time and it's helped build my visual library for when I animate haha. But yeah, I would say for beginners get those fundamentals down! As for programs, well honestly I don't really have any recommendations since it depends on the person. I personally use Clip Studio since I work on animes but honestly whatever works for you (and your budget of course). There's Clip Studio, Procreate dreams, Rough animator, OpenToonz, Harmony, Krita, Sai, Adobe Animate and more. I would say test each one out and see what works best for you! 'Cause at the end of the day you're still going to be using the same 12 principles haha.

[38sr]

#industryQs ! hullo! aspiring storyboard artist here! been trying to get into a creative role for 10+ yrs and counting 😭 was wondering if industry storyboard expectations are closer to anim roughs and should i aim for that rather than a couple key drawings? thank you!