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Purple Riot

animation reel

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I'm really digging it! I kinda love it. Like seriously.

 

The only thing is that I don't know how much of what you're doing is going to convince a professional employer to hire you. But that aside, its obvious that you're having fun and enjoy what you're doing. That's important.

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after looking at your reel, i'd suggest you figure out what band with the most clout and most together record label you have any kind of access to, and make a video for them. they won't be able to pay you, which is good because then you'll do whatever you want with it. which will probably be something awesome. then make another one. and another (echo echo echo)

 

eventually you will get paid to do them.

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hey guys,

 

I'm a friend of purple's, she really enjoys stop-motion as you can see from her reel. Is it possible to be a strictly stop-motion designer and get by? If so, what should she be doing to develop her skills, and if not, what other areas should she consider?

 

I've been trying to get her into After Effects but she resists...

 

Maybe some artists who are mostly stop-motion, too?

 

Thanks for the help everyone.

Edited by philmadelphia

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Is it possible to be a strictly stop-motion designer and get by?

 

no.

unless you're PES.

or if you're a skilled character stopmo animator, then you could work for like laika, etc. but that is kinda like making the NBA.

 

but your friend's work doesn't show the kind of exceptional craftsmanship in her stopmo to work somewhere like laika. maybe a very entry-level position, i dunno. the other problem for her is that literally all the stuff she did using stopmotion could have easily been accomplished using simulation techniques in ae, thus making her kinda of no use as an animator to a mograph shop. and her design skills shown in her reel are probably not good enough to get work as a designer at a mograph shop. unfortunately she presently just doesn't seem to fit in as a useful cog in the big dumb machine we call the motion graphics industry.

 

but one exceptional thing about her reel is that every fucking frame of it seems to have genuine soul in it. and that is really rare. that's why i really feel like she should get whatever job she can and just try and start making music videos in her own time for whoever so she can, so she can show more of her greatest asset-- that soul stuff. eventually it will be worth it. her work may not be technically polished, yet it still has something that can really connect with viewers... that is what makes a director. i've been doing this professionally since 1998 and this is only the third recent grad i've told that, and i ended up being right about the other two.

 

her other option is to almost start from scratch learning how to do very mograph-oriented stuff. hope this somehow helps and best of luck.

Edited by jaan

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Purple, this career path is about being handed a bunch of new tools you've never used before and being expected to make a masterpiece. We all get crayons in kindergarten and Markers in first grade. Now we just get bigger tools.

 

Be dynamic. And enjoy being creative in whatever mediaform God puts in front of you.

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josh, jaan, and rva8 thanks for the help.

 

she just asked my opinion about some advice she received from this woman.

 

"she said if i get an animation job doing anything else other than my own style then don't get an animation job. she said if i were doing an animation job at some studio it would be doing someone else's style etc etc and my talents wouldn't be utilized. so she advised getting a non animation/artsy job to make the money, and do my animations on nights and weekends on the side and run the festival circuits. and meet other animators and blahblah bc she said that way i could get commissioned to do work for companies or other ppl if they liked my style. but if i were working at some place doing animation it would drain me artistically and id be wasting my time doing cheesy crap animation."

 

I've heard this kind of advice before from "artistic" people who think commercial work is below them...

 

just a reference to the woman, she had some work exhibited at the MoMA and got an offer from a big company once to do a commercial.

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I really like your style!...very organic!!!..It has plenty of creative uses of color and stop-motion...

I´d focus more on font animation and design in general, some stuff looks kind of rough, maybe paying further attention to details and graphic design in general (scenes layout) would make it look much better. I´d also try to avoid the use of inverted colored images, I don´t think it´s artistically necessary for that shots (my 2 cents) :D

 

I think it´s different, to me it´s ok as a first reel!.

Cheers!.

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"but if i were working at some place doing animation it would drain me artistically and id be wasting my time doing cheesy crap animation."

 

The problem with this is that it's true, but not as much of a death sentence for her art as it seems.

 

If she wants to make a decent living off of this, she'll need to make some concessions to the commercial design world. Period.

 

Even a cheesy crap animation job will give her some valuable workflow and organizational skills, as well as introduce her to people in the field. If it starts to burn her out and her personal art suffers for it, she can always quit and switch to something else.

 

I don't see the point in taking a job that is not at all related to the field she's in, since any advancement or networking done in that field will be useless if and when she becomes a career animator.

 

If she's worried about a cheesy crap animation job burning her out, she should be just as worried about wasting her time and energy in a career track that she intends to abandon someday. Weigh the pros and cons.

 

The woman you mentioned who gave her this advice sounds regretful and out of touch with reality.

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josh, jaan, and rva8 thanks for the help.

 

she just asked my opinion about some advice she received from this woman.

 

"she said if i get an animation job doing anything else other than my own style then don't get an animation job. she said if i were doing an animation job at some studio it would be doing someone else's style etc etc and my talents wouldn't be utilized. so she advised getting a non animation/artsy job to make the money, and do my animations on nights and weekends on the side and run the festival circuits. and meet other animators and blahblah bc she said that way i could get commissioned to do work for companies or other ppl if they liked my style. but if i were working at some place doing animation it would drain me artistically and id be wasting my time doing cheesy crap animation."

 

I've heard this kind of advice before from "artistic" people who think commercial work is below them...

 

just a reference to the woman, she had some work exhibited at the MoMA and got an offer from a big company once to do a commercial.

 

though what that lady said is a little one sided and cheesy, it's essentially true and has a lot of wisdom in it. but whether or not it applies to any particular person is up in the air. does your friend mind at all being a professional craftsperson working as a team creating animations to convince 17 year olds to use a particular brand of deodorant? (i say craftsperson, because an agency deodorant commercial is not art)

 

only she knows the answer to that. i know i don't as long as the money is good. and it's still possible to work on commercial crap in the day and then make your personal stuff on your own time. but i have seen this plan in action, and it works way way less often than when someone takes an unrelated job and is able to save all their creative mojo for their own personal work (though your plan better be well into action by the time you start having kids). but doing the commercial day job nearly always results in a higher income than the other option. so it's up to her.

 

the reason i suggest she just do the music video thing is because

1) it's like a fourth of the way from the "personal work" option to the "commercial day job" alternative, because even if she does completely what she wants with the video, it still demonstrates somewhat of an industrial purpose for her work, and...

2) her work currently demonstrates little usefulness (note: not the same thing as talent) as a staff or freelancer for a mograph shop, so she's almost starting from scratch if she decides to go that route. and she already has substantial headway into being a director who works in the medium of animation.

 

btw, statements like this-- "I've heard this kind of advice before from "artistic" people who think commercial work is below them..." ... are just straight butt triflin'. good for them, whether they choose to endure that path, or easily choose it because of a trust fund (which makes me jealous). often they don't see themselves as superior to people working in the commercial world, we just infer that due to our own repressed insecurities regarding the issue. besides, about 98% of all great mograph projects have lifted from the work of those people you are referring to.

 

so anyways, she basically has to make the simple/complex decision of: does she wanna be the equivalent of a highly skilled studio musician playing perfect instrumentation on a big label artist's album... or does she wanna concentrate on getting her own album released on whatever best label she can get?

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