Books Video icon An illustration of two cells of a film strip. Video Audio icon An illustration of an audio speaker. Audio Software icon An illustration of a 3.
Software Images icon An illustration of two photographs. Images Donate icon An illustration of a heart shape Donate Ellipses icon An illustration of text ellipses.
It appears your browser does not have it turned on. Please see your browser settings for this feature. EMBED for wordpress. Want more? Advanced embedding details, examples, and help! Realistically — a good negotiator never needs to haggle, they never have a moment of tension, they never are in an uncomfortable situation. But, it does require understanding many of the fundamentals that this guide covers in-depth.
Episode — Redshift Renderer. Let's Connect. View my profile on. Got a Question? Ask Allan Anything! Sergio: It was awesome! The reason I signed up was because 2D animation was going away in the United States.
Everything was turning to 3D and I just wanted to hold on. So I got that gig and fortunately, I did a test. It was a really bad animation test but they gave me a shot. There were these European Disney animators and people from other places that just came back — and they were really good and talented — and they needed storyboard guys to elaborate the story before animation.
They redid the project at some point and I jumped in. It was my first real chance to do storyboarding. I learned so much from those guys! You have a lot more freedom than, say, an animator would. As a whole, a story guy can do a whole sequence, or a couple of sequences, or a whole act. And then if you actually get to direct, you can do the whole thing and the show; and you can edit it.
That, to me, is so exciting! I can actually do this — and make it my own. Sergio: Not many people know that.
I guess you would know that development or previs is the start of a project. You get to work with the producer, the director, the writer from the beginning and you get to develop the project with them. And seeing it through is so much fun! You get so uptight about your work, and then you realize you need to let go sometimes.
I liked the artwork for that! Sergio: Yeah. That was my biggest video game project. When I was doing that, I got more into supervising. So that was what I wetted my appetite with: I can take more control.
It was super fun! Sergio: Darkwatch? It was definitely the story development. The gameplay was awesome. We did a bunch of versions. But that was the challenging thing [because] the timeline kept shrinking. I think it came out alright. The pressure sometimes helps reignite creativity. So I think it was another lesson. Working under those conditions can be a positive thing.
I like bouncing around. We had a year and half before the film was going to come out. That meant so many versions! I want the end of the tunnel. I want the compacted deadlines so you can make decisions on the spot. That comparison made me think of tv deadlines vs feature film deadline. But that training needs to kick in, in the beginning. Every minute counts! If you go over, everything is going to bleed your budget dry. You have to make those decisions right then and there.
Sergio: Yeah, I find that self-discipline is the hardest thing to muster. Do you have any other life lessons? Sergio: Do as I say, not as I do? I just shot a live action short, in VR. And that was actually trickling along for years. We were dabbling along. Then finally, all the pieces came together and we finally shot it. But for me, the discipline and the passion — you have to find a way to keep it burning.
Otherwise, for me, I would lose interest. What keeps me going is, maybe, fear. Do you find that in our industry, everyone is going to see people who are better than them [and be inspired]? Or do you think there will be different personalities reacting differently?
Sergio: Totally different personalities! There are some that love the teaching and the learning aspect. I think I fall into that category and the reason I do that is because people were super generous with their time when I was starting out. And then, there is everyone in between. You make lifelong friendships in this thing. This is not a job! Sergio: Very true! We went to dinner and my buddies and I had to agree to not have any shoptalk.
What other industry can that be true about? We do need to be obsessed in this industry. It becomes your life. You have to surround yourself with it. Sergio: Yeah, man! Everybody starts out this way. I tell young guys that even the best artists sucked at one point. You can make it and it can be a positive thing! If anyone is listening to this and doubting if they should be doing this — because they think they would make more money at a bank job — Why sacrifice your happiness for something because you have this fear?
Or I hear all the fluff about visual effects going down the toilet. The truth it: The industry is booming! But the amount of jobs coming out has also increased.
When there are five times the people trying to do this job — there are five times the number of jobs. I always tell people: We have a hard time hiring storyboard artists; or finding good visual effects people in every single discipline. In particular, I can speak about story: The guys who have the right training, who can draw well, conceptualize things, do previs. We need more of them! We need good storytellers. People may say the market is saturated.
We need more people! What was it like to work on that project? Sergio: That was awesome. It was another put-out-the-fires kind of a project. I got the call from some guys in LA who were working on that movie and they had to rework a scene. I did these really colorful storyboard panels. They were pitching some execs and really wanted to sell the idea.
The director of that film [Jimmy Hayward] was an animation teacher I had in college. I remember that guy [being] really inspiring. It was his first live action feature. When I met him, he was teaching animation. Sergio: It was the scene toward the end where Johan Hex gets captured with the femme fatale.
And they have this big moment there. What was your experience like with that? How did that happen? I ended [a contract job] at Pixar and I got a call from friends of mine. A guy who was working on The Clone Wars ended asking for my portfolio.
He showed that to the director at Lucasfilm and I got an interview. They were looking for story guys everywhere.
0コメント