Animation

Yes - plenty of primetime animation shows like The Simpsons do not draw. You can check out my blog post on this site here for some tips

https://www.stage32.com/blog/What-Animators-Would-Really-Like-Writers-to...

Yes. And there are artists looking for individuals like yourself to work for. I know someone right-now that is a decent artist that charges $30-$35 per page; I may use him if I get extremely tied-down. I'm an artist, but I'm currently writing the 55 pg script for the animation, no free time creating new concept art, UNLESS my concept gets picked up and they want more.

Hi Emma! Yes again : ) You can even DIRECT animated movies without drawing skills! Ok, maybe you'd have to be Isao Takahata (RIP) ;) . But feel confident, most scripts for animation are penned by traditional scriptwriters. As Bob Harper's insightful article describes, there are some rules you'd better stick to.

Try to get your hands on this book, it's a good start to understand the specifics of animation writing:

Writing for Animation, Comics, and Games, Christy Marx, 2006 [Focal Press]

https://www.amazon.com/Writing-Animation-Comics-Games-Christy/dp/0240805828

Emma,

I can't draw at all and I completed one animated short that won semi-finals in a film festival, which tells me, I think I can write!

I am currently working on 3 more animated projects. One, I know the animated character personally and am writing-as-I-go type of process and have two episodes under my belt.

The other, I created 12 synopsis's for a producer. He liked them, so now I am starting on the actual scripts by referencing each episode's synopsis.

The third project I started by grabbing a small notebook and created the characters that are in my head, named them, and wrote their personality and a description of each character.

Choose one of these steps or your beat sheet or other method to start. Create the art work in your head as you write and you will work with the storyboard artist after completing your script.

I also hired an art student who worked on a couple of my characters. We, of course, had a contract. The pay was expenses only unless we sell or option the script and receive revenue for the project.

At times, local schools, universities, or technical colleges have art students who will work for free, however, I made sure my student had expense money for supplies and a bit of the profit if we make money on the project.

One mistake I made was downloading a storyboard program thinking that I would try to draw and write....no success or interest at all in it, which tells me that I need to concentrate on the writing and when it is time, I will connect with the artist and together we will complete the successful animation.

Start these steps in some way and don't let the artwork hold you back at this point. I also look forward to reading Bob's information above! Many blessings your way! Jessica

Hi Pete Whiting kindly message me i will help you and give you full service.

Yes, many shows leave me dubious too, but I wouldn't pin the American ones in particular, nor our contemporary era. I believe media targeting kids have always been mostly rubbish. Why is that? I think many producers have a flawed sense of kids' psychology: they genuinely think kids are "kind of dumb". So they tend to produce dumb shows: visually poor and underwritten stories, with shallow, sometimes offensively empty-headed characters. Of course, as you put it, it's also a money issue, as it's easier and more profitable to produce 100 dumb episodes than 10 carefully thought-up and well crafted ones.

It is sad because these shows must surely feed a vicious circle: you can actually end up "kind of dumb" if you're addressed to as if you were. For my part, I believe kids should be taken seriously, not as consumers but as curious brains. They don't understand everything but they are eager to, so it's important some people go the extra mile to deliver clever shows.

But maybe you're right and there's even more junk than before, honestly it's hard to say without a proper study (that would be interesting). Remember the 80's also had these ; ) :

https://www.cbr.com/horrifying-80s-cartoons/

Still, I understand your concern: we live in a world where "from the producers of The Fast and The Furious" is supposed to have a strong marketing appeal (see latest 'Sonic The Movie' trailer)...

From a writer's perspective you can grow a personal ethic and refuse to compromise, or "dumb down" your work as you put it. I'm not against compromise but, frankly, I prefer not writing at all than filling pages with rubbish. It's a personal choice, it's between you and your standards, a matter of integrity.

I think people remember the old favorites and conclude it was better back then because they just forget the rubbish. There's always junk around. Lots of it. When my wife and I went to the Uffizi in Florence there were loads of mediocre paintings. Not everyone was Michelangelo then. Not everyone is Chuck Jones now.

Robin and Steve you both made value points. I personal couldn't stomach the bad of then and now. Still the grey-area was much larger then (a mixed bag of so-so) and an even distribution of greatness and utter garbage. Today that grey is much-much less, the greats are few and the horrid has tripled. And I believe that is like Steve said "...it's easier and more profitable to produce 100 dumb episodes than 10 carefully thought-up and well crafted ones." I think Execs feel at ease dealing with the 100 safe-zone cartoons that are just stupid-bizarre-slapstick-toilet-humor 24/7 yet draw an audience rather than taking a chance with the next Matrix, Avatar...fresh ideas that have substance. Anyway thanks for the feedback, food for thought.

i use 3ds max for unreal engine. how can I help you?

We're looking for animators with knowledge and experience importing Daz3D assets into Unreal Engine with Reallusion’s Character Creator and iClone and producing with MoCap in Unreal Engine. If we are approached by an animator with an alternative production pipeline, we are open to other ideas.

meaning you don't mean the combination of 3ds max and unreal?

Thank you Faruku Sayyadi for your response. After receiving opinions from several sources more informed than myself, I am now under the impression that using 3ds max to rig my Daz3D assets for animation with Unreal Engine and convert the texture maps is extremely labor intensive and too costly in time (and money) to pursue. Further, it seems that the Reallusion products will do this economically. I wish it were otherwise, especially since there appears to be many people familiar with 3ds max compared with the Reallusion products but even many of these people do not like the idea of rigging Daz3D assets. I am still open to hearing other informed opinions. What do you think about this?

Hi Tom

Hi, Logan. Perhaps post on the Jobs board: https://www.stage32.com/find-jobs. That's where members post various "want ads" or searches for creative partners, paid or not paid. The craft and business forums are for topic discussion. Hope that helps! And best wishes with your search and project. ;)

Another series I haven't seen... sounds compelling, thanks for the description.

I love watching films and having chats about them - they are so fun!!

Jean, I've yet to finish watching the full series but so far not too sure about the whole "vibe" of the anthology.

I won't deny it's a visual "tour de force", although if you've played video-games even ten years from now, you would be familiar with the photo-realism style many shorts display. What I'm not really feeling is the general tone: it's VERY boyish, isn't it? Naked ladies, buffed men, and often a "let's fire and shoot the lot!" approach.

Also, I'm a bit disappointed they did not put more effort in the global editorial line: 'Death, Love and Robot', ok, doesn't look too complex of a brief... so why is there shorts without robots? And why does the viewing fail to spark reflection on AI, cyborg sex, a monitored reality, transhumanism...?

I truly had high hopes when the project was teased, because I love animation, because David Fincher was involved, because it was made by very talented animators. I thought "Now that's an animation showcase, and with Netflix it will reach a very large audience". I believe there's room for genuinely great entertainment with animation, blending smart storytelling and visual wonders, and not relying on shock value for the sake of it.

Remember 'Animatrix'? It was also a visually pleasing science-fiction animation anthology, with love, with death, with robots. But so much more rewarding intellectually! The Washowskis knew what ideas they wanted to play with and came up with a very deep and timeless collection of shorts.

Don't misunderstand me, there are brilliant work here. Just feeling it's an impressive project overall but not very clever.

Here are my reviews so far:

- 'The Witness' visually groundbreaking, the kinkiness in the club quite well played, going with a freakish strip scene much more interesting than the bland eroticism of 'Beyond the Aquila Rift' (consider this my review for this one ^^...) ;

-Three Robots' has good dialogues and I enjoyed the interactions between the three robots ; I'd say it's the "smart kid" of the anthology for me so far; the twist is deceptive though ;

- 'Sonnie's Edge' is pure video-games cinematic ecstasy; I loved the beasts design, the fight, and won't judge the inexistent story

- 'Sucker of Souls' has a great 2D style but really lacks a proper development, a missed opportunity in my opinion

- 'Suits' : not a big fan of the animation style and a very basic "human versus alien through portal" storyline; I found the dialogues underwritten, a collection of cringey one-liners

- 'The Dump' doesn't overdo it: compelling animation style for a short, and a simple but well driven story

- 'When The Yogurt Took Over' is a breath of fresh air in the program ; a little absurd tale, nothing amazing but a welcome pause from the gore

- 'Shape Shifter' : maybe it's the whole US army thing (although I loved movies such as 'Zero, Dark, Thirty' and 'The Hurt Locker'...), but I found it to be the weakest short; for me it's bland on every aspect and the gore tries to redeem the show. It doesn't.

- 'Good Hunting' might be my favorite so far; it is a bit awkward in its narrative execution but is generous when it comes to world building; it is a bit naive but we actually FEEL something for the characters; it acts as a pleasing pilot leaving you to want for more.

Wow - great feedback - love the comments! Great stuff!

update: 'Zima Blue' is brilliant.

First, I found it visually gorgeous and original.

Second, the story is well written, alleluia! From my perspective, this is exactly what a short film should deliver storywise. Nothing too complex but a "casually smart" concept. Here, the story works as a loop, a narrative technique far from groundbreaking but always satisfying for the viewers when well executed.

'Zima Blue' is a work very true to "short-story", as a literary practice: don't overthink, let it flow with surprises, and get somewhere with a wink.

Figure what show or movie fits closest to your project and go with that. There doesn't have to be one specific genre. Something can be a Horror/Comedy or Dramady or a

Sci-Fi/Thriller. Your logline should be enough to convey the idea without having to label the genre. If you do not have your logline solidified, then you are going have a hard time pitching.

Thanks for the much needed advice Bob! I It will be put to use. I have a decent LOGLINE:

"Righteous aliens transform six Earthlings into superheroes. To liberate humanity from evil shape-shifting aliens, which secretly rule Earth and are eating people!"

The body of my pitch provides specifics (detailed OVERVIEW, protagonists and antagonist descriptions,)and more (spec. artwork). I would say this is a Sci-Fi/Drama? Regardless I'll get around to this in due time. The reason I asked was I received this on my first (post) submission:

"STAGE 32 Pitch Feedback:

It's an interesting and unique concept / world. There seems to be some long term story drivers which is good. The characters all have solid backstories. I was a bit unclear about the united goal for all of them and exactly how they work together toward that goal. That aside, my biggest struggle was from a marketplace perspective. It seems to be an adult skewing animated show that's action based. It's not anime and not comedy. So it's tough for me to see at what outlet it might live. "

I've answered the "what is the united goal" and "how they work together" questions (just need to make them more apparent in the overview & character bios), I was just a little lost on the genre because it has a little bit over everything; Sci-Fi definitely, with a little bit of everything else sprinkled in (Just like in X-files, or Supernatural), all dependent on what the heroes are dealing with: fighting aliens, real personal challenges that views can relate to (e.g. phone call that a relative is sick), maybe a comedic situation (silly conversation between the heroes and public). So as you can see it's not just a one-off, it's a hybrid of sorts. Regardless thanks again!

The story elements you mention such as calling a sick relative, silly conversations etc. do not define your genre. Everything from horror to documentaries can have these elements.

For instance Star Wars would not be considered a comedy, because C3PO and R2D2 kid around, nor would it be considered a family drama with the whole Skywalker saga built int. It's overall theme is action, SciFi/Fantasy for a general audience.

Your concept is similar to Strikeforce: Morituri. If your overall tone is serious, then play up the action side. Your Genre would then be Sci-Fi/Superhero . You might consider making it into a graphic novel first and establish it as a property as the feedback about marketability isn't completely wrong, or consider making it live action or anime.

Good luck.