#readingreflection8

This week I focused on Chapter 3 of the Animation Bible by Maureen Furniss, she discusses the process of pre-production. Producers and directors are not always the originators of a project. They could just be hired to oversee production. But the vast majority of animation productions in the commercial context begin with a script, storyboard, layout materials, and written plans with the approval of the financial backers. Additionally, clients, professors or other collaborative forces are involved with their presentation. Furniss states that these people are part of creating the project’s visual development of materials and might contribute line drawings, conceptual paintings or other indications of how the characters, props, and locations will look. Furniss also describes the process of pitching a project and how crucial this step is in the development of an animation project. If the financial backers do not like your pitch, most likely your project will never come to fruition. A Pitch is a short descriptive statement (up to a couple of minutes in length) which includes a more detailed written treatment that describes the entirety of the project. Furniss states that it is just as important to sell your project as it is to explain it to make it sound desirable.    Furniss also discusses sound design, which I have found to be a crucial element in any animation. The music, soundtrack, dialogue, and sound effects (or lack thereof) can make or break your project. What I found interesting is Furniss states that more often than not, sound and images are developed separately. She says that in order “…to maximize the impact of sound, directors might call on two types of sound specialists: a composer, who creates music to accompany the work, and a sound designer, who creates, manipulates and organizes nonmusical sonic elements.” The input of the sound designer is present even in the earliest stages of pre-production, and his or her suggestions can add to the visual development of the work as well as the sonic elements.

In Chapter 20: Character-driven design boards of the book Design for Motion, the author explains the importance of character design in animation, emphasizing the fact that it’s a discipline on its own, and that professionals specifically create characters for animation. The chapter explains that the essential characteristics of effective character design is the ability to create human representations, in the sense that these characters should be emotionally and ideologically identifiable by the viewers.