Home Forum RubberOnion Content Podcast Call for Questions!

This topic contains 8 replies, has 5 voices, and was last updated by Profile photo of RubberOnion RubberOnion 3 months, 2 weeks ago.

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  • #4414
    Profile photo of RubberOnion
    RubberOnion
    Keymaster

    If you have any questions you want answered on the “Ax by Fax” segment on the podcast post some here!

  • #4442
    Profile photo of DaveHingley
    DaveHingley
    Participant

    do you have any tips on getting your work shown at festivals?

  • #4510
    Profile photo of grrlrighter
    grrlrighter
    Participant

    I’d love to know how independent animators go about sourcing audio for projects. (And if you decide to answer this on the podcast, would it be possible to have Pikachu bring you the question? 😀 )

  • #4527
    Profile photo of Jenn Macgillivray
    Jenn Macgillivray
    Participant

    Watching Stephen do the livestream made me wonder (and we discussed this a bit in the chat): I listen to podcasts most of the day at work, and I find there are certain tasks that I can do while listening to someone speak, and other ones that I can’t. The ones I can’t tend to be more word-based (writing standard operating procedures, reading reports, etc.) while if I’m doing something with the more rote or “arty” part of my brain (making slides, looking at karyotypes), I don’t have a problem focusing on my podcasts at the same time. (Interestingly, music seems to be different- I’ll often put music on if I’m trying to write something out and someone is blabbering away next to me. The music is less distracting than the blabbing, even with lyrics.)

    What do you listen to when you’re animating? Do you ever find people talking to be distracting? (I know I like to listen to things when I’m sketching, or even crocheting or whatever, but animating is a lot more technical.) Are there certain parts of the animation where you can listen to talking and other parts where you can’t? I’m interested about how the brain compartmentalizes different tasks, and how it affects the way we work.

  • #4721
    Profile photo of grrlrighter
    grrlrighter
    Participant

    Reposting from the Community section:

    Hey gang,

    If you’re a solo artist – or small studio – how do you future proof long term projects through hardware and software upgrades? I am beginning production on a big project that will probably take me several years (5-7) to complete. I’m a solo artist, and I’ll most likely be doing the whole thing myself, and therefore doing all of the hardware/software upgrades. Is there any prep work people do at the beginning of a long term project to account for things like OS releases that no longer support software, new software that is better suited to certain project details, hardware failures that necessitate purchasing new equipment, etc?

    I’ll copy/paste this and post it in the audience question section too, because I’d love to hear Stephen and Rob’s take on it.

    Thanks!

  • #4786
    Profile photo of Rediskot
    Rediskot
    Participant

    Do you have assigned “proof watchers”? As in, someone you can test your animation, char design, editing, etc on?
    I find that the more I work on a project, the blurrier it gets in terms of noticing if something doesn’t work. Or I get so attached to a concept or idea that I get a bit carried off the point I was trying to make in the first place, and that running the entire thing by some “fresh eyes” can really help. I think you mentioned before that you tend to bounce ideas off each other about things you work on, do you have other people you go to as well? Do you ask non-animators for feedback? Any tips for finding/recruiting willing victims to give constructive critisism/feedback if your family members and close friends run away screaming at the sight of you with a sketchpad?

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