How can we develop ourself into a good animator?

Question

step by step instruction to become a good CGI animator

Answer 1

The first stop is a gold mine of tips, tricks, and workarounds for the limited, but oh-so-accessible, GIF89 animation platform. Next comes a look at Dreamweaver, a program that puts the "d" in dHTML. Dreamweaver and dHTML give the people what they want: indexability, updatablity, interactivity, and quick-downloadability. If you're ready for Flash (the vector-based Macromedia animation technology), Anna sets you up with an equipment check and shares hints about drawing and animating in Flash.

But good animation isn't just about technology - the most important element is, simply, good design. Anna and Emily delve into several design theories to use as guidelines for your animations, examining elements like light, shape, motion, and speed.

The animania wraps up with advice about adding good audio to your animations without hogging bandwidth, and a look at style. Every animation needs a sense of style, whether it's made out of clay, puppets, drawing and painting, 3-D, or even sand, and it's not too late to develop your own.

Animation is far reaching. It encompasses everything from low-budget flip books to hyperdetailed, full-length Disney films. There are the cartoons that we watched cross-legged on Saturday mornings growing up ("What's up, Doc?" "Scooby Snack?" "Captain Caveman!"), those freaky Burl Ives-narrated stop-action Christmas specials, and adult favorites like The Simpsons, King of the Hill, and Wallace and Gromit. There are the studio-backed animations and independents, traditional 'toons and experimental animations. Block-busting special effects, which make the Millennium Falcon fly and the Titanic sink, are their own special breed of animation. Each of these types of animation has its own difficulties — budget and time constraints, technology limitations, and so on. But none share the unique challenges of Web animation.
We know. We've lived the paradox: Make it big and beautiful, and only some of your audience can see it; make it small and limited, and everyone can see it. We've been through the trials and errors of clunky first, second, and third versions of the hordes of graphics and animation programs. We've spent years muddling our way through new interfaces, finding workarounds for bugs, and struggling with the long way until we could forge our own short cuts.

Good Animation comes from Good Design
The creation of successful animation is a daunting endeavor. As both a spatial and a temporal art form, it has to hang together as a composition (just like your garden-variety static image), and it has to convey excellent motion and timing. So you need to become both a visual designer and a motion theorist.

To get you started on animation mastery, I've assembled 10 tried-and-true theories about the basic elements of animation and design. Please note that these are only theories, not rules — many fabulous animations succeed by totally disregarding the rules — but it helps to be aware of standing theories before you ignore them.

In the world of video editing, the audio engineer's job is to make things "look" better, as crazy as that sounds. An effective soundtrack can make lackluster content spring to life, and shoddy audio can tarnish even the most polished production. In today's lesson we'll look at the role of sound in animations, and its ability to add to (or detract from) the story.
Sound can add realism to a situation or take it away. It can also create a mood, setting, or pace. For instance, seeing a film with its accompanying soundtrack may permanently change your perception of a song. If you're courageous, watch Reservoir Dogs and then listen to "Stuck in the Middle with You." That song is forever ruined for me thanks to Quentin Tarantino's powerful synergy of sound and visuals. A quick glance at MTV reveals that sound influences the pace (frenetic or languid) of the visuals. Choosing the wrong sound for your images can confuse your audience. If you've ever watched a muted television with your stereo blasting or in a crowded bar, you've probably noticed that your mind naturally tries to reconcile the sound and images. So the kind of sound you choose is very important.

We'll consider three kinds of sound use: soundtrack/background/atmosphere, character voices, and sound effects.

Background sound sets the tone. Check out a horror film to see how sound is used to manipulate your emotions. Would you still want to shout, "Don't go outside!" to warn the curious girl if it weren't for that ominous soundtrack? In cases like these, sound functions like an icon: A particular kind of music signals you that a slasher lurks on the other side of the door.

Examples: Situational sounds — guess where you are? (wav files)
Location 1: Do you know where you are?
Location 2: What about now?
Location 3: Can you pinpoint your location?
Location 4: Visualize it.

Choose the voices of your characters carefully.

Selecting the right voice for your characters can make or break your animation. Imagine if Pat Sajak had been hired to speak for Beavis or Butt-head, or if Jesse Helms were the voice behind Cartman from South Park (well, that might be pretty funny, actually). The voice becomes the character, and if the voice changes, everything else changes with it. That's why the cast of The Simpsons can demand — and get — US$50,000 per episode. Though this fee is outrageously high for voiceover work, the show just wouldn't be the same if the voices changed even slightly. How often have you loved the way a character looks, but the moment you heard him speak, you hated him?

Some tips: try recording the voice track before you animate. You may also want to videotape the recording session so you can observe the way the words are spoken and use that as a model for your animation.

The pace at which things improve, change, and reinvent themselves in the technology industry is whiplash fast. The world of animation is no different. In the past few years, 3D animation has become so believably photo-realistic that it's hard to tell real-world shots from computer-generated ones. And these days, it's not uncommon to see 3D images in cel-based animated films. Two-dimensional animation has undergone a quieter, but no less revolutionary change. Large animation houses like Disney now use a slew of new systems (both off the shelf and proprietary) to refine and speed up their production process.

But the latest technology isn't always the greatest. Your animations may end up digital, but that doesn't mean they have to start out on a computer. The imperfections and quirks of real-world media have a charm and warmth missing in 100 percent digital animations, which can sometimes feel cold or overly precise. In fact, certain styles of animation are almost impossible to create via computer.

So, in today's lesson, we're going to finish up the animation tutorial by taking a look at a variety of animation styles. As we go along, we'll pay special attention to the more traditional analog styles of animation and take a look at whether each process adapts well to the digital realm. But don't feel you need to create your animation using any one style. Experiment to see what feels natural, what works for the purposes of your animations, and how you can combine different style elements to create your own individual approach. At the end of the lesson, we hope you'll realize that there's no "right" way to do things. All that matters is that you're happy with your animation.

Answer 2

I think CGI is used for server programming.
If you want to be an animator, try Macromedia Flash, or Swish.

Swish is easier than Flash, but it is more limited than Flash, but it can animate about anything.

Oh, I looked it up and you are not referring to the common gateway interface language. The only thing I know about animation is the software applications Flash, and Swish.

I think mastering Swish is the first step at becoming a animator, because you can then apply those techniques to other software.

Answer 3

i think it can. i had a similar situation except i didn't know i was just a F Buddy.. then i found out by talking , anf i found out that a certain someone wasn't ready for a relationship but when i ended it all together... you know.. NO S- he came running back and asked me what was it that i wanted from him. I told him how i felt and we got hooked up. We then broke up because all the time we were F---- we never really took time to get to know one another and so it didnt work out for the best and we stayed friends. And now we know each other well and if we f--- well then thats just our hormones.. because the physical attraction is still there. It's something you have to learn how to handle, when your feelings are involved. Sometimes I still think I have feelings for him but then I rather just let time tell whats gonna happen because he loves me and i love him, but we are not in the right time of our lives to be in a relationship. Just be patient and make sure you tell him as soon as possible how you feel. And make sure you don't change your personality .. how you were before when you were just F--- buddies.. because that scares them away fast. Good Luck:P

Answer 4

Try this www.cartoonsmart.com, its a good online animation school, or by urself u could start of with text animations in flash and improve urself reading lessons, and examples