Analysing my reel

I am happy with my reel so far. It's something I'd gladly put forward to industry professionals. However, I will strive to update it every couple of months, or whenever I finish a project. For now, I plan to still keep it down to a minute and not include anything older than two years, especially as my skills are still forming. Perhaps as I continue to focus and animate better, this will change. For now, I'm growing so fast that I quickly outgrow my older projects and am not so satisfied with them.

If needs be, I will develop a generalist reel but my focus remains on character animation. Don't want to clutter the character animmm with general animation that doesn't wholly represent my practice

Marketing myself

I really enjoyed the lecture on marketing myself. Everyone has a different approach, and I think I'd do best by going to plenty of social events and festivals to meet as many industry peeps as poss. Sometimes I have really off days when I network face to face and I worry I come off as a dumbarse. Having said that, I think I'm not terrible at it and I find online networking incredibly frustrating, especially when they don't reply.

I will MARRY face to face networking and social networking by meeting people at events and then instantly following it up on LinkedIn, which I ain't been doing so far.

Regarding my website, I'm generally happy with it as it is but I could stand to revisit it a little down the line. I want it to be my primary self-marketing tool as a link to me 'gram, me LinkedIn and me Vimeo. My problem with it right now is my visibility. It doesn't show up on Google so I need to take some time with search engine optimisation to ensure that CHRISTOPHER HARRY is the ONLY thing on Google worth looking at. I will also link it on my other social accounts to increase the sense of connectivity.

Instagram I find is a useful tool at networking events as a sort of instant portfolio to hand, where I can whip out my phone and immediately show people what I'm working on and what my films look like.

10 Networking Opportunities

LINKEDIN

As I mentioned, I've been using Linkedin more than ever BEFORE. Once I'm on it, I find I can jump around companies and mutual contacts eternally.

FACEBOOK GROUPs

A wonderful place to meet budding fellow filmmakers and find collaboration. Once I start taking the time to make my short films (starting with British Wayz tours the continent") I will be finding local filmmakers this way and trying to get projects started

NETWORKING EVENTS BY UNI

Not that I'll have much longer to take advantage of these, but I've managed to see and meet a lot of people through events organised by our WONDERFUL careers department. I've been to several of the creative networks events which I will extrapolate upon in a later blog post.

GALLERY OPENINGS

Being mates with a few fine art students allows me to attend plenty of arty events and meet likeminded people. Big exhibitions, small exhibitions. I recently went to the Tetley Gallery and discovered the work of a documentary filmmaker I'd never seen before, who I then connected with on LinkedIn. As well as broadening my potential social circle, I broaden my MIIIIND woo

MAF (obvs)

MAF is bloody gr8. Last year I volunteered and got to meet a couple of my heroes. It's a chill chill environment that helped me overcome the stress I feel of talking to people who outshine me. Now I'm more confident approaching profeshes.

THE DOTS

Is a really sick creative network, similar to Linkedin except it promotes projects as well as people. If you're looking for a side hustle, you can get on there and find something that really works for you. Perfect for freelancers or as a means of finding collaborators. You can also curate the types of projects you see.

D&AD

The D&AD festival is a mad creative fest in London where you can introduce yourself to whoever. Hopefully, if my work gets accepted this year then I'll have some CLOUT to go and hobnob with the best upcoming designers and artists.

"We offer a feast of different perspectives and experiences, through a rich programme of talks, workshops, masterclasses, interactive features, fringe events and networking opportunities, delivered by today’s creative pioneers. Plus, a chance to view the most outstanding work of the past year."

- D&AD website.

THOUGHTBUBBLE

Perhaps this is more for illustrators, but often the two professions overlap. It's so diverse and such a wonderful atmosphere that it makes networking incredibly easy.

AESTHETICA

It's BAFTA qualifying, BABY! And it's local. I don't know if I'll ever win a BAFTA, but this festival covers live action and animated films with a similar bustling feel to MAF. I would love to volunteer there one year and I'll submit my final film to hobnob with the greats

LEEDS INTERNATIONAL FILM FESTIVAL

I volunteer at the Picture House, so get to work on some LIFF screenings anyway although I have never volunteered at LIFF itself. Again, it's a great chance to broaden my horizons, see new stuff and it would allow me to get more involved also with Leeds Young Film Festival. I am incredibly inspirational to young people. I actually tried to volunteer for LYFF this year but I was in France during the training session so was automatically DISQUALIFIED.

My greatest error

So I applied for this Channel 4 internship, right? I put my application together really nicely and had it ready the day before. All I had to do was confirm one person as an extra reference and it all would've been ace. I saved it and set it aside for tomoz. Then I foolishly went on the LASH and forgot the deadline. It would have been a wonderful opportunity.

The lesson is to be more of a planner. I have bought a physical paper diary as a substitute for my untrustworthy memory that comes as standard with all homo sapiens. It's incredibly helpful for remembering professionals and contacts, stuff I gotta do. If I was slightly more annoying I'd say I was "adulting"

Reviewing my Presence/ CV/ everything

WEBSITE

I think my website reflects me well, although I am at the start of a long and beautiful relationship with Squarespace. I STILL haven't worked out how to get my site to the top of the Google search results which is a must. I might change the formatting at some point, but for now it perfectly serves my purpose of being a place for my entire portfolio, social media and CV to live.

VIMEO

Here, I don't curate my vids as harshly as I do on my website (I have stuff up there from A-level). I wouldn't call it a dumping ground of crap, but I throw things up there. It is closely tied to my website, too. Really happy with it.

LINKEDIN

I have been engaging far more with LinkedIn in the sense that I've been connecting with plenty of people, but I am still not posting. Posting across LinkedIn and Instagram is time consuming and incredibly tedious, but perhaps using something like Buffer would allow me to post more consistently and to multiple platforms. Generally happy with my LinkedIn.

SHOWREEL

Is on Vimeo, the Youtube of online video platforms. I can quickly update it with their handy 'replace video' feature and it automatically updates itself on my website, greatly reducing the mental load of having to update it manually. I am happy with my showreel as it is now. I need to replace last year's video mapping clip with my much preferred THIS year's clip, but I can't because I didn't take a decent vid and the profesh one isn't online yet. My showreel improved when I cut less and kept the mood clear and simple. No sense in complicating things.

THE 'GRAM

Instagram is a pain but I find it most useful as a way of demonstrating my work quickly, like at a party when someone asks what kind of thing I make. I nearly got a commish through DA gram as well but it fell through due to budget stuff. I will continue to post, making it a place for WIP stuff and sketches, but more informal than my Vimeo.

C.V. 

I'm happy with my CV but always struggle to keep it down to two pages. I have a good template now which I can frequently update and link on my website. Keepin' it bland and profesh. Adore the Helvetica typeface.

BIZZOWIZ CARDZ

I will keep the cards updated. I saw this really clever thing where someone had put the Vimeo password of their short film on their card, so while it was still doin' the fest circuit he could still show people, but only the people he wanted to show. I will add this feature to my card once Gloop Caff is finished. Constantly itching to change the design but I enjoy having a card that sticks out.

Horizon Scanning

Ultimately, I want to be able to make my own films and hobnob in those independent circles. I also want to go to a studio to get experience, work with people I admire and contribute towards character driven storytelling. Ultimately, all my work should focus on character and storytelling, and I'll strive to work ethically and not promote mindless consumerism.

Studios-wise, I've been looking into and applying for roles at Blue Zoo, Rumpus, The Line and AKA, some of which currently have internships going and some of which do not. I'm also checking out Sixteen South in Belfast, Blinkink, Passion Pictures and Lupus Animation to see where they list jobs. I also think it's worth me starting by checking out smaller studios such as Bearded Fellows and stuff around Manchester, as it would allow me to live (semi) affordably and continue to develop my own practice. I could be grounded and live with my girlfriend, at least while we begin to build ourselves as professionals. In a studio, I hope to learn how to direct and manage budgets and pipelines. I'll also build lasting professional relationships. This is why I'm dead set on continuing to volunteer, putting myself as much in with creative people as possible. I'll apply for stuff that isn't just in animation, as well. This includes roles in live action production and TV. I'll do running stuff. It all culminates in me positioning myself as a storyteller.

I have to continue my own practice. This would involve carving out some time each week to write and direct my own films on a really teeny tiny budget. Facebook groups are a good place to find other budding filmmakers for collaboration. I won't rely on waiting for funding to pursue this, but I must keep it as part of my schedule otherwise I risk falling into a routine without my own films and forgetting the reason I chose animation in the first place. I won't move back in with my fam, as dear as they are to me, because I think I will learn a lot from struggling to keep myself afloat in my own place.

Were I to do a masters, I would apply to Gobelins or La Cambre in Brussels. I wouldn't embark on this for a few years, though, as I want a greater taste of the world to inform my practice.

IPSE networking event

I attended the IPSE networking event put on by uni tonight and the speakers were brill! The keynote speaker especially made excellent points about branding and putting out something distinct. One of the most interesting points made was that often the most lucrative work you can offer as a freelancer is the work that you make for yourself out of passion, rather than that which appeals to too broad a market and is designed to sell. I like to think that I make distinct work but I could still stand to specialise a little more.

I got to speak to Jonathan Straight, the keynote speaker, a little bit. I felt quite the philistine when he brought up the Tetley and I thought he was referring to a pub, not an art gallery in the city. Anyway, I've resolved to go to this gallery soon and pick his brain some more. I don't know why but I still get stupidly nervous when I meet hugely successful people. Maybe I'll get better at it if I become hugely successful at some point.

Applying for jobs

I applied for my FIRST job with a very cool and hip studio based in Madrid called 'SPA Studios'. It was a good excuse to get my CV and some cover letters together. I found the job on the great best website in the world LINKEDIN which I am using more. It's incredibly intuitive. I did also go for the production assistant role which I would be well suited to also, as I want to get any sort of experience I can!

Right now I'm in the mindset of "apply for loads of stuff" but as I progress I think I'm leaning more towards a desire to pursue part- time work as it will allow me to find clients in my own time and work on my own projects, which is what I ultimately want. I've written most of a script for a film to start after the large hand-in in May. A live action mockumentary-type thing with animated elements. I will research organisations like the arts council, who hand out small grants to independent filmmakers.

Job Hunting Part 2

I've continued to build my professional online presence by cementing my Indeed profile, updating my details and sticking my CV up there. I've also been rearranging my Google Drive as I prepare to graduate, so I am ready to enter the world of work/freelancing with a clear mind and a good idea of where everything is. It's a very liberating feeling. At the recommendation of a family friend, I've put together two spreadsheets. One is a client spreadsheet, a document of people I've made work for. It contains their location and specialism and what I did for them.

The other is an industry professional spreadsheet. It contains the details of the professionals I encounter, what roles they hold at what companies and where they're based. As I am so absent-minded with my head in the clouds, it is good to keep a record of who I've been talking to for future reference and so I have a good idea of who to talk to about what.

I was keen to volunteer at the LYFF, but they are insistent that I attend a training session on the 27th of March which is when I am video mapping in Lille. Bummer.

Business Card and Website

I've printed my business cards and updated them with my new name and website and all that cool cool stuff. Finally, if anyone wants to see my portfolio, I can direct them there without having to give them a link to my GRAM.

Here's the link HERE. https://christopheranimation.com/

Many will say that it could seem pompous to include an entire auto-biography on one's website, but they're jealous because I thought of it first.

I used Squarespace, which is well worth it if you intend to use your website frequently, which I DO! I looked to Bill Plympton's website for inspo, as well as Chris Shepherd's. Both are written and designed in a handmade, personable tone, which I hope to convey in my own website!

While a year ago I was unsure of how to market myself and how to go about finding connections, it feels good to have a groundwork now. A pro website, my gram, my LinkedIn is going well etc.

I went through development with my business card.

The biggest change was my name.

I'm happier with the new business card. I feel I've used the space better, sharpened up the font and made it a little more clean. My website is on there now. I'll undoubtably continue to evolve the design with every new printing, but it reflects where I am now. Someone mentioned that I should use the international dialling code with my mobile number.

Manchester Animation Festival

I volunteered at Manchester Animation Festival this year, which meant meeting a bunch of brilliant filmmakers and seeing panels I wouldn't ordinarily get to attend.

The yellow "volunteer" shirt gave me the courage to speak to the people I admire from the industry and they were all really friendly. What a wonderful atmosphere!

I got to meet Jamie Badminton from Karrot Animation who was incredibly friendly and who I hope to send my showreel to for some feedback

I met Barry Purves briefly, who has given me valuable advice on my Context of Practice monologue

I met Chris Shepherd, who watched Hedge of State! Finally, someone who isn't my mum has visited my vimeo account

I got to speak to Bill, the Producer of MAF, and speak to him about all manner of stuff

I met Rob Munday which was awesome as I watch loads of stuff on Short of the Week and admire his curations a lot.

It was a swell time and hopefully I've built up the good faith with the MAF people to return next year.

Who I am, what I want in third year

I only have one ultimate goal, which is make what I want to make. Chris Shepherd, Barry Purves, Harry Partridge, Bill Plympton and Marcus Armitage have a voice and while some of them work for companies and some of them fund their own projects, they have all been able to direct their own films and do the festival circuits. My goal hasn't changed since 1st year.

My skills are in character animation, storytelling and cartooning. I use TV Paint but will familiarise myself also with ToonBoom this year. I don't want to be too broad and spread myself thin. I want to still be cartoony but not gimmicky because flashy visuals stay with you for a while and then leave your head. I want to say something with my animations that provokes thought, without having a message I beat people over the head with.

Working in a creative studio in the cultural North of England, at least initially, would be a brilliant step out of university. I'd be able to work on diverse projects and possibly have a shot at directing shorts or advertising. If I ever do an MA, it would be after a few years when I've had time to see how the world works.

I treat my instagram like a casual portfolio, where I demonstrate a breadth of work in progress, life drawings and doodles. I have business cards which are quite fun for now but which I will reprint and redesign slightly when I come to making a website. I want to keep my brand cartoon-ish and charming in every aspect of promoting myself.

Visiting Speakers

I really liked the visiting speakers this year, especially BARRY PURVES. I'm not especially interested in stop motion but I wrote down some of the advice he gave us about character and storytelling.

He talked a lot about a story told with a "character in a pool of light" where it's stripped down to the bare essentials to convey the message. I liked this a lot. I think I could produce a lot more good stuff if I stopped thinking about it all so literally and was more abstract in my message. 

He told us to find the object that defines the character, but we mustn't make it too literal. I always make everything too literal to the point where all my films look exactly the same. I would like to branch out into something a little more complex next time. Barry Purves uses every tool at his disposal to convey his characters in a more abstract way, with lighting and sound and staging, positioning his characters in relation to other characters etc. That was my most important takeaway from his talk.

Additional Work from this year

I undertook a couple of small tests to hone my skills.

A very simple test of a guy throwing a ball. I experimented with a moving camera to try and keep my proportions consistent, but I made this predominantly so I could animate at 24fps. I'm pleased with it, wish I'd had the time to finish it but I see no point in returning to it and would rather take the experience I acquired from this test and apply it to something more interesting.

Face test:

I practiced quite exaggerated facial animation with this simple character, along with timing. This was way back in September and I can see how far I've progressed since then. I feel I can now animate with more nuance and convey more, but this was quite fun to make.

LIFE'S a pitch (Study Task 9)

I could have prepared my collective pitch a little more rigourously, and presented it more nicely. I think our biggest problem, though, is that we never really found our USP. That Collective is all about making story driven films, be they adverts or music videos or anything really. It has to get a good emotional reaction.

I suppose it's nice to be flexible, but I don't think we specialised enough to make a collective that could properly stand out.

Also my web design is absolutely hideous.

What I enjoyed about the task was considering budgeting. I think we went a little overboard since it's hypothetical and all that. There's no way I can afford a single cintiq, let alone however many I said we'd have in the pitch.

I found some more really cool looking collectives after the fact:

Powerhouse animation makes bespoke music videos

As does KingBee animation.

Out of the two companies, I'd employ powerhouse animation studio at first glance because their website is nicer. It hammers home the importance of presentation, which is a skill I really need to work on to stand out.

Industry Professional (Study Task 3)

Here's my creative report on Peter Dodd:

https://issuu.com/christopherhoare/docs/creative_report.pptx

Commissions and Freelance (Study Task 8)

I was lucky enough to receive a single commission this year, for which I invoiced the client. It feels good to be doing something relatively professionally.

Currently my rates are:

£10 per hour for illustration work
£15 per hour for animation work

That works perfectly well enough while I'm still in university, but I will need to up that once I've entered into the world of work. I read the creativeboom article on how to decide your freelancing rates, and there's more to think about than I originally considered, such as calculating how many hours I'll be expecting to work and how I need to factor in time spent writing invoices and badgering people for the money I'm OWED.

Creating a contract was easy once I found a nice template online. I feel much more secure knowing how to properly write an invoice and a contract. Freelance work is appealing in the sense that I will get to embark on a broad range of projects and take time off WHENEVER I like providing I have a little green in the ol' bank account.

Cost of Living (Study Task 6)

I don't know if this is the most accurate representation of my annual expenditure, but as a rough estimate it seems about right.

I'm not shocked by the amount I got, although I like to think I live fairly frugally. My main vice is my enjoyment of meals out. The spreadsheet helped me realise the things I can stand to cut back on. I've started packing my lunches now because a diet of artisanal sandwiches is unsustainable. Also I can start cutting my own hair I GUESS.

When I graduate I need to also consider:

Website domain: £1 pm from Go Daddy.com
Business cards: £13 for 50 from Moo.com

My Social Media (Study Task 5)

I need to start treating my art instagram as less of a portfolio and more of a journal. Presently I'm incredibly picky about what I upload. It's almost always video work because it lasts longer and takes up less space. I want it to be concise and cut to the point. However, I hope to develop a website in my final year which will act more as a portfolio, so I can afford to post more on instagram to keep engagement with any viewers. It's important for me to put regular stuff up and make it more personal and CHILL.

I found a beautiful looking business card website recommended by my tutor, which I'll keep in mind for after I graduate. I am yet to build a logo or brand of any kind. My goal is to have one by the end of the summer

Returning to SWOT (Study Task 2)

At the end of the year, I have improved on certain things and neglected other things. Here's an updated list:

Strengths:

2D animation
Compositing
Opportunistic
Good time management
Available and talkative
Can admit when wrong

Weaknesses:

Difficulty articulating thoughts
Wild mood swings
Bad at saying "no"
My online presence
My branding
My illustration
My figure drawing

Opportunities:

Life drawing classes
Internship in New York
Future collaborative projects
Cognative behavioural therapy
The wonderful university software

Threats:

The first years (their animations are awesome)
Other 2D animators
Not stepping out of my comfort zone enough
Not adapting to the deadlines set
Not managing my expectations of a project.

This year new things have surfaced about me. Next year I primarily want to focus on bettering myself as a director and pulling together a team to work on an awesome final film.

My Showreel (Study Task 10)

I enjoyed developing my showreel and and proud of the work I've produced over the last couple of years, although I feel it looks a little generic. I like the music I was given courtesy of Liam Shevill, but I need to continue to refine and trim my showreel so it stands without music, as I learned that many potential employers will simply mute it as a means of avoiding being influenced.

I also could've read articles advising me on building the ideal showreel, but I did not do this.

https://youtu.be/9KbmTOYa9Sg

Goin to LILLE

I went to partake in the Video Mapping Festival in Lille and had a really cool time! It was good to see the kind of things that people made from outside just my university, and it was a crash course in how to respond to a very short deadline.

Technically, I feel I have broadened my knowledge of the applications of After Effects (I animated lots of FIRE), as well as compositing and rendering.

Personally, it felt good to partake in animation that was more independent of university and collaborate with international people I hadn't met before.

I'm fairly pleased with the film we made. It gets projected on the opera house tomorrow so I'll have to see for myself whether it looks terrible or not. I hope it doesn't.

I'm not sure if I'd be keen to pursue projection mapping further. I think with time I'd get the hang of it, but I found it difficult to get my head around telling a story with one camera angle, working out which areas of the building I could and couldn't project onto and using the geometry of the building to enhance the story. Glad I gave it a go!

Copyrighting my Work (Study Task 7)

I haven't taken any steps to protect my own work online, although I probably should. It's handy that UK copyright law automatically copyrights my things because it means I don't have to take steps to ensure that it's legally mine. My problem is that I have no current proof that the work is my own, like a watermark.

I've only just started developing an online presence with my art Instagram and I have a Vimeo page that nobody visits. 

I always credit anybody else who's work appears on my Instagram page, like if I'm uploading a screenshot of my animation with someone else's background. 

I will create a watermark to place over my work when presenting it on my website, which I'll develop in 3rd year.

Contacting an Industry Profesh (Study task 3)

We've been tasked with contacting and interviewing an industry professional, so I want to meet Peter Dodd, animator and director of animation who's worked on many of Lupus films' productions such as Ethel and Ernest where he was animation director and The Snowman and the Snow dog where he was lead animator.

Contacting him would be great as I am interested in directing, 2D animation and character animation, plus I'm keen to learn about how everything works at Lupus films which is a sick company.

I will contact him at the start of January. Ideally I will travel to London to see him in person but we shall see. I would much prefer to ask him my questions face to face. It would be awesome to someday work for a company like Lupus films or Studio AKA

Networking Opportunities (Study task 4)

Ten Networking Opportunities:

1. Manchester Animation Festival, every November in Manchester
2. Thought Bubble, every September in Leeds
3. Aesthetica Short Film Festival, every November in Bradford
4. With a LinkedIn account
5. Through an art Instagram account
6. At Annecy International Animated Film Festival, every June in Annecy
7. By arranging local studio visits
8. Meeting the visiting professionals who come to university
9. Sending a showreel to lots of animation festivals
10. London International Animation Festival, every December in London

I've created a complete LinkedIn account as well as an art Instagram. It seemed daunting at first but having finished it has helped me understand online networking better. I have struggled to find things to put on there, though. Thus far I've connected with a bunch of my classmates and one or two industry professionals I admire such as Peter Dodd and Marcus Armitage

Learning Social Media (Study Task 5)

I got my LinkedIn done and my art Insta done (@poshpercy_art). I upload all my rough animation and drawings I deem worthy to the Instagram and I have nothing on the LinkedIn so far besides all my details and skills. I will use it as more of a CV and post my showreels up there along with a link to my art instagram.

I'm happy to keep my social media simply to the art instagram and LinkedIn, and I'll create a website when I graduate. I will attempt to post my showreels up on Linkedin, but I won't update it as much as Instagram

Initially I had problems with obsessively checking my Instagram to the point that it was detrimental to my real life socialising so I've turned off the notifications and vow to only check it when I'm uploading something new. I'll try and upload a couple of times a week at least.

I will market myself as a character animator with a FLARE for a few other things.

SWOT Analysing Myself (Study task 2)

SWOT ANALYSIS helps me identify how I can improve as an animator.

Admittedly, my sheet wasn't very comprehensive. I lack self awareness about a lot of things. It was helpful to put everything on paper.

I was analysed by two of my classmates which I found to be much more useful and found that a lot of their points lined up with one another. I do want to become capable with MAYA, even if it's just in one aspect of it such as character animation. It would be nice to have that string to my bow.

I've drawn up a schedule to plan my weeks, and I'm going to practice MAYA every Tuesday night.

Manchester Animation Festival 2017

Another trip to Manchester Animation Festival, to help me broaden my wise animation knowledge. My regret is that I didn't take the opportunity to speak to more industry professionals (my fault), BUT I got to see a lot of sick films.

Some of my highlights included:

The Breadwinner, a very moving film and well paced film that cemented my enjoyment of hand drawn full length features. I wish that more full length films were hand drawn, but I'm starting to think that the whole art form lends itself more to mixed media or to short films due to its time consuming nature.

Cops and Robbers, which was sick because it incorporated a moving camera in a 2D short film. One thing I wish 2D animation could do more is a moving camera, because it looks awesome. It's something I'd love to do in my own work.

Goodnight, Everybuds was great because I enjoyed the liquid-y transforming, dreamlike way it was animated. It was bursting with energy and embraced the fact that animation doesn't have to be constrained by any rules.

Alternatively, Grandpa Walrus was realistic (in parts), measured and subtle. Everything from the sound to the background art of the windy beach to the nuanced facial expressions on the characters set the scene perfectly.

This Week at the Hyde Park Picture House

I watched two bizarre things at the Hyde Park Picture House this week:

The Night is Short, Walk On Girl:

It's a Japanese film by Masaaki Yuasaabout one girl and her night of crazy misadventures, as well as a really horny guy who's trying to find her so they can fall in love.

There's also a wide range of wacky characters that she bumps into.

I liked the art style. Normally I'm not mad about anime character design because they all have a creepy spaced out stare and everything seems really fetishised.

But this art style seemed more unconventional. I liked the BRIGHT COLOURS and more simplistic, but nonetheless detailed look. I've watched very little anime but the character animation seemed more fluid and dynamic than in other Japanese films.

The MAIN lesson I can learn is from the camerawork, though.

This film used the camera so creatively, flipping through multiple art styles and going inside characters' brains with elegant scene transitions. It exemplifies the unlimited possibility of animation and I wish more animated films would go wild with their cinematography. It helped the film keep a really good pace.

I didn't like how the male protagonist was a creepy stalker though. It didn't make me invested in his plight.

"Won't you have some wine, matey man?"
"SHADDUP I'm trying to be a creepy creep and stalk this girl"
(Direct quote)

Notes From Another India: Shambhavi Kaul 

The 2nd thing I went to see. It was an Indian Artist displaying her short films. I felt like I would've appreciated them more had I searched deeply for a powerful subtext, but I wasn't in the mood to.

On a purely aesthetic level, the short films had a good sense of texture and showed the world in a beautiful way. It was very relaxing. So relaxing, in fact, that I fell asleep for 45 minutes of the screening, which I why I'm not able to discuss it at length.

Who I am and What I Want PART TWO (Study Task 1)

What I know now:

• The Adobe Suite
• Line testing and Dragonframe
• Animating on Wacom tablets
• How to make armatures
• Making character turnarounds

What do I want to know?:

• How to be a great director
• How to be a great character animator
• How to be a great cinematographer
• How to be a great leader of men
• How to be a great sketchbooker

Skills I am good at:

• Presenting
• Organising my time
• Embracing new software and being adaptable
• Some of the 12 principles of animation
• Creating emotive characters

Things I want to improve:

• Everything in the 3D realm
• Organising a team
• The 12 principles of animation
• My knowledge of adobe
• Adding more spicy variety to my designs (variety is the spice of etc.)

Practitioners that demonstrate my interest in animation:

• Glen Keane (Disney Animator)
• Bob Godfrey (Animator)
• Brad Bird (Animator and Director)
• Harry Partridge (Animator)
• Chris Shepherd (Animator/ 

Websites that demonstrate my area of interest:

• Skwigly Animation magazine (http://www.skwigly.co.uk/)
• Box of Broadcasts (https://learningonscreen.ac.uk/ondemand)
• Hyde Park Picture House (http://www.hydeparkpicturehouse.co.uk/)
• YouTube channels such as Cinefix
• Cartoon Brew (http://www.cartoonbrew.com/)