I was told that storyboard and concept artists like Rodolfo Damaggio and Justin Sweet are being replaced by 3D Software computer geeks and cut and paste photo collage artists because the 'Director' for movies can't visualize 'line art'.
I got this information from a 20 year veteran in the industry......so don't kill the messenger. I'm just parodying what I was told.
Apparently, there's this up and coming MTV generation that's very computer bias and dismisses traditional skills....accuses traditional drawing skill as not 'real' enough.
This is about the Movie industry. Since there's only so many movies churned out every year, maybe this isn't worth worrying about......but how do you feel traditional drawing skills is relevant to the movie Industry?
If a director can't extrapolate live action from Justin Sweet's concept art then (s)he isn't fit to direct traffic, let alone a film.
Tangent: I wouldn't want Michael Bay to direct my traffic...
Didn't Hitchcock storyboard his movies himself?
I can understand that photo collaging and 3d might help with pre-viz somewhat, but to dismiss traditional altogether just seems stupid.
Isn't the real question whether the final product suffers because a different process is used, rather than which process is used at all?
I understand you might find a traditional approach to storyboarding more appealing (and I'd agree with that) but if the final product is up to the same quality as before, in the same time or faster, then more power to the "software geeks."
And I'm really not sure you should be using that term at all, since, you know, I'm sure storyboard artists need the same important core skills whether they use 3D or 2D. Phrasing, shot choice, angles, progression, all that jazz.
Last edited by Scorched; June 8th, 2009 at 09:42 AM.
"...3D Software computer geeks and cut and paste photo collage artists..."
If we'd use your mentality, we'd still be using chiesel and stone to make art. It still takes tremendous knowledge of the moving medium to make a good storyboard.
Then I'm assuming you think traditional drawing skills are akin to using chiesels and stones?I got this information from a 20 year veteran in the industry......so don't kill the messenger. I'm just parodying what I was told.
I'm guessing you're talking about doing the boards in 3d, cuz yeah, for people trained solely in 3d they could pose the scene and screen cap it just as fast if not faster than someone else could draw it up and put quick values on it.
I can't imagine the top pros being in any trouble of not finding work though...
But I'd say there is a definite shift to purely digital no paper involved in the process ever approach going on nowadays.
The methodology for a given project evolves all the time, as long as you're willing to accept the downside--I can storyboard a scene change in the middle of the Gobi Desert with a pencil and bad toilet paper if need be, no electric power needed. Lose this ability and all your fancy-pants equipment is just about as useful as wet matches. The same skills and training are still needed to be able to cope with any situation.
The bad part of this isn't the effect on the artists, it's what it says about the new crop of semi-retarded idiots calling themselves directors. You should be able to visualize a scene and it's potential from the excited hand-waving and babbling of a six-year-old. If not, get a job you can do, like asking if i want fries with my emu burger.
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It's called pre vis or storyboard software, and tends to be faster and cheaper than getting a real artist - at least for a mid sized company shooting realistic dramas and comedies.
dude spend less time worrying about the here say of your 20 year old artist buddies whom Ill assume are still wet behind the ears.Spend more time exploring as many mediums as you can while stretching your skill sets and passions across multiple disciplines. "...3D Software computer geeks and cut and paste photo collage artists..." Remember a biased artist is a limited artist. In case your not aware versatility is virtue in the commercial industry and your worth is measured by what and how you can contribute to a production pipe line. As far as traditioinal vs digital goes well thats a load of shit argument from the get go, and I can name off more then a few AAA and feature film production house and commercial studios that employ both tradition and digital artist who can go back and forth between mediums. The point is in the end the medium isnt supposed to restrict or define whom you are and what you can do, your supposed to redefine what can be done with mediums.
I talked to a major budget Movie production artist.
You'll just have to take my word for it, this is what he said.
Nose this has nothing to do with "emo" after all this is your outlook on the commercial world I have absolutely no emotional concern rather you choose to except the reality that is going on around your or not. You posted a " emo-centric" rant in the lounge voicing your concern about a world you feel is changing. All I attempted to do is share some of my knowledge from experience with you. what ever you choose to except in the end I hope it gives you peace of mind. Good luck!
As for the idea of digi vs trad stuff; where I'm working we work with both but the AD prefers my traditional marker work and usually insists that I do that, especially on anything that he thinks might go well in an art book. Other artists do more digital, and others are going back and forth. We've had a few cases where my lead has me work out a composition, pose, and base sketches and another guy who is a fantastic digi-painter finish them off. I bring this all up because it seems to me that many companies still see the need for traditional work but also want to incorporate the benefits of digital.
I highly doubt that traditional media will ever entirely be put out of use for either film or games, though I suppose there will always be Uwe Bolls out there who can't wrap their little minds around what is actually required of them professionally. I'd be interested to see their movies compared to those who have the mental power to follow these cyptic hieroglyphics known as "hand drawn story boards."
I don't think the original poster's worry is about digital painters, but about roughing out poses with 3D software such as Maya and Max.
I personally don't have any issue with that.
This kind of sounds like a "3D Pre-Vis" vs Storyboarding kinda argument. The reality is a 6 foot painting from Justin Sweet is a pretty neat promotional kind of thing, but for production purposes is just one of probably a large stack of images that need to be realized, and taking a week per image simply just isn't feasible. So most actual, functional storyboards are usually at best nice looking comic-level panels. That also depends on the type of movie that's being made as well. A sci-fi or fantasy movie needs a hell of alot more pre-production visualization than a courtroom drama, and because of markets and budget constraints a lot more "real world" movies are going to get made than ones which require an entire new world to be visualized, then constructed. I remember reading that Martin Scorsese preferred stick figure, box room type storyboards that focused more on camera position, and movement, than what anything really "looks" like. Partially because he felt like that impinged on his visualizing the scene, but also because he enjoyed working with the shooting locations rather than having everything be meticulously constructed. On the flip side of that, paintings and drawing are great but they don't move, and if you're planning something outrageous like a LOTR sweeping battlefield shot, or a climactic space battle, then having some simple, stand in CG, and an animateable camera to help visualize the shot, is going to be a hugely helpful tool, and will be able to show the a director things he might not have been able to see in a stack of marker drawings with lots of arrows.
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Read some similar stuff on when photography 1st came out and was said to replace painting....didnt really work that way. You'll find that having a mix of both skillz might be what gets you a job over the cut and paste guy. I just did some scenes for a small budget movie and to save time / money I used 3d to rough out my scenes and decide on a camera angle. Just used simple cubes, grids and spheres to make a scene, placed a camera and then just took a screen shot and started painting over it. The grids help alot as the polygons make perspective lines for you, saving more time. I wouldnt do this for a personal illustration but helps to get the job done on time.
In any business its time = money so if the cut and paste dude can do it faster and have it look more realistic or like the final product then they will be used surely.
Remember a few years back when they said all actors would be replaced with CGI? I wouldnt worry too much.
It's like when hip hop went mainstream. The Record companies thought they could save money by not having DJs and just have MCs rapping over a drum machine. But the Dj is where it started, the MC was a supplement to them. So when you make music with the soul ripped out what do you get? Zombie hip hop. And no one likes zombies. And here we are years later DJs making their own records and with groups again, and not just for street cred.
Sure, some companies or directors or whatever might take a different route. It's soulless Hollywood. The same thing happens on screen. Look at most fight scenes now a days. Close shots, quick cut editing....so it seems like action but has little to no actual content, but it allows them to save cash on stuntmen/women, fight choreographers, wirework, etc. You still have other places makinggreat fight scenes that you can actually map out.
Not to mention retro is always in, so there will always be people doing it "The old way"
damn....sorry for the totally random rant