Hello creatives! You might have noticed a few weeks ago we posted on our forum the amazing opportunity to ask some questions to Keith Sintay, a professional animator who has worked in such movies as Pocahontas, Surf’s up, and now working on TRON: Legacy just to name a few. To refresh your memory, here’s his impressive showreel:

Some of you have taken up this challenge and gave it a try with some questions and the deal was the 10 most voted ones would be submitted. But, since there were 13 submitted questions, and the last ones were tied up, all of them were submitted as a bonus for those who made them. So here are the answers:

Question 1 (submitted by Nath): How did you break into the animation business when you were first starting out? When I was a young kid, I saw on tv a pencil test that Richard Williams was doing for a movie called Raggedy Anne and Andy. That pencil test showed drawings, DRAWINGS moving, one after the other creating MAGICal movement across another drawing of the background. I was amazed. I fell in love with the look of a pencil test. So I started to make flip books and tried to find out everything I could about making an animated cartoon of my own. Back then, in the 70s of course there was no internet or anything, so I kept drawing, but never got to make my own animation film- the closest were the flip books.

Many years later, after highschool, my first year in college (Central Michigan University) several things happened that ignited that dream again in me. My sister Laurie happened to be working at Walt Disney World in Florida, she sent me the Illusion of Life (the animator’s bible!) and told me that her hairdresser’s husband was an animator there at the studio in Florida. At the same time, I had been drawing again, doing designs for campus events and tshirt logos, sorority images for fliers etc. I realized I should be drawing for a living instead of studying (HAH!) international marketing. So, I loaded up on figure drawing classes, and I drew and I learned and I studied anatomy and developed tunnel vision: I wanted to be in the internship at Walt Disney Feature animation.

I drew and drew and finally got the nerve to send in a portfolio. I was rejected 3 times (each time receiving great critiques) and worked on my line quality and structure and anatomy. So, approx 3 years after sending my first portfolio I was selected out of thousands for one of 14 spaces in the internship. I was, needless to say, over the moon. I moved to Florida, and started my career.

Even after getting the internship, there was still no guarantee of getting a job there. Fortunately everything worked out and I was offered a position on Pocahontas. Awesome!

(ED. NOTE: don’t know if this is the pencil test Keith was talking about but we found this from Cartoon Brew on Youtube, seems like it is)

Question 2 (submitted by Paddy): Have you turned down any jobs on creative grounds? How do you make those decisions?

No. I know people who won’t work on “R” rated movies or may disagree with something that might oppose their morals, but for me, I love it all. In films, particularly the films I have worked on, there are so many different parts; story, lighting, live action, storyboarding, layout, backgrounds etc etc that you get wrapped up in the whole process and just have a blast with every shot you get.

Question 3 (submitted by Nath): Is it tough to have to animate in different styles and getting it to look as it should and not as your own personal style?

Sometimes it is difficult to go from “cartoony” to “realistic”, you have a tendency to make the realistic too cartoony and vise versa in the beginning, but eventually you find your pace and you are able to do the job to the best of your ability. As far as personal style, as an animator, if you are working on Features, you leave your personal style at the door. Personal touches or movements might creep in of course- I never feel restricted by style- but there is no room for personal style in Features. It has to look like it was drawn (animated) by one person. Part of my job is to make the characters look like the “model sheets” and keep them on “model”.

Question 4 (submitted by Eammy): What do you find to be the most effective way to animate?

I will address this as a CG animator. A short while back, I did a webinar for Animation Mentor on my workflow. This outlines how I use Linear to animate and how I treat the images as drawings and I how I try to create the poses, timing and movement with as little graph editor use as possible. Have a look:http://www.animationmentor.com/webinar/replay/20090422workflow/workflow1.html

Question 5 (submitted by Chris Lee) – How strict is the script from the time the film is written to the time you are animating it? can it change dramatically? and also how closely do you work alongside the director, editor, writer, storyboard artist, character designers etc. How does the team work efficiently?

The script is usually locked by the time we are animating our shots, but there are ALWAYS changes. So, depending on the changes, your shot may change or be cut from the movie completely; its a shame, but part of the process. You have to remember the big picture do what you can to make the film the best it can be, and sometimes that involves sacrifice. On an “all animated” feature, you work directly with the director; they launch you on your shots and you get notes or approval from them directly during dailies there in the theater. On a Visual FX movie, the director is more removed, and you tend to get your approvals through the animation Supervisor or animation Director. Working with other departments is a little segregated, mostly you work with the riggers if a rig can’t do what you want, or if you need a control added. But the story boards are usually set and you add your own personality through the acting and making it look believeable.

Question 6 (submitted by myself): What advice would he give animators starting their careers?

Be humble! Accept the shot you are given-even if it is a background character, or something simple and make it the BEST you can. It will help you shine and you will be given more difficult shots after you prove yourself. Don’t walk in and expect to do “A” level shots on your first film or project. Learn as much as you can about movement, never stop studying or observing. Don’t be afraid to seek advice from other more experienced animators at the studio.

Question 7 (submitted by William Rockwell) – My question would be, has anyone you have heard of made it that big without a college degree? Can someone make it there with Talent alone?

YES! I know MANY MANY MANY People who have been self taught. The REEL is the thing, if your reel is AMAZING, what degree or school you may have attended is secondary. As long as you know what you are doing.

Question 8 (submitted by ScottW): If I can double-dip for another question, now that I’ve seen the new TRON LEGACY trailer: One of the most startling (and pleasant) surprises in the look of this film is the familiar but somewhat subdued mood and ambiance in visual style. Consistent but evolved. Was this a specific look designed from the start with animators like yourself, and can you tell us how this visual style was accomplished in your work?

Sorry, but I am not at liberty to talk about projects currently in production. (ED. NOTE: this doesn’t mean we can’t put the latest Tron:Legacy trailer that blew everybody away! Check it out:)

Question 9 (submitted by JoaoNeto): Do you think there’s no more room for 2D animation as blockbuster movies, and if you were given the oportunity to work in a 2D project, would you consider it easier or less challenging?

The story has always been the thing. If the story is well told, pulls emotion and is b, it doesn’t matter the medium in which it is presented. It could be stop motion, 2d, paper cutout, flash, or CG; if the story is great, the film will be seen. On TV, Family Guy and Simpsons aren’t feature quality animated, but they are tremendously popular because of the writing. It’s always been that way. What a lot of “new” studios fail to realize is that its not flashy CG effects and lighting nor great animation that will keep people coming to the theaters, it’s the story. Period. I have worked on quite a few Traditionally animated (2d) features, and I would welcome the chance to work on one again. To me, it’s about creating the performance, whether it is with puppets, CG or drawings.

Question 10 (submitted by myself): What made you change from 2D to 3D, personal choice or the economics of animated movies (ie lots less 2d movies being made)? And how was it adapting to a different medium?

It was simply a matter of wanting to animate, and the fact that 2d was being edged out by CG. See my answer to question 9. I just like to animate.

Question 11 (submitted by Doug Warner): Please tell us a few details about the animation work you’re doing for Tron Legacy. Is the much loved Yori (as portrayed by Cindy Morgan) from the original Tron returning for a digital cameo? What are your thoughts on why she hasn’t already been included with the other two returning stars of Tron: Jeff Bridges & Bruce Boxleitner.

Sorry, I am not at liberty to talk about projects that are currently in production. (Ed just to show we did ask)

Question 12 (submitted by myself): How does it feel to be working on this movie (Tron:Legacy), and what you think of the original Tron?

I love working on such an anticipated movie. I remember the original fondly. I loved the video game.

Question 13 (submitted by Eamonn Callaghan): What programs would you use for 2d animation, not for any animator, but you?

At home, I use Digicel Flipbook. http://www.digicelinc.com/ It is very similar and even better in many ways than the pencil test programs at Disney and Dreamworks. Other than that, I use paper, a pencil and a drawing disc with a light under it. I made a down shooter from my webcam to capture the images. Good luck to all of you! Keith Sintayhttp://www.ketihsintay.com

—- Alright guys that’s it. What amazing and insightful answers these were. We can’t thank Keith enough for taking the time off his busy, busy schedule for this, we are truly honoured. Check out his site for news and future projects, it’s well worth keeping an eye. On behalf of Wooshii, I’d like to thank Keith once more and wish him good luck with his future projects.