Writing: Demo Reel FAQ II

Installment two. I had to help Kaitlin on something, and I think documenting it would be pretty helpful.

More questions? Ask away.

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Why do I run out of undos in Maya?

Maya is configured to only handle a certain number of undos (Ctrl-Zs). To adjust the number of undos you can do, go to Windows -> Setting/Preferences -> Preferences -> Undo. Change the "Queue Size" as you see fit.


Should I do snappy editing? Cut my reel at the end of an action?

There are actually different kinds of demo reels. Depending on what position you are applying for and to where, different things will work. Because this is so varied, you may want to have multiple demo reels.

Commonly, people who apply for technical director positions will have a cut between each project they are showing off. A common thing animators do is slice up various parts of the different pieces they have worked on and intersperse them so they flow together. It depends on what you are applying for and where. For example, Pixar doesn't particularly like sliced reels (thanks for the tip, Sam!).

If you intend to cater your reel to a specific place, look at the samples they have up or search people who already work there and look at their demo reels. But for a general reel, I would personally play it safe and just show work-by-work, best foot forward.

Should I edit my reel to music?

No. Unless you are a composer, music should not be essential to your reel. Your work must be able to stand on its own, music or not. Because we take so many mental cues from sound, some companies (I know, Pixar for a fact) will turn off the music while viewing a reel. The basic principle is that, even if the reviewer cannot hear what a character is saying, the reviewer can see what the character is saying.

If you have something where sound is essential, such as lip-synching or a music video, you should write on your title card that the viewer will require sound.

You may have music to make viewing a little more entertaining, but it shouldn't make or break your reel. Whatever you chose, try to pick something which is not too extreme but still reflects the style of your work. Personally, I'm partial to jazz, and I know a lot of people who use techno..


What's a turntable?

A turntable is a clip of a spinning 3d model. It's pretty essential for any modeler reel.

What renders do I need for a turntable?

There are three ways to show off a model: textured, shaded (Ambient Occlusion), and contour. If you don't have a texture model, or you are not interested in a texturing position, textures aren't essential (just like, if you didn't model your piece, you don't need to show off its wireframe). However, if you made your model, you will want to show off both a shaded version and a wireframe. The former shows your understanding of form, and the latter shows off your understanding of good mesh construction.

How do I transition from textured to shaded to wireframe?

Truth be told, you can't do it in Maya. This is a video editing technique. Render out a sequence of images from Maya. Then import them into AfterEffects/Premiere/Final Cut Pro and keyframe their opacity.

How do I make a turntable?

I'm only go over the easiest way possible. In Maya 2008 and later, there is a turntable button. First, change the mode drop-down menu in the Status Line to "Rendering." Then select all the items you wish to rotate around. Finally, go to Animate -> Turntable and enter the number of frames long you wish your turntable to be. Then render from the created turntable camera.

My shadows look funny. How do I parent the lights to my camera?

If you parent your lights to your camera, then your lights will revolve with your model. That means, when your model's back faces you, your light will be on his other side.

• Turntable cameras are automatically invisible. Set it to visible by selecting it. Then go to Display -> Show -> Show Selection. (Or you can use the hypergraph, which will list the camera.)
  
• Select the lights in your scene.
• Select your (now visible) turntable camera.
• Hit 'P' on the keyboard.

JPop Writing: The Idol Concept

I'm taking a class on Japanese Pop Culture where we are required to write responses to our weekly reading. I hope my late-night entries are insightful enough to post here as well. The book we are reading this week is Japan Pop! .

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I'd like to preface this by saying I have little experience with Japanese popular music. I am far more in-touch with American fan culture and its consumption of manga. What I have actually listened to is mostly JRock - Miyavi, Malice Mizer, Pierrot, etc - recommendations filtered through instant messages of American "otaku." Reading this book and searching YouTube broadened my spectrum of musical styles. Nevertheless, my Japanese roommate raised her eyebrow when she heard Enka.

A horrid musician myself, I have no right to comment on the techniques used to play these songs. However, the reading draws forth something deeper than the space between notes. I have always been intrigued by the concept of the “idol” and the role of the woman in Japanese society. The Enka article describes it well: a good woman is loyal in the face of adversity, timid in her heroism. However, the conventions behind these tearful anecdotes apply outside of sake bars. The expectations of a Japanese woman – no matter her status – differ greatly from those in the West. If an Asian woman enters a scandal, her career is likely over. In America, scandal can make a career out of nothing.

The James Stanlaw article, “Open You File, Open Your Mind” explains that, prior to the 1990s, the standard Japanese idol was selected at a young age and trained for her future position. A good idol combined innocence and sexiness – a concept summarized by the O-Nyanko Club song, “Don’t Take Off My Sailor Suit.” However, he claims the 90s trend of adding English lyrics allowed female singers to express feelings without the formality of Japanese. I disagree. Few Japanese singers, even today, understand English. English usage can be just as easily attributed to a ploy to make the song seem more modern.

Nevertheless, this is part of a more general hypothesis. Female idols from the 1990s began to break the barrier formed by societal assumptions, as evidenced by the careers of Princess Princess, YuMing, and Shonen Knife. I agree and would like to propose that the Internet and otaku culture has caused the idol-making process to evolve yet again. In class, we briefly mentioned that opening a popular anime can be an automatic stellar debut. Last year, Shoko Nakagawa sky-rocketed to fame when her song “Sorairo Days” became the theme for Gainax’s Tengen Toppa Gurren Lagann. She likes video games, draws her own manga, blogs regularly, and cosplays religiously. Her personality gathered a large fan base, and her site now has over one hundred million hits. This electronic connection she has with her fans allows her to be more than just a cute face.