Emmett Goodman 2D / 3D Animator

Total Page：16

File Type：pdf, Size：1020Kb

Emmett Goodman 2D / 3D Animator (216) 513-5073 / [email protected] / emmettgoodman.com/ PROFILE As a freelance animator, I have directed/animated web episodes, music videos, and short films for a variety of clients. Looking for opportunities to work in a studio environment as a character animator and story artist, whilst enhancing my own artistic abilities. EXPERIENCE Freelance Animation Artist 2009-present I have provided animation production and direction for various clients. This work includes webisodes for comedienne Kerry Coddett’s The Coddett Project, music videos, and independent short films. I have assisted on animated projects for companies such as Stretch Films, Speakaboos, and Ace & Sons Moving Picture Company. Columbia Pictures ~ Production Assistant July 2009 Worked as a PA on The Other Guys (dir. Adam McKay, 2010) on location in New York City. Augenblick Studios Inc. ~ Animation Intern Dec 2008 - June 2009 Worked as an inbetweener and colorist on the pilot episode of Ugly Americans for Comedy Central, and Xavier: Renegade Angel for Adult Swim. Debra Solomon ~ Production Artist June 2008-Aug 2008 Flash animation assistance on the HBO short How To Get Over Him In Eight Songs or Less (dir. Debra Solomon, 2010). EDUCATION Master of Fine Arts (MFA), Computer Arts School of Visual Arts, New York, NY (May 2019) Bachelor of Fine Arts (BFA), Animation Pratt Institute, Brooklyn, NY (May 2008) Recipient of the Presidential Merit Scholarship SKILLS Art Skills Software Skills 2D Digital Animation Adobe Animate/Adobe Flash 3D Character Animation Autodesk Maya Storyboards Harmony Toon Boom Character Design Photoshop Editing/Compositing After Effects Stop-Motion Animation Premiere Final Cut Pro Arnold RELATED ASIFA-East Board Member 2008-2015 As a volunteer member of the NY-chapter of ASIFA, I wrote several articles and have been published in the ASIFA-International magazine. For a short period, I also ran the Viewseum, a website feature to promote new short films and up and coming new artists and animators. .

Copy Link

Recommended publications

Animation: Types
Animation: Animation is a dynamic medium in which images or objects are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today most animations are made with computer generated (CGI). Commonly the effect of animation is achieved by a rapid succession of sequential images that minimally differ from each other. Apart from short films, feature films, animated gifs and other media dedicated to the display moving images, animation is also heavily used for video games, motion graphics and special effects. The history of animation started long before the development of cinematography. Humans have probably attempted to depict motion as far back as the Paleolithic period. Shadow play and the magic lantern offered popular shows with moving images as the result of manipulation by hand and/or some minor mechanics Computer animation has become popular since toy story (1995), the first feature-length animated film completely made using this technique. Types: Traditional animation (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one against a painted background by rostrum camera onto motion picture film.
[Show full text]
Faces and Facades” Will on Saturday, June 11, 2016 from Creates Certain Patterns, Styles and Kenya, India and Brazil; Worked Explore the Concept of Outward 5-7 Pm
ALALBANY, NY PERMIT #486 Published by the Greene County Council on the Arts, 398 Main St., Catskill, NY 12414 • Issue 110 • May/June 2016 GCCA Catskill Gallery Presents New Group Exhibition Featuring Burton C. Bell’s Graphic Novel THE INDUSTRIALIST Don’t Stereotype Me by Joanne Van Gendern. The Greene County Council narrative theme, whether through Other pieces are inspired by a books, three of which will be on miles of stone walls—enough to on the Arts presents a new group multiple images, a single image, or story, as in Matthew Pleva’s six-part display in Words and Images. reach the far side of the moon—in exhibition dedicated to the art of the story that inspired the artwork. illustration “Arrowhead,” which Reilly, a member of the Book Arts fact built by European colonists in storytelling called “Words and Abigael Puritz, a graphic depicts multiple angles of the exte- Roundtable, has given workshops a period of roughly 100 years—or Images.” Featuring the work of novelist, painter and printmaker rior of Herman Melville’s Pittsfi eld, on making books by hand in many are they perhaps much, much older? over a dozen local and international originally from Oneonta NY, depicts Massachusetts house where he libraries and museums in New York Employing a mountain of testimony artists, the Words and Images show in her graphic memoir novel “The wrote his masterpiece Moby- and New Jersey. He is currently on from archaeology, art and popular will include animated short fi lms, Climb” a memorable summer trip Dick, along with an illustrated the faculty of the Rosendale School histories, and other fi elds, Bua’s graphic novels, illustrations, sculp- to Europe.
[Show full text]
Computerising 2D Animation and the Cleanup Power of Snakes
Computerising 2D Animation and the Cleanup Power of Snakes. Fionnuala Johnson Submitted for the degree of Master of Science University of Glasgow, The Department of Computing Science. January 1998 ProQuest Number: 13818622 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818622 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 GLASGOW UNIVERSITY LIBRARY U3 ^coji^ \ Abstract Traditional 2D animation remains largely a hand drawn process. Computer-assisted animation systems do exists. Unfortunately the overheads these systems incur have prevented them from being introduced into the traditional studio. One such prob lem area involves the transferral of the animator’s line drawings into the computer system. The systems, which are presently available, require the images to be over- cleaned prior to scanning. The resulting raster images are of unacceptable quality. Therefore the question this thesis examines is; given a sketchy raster image is it possible to extract a cleaned-up vector image? Current solutions fail to extract the true line from the sketch because they possess no knowledge of the problem area.
[Show full text]
Experience in 2D, CGI, and Flash/Animate TV Productions and Short film
[email protected] www.katebrusk.com Los Angeles, CA 586.306.2436 I’m a story artist with experience in 2D, CGI, and Flash/Animate TV productions and short film. My drive is bringing character-driven stories to Hi! life. I love constrasting personalities and characters with a fiery spirit. This is a resume! Experience Nickelodeon Storyboard Artist May 2016 - present SKILLS Storyboarding for seasons 2,3 & 4 of Shimmer and Shine. Storytelling Reiteration & Revision Responsible for storyboarding a 16-20 page script over 4 Structuring Pipelines weeks. Character Animation Specializing in song sequences, action, and chorography. Communication Tight Deadlines Working closely with Executive Producer and Directors to Putting it to a montage create a cohesive storytelling style. Contributing to reseach and concept for new environments. SOFTWARE Acted as team consultant using 3D models in Storyboard Pro, Storyboard Pro, and developed effecient internal workflow. SBP 3d Integration Flash/Animate Photoshop Soup 2 Nuts Storyboard Artist Sept 2013 - Oct 2014 Sketchup Storyboarded seasons 1 & 2 of Astroblast using Flash in a After Effects timeline-based process. Revised scenes on a 24 hour turnaround using producer & EDUCATION director notes. College for Creative Studies Supervised storyboards for 3 episodes, which included BFA in Entertainment Arts handling internal and network notes and overseeing a team May2012 of both on- and offsite artists. Focus in Character and experimental animation Freelance Animation and Design 2012 - 2016 RECOGNITION Worked with a range of clients and studios in a variety of TAFFI Best of Show 2013 styles on commercial projects including Perrier, FOX ADHD, Tour Skechers, Biore, and Cosmic Toast Studios.
[Show full text]
2020 Croner Animation Position Grids.Xlsx
Survey Position Grids STORY / VISUAL DEVELOPMENT ANIMATION Family 200 210 220 230 240 250 260 280 300 Production TV Animation / Character Visual Character Level Story Design / Art Pre-Visualization Modeling Layout Shorts Design Development Animation Direction Executive Management 12 Head of Production Management Generates and Manages the Creates the look Creates characters Creates and Creates sequences of Creates, builds and Creates 3D layouts. Defines, leads and 14 Head of Animation Studio develops story ideas, animation process of and artistic to meet established presents concepts shots that convey the maintains models Translates sketches into 3D executes major 16 Top Creative Executive sequences, an animated deliverables to vision for the and designs for the story through the of story elements, layouts and shot sequences character animation storyboards, television or short film meet the artistic, production, production, including application of traditional including and scenes. May create for productions, elements and production, ensuring creative and including look, character, sets, filmmaking principles in characters, sets and scenes. including personality Brief Job Family Descriptions enhancements that the creative aesthetic vision of personality, lighting, props, key a 3D computer graphics environments, Determines camera and animation style. throughout desires, as well as a production. movement, art. Creates plan environment. elements, sets, placement, blocks production. production expression. views and blue structures. characters,
[Show full text]
Teachers Guide
Teachers Guide Exhibit partially funded by: and 2006 Cartoon Network. All rights reserved. TEACHERS GUIDE TABLE OF CONTENTS PAGE HOW TO USE THIS GUIDE 3 EXHIBIT OVERVIEW 4 CORRELATION TO EDUCATIONAL STANDARDS 9 EDUCATIONAL STANDARDS CHARTS 11 EXHIBIT EDUCATIONAL OBJECTIVES 13 BACKGROUND INFORMATION FOR TEACHERS 15 FREQUENTLY ASKED QUESTIONS 23 CLASSROOM ACTIVITIES • BUILD YOUR OWN ZOETROPE 26 • PLAN OF ACTION 33 • SEEING SPOTS 36 • FOOLING THE BRAIN 43 ACTIVE LEARNING LOG • WITH ANSWERS 51 • WITHOUT ANSWERS 55 GLOSSARY 58 BIBLIOGRAPHY 59 This guide was developed at OMSI in conjunction with Animation, an OMSI exhibit. 2006 Oregon Museum of Science and Industry Animation was developed by the Oregon Museum of Science and Industry in collaboration with Cartoon Network and partially funded by The Paul G. Allen Family Foundation. and 2006 Cartoon Network. All rights reserved. Animation Teachers Guide 2 © OMSI 2006 HOW TO USE THIS TEACHER’S GUIDE The Teacher’s Guide to Animation has been written for teachers bringing students to see the Animation exhibit. These materials have been developed as a resource for the educator to use in the classroom before and after the museum visit, and to enhance the visit itself. There is background information, several classroom activities, and the Active Learning Log – an open-ended worksheet students can fill out while exploring the exhibit. Animation web site: The exhibit website, www.omsi.edu/visit/featured/animationsite/index.cfm, features the Animation Teacher’s Guide, online activities, and additional resources. Animation Teachers Guide 3 © OMSI 2006 EXHIBIT OVERVIEW Animation is a 6,000 square-foot, highly interactive traveling exhibition that brings together art, math, science and technology by exploring the exciting world of animation.
[Show full text]
2D Animation Software You’Ll Ever Need
The 5 Types of Animation – A Beginner’s Guide What Is This Guide About? The purpose of this guide is to, well, guide you through the intricacies of becoming an animator. This guide is not about leaning how to animate, but only to breakdown the five different types (or genres) of animation available to you, and what you’ll need to start animating. Best software, best schools, and more. Styles covered: 1. Traditional animation 2. 2D Vector based animation 3. 3D computer animation 4. Motion graphics 5. Stop motion I hope that reading this will push you to take the first step in pursuing your dream of making animation. No more excuses. All you need to know is right here. Traditional Animator (2D, Cel, Hand Drawn) Traditional animation, sometimes referred to as cel animation, is one of the older forms of animation, in it the animator draws every frame to create the animation sequence. Just like they used to do in the old days of Disney. If you’ve ever had one of those flip-books when you were a kid, you’ll know what I mean. Sequential drawings screened quickly one after another create the illusion of movement. “There’s always room out there for the hand-drawn image. I personally like the imperfection of hand drawing as opposed to the slick look of computer animation.”Matt Groening About Traditional Animation In traditional animation, animators will draw images on a transparent piece of paper fitted on a peg using a colored pencil, one frame at the time. Animators will usually do test animations with very rough characters to see how many frames they would need to draw for the action to be properly perceived.
[Show full text]
High-Performance Play: the Making of Machinima
High-Performance Play: The Making of Machinima Henry Lowood Stanford University <DRAFT. Do not cite or distribute. To appear in: Videogames and Art: Intersections and Interactions, Andy Clarke and Grethe Mitchell (eds.), Intellect Books (UK), 2005. Please contact author, [email protected], for permission.> Abstract: Machinima is the making of animated movies in real time through the use of computer game technology. The projects that launched machinima embedded gameplay in practices of performance, spectatorship, subversion, modification, and community. This article is concerned primarily with the earliest machinima projects. In this phase, DOOM and especially Quake movie makers created practices of game performance and high-performance technology that yielded a new medium for linear storytelling and artistic expression. My aim is not to answer the question, “are games art?”, but to suggest that game-based performance practices will influence work in artistic and narrative media. Biography: Henry Lowood is Curator for History of Science & Technology Collections at Stanford University and co-Principal Investigator for the How They Got Game Project in the Stanford Humanities Laboratory. A historian of science and technology, he teaches Stanford’s annual course on the history of computer game design. With the collaboration of the Internet Archive and the Academy of Machinima Arts and Sciences, he is currently working on a project to develop The Machinima Archive, a permanent repository to document the history of Machinima moviemaking. A body of research on the social and cultural impacts of interactive entertainment is gradually replacing the dismissal of computer games and videogames as mindless amusement for young boys. There are many good reasons for taking computer games1 seriously.
[Show full text]
GCCA Begins 2017 Season With
ALALBANYY, NY PERMIT #486 Published by the Greene County Council on the Arts, 398 Main St., Catskill, NY 12414 • Issue 114 • January/February 2017 GCCAFRESH Begins 2017 Season with Left: Winter Blaze by Susan M. Story, pastel Top: Courtyard by Ginnie Gardiner, oil on linen, 24 x 36 inches. an Exhibit of New Works Regional Artists, Current Explorations Above: Red Clover by Nancy Rutter, pastel, 11 x 14 inches Greene County Council on the regional artists, current explorations, What is important to you as 2016 wide dangers inherent in our afternoon light enter dramatically, Arts initiates its 2017 season with was born when GCCA’s visual ends and 2017 begins? What is on environment and their effect on the and often unexpectedly, from “FRESH” - a group exhibit featuring arts director was hiking Vroman’s your mind right now?” Artists Noelle earth and humanity.About hishome seemingly impenetrable clouds that new works by some of the Hudson Nose in Schoharie County. The Adamoschek, Fred Breglia, Bob studio, The Glen Grange, in Glen NY, frequently hover over the western Valley’s most celebrated artists, both combination of majestic natural Crimi, Ginnie Gardiner, Kathryn Kosto, Breglia says, “My artistic creations Catskills,” says Gardiner. “It ﬂ oods like established and emerging. On view beauty, last days of summer, Ruth Leonard, Stanley Maltzman, Art can happen without boundaries. My inspiration through the tall arches of January 14 through February 25, anticipation of the upcoming Murphy, Sara Pruiksma, Nancy Rutter, studio is not a set space; it’s more the windows. The tapestry that light 2017, with an opening reception presidential election, and a new year, Susan M.
[Show full text]
Magazines V17N9.Qxd
Apr COF C1:Customer 3/8/2012 3:24 PM Page 1 ORDERS DUE th 18APR 2012 APR E E COMIC H H T T SHOP’S CATALOG IFC Darkhorse Drusilla:Layout 1 3/8/2012 12:24 PM Page 1 COF Gem Page April:gem page v18n1.qxd 3/8/2012 11:16 AM Page 1 THE MASSIVE #1 STAR WARS: KNIGHT DARK HORSE COMICS ERRANT— ESCAPE #1 (OF 5) DARK HORSE COMICS BEFORE WATCHMEN: MINUTEMEN #1 DC COMICS MARS ATTACKS #1 IDW PUBLISHING AMERICAN VAMPIRE: LORD OF NIGHTMARES #1 DC COMICS / VERTIGO PLANETOID #1 IMAGE COMICS SPAWN #220 SPIDER-MEN #1 IMAGE COMICS MARVEL COMICS COF FI page:FI 3/8/2012 11:40 AM Page 1 FEATURED ITEMS COMICS & GRAPHIC NOVELS Strawberry Shortcake Volume 2 #1 G APE ENTERTAINMENT The Art of Betty and Veronica HC G ARCHIE COMIC PUBLICATIONS Bleeding Cool Magazine #0 G BLEEDING COOL 1 Radioactive Man: The Radioactive Repository HC G BONGO COMICS Prophecy #1 G D. E./DYNAMITE ENTERTAINMENT Pantha #1 G D. E./DYNAMITE ENTERTAINMENT 1 Power Rangers Super Samurai Volume 1: Memory Short G NBM/PAPERCUTZ Bad Medicine #1 G ONI PRESS Atomic Robo and the Flying She-Devils of the Pacific #1 G RED 5 COMICS Alien: The Illustrated Story Artist‘s Edition HC G TITAN BOOKS Alien: The Illustrated Story TP G TITAN BOOKS The League of Extraordinary Gentlemen III: Century #3: 2009 G TOP SHELF PRODUCTIONS Harbinger #1 G VALIANT ENTERTAINMENT LLC Winx Club Volume 1 GN G VIZ MEDIA BOOKS & MAGAZINES Flesk Prime HC G ART BOOKS DC Chess Figurine Collection Magazine Special #1: Batman and The Joker G COMICS Amazing Spider-Man Kit G COMICS Superman: The High Flying History of America‘s Most Enduring
[Show full text]
How to Become an Animator – By
How to Become an Animator Your guide for evaluating animation jobs and animation schools By Kris Larson About the Author: Kris Larson was a senior marketing executive and hiring manager in the entertainment industry for many years. She currently works with Animation Mentor to develop eBooks and articles about the animation industry. (Shameless Plug) Learn Character Animation from Professional Animators Who Are Working at Major Studios If you want to be a character animator, you’ll need to know more than just animation tips and tricks. Bobby Beck, Shawn Kelly, and Carlos Baena cofounded the online character animation school in 2005 because many aspiring animators weren’t learning the art behind animation. Animation Mentor teaches you the art behind animation under the guidance of professional animators who are currently working at leading studios. Our approach also prepares you with the skills and experience to succeed in a studio environment. At the end of the program, you graduate with a killer demo reel that’s your resume for a job and connections to jobs at film studios and video game companies. If you want to learn more about Animation Mentor, check us out. We can teach you everything you need to know to create a great demo reel and land a job in 18 months. We want to help you reach your dreams of becoming an animator. LETTER FROM ANIMATIONMENTOR.COM FOUNDERS Dear Aspiring Animator, If you’re reading this eBook, that means you’re interested in becoming an animator, the coolest job in the world! We’ve been animators for a while now, working at Pixar Animation Studios and Industrial Light & Magic (ILM).
[Show full text]
Multimedia Artist and Animator
Explore your future pathway Multimedia Artist and Animator Career Overview Education/Training Multimedia artists and animators create two- and three- Employers typically require a bachelor’s degree, and they dimensional models, animation, and visual effects for look for workers who have a portfolio of work and strong television, movies, video games, and other forms of technical skills. Animators typically have a media. They often work in a specific form or medium. bachelor’s degree in fine art, computer graphics, animation, Some create their work primarily by using computer or a related field. Programs in computer graphics often software while others prefer to work by drawing and include courses in computer science in addition painting by hand. Each animator works on a portion of the to art courses. project, and then the pieces are put together to create one cohesive animation. Bachelor’s degree programs in art include courses in painting, drawing, and sculpture. Degrees in animation Animators typically do the following: often require classes in drawing, animation, and film. Many -Use computer programs and illustrations to create schools have specialized degrees in topics such as graphics and animation interactive media or game design. -Work with a team of animators and artists to create a movie, game, or visual effect Important Qualities -Research upcoming projects to help create realistic designs or animations Artistic talent should have artistic ability and a good understanding of color, texture, and light. However, -Develop storyboards that map out key scenes they may be able to compensate for artistic shortcomings in animations with better technical skills. -Edit animations and effects on the basis of feedback from Communication skills need to work as part of a directors, other animators, game designers, or clients complex team and respond well to criticism and feedback.
[Show full text]

Emmett Goodman ​2D / 3D Animator

Emmett Goodman 2D / 3D Animator