We are delighted to welcome a new set of Creative Skillset trainees to our satellite studio on Holloway Road, North London. With support from Creative Skillset, the industry skills body for the Creative Industries, the talented Trainee Animation Assistants are learning the art of in-betweening whilst training on our 2D animated feature film, Ethel & Ernest.
For Ethel & Ernest Animation Supervisor, Isobel Stenhouse, Animation Assistants are the unseen heroes of the hand-drawn animation industry. “Although the assistants’ drawings are the ones that are seen on the screen, and so require an exceptional level of quality, the role is usually perceived as just a stepping stone to a job as an animator. Many people however have made a great career of it.”
Trainee and recent Animation graduate (Portsmouth University) Oliver Pike has two internships and a bit of freelance work under his belt, but working as an Animation Assistant on Ethel & Ernest is his first professional industry experience. “Working on Ethel & Ernest means a lot to me as I am helping create a feature length film which is something that I’ve always wanted to be a part of. Being in an environment with others who share a passion for creativity means I enjoy coming to into the studio each day.”
Here on Ethel & Ernest, we are using animation software, TVPaint, to create our 2D feature film in a style that feels hand-drawn. Ethel & Ernest Animation Supervisor, Isobel Stenhouse says that “TVPaint is the best animation software I have used in terms of being able to create realistic brushes, with the use of a functional lightbox, and a great user interface. Most animators who have made the transition from paper are delighted when they realise what they are able to achieve using this software, such as instant playback, and of course, the ability to undo, whilst creating a sketch-like image that closely matches their traditional drawing style.”
On Ethel & Ernest, there are two teams of Animation Assistants. The senior team draw in the keys, which requires them to go over the Animators’ main drawings, ensuring that they are on model, that the line is to style and consistent, and that there’s a smooth flow from one drawing to the next. The junior team creates the in-betweens (these are the drawings that fit seamlessly between the key drawings), putting the images on 25 frames per second. This requires a real eye for detail and very precise handy work. So when viewers watch the final film, it is the line-work of the Animation Assistants that they see, along with the acting, timing, and movement of the Animators.
Oliver feels that by training as an In-between Artist he is improving every day. “I feel it has helped me to develop my understanding of the human form and has shown me the importance of making sure the tiniest of details are perfectly in-betweened so that the animation runs smoothly.”
Fellow Animation graduate (Westminster University) and Trainee Animation Assistant, Sadif Bhatti struggled to find work in the animation industry after graduating during the beginning of the recession, so became a graphic designer and illustrator in the interim, although the passion for animation never left. “With in-betweening I am constantly learning, and pushing my skills as an artist. The training has also helped me to have a better understanding of timing of action, and the use of time charts”.
We are delighted to be able to train a new generation of Animation Assistants on Ethel & Ernest and help them to develop the artistic and technical skills necessary to work in the animation industry.
If you’d like to be kept up to date with Ethel & Ernest news, make sure you follow Ethel & Ernest Director, Roger Mainwood’s fantastic blog and the Lupus Films website for more news. You can also like us on Facebook, follow us on Twitter and connect with us on LinkedIn.
This scheme is funded by Creative Skillset’s Skills Investment Fund.