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Started messing around in Game Maker Studio 2 the other day... Would you guys play a videogame based off Because The Internet?
|submitted by pinobutter99 to donaldglover|
[Table] IAmA: I'm Jake Ganz, owner of the internet-based animation studio, Yotta. Ask me (or our team) anything!
Link to submission (Has self-text)
|How did you get the idea for an Internet-based animation studio, and how difficult was it to get the idea off the ground?||Real talk: at heart, most of it came from me being a kid who really likes anime and I wanted to have a BALLIN CREW that WORKED TOGETHER WITH THE POWERS OF FRIENDSHIP AND TEAMWORK and EMBARK ON A JOURNEY TO THE STARS. I was reading a lot of One Piece and playing a lot of MGS: Peace Walker and I was HYPED SON.|
|More specifically though, working for Lab Zero Games on Skullgirls was definitely an inspiration, as they also work with many contractors to get a large volume of work done on their projects. (Great folks btw)|
|As far as getting the idea off the ground, I'll say I probably wouldn't have been able to do it if my intention was to become profitable very quickly. For the longest time it was something some friends and I did on the side. In the end though, it's sort of become what it's become organically. I think to build something you really care about, the freedom to be slow and patient with it is important, and we've been slowly building this thing for over three years now. I'm just thankful to the people who have patiently worked with us as we've made a gradual transition from amateur to professional.|
|How do you choose the animators that are part of the studio? Do you get new animators often?||Short answer is, we just go with our needs. As for frequency it can vary, but we've been picking up more people lately, especially due to needing some extra hands in the clean-up department.|
|A little more explanation: Yotta is presented as a studio, but a lot of our artists are part-time, some of them working full-time at other studios. In general, we're actually very interested in collaborating with anyone who brings something to the table in a pipeline, and frequently have situations where we bring someone on to do guest animation work on a single shot or sequence. Ultimately, I want Yotta's overall pool to consist of anyone who's down to be a part of it -- Though we haven't implemented this just yet, we are working on animation training measures to allow applicants who aren't quite ready to work on our projects to be able to participate in what we're building and be able to benefit from Yotta.|
|I think it was KyoAni that had (has?) something like that right? Like a school to train animators to work in that studio?||That's pretty fresh -- Though we'd like to do something for the service of animators in general, not only for people we're looking to work with.|
|How do you decide who gets what shot? How do some animators end up getting more shots than others?||Sometimes I choose based on where I feel a given animator's specialty might lie, other times I specifically choose things that'll give an animator a challenge and let them try something new. Since most animation shots on most of our projects will consist of dialogue or general character acting, animators who are capable of consistently delivering quality character acting animation tend to make up our 'regulars'. As a whole though, we love to see all sorts of specialties, and work with artists that specialize in acting, action, effects, and really just about anything you can think of. Animation is awesome, and there are a lot of different things you can lean toward and get good at to enrich your overall body of work. (Personally, I really like doing FX shots on our videos!)|
|How many people does it take to make a starbomb music video?||Luigi's Ballad: 4 Months or so of steady collaboration It's Dangerous to Go Alone: ~4 Months from pre-production to the finale. SMASH: About 8 weeks, one week for storyboards and 7 weeks for the animation Minecraft is for Everyone: After Ross passed us the material, it took us a little under 2 months to finish Hero of Rhyme: 7 Weeks The Simple Plot of Metal Gear Solid: After boards were finished, this video was our fastest turnaround time for a Starbomb video yet, turning around nearly 3 minutes in only a little over a month.|
|Fellow animator here, but have not worked in flash. What are your opinions on the future of Flash for animation?||I dunno, I still like Flash. It has it's problems that we're all very aware of, but its timeline is still intuitive and overall it's a program that, for better or worse, we're all pretty familiar with. As far as what we'll use -- We'll use whatever works best for us. Right now, there's not really anything we don't feel like we can do in Flash, but if the need ever came to switch, we'd do it.|
|Do you think the recent rebranding to "Adobe Animate" was well received, and do you see Yotta sticking with Flash/Animate or moving over to software with more flexibility in the long run (EG: Harmony)?||As far as Adobe Animate goes, a lot of our teammates are excited about it and look forward to seeing what'll happen. We thought the flash drawing of the tweening monkey was a pretty silly way to present the concept, but any switch to a setup indicating Adobe being more aware of an important demographic of people who use their program is pretty cool.|
|What makes a good animation portfolio/reel for Studio Yotta?||For Yotta, I only care about three things: Capability of drawing on-model, some proof of ability to animate pose-to-pose animation fluidly, and preferably some experience with the software (in this case, Flash). Once you get into the pipeline, a good attitude is valued most of all.|
|In general though, your presentation should always be concise and show off your best work. We get a lot of applications, but it's probably safe to say other studios get a lot more, so you need to catch an employer's attention at first glance, and prove yourself for the few minutes that'll be spent reviewing your material.|
|Personally, what's your favorite thing you've ever worked on?||Favorite thing I've worked on... So far, it'd be a tie between the Simple Plot of Metal Gear Solid video just put out, and a short we've done that's currently slated for release on TV early this year. Reason being that these are the first ones I've been able to really play a central creative role in. I have fun with anything Joel art directs too, because Joel is the shit.|
|Also, who were your favorite people to work with?||Favorite people to work with... I can't decide. I suppose checking the credits for names that'll be repeating across different projects is the best way to get an answer on that!|
|How would you say that this company could lead the way to more Internet-based animation studios?||Well, whenever something works, people are bound to follow the trend. I think to copy what I've done so far would take someone a lot of time or money, but ultimately I really wouldn't mind if more internet-based studios popped up -- In fact, there are plenty of other smaller internet-based studio outfits out there already. Honestly, I don't feel like we've fully developed the internet studio concept though, and I'm currently working on ways to push it further — So I don't know if I'd advise people to try to emulate us until we've really nailed the formula.|
|Hi, big fan of your Starbomb animations! Do you have multiple animators work on one video or does each animator make their own videos? Also, what was your initial reaction to being asked to animate a music video by Starbomb?||Our work is always animated by a team of artists.|
|As for Starbomb — Arin and I have been friends since I was really young, so it was more like us just deciding we wanted to jam on something. In general though, I'd say my reaction to knowing it was something we could do was excitement — Starbomb gave us our first opportunity to animate something completely from scratch with "It's Dangerous to Go Alone", a video that moved us up from assistant work to far more fulfilling full animation production. To that, I can only express gratitude to Arin, Danny and Brian. (And Ross, for the Minecraft vid!)|
|How did you (and your team) get started in animation? Many of the animators I follow online were self taught, but many also went to school specifically. How did you guys get started? Other related questions: If you had no money, what software would you use? Same question as above, but if you didn't want to pirate software?||I've technically been an animator for about a decade, but I didn't take it seriously enough until I turned 18. I didn't have the patience, and was notorious for starting cartoon projects and never finishing them. Later on, I began doing assistant animation work casually on Newgrounds for free, which quickly became demanded enough for me to want to make it into more of a paid thing. Pretty soon after, I expanded the service and started working with and learning from a few friends, and things kept growing from there.|
|Do you pay contract artists in a timely manner, and do you think your rates are competitive/fair? (Not trying to be rude, genuinely curious. I work in animation.)||I'd like to think so. As soon as a client pays, I make sure my animators are paid -- But I've definitely made little mistakes, and either way both of those things could be improved as our rates go up. As business continues to get better, those are the things I'll always be prioritizing getting better at.|
|Since I don't really feel like I really have the right to answer that one, I leave this one open for any of my animators who feel like giving their feedback. B)|
|Hi, I'm a big fan of Yotta's work and I've been very inspired by it to improve in animation myself. I've been considering applying for a job at Yotta for a while now, but I still don't know if what I've got so far is enough (And how much would I have to learn/be able to do at the very least). So I'd like to know what are the skills and knowledge that are indispensable for anyone trying to apply for a job at Yotta?||The first question I sort of answered up top: For Yotta, I only care about three things: Capability of drawing on-model, some proof of ability to animate pose-to-pose animation fluidly, and preferably some experience with the software (in this case, Flash). Once you get into the pipeline, a good attitude is valued most of all.|
|Also, does the workload assigned to each animator vary depending on their availability or is it not as flexible?||As far as workload, yep, workload is completely flexible. We have people working all the time, and people doing as little as one shot per video. It's all good.|
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