Animation Guild | We are 839 Digital Magazine
Issue link: https://digital.copcomm.com/i/1313527
WINTER 2020 11 ERIC PROVAN ENVIRONMENT MODELING SUPERVISOR ON DISNEY'S RAYA AND THE LAST DRAGON TELL US A LITTLE BIT ABOUT YOUR BACKGROUND. I was born and raised in Daytona Beach, FL. My father was a fishing captain, and my mother was a seamstress and clothing designer. Like them, my interests were very eclectic and eventually led me to attending Full Sail University in Orlando. Even still, animation and modeling were completely off my radar. But, after just one lecture in a media class about the computer animation process, I was absolutely hooked. I even knew that I wanted to be a modeler! HOW WOULD YOU DESCRIBE YOUR JOB? Modeling is a lot like drawing. You start with very simple shapes, and then gradually add and subtract detail until you have your desired result in three dimensions. I liken the job of a modeler to playing Minecraft. You're adding simple shapes to create a more complex overall shape, that hopefully adds history and life to a story. WHAT ARE THE BEST PARTS OF YOUR JOB? I enjoy the details. The little things that perhaps people don't consciously notice but are subconsciously affected by. Like switching the middle toe with the big toe on a Frankenstein character, or nudging a plant over by three inches to create a more pleasing composition or shaping some rocks in an environment to create a hidden Mickey. I also love the people I work with. The modeling family at Walt Disney Animation Studios is a diverse bunch that strives to be the best modelers they can be, but always with the goal of having a good time in the process. WHAT ARE THE BIGGEST CHALLENGES? It feels like this question has taken on a new meaning in 2020. Working from home, I'm inclined to say that the biggest challenge of my job is keeping the kids out of my home office. But, frankly, I adore their little visits. Truthfully though, the biggest challenge right now is balancing home and work. It's hard being stuck, even with the people you love most, in a house for over six months. I'm not ashamed to say that my mental health has taken some hits. Recognizing that certainly helps. And I'm lucky to have a company and a family that are always there to help in this bonkers year. HOW DO YOU STAY UP-TO-DATE ON THE LATEST TECHNOLOGY OR TOOLS? I'm lucky to work at a place that puts a lot of emphasis on emerging technologies. Disney is always striving to find new ways to improve the pipeline, while putting story and design first. So we are often given access to new and exciting tools to try out. Beyond that, I try to stay up on the latest trends by communicating with other modelers and staying active on various online art forums, such as ZBrush Central, CG Society, and Unity. ISAAC GELMAN LEAD CHARACTER MODELER FOR NICKELODEON'S SANTIAGO OF THE SEAS TELL US A LITTLE BIT ABOUT YOUR BACKGROUND AND EDUCATION. I fell in love with 3D animation at an early age and was enamored by emerging media. I started taking CG classes in high school, received my AA from a small technical school, and earned a BFA from the Academy of Art University in San Francisco. Through some serendipitous events, I got my foot in the door and started at Nickelodeon a decade ago. HOW WOULD YOU DESCRIBE YOUR JOB AS A MODELER? It can vary between pipelines. Currently, I take 2D line art from our character designers and build them in 3D using a digital sculpting program. The goal is to quickly produce a complete 360° representation of the character for the powers-that-be to see, review and make any adjustments. It requires creative problem solving to translate designs from one medium to the next and foresight to adjust for any of the design's special considerations that may pop up further down the road. After approval, our partner studio turns the rough sculpt into a final, animation-ready asset. WHAT ARE THE BEST PARTS OF YOUR JOB? Firstly, the people! I've been fortunate to work on crews with a fantastic array of individuals who have diverse passions and voices. Secondly, I love working on great designs! It's exciting to see what new, fun, and interesting characters are coming up in the queue every week. WHAT ARE THE BIGGEST CHALLENGES OF YOUR JOB? Working in television, that may be the schedule. Right now, it averages about one character (including organic-shaped props) a week with reviews and revisions. I'm also preparing renders for painters, checking assets that come back from our vendor studio, and handling small CG odds and ends. It took time to be comfortable and even welcoming of the pace. Now, I like how it keeps me on my toes. HOW DO YOU STAY UP-TO-DATE ON THE LATEST TECHNOLOGY OR TOOLS? It's not easy! There are many steps in the CG process and each step has half a dozen different software packages to choose from. Everything is moving incredibly fast and it can get overwhelming. I focus on the software for my immediate needs but stay on the pulse of what's new and developing by following a lot of tutorial sites. While I may not dive into every program, I stay up to date on their features and trends. O N T H E J O B