I will use my interview at NetEase Games as an example to tell some insights and experiences from my interview:
NetEase is one of the leading Internet technology companies in China, with a very strong game division that has developed many popular games such as onmyoji and Fantasy Westward Journey. Character design plays an important role in their game development.
I interviewed for the position of character original paint designer(concept art\CG), the interview is divided into 3 rounds, the first round is the initial CV screening, when I passed it will be tested, I successfully passed the first round of interviews, into the test, we are required to draw and upload the title that the company came out within the stipulated time, my title is the second dimension style and the American game style two choices for the drawing. I was asked to draw and upload the topic within the time limit, and I was asked to draw either a Japanese or an American game style. If I passed the drawing, I would go on to the third round of interviews. Unfortunately, I failed the interview, so I have learnt the following experiences:
Firstly, I think I did not have enough time to prepare for the interview and I did not fully understand NetEase’s preferred game style, and I did not fully understand the task description, so my work did not meet the expectations. In subsequent interviews, I will carefully study the corresponding company’s art style before testing to ensure that the style of the work is consistent with the company’s expectations.
Secondly, NetEase, as one of the largest game companies in China, has very fierce competition for positions. Since my original drawing skills are not very outstanding, I may have deficiencies in drawing skills, anatomy, perspective, and other fundamentals, resulting in poor quality work. I think if I still want to submit a job related to the original painting field afterwards, I need to further strengthen my basic training and improve my painting foundation, including skills in anatomy, perspective, light and shadow, and colour. More copying and sketching practice. Also become proficient in the use of the drawing software Photoshop to ensure that I can use these tools efficiently in my tests.
Thirdly since I have no internship experience or experience working in a game company, I may have a lack of creativity and design ideas for commercial game characters that conflict with my personal, subjectively created style during school. I think I need to enhance my creative skills: more brainstorming and creative training, trying different design styles and elements, and improving innovative thinking. When designing characters, it is also important to consider the character’s backstory, personality and worldview to make the character design fuller and more in-depth. Learn to draw according to the company’s requirements instead of adding too much subjective views.
After this interview, I have a clear idea of my abilities and deficiencies, which will help me to provide experience support for subsequent interviews, and I hope I can get an offer from my favourite company!
I finished preparing my CV and portfolio and decided on the position and direction I wanted to apply for, so I was able to submit my CV. I selected the companies I wanted to apply to and focused on the ones I preferred the most, as well as making large-scale submissions to increase my chances of success and to gain interview experience.
After selecting the companies I was interested in, I focused on understanding the background and projects of the companies I interviewed with to help me answer the questions better in the interview and to show my understanding and familiarity with the companies. At the same time, it is important to show the interviewer my core skills and uniqueness, such as my experience in 2D character design and stop-motion animation. Emphasising my flexibility in adapting to different projects and environments and managing different design styles will give the interviewer a more comprehensive understanding of my abilities.
Secondly, an interview is not only a chance to present yourself, but also a good opportunity to learn more about the company and the team. Actively interacting with the interviewer and asking questions about the company’s culture, teamwork and project process will give me a clearer idea of whether I am suitable for the job and whether I fit in with the company’s philosophy and values.
During my interviews, many companies would ask for on-site demonstrations or analyses of past works, so it is also important to expect what questions the interviewer might mention and be well prepared to ensure that I can clearly talk about my creative thinking, technical details and problem solving methods during the interview, and also avoid getting nervous when encountering interview questions because of lack of preparation.
Sometimes, in addition to focusing on demonstrating professional skills, you should also demonstrate other skills, such as teamwork, communication skills and project management skills. You can prepare some specific project examples to illustrate your teamwork and communication skills.
In the next journal I will analyse my experiences and feelings specifically when interviewing companies.
According to the previous self-assessment and CV making, I have a clearer view of my ability and interest, because considering to increase the chances of job hunting by submitting a sea of projects, I will organise and plan my animation portfolio, which should be able to reflect my ability in character and stop-motion production.
I have summarised some of my experiences and shortcomings in the production of my portfolio as follows:
Firstly, I have to choose the right works, the portfolio should focus on quality while including different types and styles of works, and select the most excellent and typical works, so that I can stand out in the huge amount of works, in my portfolio shows a variety of different project types and styles such as, 2D Character Design, Stop Motion Animation, Short Films, Storyboards, Character Turning and so on. Secondly the portfolio should be up to date and show my current skills and style.
Next create a concise cover containing my name, contact details. In the portfolio I arrange my work by category or project, character design, set design, storyboarding, 2D animation, sand animation and stop motion animation, making sure that each section is clearly and organically presented.
Thirdly making sure that all images and videos are of high quality and not pixelated or blurred, also using a uniform colour palette to go with the typography. My portfolio mainly uses black and beige colours, visual uniformity increases the comfort level of the viewer.
Based on my subsequent interview experience and chatting with the interviewer, I realised that I did not have a good description of the project in my portfolio, such as the background of the creation, the software used, technical details and the characters. It may make the interviewer more difficult to interpret in terms of understanding my workflow and thinking. As well as I didn’t add a table of contents at the very beginning to make it easy for the viewer to quickly find the section they are interested in.
In the final part I added the beginning state of my Graduation project and some daily exercises, and after that I will update my portfolio regularly as the project progresses. Make sure it always shows the latest and greatest.
I have reflected deeply on my skills, future career path and career aspirations, firstly I have clearly defined the target company and field for my CV submission, there are various types of different companies, large animation studios, independent animation companies, film and television production companies. Each type of company has different working environment and development opportunities. Based on my ability level and long term vision I eventually narrowed it down to small studios hiring stop-motion animators, and large game companies hiring 2D characters and design.
Before looking for a full-time job, I have also considered getting involved in some freelance projects or internships. This would not only increase my practical experience, but also enrich my portfolio and showcase my diversity and abilities. I have also referred to other part-time jobs as my job search security, such as the pre-production work such as line clearing and colouring for the production of entry animation in my personal studio. Next is freelancing to increase income security.
After comprehensive consideration, I think the more suitable jobs for me are 2D and stop-motion animation, and I need to create a CV and portfolio as an important support for pre-application.
Because of the difference in the job hunting environment between China and foreign countries, China tends to recruit fresh graduates and slightly relaxes the requirements for fresh graduates’ ability, so I must seize the opportunity to apply for interviews.
Regarding my CV, I believe that I need to show my basic information and personal skills, experience and educational background in order to attract potential employers, and I can also include my awards and honours in it.
Here is my CV, because the company I applied for are Chinese companies, so I just rough translated it into English
I sent emails to practitioners in the animation industry asking some of the questions I had about working as an animation professional, asked people in different careers in the animation industry, and through their replies I gained a clearer understanding of the inner workings of the animation industry. The insights of these professionals reveal the nuances and requirements of this dynamic field.
Practitioner working as a 2D animation cleaner, who is from Lupus Films, mentioned in her response, emphasising the importance of traditional hand-drawn methods in this role, that Lupus Films is a very traditionally hand-drawn based animation studio where everything is drawn on 2s, sometimes even 1s if it’s quick movements. After finishing everything pre-production, they get a team of animators in to animate the movements and when some shots are approved, they move onto clean-up.
According to her, the animation process follows a meticulous assembly line – from pre-production to animation, clean-up and artwork – and the project team expands as the project progresses. The distribution of their personnel was like a pyramid, with a lot of repetitive work requiring more personnel. The clean-up team is bigger than the animation team, and the artwork team is bigger than the clean-up team.
I also asked what we as graduating students need to do to prepare for the job search. What skills, qualities and job competencies do companies look for in job seekers? She told me a strong showreel. It is an important factor in your success in securing a position and also that I need to tailor my CV to the job I am looking for. Therefore, I will probably not get the job if my CV is different from the position I am applying for. Therefore, we need to be clear about what we are looking for in a job and prepare the corresponding work in order to have a good chance of winning in the job search process.
I think the most important thing that my teachers at school keep mentioning is to run your own social media, so that you can quickly build a network, reach out to more professionals, and say hello to them at animation parties. Show them your work and find ways to connect with them.
Based on the replies in the email, I have summarised the following tips that have helped me in my job search.
1. a strong portfolio is very important for our job search
2. social media presence to keep in touch with people in the industry
3. professional animation skills
Interviews with professionals have helped me to be more clear about my career path, alleviate my fear of the unknown, and prepare early based on practitioners’ advice.
I found it representative and beneficial to learn about two industry professionals’ talks this semester: animators Sacha Beeley and Abigal Addison, both of whom are very good animators, who shared their experiences in the industry and their own experiences with us!
About Sacha Beeley, she is an animator and filmmaker as well as a csm animation alumni, I really enjoyed her animation and she showed us her creative experience and work. She told us how she explored her own unique creative style and she told us to think about the characters in our project. How do you want them to move what happens in the film before you start designing? What is your personal animation style? Is it kind of melting, stretching, dancing or more realistic? So design-wise, think about what’s happening in the action and how the character looks rather than just the character design sheet. Just like what happens in a film where someone can pose really nicely in every shot. And of course, consider how much detail you want to add. So obviously very detailed characters will look beautiful, but animation takes a lot longer.Sacha Beeley says that drawing humans is not her strong point. But if there’s a commercial product coming up, there’s often a need to draw a human character. There’s no avoiding that. So she tries to add her own style of animation, which is very wavy limbs, like curved limbs, no joints in a style that’s more orientated towards big limbs, characters that usually have four fingers rather than five. So it’s not the perfect more anthropomorphic characters that are popular, you don’t need to be able to challenge yourself in areas you’re not good at, if you don’t have a good perspective then draw something flat, focus on expanding your strengths, combine your strengths with your style of drawing and then form your own unique style.
Regarding her work experience, she shared with us that she signed up as a freelancer with an agency, which provided her with projects, which had both pros and cons, the pros being that she didn’t have to worry about any communication with her clients. She can focus entirely on the creative side of things and is able to organise her working hours more freely, with the option of accepting or rejecting projects, resulting in a better work-life balance. But the worrying thing is that she never knows when another business project will come along. So the next project could be months away. This uncertainty can be financially stressful for the worker, so in the meantime, she needs to find freelance animator work, such as some clean-up work. In between commercial projects, as a freelancer she is able to work on different types of projects, thus broadening her skills and experience. She will be involved in a variety of areas such as advertising, film and television. By taking on multiple projects there is an opportunity to increase your income, especially on some of the higher-end projects where you may be paid more. But freelance income is usually more unstable and lacks the benefits offered by traditional companies, such as health insurance and pensions.
So the pros and cons of this type of work situation need to be considered in the context of our own career goals, lifestyle, personality traits and status.
Another animator, Abigal Addison, who I think is more of a hirer than an employee, gave us some information about the animators and work she tends to choose from the perspective of a studio manager. She co-founded a studio called animate projects with a colleague. They have been working together and doing internships since 2007, and in 2012 they started working remotely and taking on interns. The project she is in charge of has received funding from the Council and the BFI, and she suggested that we could apply for funding from these organisations if we were starting a business. She then talked about who they would like to work with, the style of the films, and also felt re-assured that the films were mainly 2D, and that she, like Sacha, had chosen 2D animation, which made me feel that the audience for 2D animation hadn’t been completely knocked out of the game by the development of 3D. Since I’m leaning towards choosing to pursue a career model in 2D animation or stop-motion animation, this totally restores my confidence.
She gave honest and effective responses to some of the questions we asked, she is totally open and tolerant of any creative types, but at the same time she has her own strict requirements, as it is not an easy task to lead an entire studio. Building it, developing it and enhancing it all require decision makers to make the right and effective choices.
According to the introduction of the two animators’ lectures, I gradually changed from the students’ point of view to the job seekers’ point of view, and they provided me with a lot of space for in-depth thinking, letting me know more clearly what abilities I need, what kind of work I am more suitable for, how to give full play to my own strengths to form my own style and so on, and in the next step, I collected more information on the requirements of the industry and what kind of talents they tend to choose. In the next step, I collected more information about the requirements of the industry and what kind of talents they tend to choose, and what kind of work my ability is more suitable for, and I will make further elaboration.
In the last semester we had to work in groups to complete the trailer for the LIAF Animation Festival, choosing words for eight different themes, we made pitch for our animations and presented them to the class, and finally the teacher and the judges chose 12 students to be the directors, and the rest of the class chose again to work with the 12 chosen directors on their animations, and finally The trailer for the LIAF Animation Festival will be produced through group work.
To be honest, this is the first time I’ve worked on an animation as a director, and different from individual creation, I have to think not only about making the animation, but also about how to lead the whole team. This was a great challenge for me and at the same time gave me more practice in the animation production process. I encountered a lot of problems during the whole animation process and overcame them step by step. It was a valuable and wonderful time for me. Below are my production process, experience and insights:
As an animator
This animation project is a series of processes from the discussion of the narration script to the drawing of the storyboard, the sound effects and editing of the animation, I think I went through a very complete animation production process.
At the inception of the project, I wrote the rough narration and script based on the story, and after many discussions with my team members and feedback from my teachers, we settled on the final version.
We recorded the audio sound effects together, and this was the first time I made all the animation sound effects by myself, which I found very interesting and new, and helped me to further understand the characters and the story.
I was in charge of the fourth part. As an animator, I looked for a lot of references for the parts I was working on and tried to use various software to assist me with some of the camera language. 3d software helped me a lot in rotating the angles of the shots I was drawing.
Because perspective is very difficult for me, I need to imagine the effect of turning different chairs.
Regarding the sandpainting production part, xinyu and I produced the first part, and I co-produced the third and fourth part with Vivi. Animation production, especially stop-motion animation, is a time-consuming process and sometimes there are all kinds of frustrations and problems. In shooting, the timing is not right, too fast or too slow will affect the direction of the whole animation. We often worked on it for a long time but ended up starting over because it didn’t work well. In the last part of the title we missed a letter, we checked it many times and didn’t find it, the next day we found out the problem, we all felt very devastated at that time, and we ended up redoing that part again, the difficulty of stop motion animation is that it’s very hard to go back to that burst of frames, and the production of a single frame sometimes takes more than an hour. So it really took us a lot of effort, and I’m proud of all my teammates, they persevered and the result was very good.
Secondly, another difficulty in stop-motion animation production is to control the consistency of the storyline and visual effects, we try to use sand to restore the style drawn by animatic, to make sure that the storyline development is always synchronised with the visual effects.
As a director
It required me to play different aspects of my role and responsibilities, starting with communication skills: it was crucial to communicate effectively with the team member. I analysed and explained my script idea and narration to the team members and we did some brainstorming and revising based on the very first script and narration. All of this process required me to be able to express my ideas and vision clearly so that the others could understand and assist me in achieving the goals of the project.
The second is organisational skills: animation projects usually require strict schedules and resource management. As a director, I need to plan, assign tasks and make sure the project is completed on time. So at different stages of the animation, I would post cycle tasks in the group and organise meetings to discuss them and make sure that we are on track with the production schedule. Building good co-operation with group members is the key to success. I am really grateful to my group members, this is my first time to work as a director in a team. To be honest, I felt very anxious and worried at the beginning, I wasn’t sure if I could guide the whole team well. I am very thankful to my team members for encouraging me and telling me not to put too much pressure on myself. Their encouragement made me feel more confident that I could make the team better and make sure that everyone could utilise their better abilities.
As a director, I had to make quick decisions about the direction of some of the storylines and the presentation of the images. At first I was hesitant to make decisions because I was worried that my decisions would hurt my group and make them feel uncomfortable, but when I talked to my teacher, she told me that a good director has to be able to make the best use of their abilities. She told me that a good director has to take advantage of the animation development or else my group members and I will feel lost. So after I told my group what I thought, we avoided continuing constant revisions and confusion, and everything went in a good direction.
Finally, I would like to say that sand animation requires a lot of patience. My team members put in a great deal of effort and I am really grateful that they chose to work with me on the animation “I am a chair”. It will be a great memory, and the experience and skills are likely to be very beneficial to me both personally and professionally in the future, as taking on a directing role has helped me to develop a wide range of abilities, increase my self-confidence and prepare me for the challenges ahead!
At the beginning of the semester, we visited the animation studio NEXUS, a creative studio based in London, UK, focusing on the production of animation and visual effects. As an independent production and animation studio, their work is highly acclaimed and makes a positive contribution to cultural exchange. In addition to London, the studio has opened studios in Los Angeles and Sydney to achieve a global, international reach. The studios in each country are able to produce interesting content for an international audience, where different cultures and aesthetic elements are exchanged and blended to provide a wider range of choices for the audience.
They move seamlessly between entertainment, branded content and technology. The studio covers a wide range of areas, whether it’s 2D, 3D or stop-motion animation, and even experiments with AR\XR. Working with real-time technology is both technically and creatively groundbreaking. Nowadays, with the advancement and innovation of technology, computers and artificial intelligence have been widely accepted by the public, animation is not only limited to traditional animated film and TV programme production, it has penetrated into many fields such as advertising, game development, Virtual Reality (VR) and Augmented Reality (AR) applications, medical and scientific visualisation, education and so on. This diversification has made the animation industry very dynamic, so when I watch film animation projects from studios and some commercial collaborations, I find that the number of 3D animations is much higher. I think this is an inevitable choice of technological advancement in our society nowadays, as 2D animation has a longer and more costly production cycle, and 3D animation is able to produce more exciting, realistic and exaggerated effects in less time.
When I visited the staff production area, basically all the staff were working with 3D software. After I listened to the studio head’s introduction of the animation production process, I was deeply aware of the complexity of the running process of a truly mature animation company. From the initial concept to the production of the final product, many different aspects and expertise are required. 3D animation production usually requires large-scale teamwork, including animators, modellers, programmers, artists and sound designers. After the tour I gained a deeper understanding of how these professionals work together to create high quality animation. At the same time, there is another layer where the project matching staff work, they need to match the project with the A company, understand each other’s needs and convey the needs to the animation team; then screen the animation team’s proposal and communicate with the A party to finalise it, and control the overall progress of the project tempo and operation, which is a very important part of the project.
There is a delicate balance between creativity and technique in animation. Many of the animated films I watched were mv animated for music, which is imagined based on the music, not unfounded images, they need to echo the animated images based on the composer’s story, the mood and tone of the music rendering. The studio handled this aspect of the balance very well, not only echoing the music but also immersing people in the animated performance. It inspired me a lot on how to combine creativity and technology in animation.
At the same time, after visiting a real commercial studio, I also felt the challenges and competition in the industry. The competition in the 3D animation industry is fierce, and there are often many companies competing for a single project, which means that studios also need to keep improving and upgrading, to gain popularity and show strong strength, and studios also need to submit animations to animation festival competitions, and winning awards is a reflection of the entity of the animation studio. If you want to stand out in the industry, winning awards at festivals is a good way to do it. There are many collaborators and industry players at the festivals, which increases exposure and attracts collaborations, and NEXUS Studios have gone from winning BAFTAs and Cannes Grand Prix spots to Oscar-nominated shorts, thanks to their technical expertise. Oscar-nominated short films, to Grammy-winning music promos, animated series and groundbreaking title sequences. Their achievements have also inspired me to become more involved in animation research, as I have seen first-hand examples of success and learnt that hard work and continuous learning are the keys to realising your animation dreams.
I am very grateful to the school to provide us with such an opportunity to let us really contact, understand the real animation industry how they run, how to develop and progress. It gives me a better understanding of the future employment and development direction, and a clearer understanding of my future career development plan. At the same time, I still have a lot to learn and understand, and have a developmental and diversified attitude towards the learning of animation skills.
In the last semester we had to work in groups to complete the trailer for the LIAF Animation Festival, choosing words for eight different themes, we made pitch for our animations and presented them to the class, and finally the teacher and the judges chose 12 students to be the directors, and the rest of the class chose again to work with the 12 chosen directors on their animations, and finally The trailer for the LIAF Animation Festival will be produced through group work.
In the last semester we had to work in groups to complete the trailer for the LIAF Animation Festival, choosing words for eight different themes, we made pitch for our animations and presented them to the class, and finally the teacher and the judges chose 12 students to be the directors, and the rest of the class chose again to work with the 12 chosen directors on their animations, and finally The trailer for the LIAF Animation Festival will be produced through group work.
production process
Luckily my topic was chosen as one of the collaborative animations, my theme is “Being Human”, the story is told through the point of view of a chair, describing its thoughts on its own value, it is dissatisfied with itself, envy other chairs wanting to be other chairs, wanting to have more value, but ultimately realised that everyone has their own troubles and their own value.
To be honest, this is the first time I’ve worked on an animation as a director, and different from individual creation, I have to think not only about making the animation, but also about how to lead the whole team. This was a great challenge for me and at the same time gave me more practice in the animation production process. I encountered a lot of problems during the whole animation process and overcame them step by step. It was a valuable and wonderful time for me. Below are my production process, experience and insights:
As an animator
This animation project is a series of processes from the discussion of the narration script to the drawing of the storyboard, the sound effects and editing of the animation, I think I went through a very complete animation production process.
At the inception of the project, I wrote the rough narration and script based on the story, and after many discussions with my team members and feedback from my teachers, we settled on the final version.
We recorded the audio sound effects together, and this was the first time I made all the animation sound effects by myself, which I found very interesting and new, and helped me to further understand the characters and the story.
After I drew the storyboards, I divided the animation into four parts and each of us worked on one of the parts separately, I was in charge of the fourth part. As an animator, I looked for a lot of references for the parts I was working on and tried to use various software to assist me with some of the camera language. 3d software helped me a lot in rotating the angles of the shots I was drawing.
Because perspective is very difficult for me, I need to imagine the effect of turning different chairs.
Regarding the sandpainting production part, xinyu and I produced the first part, and I co-produced the third and fourth part with Vivi. Animation production, especially stop-motion animation, is a time-consuming process and sometimes there are all kinds of frustrations and problems. In shooting, the timing is not right, too fast or too slow will affect the direction of the whole animation. We often worked on it for a long time but ended up starting over because it didn’t work well. In the last part of the title we missed a letter, we checked it many times and didn’t find it, the next day we found out the problem, we all felt very devastated at that time, and we ended up redoing that part again, the difficulty of stop motion animation is that it’s very hard to go back to that burst of frames, and the production of a single frame sometimes takes more than an hour. So it really took us a lot of effort, and I’m proud of all my teammates, they persevered and the result was very good.
Secondly, another difficulty in stop-motion animation production is to control the consistency of the storyline and visual effects, we try to use sand to restore the style drawn by animatic, to make sure that the storyline development is always synchronised with the visual effects, to ensure that the final work has consistency, we usually produce 3-5 frames and then play the whole film once until the end of the whole animation production, I think we have watched the animation at least a few hundred times. I think we watched the animation at least a few hundred times.
The production of stop-motion animation often requires more locations to shoot, and I’m very grateful to my teacher for helping us co-ordinate the locations to make the stop-motion animation vision come to reality. The technical teachers also provided us with a lot of technical support on the stop-motion software, which had more or less different problems during the actual filming process. Because my group members basically have not used sand to make animation so I also helped them with some simple skills guidance to let them feel the fun of sand painting, after that the teacher invited a famous sand animator in the industry to give us some advice, I feel that I learnt a lot.
As a director
It required me to play different aspects of my role and responsibilities, starting with communication skills: it was crucial to communicate effectively with the team members, teachers and other jury members in the pre-production phase of the animation. I analysed and explained my script idea and narration to the team members and we did some brainstorming and revising based on the very first script and narration. All of this process required me to be able to express my ideas and vision clearly so that the others could understand and assist me in achieving the goals of the project.
The second is organisational skills: animation projects usually require strict schedules and resource management. As a director, I need to plan, assign tasks and make sure the project is completed on time. So at different stages of the animation, I would post cycle tasks in the group and organise meetings to discuss them and make sure that we are on track with the production schedule.
In terms of teamwork building good co-operation with group members is the key to success. I am really grateful to my group members, this is my first time to work as a director in a team. To be honest, I felt very anxious and worried at the beginning, I wasn’t sure if I could guide the whole team well. I am very thankful to my team members for encouraging me and telling me not to put too much pressure on myself. Their encouragement made me feel more confident that I could make the team better and make sure that everyone could utilise their better abilities.
I didn’t do a very good job of making decisions at first. As a director, I had to make quick decisions about the direction of some of the storylines and the presentation of the images. At first I was hesitant to make decisions because I was worried that my decisions would hurt my group and make them feel uncomfortable, but when I talked to my teacher, she told me that a good director has to be able to make the best use of their abilities. She told me that a good director has to take advantage of the animation development or else my group members and I will feel lost. So after I told my group what I thought, we avoided continuing constant revisions and confusion, and everything went in a good direction.
We co-created and co-managed the social networking software, which is also a way for us to understand in advance that art promotion is also a very important part of the process, not only as a record of the art creation process, but also as a “business card” for us in the future, and nowadays, artists mostly use the internet to create their own “art style settings”, which makes it easier for others to create their own artworks. Nowadays, most artists use the internet to create their own “artistic style setting”, so that others can understand you, your animation, and the art style you are good at more conveniently, and enhance the possibility of cooperation with you.
Finally, I would like to say that sand animation requires a lot of patience. My team members put in a great deal of effort and I am really grateful that they chose to work with me on the animation “I am a chair”. It will be a great memory, and the experience and skills are likely to be very beneficial to me both personally and professionally in the future, as taking on a directing role has helped me to develop a wide range of abilities, increase my self-confidence and prepare me for the challenges ahead!
