Supervisor: Let’s see the next one.
New picture comes up on screen of some blobby creature with a wrong burnin.
Sup: What is this?
Artist: This is the horse model
Sup: Why does the burnin say flame fx test?
Artist: I forgot to change the burnin.
Sup: So what file is this?
Sup: (pause) Hello? What file is this?
Artist: I’m not sure.
Sup: Didn’t you build it?
Sup: Well, what file is it?
Artist: I’ll have to check.
Sup: Well after you’ve checked, please make sure your burnin is correct and that you know what file you have submitted.
Sup: Next please! (pause) Why does the burnin say flame fx test?
Artist: I forgot to change it.
Sup: What file is it?
Artist: It’s horse model version one
Sup: Next time please ensure the burnin is correct.
Sup: (pause) This is a horse?
Sup: Do you think it looks like a horse?
Artist: Sort of.
Sup: Did you use reference?
Artist: (pause) No.
Sup: So you’re trying to build a photorealistic horse without reference?
Artist: (pause) Yes.
Sup: Please get reference and model from that. Please always use reference material so we can look at your decisions and see if we agree with them.
Sup: Next please! (pause). Who named this file?
Artist: I did.
Sup: Do you know our filename conventions?
Sup: Please tell me the filename convention.
Sup: That is incorrect. The filename conventions is as follows; segment 1 is the file or asset ID, segment 2 is the department code, segment three is the version number followed by a dot, followed by the file extension. This burnin says model underscore, joey. Who is joey?
Artist: I’m Joey.
Sup: OK, Joey, please learn the filename convention at this studio.
Sup: (whispers to coordinator) Can you make sure Joey gets some training on the studio systems?
Coord: (quietly) Yep, OK
Sup: So this looks like the same horse model you submitted yesterday. Is it?
Artist: You didn’t give me any notes except to find reference.
Sup: Okay, that’s true, but I would assume that once you found reference you would see that your model looks more like a melting warthog than a horse and you would have made some changes.
Artist: I couldn’t
Sup: You couldn’t make any changes?
Artist: I couldn’t find any reference.
Sup: (Pause) You couldn’t find reference of a horse?
Sup: Did you try Google?
Sup: And you couldn’t find any reference?
Sup: Of a horse…
Artist: Well, not of this horse.
Sup: What do you mean?
Artist: There’s no reference of the horse they used in the movie.
Sup: Don’t you think you could use a picture of a similar horse?
Sup: Hello? Are you there.
Artist: (quietly) I didn’t think of that.
Sup: Pardon? I can’t hear you.
Artist: I didn’t think of that.
Sup: OK, well you go and find some reference of any horse that you can use to model a horse.
Sup: And the next time you submit a file without the proper filename convention, we will skip it. Do you understand?
Sup: Next! OK, Horse model version one. (pause) How can this be version one?
Artist: It’s version one.
Sup: But we’ve looked at it at least three or four times already.
Artist: I started using the filename convention.
Sup: Oh, I see. Well, this should be at least version four by now, but never mind, at least you are using the filenames properly now. (Pause) OK. This is starting to look better. Alice, can you pull up the reference.
Coord: Sure, just a second (clicks) Umm….I don’t see a ref directory in the asset folder.
Sup: (to Coord) What’s the artist’s name again?
Sup: Joey, where is your reference?
Artist: (pause) I looked for it.
Sup: OK, that’s definitely some words, but they don’t really answer my question. Can you tell me where to find the reference you used for this model?
Artist: It’s on Google.
Sup: You mean you didn’t download and save any reference images for us to look at?
Sup: Why not?
Artist: I looked at them. I know what a horse looks like.
Sup: That’s not really the point. The point is that we want to help you make good decisions on your model, so we need to see the reference you are working from so we can help you. Please download and save your reference images into a folder inside your asset directory so that everybody can see your reference.
Sup: Next please! (pause) We’ve already seen this.
Coord: Really? No, the date stamp is today.
Sup: Who’s turntable is this?
Sup: Joey are you here?
Sup: Why have you submitted version one of the horse model again?
Artist: It’s not version one.
Sup (to coord): Can you check the filename? Yep? Version one? (to Joey) Joey, the filename says version one and so does the burnin. This is version one.
Artist: But I changed it.
Sup: Then why didn’t you version it up?
Artist: (silence) I used the filename convention
Sup: Which includes versioning up every time you have submitted it for review.
Artist: Oh. I didn’t.
Sup: So what happened to the previous four versions.
Sup: If I were to ask you to go back to version 3 right now, what would you say?
Sup: Joey, are you there?
Artist: I don’t have it.
Sup: You don’t have what?
Artist: Version three.
Sup: Well where is it?
Sup: Gone where?
Artist: I changed it.
Sup: Do you mean to say that you are just overwriting your work?
Sup: (long pause) (to coord) Where did we get this guy?
Coord: I’ll find out.
Sup: Joey, you have to version up your files in case we need to go back to a previous version. Do you understand?
Joey: I think so.
Sup: Good. (to Coord) let’s bring up the reference
Coord: Just a sec (clicking) I can’t find it.
Sup: (sighs) Joey, where is the reference I asked you to get.
Artist: It’s on my desktop.
Sup: Why is it on your desktop?
Artist: That’s where I downloaded it.
Sup: Do you remember me asking you to put it in your asset folder where everybody could find it?
Artist: Yes. I was going to do that.
Sup: When. Joey? When were you going to do that?
Artist: I was going to.
Sup: Joey, you realize that it is against studio policy to keep anything of importance on your local desktop, don’t you?
Artist: I forgot.
Sup: …because desktops crash and burn all the time. This is why we keep our material on the network. And also because it gets backed up every night. And also because we share data amongst each other. If you keep work on your workstation, you will probably lose it and nobody else has access to it. Do you understand?
Artist: I think so.
Good: Please resubmit this version tomorrow and come back with your reference in the asset folder where we can find it.
Sup: Next please!
Coord: (whispers) Joey’s horse. I have the reference here.
Sup: Great. OK, put the reference up next to the turntable please. Thank you.
Hmmm. Joey it looks like you’ve got the horse’s rear knee bending the wrong way.
Artist: No, horse’s back knees bend backward.
Sup: I don’t think so. People often misinterpret the horse’s ankle as its knee since it’s so high off the ground.
Artist: No, it bends backwards.
Sup: (to coord) Can you bring up an image of a horse skeleton?
Coord: Sure (clicking)
Sup: OK, Joey, have a look here. Here’s the horse’s pelvis. Here’s the femur, so this is the knee, this is the ankle and the hoof is actually the ball of the foot. Imagine that the horse is standing on tiptoes. Does that make sense?
Artist: I Guess so.
Sup: Please also look at your proportions. The front legs seem to be slightly too short relative to the body size, the head is not quite long enough, and the ears are too small. Don’t model the mane, we’ll do that in FX, same with the tail hairs. Once we get the back leg flipped around and the other basic proportion notes addressed we can start looking at intermediate level details. Do you have all that?
Sup: Alright, next.
Coord: Joey’s horse.
Sup: (sighs) OK, roll it. What the? What is this?
Artist: I did the notes.
Sup: It looks like you added an extra joint in the back leg now it has two knees pointing opposite directions.
Artist: It’s the only way I could get the knee pointing to the front.
Sup: Really? It’s the only way?
Sup: How about following the actual anatomy I showed you yesterday?
Artist: That doesn’t work
Sup: What do you mean it doesn’t work. It seems to work for horses.
Artist: I meant to say it doesn’t work “for me”.
Sup: Oh, it doesn’t work for you. Oh, I see. So your note today is to execute the note I gave you last time about how to construct the rear leg. The rear leg of the horse is to be constructed exactly according to the anatomy of a horse. (pause) What happened to the rest of the notes?
Sup: Joey, what about the rest of the notes?
Artist: I don’t remember any other notes.
Sup: Remember? Why would you have to remember?
Artist: How am I supposed to do my notes if I don’t remember?
Sup: Well you shouldn’t have to remember because obviously you are carefully writing your notes down in your notebook. RIGHT?
Sup: Right, Joey? You’ve carefully recorded all the notes I’ve given you over the last week because you want to make sure not to miss any of them or to forget any of them or to misinterpret any of them. Right, Joey?
Artist: I don’t have it.
Sup: You came to dailies without your notebook?
Sup: Get out.
Sup: Anybody else show up without a notebook? Really, you too? Get out. Don’t come back without a notebook.
Sup: Joey, where’s your notebook?
Artist: This is my notebook
Sup: That looks like a piece of cardboard from a cereal box.
Artist: I can write my notes on it.
Sup: Joey, the reason we have notebooks is so that we can keep all our notes in one place and so we can refer back to notes from previous days. We can’t have a bunch of loose sheets lying around. Any old piece of garbage is not a notebook. Come back when you have a notebook.
Sup: Next please! (pause) What’s this doing in dailies?
Artist: It’s my horse.
Sup: Oh it’s Joey’s. Well Joey, first of all, it’s not “your” horse, it’s the studios. And secondly, we ran out of modeling budget on the horse waiting for you to learn filenaming and found a nearly finished model on Turbosquid for $49. Didn’t the coordinators tell you?
Sup: Then why is this in dailies?
Artist: I wanted to keep working on it.
Sup: Oh….YOU wanted to keep working on it. Well I have news for you joey. The rest of the production team and I want you to work on your assigned tasks, which no longer includes the horse.
Artist: But I put so much work into it
Sup: As did we all. But the time has come to move on. Please stop working on the horse now.
Artist: But I don’t want to.
Sup: (Pause) OK Joey, let me put it to you this way. We have a simple economic relationship, you and I. Here’s how it works. We ask you to do certain things. If you do those certain things, we give you some money. Now, you don’t necessarily have to do the things we ask, but on the other hand we don’t necessarily have to give you any money. Do you understand?
Artist: I think so.
Sup: Good, because if we have this conversation again, it will be our last. Next!