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STORYBOARD PRO 5 NOW AVAILABLE!

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Today Toon Boom announced our new release, Storyboard Pro 5! Storyboard Pro is recognized as an industry standard in storyboarding, and the studios and artists who use it to create stories are passionate about what they can do with its toolset.

Storyboard Pro 5 is available for free as a benefit for customers who own a Desktop Subscription or Perpetual license with Support. Simply go to the Toon Boom site and download your new software today.

You can buy Storyboard Pro 5 for as low as $38 per month on a yearly subscription or $999 for a perpetual licence. A full breakdown of pricing can be found here.

If you haven’t tried Storyboard Pro yet, download our free trial of Storyboard Pro 5 here. There are loads of free learning materials available to help get you started.

Storyboard Pro

What’s New

The new release of Storyboard Pro streamlines the workflow with new creative tools for artists, adds improvements to the 3D workflow, and provides better integration with editorial.

What's New

With a new more neutral UI colour scheme that reduces eye strain, Storyboard Pro 5 makes it easier for artists to accurately see the colours they are working with. Of course, for artists who prefer the original look, the traditional colour scheme is still available.

A better 3D Workflow

The 3D toolset in Storyboard Pro lets you integrate 3D models, block out camera shots and create scenes with depth. Storyboard Pro 5 includes several new features that provide better integration between 2D and 3D.

There’s the new Snap to Surface that makes it easier to position and animate 3D models on a 2D plane like a floor or wall (this feature works with 2D artwork as well). You can create layers on surfaces when you want to draw on 3D models, which is a powerful way to add 2D artwork to your 3D scenes. The 3D camera is much more responsive making it easier to position, do tilts, pans, rotations and camera rolls. And Alembic and Collada can now be imported (added to existing support for FBX and 3DS), making it easier to bring in CG content.

A better 3D Workflow

Here you see a 2D prop being positioned inside a 3D spaceship. Positioning and animation controls let you easily place your artwork, which will maintain contact with the surface no matter what changes you make.

Enhanced Bitmap Drawing Tools

Storyboard Pro has both vector and bitmap drawing tools that interact seamlessly. This provides the flexibility that artists are looking for when developing artwork from sketch to cleanup. New in Storyboard Pro 5 are customizable tips for bitmap brushes. These enable more artistic freedom and control over the look and feel.

Enhanced Bitmap Drawing Tools

Change the roundness, hardness, and angle of tips as well as add randomness to affect the resulting lines. Brush tips can be customized, and you can create your own in Photoshop, Harmony or Storyboard Pro.

Better Organization with Layer Groups

In Storyboard Pro, artists can break out their artwork into an unlimited number of layers in a single storyboard panel – for example, character line work and shading can be drawn on separate layers. This enables artistic freedom and makes it easier to edit drawings. For an even more fluid creative development process and exchange between artists, Storyboard Pro 5 features the ability group layers of drawings – making it easier to organize and share content.

Better Organization with Layer Groups

When you select a group of layers, all the layers move together. With Layer groups, artists spend more time being creative and less time searching for artwork, which is especially important when projects need to be turned around quickly.

Faster Revisions with Shared Drawings

Some drawings, like a background, are regularly reused in a storyboard. To make it easier to update this kind of artwork, you can now share drawings – use a single drawing across multiple panels. When you make a change, the artwork updates everywhere so you can move on more quickly to the next creative process.

Better Organization with Layer Groups

Qt Application Scripting

New Qt Application scripting support can help you save time by creating scripts that automate manual tasks, or you can create new tools that can be accessed at the click of a button.

Qt Application Scripting

To get you started, a number of example scripts are available in this release – delete hidden layers, export the camera path, change the timing of multiple panels simultaneously, and others.

Better Integration between Storyboard Pro and Editing

Added support for 23.976 NDF timecode enables the seamless transfer of animatics from Storyboard Pro to the editing suite making it even easier to collaborate with editors. Storyboard artists can now work with this frame rate, directly exporting animatics and timelines with panels, sound, transitions, and timing to editing suites via EDL, AAF, and XML.

For those who haven’t tried Storyboard Pro yet, now is a great time. The new features in Storyboard Pro 5 add to an already great blend of creative tools and technical capabilities that help customers increase pipeline efficiency and creative output. Try it out!

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Ted Stearn

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What is your name and your current occupation?
Ted Stearn Director Beavis and Butthead
What are some of the crazier jobs you had before getting into animation?
No “crazy” jobs! Just dull ones. I used to do paste up and mechanicals for advertising and publishing. Yawn.
What are some of your favorite projects you’re proud to have been a part of?
I drew storyboards for a little known show for Cartoon Network, called “Squirrel Boy.” I had a lot of creative freedom and enjoyed being able to work with the writers on the story. It was very satisfying to create an entire chase scene, for example, without specific direction from the script. I think storyboard artists should be trusted to integrate more of their visual ideas by actually working with writers and not just be confined to following a script to the letter.  I also enjoyed directing Beavis and Butthead, because these are two characters who are actually funny. When I can get them to do physical humor, it’s great fun. The new shows that will be coming out are a bit more complex than those early shows.
How did you become interested in animation?
I was a fine art major, and even went back to graduate school in fine art, but I started getting into drawing my own comics, which made the transition to animation a little less abrupt.

Where are you from and how did you get into the animation business?
I lived in New York for most of my adult life. I was a latecomer to animation- I did not get my first job until I was 34. A friend of mine who worked at MTV Animation told me they were looking for storyboard artists, so I showed them my sketchbook and my comics, and I was hired as a storyboard revisionist for Beavis and Butthead. I probably could not have gotten hired if it had been a more sophisticated show!

What’s a typical day like for you with regards to your job?
As a storyboard artist, I spend a lot of time drawing on a cintique, with the script and designs in front of me. Sometimes I have to meet with the director and the supervising director to go over my thumbnails and make necessary changes.  As a director, I spend more time coordinating my ideas with the design department. I look over the storyboards and make necessary revision notes. When I have time I draw out some thumbs for storyboard artists for specific sections. And I give specific directions to the timer, and review them when I get the exposure sheets back from the timer.

What part of your job do you like best? Why?
I like being paid to draw and I love the art of film, so it’s nice to get paid to do it.

What part of your job do you like least? Why?
I don’t like working on scripts have formulaic plots and uninteresting characters, but that seems to come with television shows sometimes. I don’t like it when I have to draw what I consider ugly character designs, because I have to do it many, many times when storyboarding.

What is the most difficult part for you about being in the business?
Finding steady work!

What kind of technology do you work with on a daily basis?
I work with Storyboard Pro on a Cintique almost exclusively.

In your travels, have you had any brushes with animation greatness?
It’s been interesting working with Mike Judge and Matt Groening, I get to see how show creators work and think.

Describe a tough situation you had in life.
I would say…. a couple of years ago, I simply could not find work. I was on unemployment for a long time, and it was affecting me in a bad way, I was very nervous about money. I was taking many storyboard tests, and I even took a test for a show that I had already worked on. I couldn’t get a hold of anyone to confirm that I could e exempt from a test. They said I had to take a test because the show no longer had layout artists (as is the case everywhere nowadays.) Imagine having to prove yourself as if you were a newcomer, though you were not. This is why it is so important to network with friends and let everyone know your status. It’s much more difficult to get a job from the outside. And save, save, save, because you will get laid off, if not sooner, then later. Be prepared.

Any side projects you’re working on you’d like to share details of?
I draw and write my own comics, it’s called “Fuzz and Pluck.” You can find it online at my website tedstearn.com, or go to my publisher’s site, fantagraphics.com, and look up my name under “artists.” It’s about a teddy bear and a plucked chicken and their adventures. I think it is important to always have one’s own projects in the works, it helps balance out working under others’ ideas. With my own work, I have complete freedom to do what I want. I’d like to think of myself as an auteur, and I want to stay that way!

Is there any advice you can give for an aspiring animation student or artist trying to break into the business?
Before you apply for a job:  1) Try an internship if possible. Nothing beats it for getting your foot in the door, and seeing the industry from the inside. (I wish I did it!!)  2) Make sure you have the strongest portfolio possible. Show it to your friends and/or teachers and ask their honest opinion.  3) Learn as much as you can about the craft of animation. Find the experts and learn from them any way you can.  4) Be familiar with the software that is used in your area of interest. Although, animation savvy is more important than software knowhow, in my opinion.  5) Try to meet people in the industry, and don’t be afraid to ask for their advice and help. That said, connections to people in the industry is important, but if you don’t have the chops, it still won’t get you where you want to be.

tedstearn.com

fantagraphics.com

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Andrea Preda

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What is your name and your current occupation?
Andrea Preda, Director on Children´ animated series.

 

What are some of the crazier jobs you had before getting into animation?
I have never done any other job, just fell into this one by accident. I really was just searching for a job where I can draw, because I adored drawing. These days, as a director and producer, I very seldom draw anymore.

 

What are some of your favorite projects you’re proud to have been a part of?
I worked mostly for the German Market, Captn¨t Blaubear (won a golden Bear award), and Dieter (the most extreme fun I had with, it was a story about a band called “Modern Talking”), are some features that I will always treasure.  At the studios in Hungary , I worked on “All dogs go to Heaven 2” and “The penguin and the pebble”. I was very much at the start of my career at the time in the early 90´s, and I had some incredible supervisors from Don Bluth. This was a really great foundation for me.

How did you become interested in animation?
Bambi . Took my breath away as a child, and ever since I saw it in the cinema at the age of five, I started Continue reading

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Trevor Wall

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What is your name and your current occupation?
My name is Trevor Wall and currently I am the Director of “Sabrina- Secrects of a Teenage Witch” A CGI series Which will air on The Hub and Disney International in the fall.

What are some of the crazier jobs you had before getting into animation?
Unfortunately my jobs previous to animation were pretty tame compared to working in the industry. I worked as a dishwasher and waiter when I was a teenager and I was driving a forklift and delivering warehouse supplies right before I started in the animation business. Pretty boring stuff compared to the insane, wacky world of cartoons.

What are some of your favorite projects you’re proud to have been a part of?
It’s usually the one I’m working on at the time, but from the past I’d have to say “Jakers! The Adventures of Piggley Winks”.  I worked on the last season of the series as a Storyboard Director. I loved this project so much because I had Continue reading

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Esteban Valdez

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What is your name and your current occupation?
Hello, my name is Esteban (Steven) Valdez.  As for what I do… Anywhere from mail clerk to director jerk, janitor to animator… janimator?

 What are some of the crazier jobs you had before getting into animation?
I plead the 5th.

 

What are some of your favorite projects you’re proud to have been a part of? 
None of them.  Loved the places and people I’ve worked with, but when it comes to my work I always feel like I could do better.

How did you become interested in animation?
Well… from graffiti-ing my mom’s womb as a fetus to the atrocities I do now, I’ve always been drawing.  Originally, I did not intend to get into animation; I was interested in Continue reading

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Want to make an animated film? Apply to NFB’s Hothouse program for emerging Canadian animators!

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hothouse-logoWant to make an animated film?

Apply by December 11 for the chance to be part of the NFB’s

Hothouse program for emerging Canadian animators

NFB studios across Canada to take part in Hothouse’s 11th season

November 26, 2015 – Toronto – National Film Board of Canada (NFB)

The National Film Board of Canada (NFB) is seeking submissions for its Hothouse apprenticeship program for emerging Canadian animators, now in its 11th season.

Canadian filmmakers and artists can apply at http://films.nfb.ca/hothouse by December 11 for the chance to be one of six participants in a 12-week paid apprenticeship program with NFB animation professionals—a one-of-a-kind experience working with the NFB’s Oscar-winning Animation Studio.

This year’s mentoring director is Malcolm Sutherland, a Montreal-based director, animator and designer for film, television, web commercials and music videos. A participant in the very first Hothouse, he’s the first alumnus to return as project mentor.

In another first for Hothouse, NFB studios across the country are getting in on the act as well: grassroots filmmaking and community-building are this year’s mantras as participants work remotely through their nearest NFB production centre, while the Animation Studio in Montreal remains the creative engine.

The theme for Hothouse 11 is Found Sound 2.0―a reboot of last year’s successful theme, in which organizers trawled the Internet for audio clips that were intriguing, unusual, unnerving, or somehow full of subtext and hidden meaning. This year, there’s a new twist: participants can either use one of 14 pre-selected audio clips or submit an audio clip of their own choice. Found sound begs for satire and subversion, so applicants are encouraged to think of the audio as a springboard for their own creativity: don’t be afraid to re-interpret, comment on or play with the original meaning.

In addition to Sutherland, some of Canada’s most acclaimed new generation of animators got their start in Hothouse, including Patrick Doyon, nominated for an Oscar for his NFB animated short Sunday/Dimanche, and Howie Shia, whose NFB short Flutter received the Open Entries Grand Prize at the Tokyo Anime Awards.

 

Submissions must be received by 5pm EST on Friday, December 11, 2015, and must be sent via e-mail (no snail mail submissions will be accepted). The six successful candidates will be notified by Friday, December 18, 2015. The program will run from February 1 to April 22, 2016.
For more information, visit http://films.nfb.ca/hothouse.
Hothouse continues to be about re-imagining ways of making animation: ways that are faster, more flexible, and that embrace the many possibilities in the animation process while maintaining creative and technical excellence. With Hothouse, the NFB is looking for six talents who are willing and able to jump head-first into this intensive experience.

Associated Links

Hothouse program

Malcom Sutherland

Patrick Doyon

 

Stay Connected

Online Screening Room: NFB.ca

Facebook: facebook.com/nfb.ca

Twitter: twitter.com/thenfb

 

Media Relations

Melissa Than

NFB Publicist

Tel.: 416-952-8960

Cell: 647-248-9854

E-mail: m.than@nfb.ca

Twitter: @NFB_Melissa

 

About the NFB

The National Film Board of Canada (NFB) produces groundbreaking animation at its studios in Montreal and at NFB centres across Canada, as well as via international co-productions with many of the world’s leading auteur animators. The NFB is a leader in developing new approaches to stereoscopic 3D animation and animated content for new platforms. The NFB has created over 13,000 productions and won over 5,000 awards, including 14 Canadian Screen Awards, 11 Webbys, 12 Oscars and more than 90 Genies. To access acclaimed NFB content, visit NFB.ca or download its apps for smartphones, tablets and connected TV.