Sunday, 7 April 2013

Portfolio Review from Studio Distract

On the 2nd of April, I received some brilliant portfolio feedback from Studio Distract. I hadn't been able to write about it until now.
I was hoping I could come into Studio Distract's workplace to discuss my work. Unfortunately I wasn't able to because they are currently busy working on their own projects. However, Director Steve Hanton of the studio said he could email me feedback instead if that would help, to which I happily agreed.

Director of Studio Distract, Steve Hanton

Steve began with my 'Lost and Found' animation.

Lost and Found from Catherine Egan on Vimeo.

He wrote:
  • The lines of perspectives and moving camera shots generally are tricky and usually are avoided.
  • He liked the textures applied to the characters and background objects.
  • The closing in transition cut shots of the toddler work well.
  • The scene of the busy crowds worked well.
  • That the sound enhanced the work, that I shouldn't be too hard on myself over wanting to tweak it. Also I should be cautious when using songs in case of copyright issues.
  •  That it was short and complete, but didn't whisk him off on a journey. It felt more like a teaser for something more.

Olympic Ident Sequences from Catherine Egan on Vimeo.

He thought my Olympic Ident Sequences were 'fantastic', that he loved the hand drawn approach to the work and congratulated me.

As for my tests, he thought they were good, that 'they show promise' for works unfinished.
He finished the email with some advice for me: To not stop working and keep experimenting. That I will get better is if I keep practicing, saying I should have seen some of their work a few years back.

I'm just grateful I got some feedback on my work from a studio. I've sent emails out to other studios without any responses from them.
With the way the economic climate and job market is at the moment, it feels ever more imperative for me to do this now, in hopes of making some kind of impact on animation industries when I graduate.

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