Q. We first introduced you to the WebTone Writing Tool Toning Plus+. What are your thoughts on this author’s device?
Just as Philips Head screwdriver and flat head screwdriver have different roles, I think creative tools should also be prepared with specific use and directions.
In this regard, I believe Toning plus+ Can play a different role in helping ordinary users write visually. For example, if you handle a dialogue scene between two men and women in a restaurant, the features that help create the scene, such as full views, profile shots and broken shots, will have a great help.
Currently, this is a beta version, so the backgrounds are missing, but I am sure the characters can only reach deep emotions and messages when they are present with a background. For example, even if the same couple are under sunset in a restaurant, they will express completely different statements and emotional nuances. In addition, if more diverse roles are provided, its utility will increase significantly. If beautiful and unique roles like trolls and deer are added, it can become an attractive tool for many professionals in the industry, including the Dream Works artist.
Something that affected me the most Toning plus+ Is approaching it with a lot of strategy. I think it is important to maintain the current easy UX and intuitive functions, while plugins provide modern features for power users or professionals in the form of plugin. In fact, even within the Dream Works, they use 3D Maya, but a separate entrance version has been improved by the ordinary users of Maya for different Dreamworks. Exactly the same, if Toning plus+ Can well balance globalization and professionalism, I expect it to develop in the future a autobiographical platform by corporate companies.
Q. By working for your representative for example, I want to know what you want to experience the audience through your work.
Among the tasks I participated in, many people probably remember King Fu Panda Or Participant. During these projects, my biggest concern was not just showing a cool style, but also how to design scenes so that the audience could be emotionally connected to the characters.
For example, in the case of King Fu PandaThis is a pleasant and humorous story on the surface, but below it, it hides very deep themes such as self -esteem, confusion of identity and a journey of growth. As a director, I naturally focused on using the ‘camera language’ to bring these emotions to the audience. Where to show it, which angle, whether small to show a character, or embrace them warmly – each of these choices becomes an important factor that determines the echo of the story.
And personally, I have a strong interest in children and education. Maybe that’s why I often think that I hope that the children who look at this work will find peace or have the courage. More than simple entertainment, I wanted to present stories that could even leave a small message – it was the biggest price I wanted to express through dynamic movement. Finally, when the audience feels more than just “this was fun”, but “there was something with me,” I believe this is the most beneficial thing as a director.
Q. You have mentioned a strong interest in education. What are your future plans?
For a long time, I have taken a lot of interest in educating children and creators, and I wanted to be a teacher. That desire remains. In fact, even when I first started animation, I had a deep desire to tell children’s stories instead of adult animation, and since then, I have really studied working in a company in universities for more than 5 years.
For 25 years, I have been working permanently on without any rest animation projects, but recently, the desire to share my experiences with junior artists and young creators is becoming stronger. I am old, and time really flys. When I think, “How many more can I really do?” It seems that the time has come for me to share valuable time to share and pass what I have learned.
Particularly nowadays, the industry structure is changing rapidly, and so is the technology, and the difference of the breed is increasing. Helping the next generation of experiences that I have achieved without much testing and mistakes I myself seem to be the most natural and responsible direction for me. If given the opportunity, I want to actively share my collected information and contribute to educational settings or creative communities. I think my life as a creator and my role as a teacher is no longer different but can continue on the same path.
Q Finally, we are interested in your future activities and final goals, the director.
I still feel like there is something left in my heart that “I really wanted to do.” I have participated in a lot of works, the ideas of others, the LED teams, and got a lot of good results, but I feel like I have not yet heard the story I really wanted to tell Satelling, because I started moving first.
So, in the future, I want to create animation with my own original ideas. It wouldn’t just be about “to do another job”. It will be a process of looking at why I loved the animation and why I chose this path. Of course, I hope it will succeed well and commercially in this process. It would be meaningful for me to reach the wider audience. Although “making money” is not the ultimate goal, I clearly want my stories to reach more and more people and thus gain influence.
Most importantly, I still want to create stories that resonate with children. Not only the entertaining content, but also the stories that Santa believe can see and cry with their parents – they do the work that touches this pure emotions. This is the biggest and most sustainable value for me. Next time, I want quietly but definitely want to go to telling that I really want to tell Selly in a story, and through it, I am sharing my sincerity with people.