ON ANIMATION ABROAD WITH KUBILAY KOCAOĞLU
Can we get to know you?
I was born in 1983 in Eskişehir. I graduated from Anadolu University Animation Department in 2006.
Until 2010, I worked in various companies in Istanbul. Meanwhile, Framestore, one of the companies I sent my demo, came back and I started working as a Junior Animator in the movie "Gravity". Afterwards, I took part in "Wrath of the Titans" and after I stopped working for military service, I continue to animate for "Guardians of the Galaxy" and now "Paddington".
What caused you to step into the animation industry?
When it came to decide what path i’m heading after secondary school, it turned out my grade wasn’t good enough to enter to relatively better public high school, Luckily i heard about this fine arts and decided to give it a try. Without any kind of preparation I passed the exam with being at the bottom of the admission list. After four years of preparation for the university, even though we did not fully understand the content at that time, the animation department attracted many of us with its popularity. Passed the exam again with being at the bottom of the list.
What is your favorite 2D or 3D movie? What would you like to say about it?
My favorite 2D animated film, "The Emperor's New Groove", I love the humor of this film :)
I think "Incredibles" comes first in 3D and I think it can be opened and looked like a storytelling and cinematography course.
As an animator, how do you relate to drawing and what is the importance of drawing in animation?
I would like to say that drawing is essential, but when you see people who do wonders without drawing, you say that it is not so necessary. I think we can say; The ability to draw can take the animation further, but not being able to draw can stop you.
Before you start your animation shots, can you briefly explain how the planning process goes?
Before you start the animation, you will have the opportunity to read the script, giving you an idea of the dynamics and energy of the film. If the sequence has already been made, you start with information such as where the character is standing on the screen, the range of motion, and how much of it’s body will appear, and you make a plan by taking into account the time given for that shot. Then the animation leader, the supervisor and the customer's orientation and requests began to shape the business.
How is the process of meeting and hiring studios abroad?
You can send your cv and showreel prepared in a certain format to the company you want to work with to human resources and they will contact you if there is a need in the department you apply. You are briefly informed about the job, the duration and the budget of the job and asked for your opinion, if you agree in principle, you can have a video interview and if everything goes well, you start according to the timing.
What was the first film you worked abroad and the first animation scene? Can you tell us about the process and its challenges?
My first film was "Gravity" and my first plan was the prefix of the scene where Sandra Bullock and George Clooney first hit the ISS. The difficulty of the plan was that it was a little too long for this film. In a completely weightless environment, two interconnected people had to hit the space station uncontrollably, and since you had no video references, you had to try and figure out what it should be. Again, this film is unique in the direction of the director every day, every step of the morning and evening meetings and how the plans will look gradually began to become clear.
Is there a job you say “I'm glad I took part in this project because ...?
Not really, because I've learned from every job I've done since I graduated.
Can you tell us something about the project you're currently working on?
I'm currently working on a project called Paddington. It's a well-known character and story in England, and I met him here, and I hope it's a popular movie when it's done.
How is an animator's working day?
As far as I've seen, each project has its own layout, every morning and evening, no matter what stage you are on the big screen, you check the status of the plan with your director and leader, note any changes, enter the meeting once or twice a week and never see the director. We didn't go to daily meetings, we checked the notes online and made the changes again after talking to your leader. If you are out of meetings, the day actually progresses according to your schedule, I think it is important to use the time that is important to improve the quality of the product.
What should be done for the development of the animation industry in Turkey?
Animation, though a number of initiatives in Turkey is still very cautious approaching and not required to be deposited large sums of money which is not actually very vague. For an investor, his money must first return and then he should make a profit so that he is not worth the risk. For example it is not a moment in front of us to ensure that trust and constantly emerging "Turkey's first animated feature" of the balloon was not possible for us to see a big venture outside ads to undermine the perception of the animation. I wish that the Kötü Kedi Şerafettin, which is currently under construction, will be a good example when it is released and open new doors.
Do you see a difference between being an animation graduate and being a non-graduated?
Getting this training can take you a step further; the school does not offer the student a ready formula. It can show the right paths, inspire and become a source of motivation. Provides the student with the opportunities and working environment to prepare the market psychologically.
What are your suggestions to our newly graduated animation students that preparing to enter the animation industry?
If they want to head this way, they should first decide exactly what they want to do and focus on it. Taking good care of their training and practicing abundantly will remove all the obstacles to them.
Good luck to everyone.