#0033 Software for Breakdowns

Reader Jeremy asks: "What software do you prefer for breakdown/spreadsheets?"

While there are several great options, I like to use Open Office best.  I've been using this software now for 10 years on PC and MAC.  I like the price point of Open Office -$0, and the philosophy of open source.  With a quick easy install I have access to a full suite.  I mostly use the document writer and spreadsheet editor, but have dabbled with presentations, drawing and databases using Open Office.  I update with the latest release about once a year or more often. 


I last worked with Excel 2007.  The interface redesign was just annoying for me.  In my opinion, I cannot understand why any company would invest in a technology when a perfectly excellent option is available for free.  There may be issues of standards and compliance.  I believe the main reason for the GUI change in MSoffice was to differentiate from the competition with 'trademark' user interfaces.  By moving MSoffice users to a different GUI paradigm, the retraining hurdle makes it harder for companies with established users to switch.  Even so, Excel is a great program, but buying it and keeping it up to date is pricey. 


For collaborative work, I like Google Docs spreadsheets.  It can import/export from many formats, including Open Office.    I've used Google Docs a great deal for project management / approval tracking as well, so let me speak more to that...

I use color extensively to help speed reviewing a spreadsheet, and love to use conditional formatting.  Conditional formatting is the ability to set the color and other attributes of the cell based on it's value or some other test. One thing great about a Google spreadsheet is that it allows FIVE conditional formatting sets.  Open Office and Excel ( last time I checked) were both limited to three, although they allow you to change font style, size, and other attributes while Google only allows you to change font and cell color. For example, on The Universe, we used Google Docs to track every shot, and color-coded shots based on status codes and other information. For status, as the color became warmer, the shot was becoming closer to final.   It helped a great deal, because on the last day, I just was focusing on shots with a non-final color.

While you can use Excel or Open Office collaboratively, a Google spreadsheet has the advantage of allowing N-simultaneous viewers and X-simultaneous editors.  It was a viable and free way to manage our projects.  At any given time I was managing material flow, direction and approvals this way for several shows, multiple episodes and hundreds of shots while sharing the information with several supervisors, directors, post supervisors and a crew of 20-40 artists. Without having to pay any fees to license a database application, database server or use a subscription shot tracking software.



Some users have access to and like Filemaker Pro very much.  I've not worked with the program, so cannot comment.   A number of my friends and colleagues who have used it swear by it and would not use anything else. 

The question for my readers is,
what do you like to use?

#0032 Designing Digital Effects Pipelines - call for reader's feedback

The CG Supervisors' Network
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supervisors, producers,
recruiters and other industry
management professionals

This post first appeared as a discussion item in the CG Supervisors' Network, by Isa Alsup, 2 April 2010. http://bit.ly/aqBW1K

Reader responses can be posted here as comments or as comments to the original discussion at CG Supervisors' Network.  We are looking for published materials we can research and cite. 

For some time now in my blog, The Art of CG Supervision, I've been writing about digital effects pipelines. A reader has written looking for more:

  
Looking for more information on designing the Digital Effects Pipeline

" I am doing a research the new/improved animation production pipeline. I found really interesting material at your blog and I was wondering if you could help me by suggesting papers, articles or any e-books for further study." Giorgi [Greece]

Other than my column and the masters thesis written by Mr. Dane Bettis in 2005 (see below) I've come across nothing very formal. Anyone else come across any articles on the subject?

References:

Alsup, Isa A. "The Art of CG Supervision", blog discussing issues in Computer Graphics and Digital Effects management, with a series on pipelines.  http://cgsupervisor.blogspot.com

Bettis, Dane Edward "Digital production pipelines: examining structures and methods in the computer effects industry", Texas A&M University, http://txspace.tamu.edu/handle/1969.1/2406?show=full , 2005; A useful examination of the digital pipeline with specific examples of pipeline structures.

#0031 The Fourth Dimension of CG Pipelines

I've described previously the three dimensions of digital fx production pipelines: personnel, tools and procedure.  In recent weeks I've come to realize that my description is missing a crucial dimension, a dimension vital to us as supervisors and vital to the entire process.  Let me begin now to rectify that with a quick review:

When we speak of pipelines, there is a great deal of confusion because the term means so many things to many different people.  My objective in writing this blog has been to help clarify the discussion.

Schematic relationship of three classes of pipelines.  Large dots and ovals represent workers or automated tasks.  Diagram illustrates that each pipeline has it's own project lifespan separate from others and own personnel.  Yet personnel and automata in each pipeline may from time to time interact with the other pipelines' personnel and information.  Diagram does not reflect the sale cycle, but rather assumes production begins with receipt of materials and initial direction and ends with delivery of materials.  Note that the Approval Pipeline's functional property of being an information firewall between externally received direction and staff is also not illustrated.  Pipeline interaction  timing and frequency is merely suggestive. 
(c) 2010 Isa A. Alsup

I see three classes of pipelines used in production management: 
production pipelines, meaning the sequential movement of a shot through the hands of artists and technicians who produce elements and refinements leading to a finished product;
the materials pipeline that provides a mechanism for the flow of data in and out of the production pipeline, the flow of data between  artists and technicians and the archival and retrieval of reusable assets;
and the  approval pipeline, that provides interfaces, a historical record and regulates the process of giving direction, clarifying direction and securing approval for the work done in the production pipeline.  While some may see these as one pipeline, I see them as different because an organization is free to develop each class of pipeline more or less fully depending on needs.  Looked at generically, this description would suit equally well for a tomato canning company as a visual effects company, where data is exchanged for tomatoes.  This simplicity makes it possible for us to draw from the experience of production managers outside visual effects and computer graphics where appropriate.

For each of these three pipelines, I've described three dimensions: 

Three Dimensions of Pipelines
(c) 2010 Isa A. Alsup

personnel , which comprises the artists and technicians and their skills and personalities; 

tools , which comprises the computer hardware, film recorders, scanners, and other devices together with the software needed to operate them and any other workplace tools, equipment and furniture and facilities --automation and "robots" are tools;

procedure , which comprises the workplace policies, procedures, methods, proprietary techniques, and so forth and embraces the company's corporate culture.

While each of the three classes, production, materials and approvals will involve personnel, tools and procedure, what makes them essentially separate pipelines is that while they may share some common personnel, tools and procedures, these sharings are merely points of contact.  The materials pipeline, for example, will often employ workers, software and procedures totally unique to itself and totally within itself.  Artists in the production pipeline will come in contact with the materials pipeline regularly, so their work procedures will provide the proper guidelines for them to check-in and check-out materials so the materials pipeline works smoothly and the production pipeline gets what it needs when it needs it.  The supervisor works to establish, explain, support, regulate and as necessary modify these procedures.

Likewise, artists and technicians should be coming in contact with the approvals pipeline on a daily basis.  In doing so, in a well-regulated environment, they will have access to the directions they need and the information they need.  But they should not normally see every comment or note given by the client --that information should be interpreted by a supervisor who understands the company's needs and goals.  For example, if a client has access to your approval system, and his remarks can be seen by artists without any moderation, then problems could occur if the artist undertakes to satisfy the client requests without consultation with a supervisor, who may know a better way to satisfy the client request.  In some cases a client request may get rejected; what a shame if some artist invests a day chasing that request not knowing that management plans to discuss and modify the request with the client.  For this reason, the approvals pipeline is an information firewall with supervisors and other managers and perhaps a few coordinators functioning as moderators and loggers of information.

Within the production pipeline, which is structured based on the experience and guidance of the supervisors, artists and technicians will need guidance and support.  This again comes from the supervisors.  Many people see the supervisor as the master technologist,  which may be true, but really the role of the supervisor is to be the facilitator.  The producer can be thought of as the facilitator of the facilitators.  The CG Supervisor's main job is to make sure that every person in the production pipeline has the best available tools and training and knows and observes the essential procedures.  The CG Supervisor may also assist the VFX Supervisor in communicating direction and vision and help the artists achieve those goals.

Academy Award winning VFX supervisor Stuart Robertson, who I worked with on several films where he was the VFX Supervisor and I the CG Supervisor, once likened the role of the VFX Supervisor to that of a captain of a vessel.  The captain is responsible for the vision of where the ship should go and when it should get there and usually sets the course from here to there.  The CG Supervisor, as first mate, runs the ship itself to meet these goals, working through the junior officers and as necessary directly with the crew to achieve results.  (The Producer could be likened to either the Port Admiral perhaps, setting broad goals and interfacing with other agencies.)  The supervisors facilitate and provide leadership to the crew; the crew works with the ship and its tools and standard procedures to reach the destination. 

4 Dimensional pipeline pyramid
(c) 2010 Isa A. Alsup

Every pipeline has four dimensions: personnel, tools, procedure AND leadership.  Leadership is the quality of being able to assemble qualified personnel, equip them with essential tools, provide them effective procedures and show them where to go and how to get there.  Leadership is the ability to facilitate the efficient completion of the task.  Leadership is the ability to get the job done; and to get the job done in such a way that the team stays together for the next task.  Leadership is the fourth dimension of the pipeline.  It is what takes the three dimensions, which are static, and adds the fourth dimension, which is dynamic.  Leadership provides forward motion.

This blog has been dancing around this issue more or less from the beginning.  Let's refocus ourselves as CG Supervisors, VFX Supervisors and C G Producers to realize that our job is to provide leadership; to empower and facilitate our personnel to get the job done.  We're not here to be slavemasters, overlords or bosses.  It's not about egos.  It's about what we do.

Often, the leader is selected for superior technical knowledge. While there is often merit in that, because the one with the technical knowledge who leads is in a good position to meet the needs of his or her team.  Leaders of artists and technologists need to excel in their art and technology.  But if you're in a position to select a team leader, you need to remember, that leadership is a separate dimension,  a separate quality.

Select your supervisors with good qualities of  leadership: ability to communicate, patience, compassion, ability to prioritize, focus on the mission, ability to teach and share knowledge --these are some of the attributes needed in a good CG Supervisor.  Select the best and remember, it's your job to help your leaders grow.  Facilitate their leadership.