原文：My Work Flow ( Pete Paquette )
I can remember watching Aladdin in the theaters and realizing that I wanted to animate…in 2D. When I started my degree in computer animation at Ringling, I took a course in 2D animation and was happy as a clam. Unfortunately around the same time there was a movement in the industry by a few notorious executives that “2D was dead”. Ugh…It still makes me sick to my stomach. So I put aside my aspirations of being a 2D animator and focused on actually learning how to use a computer. I never stopped drawing. Even when figure drawing was no longer a requirement in the later years at Ringling, I would spend time at a figure drawing club called FEWS and I would spend a great deal of time drawing everything with my buddy Ben Sprout.
還記得當初在看完「阿拉丁」這部動畫電影之後，心裡就告訴自己：我想要做動畫 ... 2D 動畫。後來我進了 Ringling 這間學校，開始了我的動畫學習之旅，我還很開心地選了門 2D 動畫的課程，（殊不知...）不幸地就在那一段時間，有幾個
Once I got into the industry, I was amazed to find that most of the animators didn’t draw. I even heard some people claim that they didn’t need to know how to draw. I still feel like the better animators out there can thumbnail ideas and successfully pitch their ideas with drawings alone. I am a mentor at animationmentor.com and I am relentless in telling my students how important drawing is to animation. In my opinion, there is NO BETTER WAY to learn the basics of body mechanics and posing than figure drawing.
後來進了業界，我還很訝異，竟然有那麼多動畫師都沒有畫畫。我甚至還聽到有些人說～根本就不需要會畫圖。但我還是覺得能像一些很厲害的動畫師～他們自己能夠畫些小草圖傳達想法，並且只需透過繪畫就能成功地秀出自己的點子～這樣似乎更屌！ 身為 animationmentor.com 的導師，我甚至義正嚴詞地告訴我的學生們～手繪能力對於動畫來說是非常重要的。在我看來，沒有任何方法比「人體繪畫」還要能夠讓人可以學習到關於人體力學或是肢體動態等等的知識。
Shortly after the completion of Ice Age 2, I started playing around with a program called Plastic Animation Paper. I can remember using it to turn around ideas very quickly to the director at the time and it proved to be extremely efficient. I can remember asking Blue Sky studio to consider buying the software and they went a step further. With the guidance of Scott Carroll and I, a R&D genius named Hugo Ayala created an in-house software that is much more intuitive than anything available on the market to this day.
在完成冰原歷險記2（Ice Age 2）之後不久，我開始玩一套叫做 Plastic Animation Paper 的軟體。我還記得，透過它，我能更有效率地跟導演溝通，甚至顛覆原先構想，事實證明，他是有效的。我也還記得，當初向公司（ Blue Sky studio ）提案購買這套軟體，沒想到最後還不只是買下它，公司還因此製作了一套內部工具，是由我和資深指導 Scott Carroll ，以及專長研發的 Hugo Ayala 一同開發了這款比市面上的軟體都還要更直觀的好工具。
Blue Sky has embraced this work flow and is still used to this day. Here is a shot that I animated on “Rio” showing it’s progress from it’s 2D choreography through it’s completion.
藍天工作室已經採用這個工作流程，一直到今天都還是。下面有一段我在「Rio」裡所製作的鏡頭，當中可以看到～在前期運用 2D 來做表演的佈局規畫～一路到完成的過程。
I am extremely happy to report that my new job at 38 Studios has fully embraced and supported this work flow of mine. I now use a program called FlipBook to pitch ideas, but it’s nowhere near as intuitive as Hugo’s program. If Blue Sky ever decided to market his software to the public, I’d be first in line.
同時，我很開心地向各位報告，我目前任職的新公司 38 Studios 也完全採用了這套工作流程。而我現在是用一套叫做 FlipBook 的軟體來秀出我的點子，但還是遠遠不及 Hugo 設計的軟體，假如哪天藍天願意把這套軟體公開上市，我一定是第一個去排隊的。
原文：My Work Flow
【W⁺】也可以參考J⁺之前分享的魔髮奇緣幕後製作：皮克斯也在過程中邀請資深迪士尼動畫師 Glen Keane 來 Check，就直接在螢幕上用2D的方式畫圖修正，能給表演很多新意，並且加入傳統迪士尼的2D思維。
【魔髮奇緣 CTNX 幕後製作 - 美術/動畫/技術 總監專訪】【J⁺】
作者 Pete Paquette 的 "Rio" Demo Reel：
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