We’re excited to introduce you to the always interesting and insightful Ursula Echeverria. We hope you’ll enjoy our conversation with Ursula below.

Alright, Ursula thanks for taking the time to share your stories and insights with us today. Can you walk us through some of the key steps that allowed you move beyond an idea and actually launch?

Overall, I feel my ability to communicate clearly and connect with my clients has been the key for successful professional relationships. Working as a filmmaker in animation is like having a white canvas for a painter. You start from cero. Usually you get nothing more than a prompt. What gets difficult sometimes, is that your clients don’t know about the process of making an animated short film, which had lead me to include before start any development in the project, time to educate them in the process, to know and define the expectations delimited by the budget, time, deadline and and overall limitations of the project. Is like playing chess, you both have to know the ground rules before start playing, so later on will be no false or unexpected situations about deliveries that weren’t talked in advance. When you have laid out everything before agreeing to something, allows both parties to know what to expect, when and how.

Usually starts like this: A client comes with an idea of a story that wants to have developed, this could be a story idea, a song or just a thought/emotion. I hear the prompt and ask specific questions to be on the same page about the story, like: if they have specific feeling that want to convey, what type of audience is this story focused, main theme, how long is expected to be on screen, how many characters, where is going to be published, etc. If they have any art idea in advance, it will be included as concept art in the first meeting. Which usually is any art piece of your published work or sometimes from an artist with similar taste. With that in mind, I do a follow up research to use as inicial idea for the CONCEPT ART process. Depending on the project: how big is it, how long and complex, I determine how big of a crew we need. The next meeting I present a proposal for the project, a rough schedule and budget. If it gets accepted with detailed production process, client meetings, dates and Final Deadline. If we both agreed to it, and there are no changes, I’ll sign the contract usually within a week. The contract contains in detail what the client will receive ( how long, how many characters, is it B/W or colored? is it a full animation or an animatic? in full detail what was agreed in the first meetings) how it will be delivered, how many assets, Sound Effects or music compositing is included? Deadline, what can or can’t do with the art developed for the project and final product for both parties. So, having signed and agreed to a NDA (Non Disclosure Agreement) and the contract, now I can start working. To prepare the ground rules before start production was the most importante step in the whole process.

The first Pre-Production meeting is always exploration of the ideas, the art that will serve as key guide to follow through the whole production, this stage is Concept Art. Here we do lots of research of any kind: visual , sound, live action, animation, art in general that will inspire the final art that will be the key. In this part, I work along with the client with constant meetings to get to know the art style inclination. To get as close as I can to achieve his/her style expectation, is crucial for a successful final product. Here we develop the art from the initial prompt that was given by the client, sometimes is just a thought, a feeling or just an idea, it actually doesn’t matter as long as it conveys the message. I feel filmmaker artists have to become very good researchers, scouters, explorers, very good observing and analyzing things in life, all sort of things, because it takes part all the way till the film is done. This stage, is just the beginning, little by little it becomes a journey in which the artist is full of ideas for this story, in which now we can start to hone down, leaving the ideas that helps to push the story to be most of it. The most important of each story is clarity. So when ever I have to many ideas that could be a good fit to the story, I usually ask myself: which one of these can help the story to be crystal clear? and that usually gives the answer. Now, we can have a few paintings, sketches, mood boards, sculptures and all type of art developed for this film. Depending on how much time is given to this stage is how richer the story will be; because the bigger your backup library is, the most paths you can explore and define which way is better to follow through.

So after, we have some idea of the characters, places, mood and environments for this story we can start with the Story. This is assuming the client will bring the script. If not, there will be an artist assigned for that, depending on how long and developed the story is, I can do it myself or have a writer contracted for this part. Now we start with thumbnails and sketches for the key moments of the story, then we lay down the whole story in thumbnails, to quickly define the whole story and how fast or slow is going to take the audience through it. Just to have a sense if the story: is being clear about the message and feelings it wants to leave in the audience. Here we do a few passes, move around whole scenes/shots to help push the story. Now start developing the storyboard, in more detail but still rough sketches and also including technical aspects of storytelling and filmmaking. We determine camera angles, characters’ interactions (facial and physical expressions/movements), environments, camera movements, how stressed or calm a shots will be, transitions, etc. We do a few passes in this stage, until get a cleanest rough stage storyboard. again how many passes are define by time given in this stage. Then we time out our boards, giving us the Animatic. Here we decide how long we want it to be, because it will affect the whole production to get it done. Usually, some scenes/shots get cut away in order to stay in budget/time defined in the contract. Here is also time to meet with the Sound Designer and composer, to define how the music and sound design will enhance the story. Once the Animatic is locked, it will not change. This is a rule. Once the animatic is locked, there are NO CHANGES for the story, because this is our guide to produce the film; we define how many assets will be needed, how many characters, props, backgrounds, etc. As well as define about specific moments that will need a combination of efforts between stages in the process to get the look and feel the director wants.

If we have a crew, while story artists work, the Visual development artists are working as well. Starting with the Character Design, and all the technical aspects needed to prepare our main and secondary characters to be used in the film. Like: model sheets, Color sheets, dressing, turn around, alignment, expression sheets, etc. Once, story department has at least some boards approved, it is sent to our Visual Development department to start with the color script, props, Layout Design and Color for the Backgrounds. If the is no enough crew, this stage will go after the animatic is locked.

Now is Animation Time! After finishing the storyboards and visual development art, we start PRODUCTION. Here is all about animation. Depending on what was defined at the beginning about the style of animation they want: traditional animation, puppet or more graphic, it will affect the programs needed for it, as well the preparation before start animation. But everything starts with rough animation, although if its puppets you’ll need to set apart some time to create the different views and prepare them for rigging. Depending on which style of animation was asked, they have different stages. to define them, we explain in detail what can you achieve with each style and the limitations they have. If special effects like water, rain, drops, fire, smoke, etc are needed, they will be created as an asset and animated in this stage.

Once we have all our assets, meaning backgrounds, character Animation, special effects animation, we start Post-production. In this stage we will put all together, do color correction, effects transitions between shots/scenes, other special effects like lightning, flares, etc. This stage is what gives a project the final special touches, but there are limitations of how much can be achieved here. It’s vital during planning to anticipate and prepare yourself about what is going to be needed to be done here, and what can be solved in other stages of the process. As everything else in the animation production, post-production will need a series of passes to get the final look the director visualizes.

The director is the one who has the emotional beats, the chore of the story and the message clearer than anyone in the crew. It’s a must that the director gets involved and gives the green light for every step in the process., because he/she is the one who knows the story better than anyone, and has the ability to see it through and visualize the final product. Along the whole process the are constant meetings, check-ups, work-in-progress to make sure everything will be delivered on time. There are always unexpected delays, which is also wise to include some extra time, for those. In case is no needed, there are no harm, it will be delivered earlier, but if not you have that allowance to solve and still be on time. I have a friend who used to tell me: Hope for the best, but prepare for the worst. So, preparing yourself for unexpected and bad situations, allows you to think ahead for possible solutions, so if happens you can fix it, because you have the ways and means to get ahead of it. Depending on how long the animated short will be, it can take between 2 months to a year or more to be done. So, once you get into a film production, you have to commit to the project for long time. Which is something good, because allows you to get deep into the story and find ways to tell it the best you can. You must have to love storytelling, because is a long commitment.Once it is done, and you watch it on screen, it feels so good!

Ursula, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?

I am an independent filmmaker specialized in 2D animation, I started mostly as freelance in visual development for film after graduating CalArts, doing background design and painting, concept art, color scripts, storyboards, animation, etc, Working as a freelance is kind of a juggle, It took me some time to figure out what was the best way to go through it, because either you spend you time applying and looking for opportunities or you do art, work to hone your skills, which also has to be with being out there, promoting yourself as an artist and filmmaker. Being in that state in my career I started to get opportunities about keep doing short animations. I started, most of the time, I work alone when they are up to 3 min short animations. If the project is longer than that, or the deadline is too close Its better to get a artstic crew to get hands on it. Besides, artistic meetings are more rich and powerful when exploring ideas. As the saying goes: two heads are better than one. You can propose, and contrast ideas, find better ways to say specific thing. Filmmaking is about telling a person’s story to people, the more connected the idea is, the more impactful it will be in the audience. Usually people don’t remember the whole story, but what was left in them. What was the moment that connected with their hearts, mind and soul in a deeper level. Is this, what we as storytellers want to achieve with our stories, to connect. this is usually the most important problem to solve within a story.

Sometimes, when the client comes with an idea, they just know what they want to get from it, but not how to get it. This is the job for the director, the filmmaker, is to help them tell the story they want tell. To get from point A, which is the idea to point B, which is the result: animated story.

One of the productions I am most proud of is Xico’s Journey, an animated feature film produced by Anima Studios, release in Netflix in 2020. In which I did an art internship in the 2019 summer. I was delighted to be in charge of the Colorscript for the whole feature, as well to do some concept art for the movie. It was an immersive experience, getting to know how animated films are done in latino culture. For me was a incredible growth as an artist, as a person and filmmaker. After that, having the chance to start my career as director in animation filmmaking, having Anima experience as part of my filmmaking knowledge was a key. Because I had the chance to get in touch with different departments, getting to know what they do and how. Specially how communication is handled, and what attributes are important to take in count during the production.

I am a relatively new in the industry, and most of the projects I’ve created for my clients are short films. Working in storytelling has become my passion, the more I do it, the more I feel eager to know more, explore more, do more. Being able to explore new ideas, themes and story its been just joy as a filmmaker. It gives you different challenges you want to overcome, it pushes you to be creative, to find creative solutions.

Let’s talk about resilience next – do you have a story you can share with us?

Definitely my graduation year from CalArts was the most crazy and unexpected one. In the Summer 2019 I had to move back to Guatemala after school finished, we were broke, no money, so many loans, in a foreign country, with no close family to support us, we couldn’t keep the apartment, we needed to go back, there was nothing else at that moment that we haven’t tried. I was one year away from graduation. We sold everything for me to be able to study animation in the USA. So we were going back to nothing else than family support. My mother in law took us in while we find a place, which was weeks. At that moment I stayed at home with my kids, while having some meetings with my school dean, to see if there was any way for me to able to come back someway. It was amazing, we found a way to get 2 things: First, I missed 1 semester of my last year. I needed to get a test, to proof I was able to graduate school with all skills and abilities needed without that semester. which is hard to get accepted and I did passed gracefully. Secondly, I needed to get another scholarship that covers the remaining tuition. It was a complex process, with many meetings and discussions, in which I am so so grateful to have the director of the program Maija Burnett representing me, supporting me and being there all the way in the process. It is for her I was able to return to CalArts and graduate. Her support was everything, she is a woman worthy of admiration and respect. Her commitment to the animation program is something I have never seen before. Her commitment was such, that I received a call from her in the night of the New Years’ celebration, she called me at the moment she got the notification. It was the most incredible news to receive, I couldn’t believe it. I was going to graduate. It was amazing but this meant many complex situations. I had to prepare to travel in 10 days, I was behind schedule for my graduation film, I needed to find a place to stay in which my best friend took me to sleep on an air mattress under her kitchen counter for months; without her everything would have been more difficult for sure. I knew everything was going to be difficult, but I knew I was able to do it, I was committed to graduate from CalArts.

The one thing I didn’t realized was going to be the most difficult thing to do, was missing my family. As a mother of 3 kids at the moment, I was going to leave them for 6 months (they were 12, 5, and 2 years old respectively) It has been the hardest thing I faced in my life. I used to cry every day, talked to my counselors and teachers, I didn’t know how hard that was going to be. It was so weird being just by myself, I used to be with them most of the time. Watching my husband juggling between his job and taking care of the kids, while I was so far, was just hard. We are a team, they were supporting me, it was not just me, it was a family collaboration. Then COVID pandemic happened, things got so much more stressed. That I can say being away my family, my friends were my pillars in my hardest moments, specially Brenda. I always try to be positive about everything, but there are moments for sure that you need a hand to help you keep walking. I am grateful for my artistic community, teachers and friends that helped this journey to be best it could be. I graduated on zoom in March, I was able to find an emergency flight back to Guatemala in July 2020. As the saying goes: If something is for you you’ll get it one way or the other. God did its part, I feel it was like a puzzle, specific things needed to align in order to achieve it, and it did. Definitely a year to remember for so many things, but specially for how hard and impressive it was.

How about pivoting – can you share the story of a time you’ve had to pivot?

I’ve been a ballet dancer since 8 years old, graduated from the National Ballet School in Guatemala (Highschool diploma) and worked as a professional dancer in National Ballet of Guatemala for 5 years. At that time, that was what I wanted to do for life, I wanted to dance. I enjoyed my time as a ballet dancer, although I knew early in life that it was a short career. Living in a country in which art is not really important is hard to evolve as an artist. So while dancing, I was getting a BFA in Graphic Design and Communications. While still in the Dance Company, I started to apply for jobs in design, they weren’t exactly as expected, either the salary, the job itself or the place, something didn’t match. For my Thesis project I did an animation as part of the presentation, which I used to apply for animation jobs, got nothing from it. I realized my portfolio wasn’t built for animation, was a graphic designer one. So decided I was going to start educating myself in animation, start taking art classes, webinars, read books, etc. In the meantime I was still part of the dance company, It was during a regular dance rehearsal when I fall from a jump and got seriously injured. I couldn’t walk for 3 months. Even though I have started preparing myself to move into animation, wasn’t enough, I was new in an unexplored field for me, on the other hand I already was a professional ballet dancer. It is scary to move into something you don’t know and there was no community or guide here in Guatemala that I can follow, or take advice from.

I was 25 years old with a serious injury, when I decided it was time to get into the water and try. I was young enough to start again and gain knowledge needed to be successful in the field. Professionally it has been the most important decision in my life. To visualize myself, and walk towards it. It took me 3 years and a few rejections, to prepare myself with a portfolio worth to be accepted at Calarts. Which is incredibly difficult to get into, they have a 6% acceptance rate. Imagine that, giving away what you know you have for sure, for something you don’t even know how does it works. I’ve been so insecure about my art so many times, but I have come to learn that the art path is a journey in which you are constantly growing. Moving from dance to animation was hard, but was worth while.

Contact Info:

• Website: https://www.ursulaecheverria.art/
• Instagram: https://www.instagram.com/ursulaecheverria.art/
• Facebook: https://www.facebook.com/ursulaecheverriacontreras
• Linkedin: https://www.linkedin.com/in/ursulaecheverria/
• Youtube: https://vimeo.com/ursulaecheverria
• Other: IMDb: https://www.imdb.com/name/nm14702609/

Image Credits
(las two illustrations) – Nahuales in the Neighborhood Ep.13 – Mean while in Rurbia Project.