September 13, 2012

...Learn TDD with Codemanship

We Can Learn A Lot About Collaborative Design From Aardman

Scientists have learned a great deal about humans by studying other animals and looking for similar attributes (and differences) that mark out what it means to be "human".

In particular, we've learned an enormous amount from studying our closest cousins, the Great Apes.

I've been pondering what software development's closest cousins might be, and what we could learn from them.

While watching Aardman's The Pirates In An Adventure With Scientists, it suddenly struck me that perhaps the endevour that most closxely resembles software development is animation.



We face strikingly similar problems to animators.

Firstly, we're both trying to tell compelling stories. Software, when it's done well, has a clear narrative, just like an animated movie. This narrative can be expressed in many ways, and - just as it is with animation - the process of producing working software can be thought of as telling and re-telling the story, adding more detail and refining it until the story's told in executable code.

The second similarity is that we both have to overcome the extreme difficulty of taking care of millions of tiny details without losing sight of the big picture.

Programming is inherently fiddly; far too fiddly for most people to be bothered with. What other kind of person would devote the lion's share of their lives to the kind of minutiae we do? Well, animators for one.

A single animation unit working on a film like "Pirates" might produce 4 seconds of usable action in a week. Each second of film is made up of 24 frames, each of which has to be painstakingly manipulated, with dozens of details changing from frame to frame that they have to keep track of.

And yet, working one frame at a time, tracking miriad interconnected elements, Aardman are able to produce something miraculous; something that many live action films fail to capture - comic timing.

Fight scenes, chase scenes, comedy - all of this is hard enough to get right shooting at 24 frames a second. To execute it so perfectly working one individual frame at a time requires something that, sadly, too many software teams lack - a clear vision.

The split-second timing and the exquisite dynamics of an Aardman animation are no accident. The mechanics of the overall narrative, every scene and every shot are carefully choreographed with storyboards, animatics (more animation) and with people performing the action to match the voice recordings of the actors, so that the animators can see how it should look and work towards realising that vision.

And with as many as 40 units working on different shots at any given time, this vision not only needs to be clear but it also must be a shared vision.

The rules that apply to each character - including non-living characters like the ocean and the wind - have to be clearly established so that no matter which team is animating those characters, they behave in a way that's consistent to their character. It would do little for the movie if the Pirate Captain inexplicably moved and behaved in 40 different ways through the movie, depending on who was animating him.

The objects in our software - howvere you choose to interpret that word - are the characters in our stories. As the design evolves and grows, is extremely important to maintain a clear shared vision of those objects and how they behave, as well as the narratives in which those objects play a part.

Watching "Pirates", something else jumps out at me; the extraordinary consistency of quality. Aardman have very high standards, and these standards seem to have been applied across the board.

I don't doubt that there were animators working on that film with less experience than some of the others. I don't doubt that some animators were probably learning this craft on the job. Where else do they get their great animators from? That scope and quality is not evident in art and film schools. I suspect you can only really learn to make films of Aardman quality working for someone like Aardman.

But there's not a scrap of evidence for less experienced animators in the movie. Every scene and every shot is sublime. If someone was screwing up, then it must have ended up on the cutting room floor or at the back of shot where nobody noticed.

The greatest animators are masters of collaborative design. I believe there's much we could learn from companies like Aardman about telling compelling stories, about establishing a clear shared vision, about getting the tiniest details right while not losing sight of our "comic timing", and about committing to consistently high standards of quality.







Posted 5 years, 5 months ago on September 13, 2012