MULTI MEDIA

CLASS XII
(UNIT 1 - 3D PRODUCTION PIPELINE)

P R EPARED & P R ESENTED BY: S H OBHIT DAGA

PRE PRODUCTION – INTRODUCTION
◦Pre-production is the phase of developing ideas and
planning prior to the process of production/animation.

◦The work done during the pre-production serves as a visual

reminder of the original plan; something that can be
referred back to throughout the production.

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COMPONENTS OF A PRE-PRODUCTION
PROCESS
Story Boarding

Layout

Model Sheets

Animatics

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STORYBOARD
◦It is made up of drawings in the form of a comic strip, and
is used to both help visualise the animation and to
communicate ideas clearly within a group.

◦It details key events and scene changes in the animation,

often accompanied by text notes describing what is
occurring in the scene such as camera movements.

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STORYBOARD

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LAYOUT
◦Once the storyboards have been approved, they are sent
to the layout department.

◦The Layout dept. works closely with the director to design

the locations and costumes.

◦With this, they begin to stage the scenes, showing the

various characters' positions throughout the course of
each shot.
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CHARACTER DESIGN
◦Character design involves developing the appearance and
features of characters in an animation. It is done with help
of
Model Sheets
Expression Sheets
Character Line Up Sheet

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MODEL SHEETS vs EXPRESSION SHEET vs
CHARACTER LINE UP MODEL SHEET
◦ On large-scale animation productions model sheets help
multiple animators to accurately maintain character detail.

◦ Expression Sheets may also be developed as a guide to

character facial expressions, such as, smiling, laughing, sad,
shocked, startled, sleepy, alert, thoughtful, concerned etc.

◦ The Comparative Size Model Sheet (sometimes called a

"Character Line Up Model Sheet") is just that; a line up of
characters who appear together in a film or sequence that
provides comparative size reference:

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MODEL EXPRESSION SHEET

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CHARACTER LINE UP MODEL SHEET

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ANIMATICS
◦ Moving version of the story board made up of individual
frames taken from the storyboard and is often accompanied
by audio such as dialogue, sound effects and music.

◦ The running time should match the intended running time of

the final animation.

◦ Animatic can assist with decisions regarding scenes to include

or exclude

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PRODUCTION – INTRODUCTION
◦Work in this stage is done, based on the guidelines
established during pre-production.

◦Some major activities that are undertaken during the

production phase are the layout, modelling, texturing,
lighting, rigging, and animation.

◦The production phase is often the longest and busiest

phase of the animation project.
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COMPONENTS OF A PRODUCTION
PROCESS
Layout
Onion Skinning
Line Test
Walk Cycles
Modelling
Texturing
Lighting
Rigging

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PRODUCTION ROLES
◦Layout Artists are highly skilled. They set the stage for
each scene of animation. Each layout is a vital piece of
reference for all those involved in the production process.
The layout determines lighting and camera angles as well
as where characters and props are placed in the scene
according to their start positions. The Layout Artist will
often work closely with the Director and other specialists
such as a Scene Planner and Special Effects Supervisor to
negotiate scene layout.

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PRODUCTION ROLES
◦Background Artists create scene settings.

◦A background is essentially a static setting upon which the

animation takes place in the foreground.

◦ For feature length animations backgrounds can be

elaborate hand painted images but more often the case
these days backgrounds are created digitally using imaging
software such as Adobe Photoshop.
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PRODUCTION ROLES
◦ Key Frame Animators draw the images that determine the
beginning of a movement and the end of movement such as a
character walking from A to B.

◦ If something happens between A and B such as the characters

facial expression changes, the key frame animator may also
draw the beginning and end of this movement.

◦ Inbetween animators draws the images or frames in between

the key frames to complete the movements prescribed by the
Key Frame Animator.
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PRODUCTION ROLES
◦Clean-up Artists are responsible for re-drawing the Key
Frame and Inbetween Animators drawings which are
normally of a rough line quality.

◦ Role is crucial to the final quality of the animation.

◦Each drawing must be drawn to an exact standard.

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PRODUCTION ROLES
◦Clean-up Artists are responsible for re-drawing the Key
Frame and Inbetween Animators drawings which are
normally of a rough line quality.

◦ Role is crucial to the final quality of the animation.

◦Each drawing must be drawn to an exact standard.

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PRODUCTION ROLES
◦The Scanner Operator is responsible for scanning
drawings prepared by the Clean-up Artist.
◦The work is sometimes a little repetitive and boring but
requires plenty of concentration to ensure that each
drawing is correctly labeled and stored for the Digital Ink
and Paint Artists.

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PRODUCTION ROLES
◦The Scanner Operator is responsible for scanning
drawings prepared by the Clean-up Artist.
◦The work is sometimes a little repetitive and boring but
requires plenty of concentration to ensure that each
drawing is correctly labeled and stored for the Digital Ink
and Paint Artists.

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PRODUCTION ROLES
◦ Digital Ink and Paint Artist. The process of colouring of
animation frames is carried out using specialist ink and paint
software. .

◦ New animators generally begin their careers as Clean-up Artist

or Digital Ink and Paint Artist while many others start out as
Scanner Operators.

◦ Before such technology was available each frame would be painstakingly traced on to
a clear plastic sheets called cels and then painted. The process was time consuming
and skilled. The new process is far less time consuming but still requires a degree of
skill to ensure accuracy and consistency.

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LINE TEST
◦Process used to check hand drawn frames prior to them
being used for final artwork.
◦Frames are captured either via a video camera, frame by
frame or by scanning them into a computer. The resulting
sequence allows the animator to assess how well the
sequence is flowing.
◦If the result is unsatisfactory then the animator can simply
re-draw, add or delete frames and then create another
line test.
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LINE TEST - EXAMPLE
◦https://www.youtube.com/watch?v=IfyIC7tajYs

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ONION SKINNING
◦ Onion skinning, in 2D computer graphics, is a technique used
in creating animated cartoons and editing movies to see
several frames at once. This way, the animator or editor can
make decisions on how to create or change an image based on
the previous image in the sequence.

◦ In traditional animation, the individual frames of a movie were

initially drawn on thin onionskin paper over a light source. The
animators (mostly in betweeners) would put the previous and
next drawings exactly beneath the working drawing, so that
they could draw the 'in between' to give a smooth motion.
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ONION SKINNING-EXAMPLE
◦https://www.youtube.com/watch?v=jJecCYHSMbc

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WALK CYCLE
◦Walk Cycles are a common form of 'loop' animation, they
consist of a sequence of frames which together make a
continuous flowing loop. They help to make repetitive
movements simpler to animate.

◦https://www.youtube.com/watch?v=2y6aVz0Acx0

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WALK CYCLE-EXAMPLE

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 MODELLING
Working closely with the Art Directors, Visual Effects
Supervisors and Animation Supervisors, Modellers turn the
2D concept art and traditionally sculpted into high detail,
topologically sound 3D models. Maquettes
They then assist the Technical Animator and Enveloper as the
model has a skeleton put in place and the skin is developed.
Modellers will proceed to sculpt facial expressions and any
specific muscle tension/jiggle shapes that may be required.

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 MODELLING
• Once the model is approved, it will be sent to the rigging
and texture paint departments, who complete the final
stages in preparing the model for animation and rendering.
•The model will move through the production pipeline
without coming back for modelling fixes.
•If problems appear during rendering stage, then the lighter
will send the model back to be fixed.

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 MODELLING
• Once the model is approved, it will be sent to the rigging and
texture paint departments, who complete the final stages in
preparing the model for animation and rendering.
•The model will move through the production pipeline without
coming back for modelling fixes.
•If problems appear during rendering stage, then the lighter will
send the model back to be fixed.
•Example: https://www.youtube.com/watch?v=2dLMctUGKXw

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 MODELLING
• Once the model is approved, it will be sent to the rigging and
texture paint departments, who complete the final stages in
preparing the model for animation and rendering.
•The model will move through the production pipeline without
coming back for modelling fixes.
•If problems appear during rendering stage, then the lighter will
send the model back to be fixed.
•Example: https://www.youtube.com/watch?v=2dLMctUGKXw

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 MODELLING
• Modellers are categorised as:

• Organic Modellers tend to have a sculpture background and specialise

in building the characters and other freeform surfaces (generally living
objects)
• Hard-surface Modellers often have a more industrial design or
architectural background, and as such they model the vehicles,
weapons, props, and buildings (generally non living objects).

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 TEXTURING
•Texturing artists make 3D models believable by mapping textures
onto the object’s surfaces
•. They also add an extra dimension with imperfections – rust to
oil cans, scuffs to trainers, rips to fabric and reflections to
windows.
•They may use a combination of hand painting, photos, digital and
3D art to create unique custom textures. They use materials,
shaders, mapping and an understanding of how these interact
and respond.

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 LIGHTING- LIGHTING ARTIST/TECHNICAL
DIRECTORS
•. Lighting in 3D animation is much like lighting in photography or
filmmaking.
•The Lighting Artist/ Lighting Technical Directors sets up a
combination of light sources to either draw attention to a special
part of the setting, set the overall mood of the scene, or
represent the natural properties of the scene such as time of the
day.
•They combine the latest version of the animation, the effects, the
camera moves, the shades and textures, and render out an
updated version every day.

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 RIGGING
•Rigging in Autodesk Maya is used to give control points to
the animator from which the animation can be done.
• During animation we use these controls for animation, and
to create these controls, we rig the model. Rigging the
foundation on which we do animation.
•. The rigging department along with cloth department is also
involved in developing cloth simulation

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COMPONENTS OF POST PRODUCTION
PROCESS
Rendering

Compositing

Editing

Title & Credits

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 RENDERING
• It is the process of getting the final assembled animation
scenes or pieces out of the computer in the format of a
sequence of individual frames.

•The aim of rendering is to generate a series of individual

pixel based frames or a video clip.

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 RENDERING
• It is the process of getting the final assembled animation
scenes or pieces out of the computer in the format of a
sequence of individual frames.

•The aim of rendering is to generate a series of individual

pixel based frames or a video clip.

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 RENDERING
• After rendering each element is on a transparent
background so that each element can be brought together
and overlaid upon a background scene or graphic.

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 COMPOSITING
• After the Animation has been rendered it may be necessary
to add some special effects or to combine separate rendered
elements together into one final animated sequence. This
process is known as Compositing.

• Addition of other elements such as special effects which

have been created using other equipment and processes are
also done during this stage.

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 COMPOSITING
• The Compositor's job is to assemble the different characters
and backgrounds into single frames and sequences and so is
often the first to begin to see the animation as intended for
the final audience.

•He/She is the first person to see the complete animation

sequence.

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 EDITING
• Video editing is the process of manipulating and rearranging
shots to create a seamless final product, and it is at this stage
that any unwanted footage and scenes are removed.
• Sound editing primarily involves preparing the sound track
for import into the video editing software.
•This may involve adjustments to the sequence or occurrence
of particular sounds due to changes made in the editing
stage

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 EDITING
• Editing Assistants support the Editor and editing department
in video/sound editing process.
•They make viewing copies on different formats for various
departments, clients and composers.
•They handle stocks of relevant materials in Editing dept. ,
ensure that all equipment is in good working order and
placing orders with outside suppliers.

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 TITLES AND CREDITS
• Titles and Credits are an important part of a finished
animation.
• They let people know who made it, when it was made,
perhaps who funded it and more. Once people have watched
your work you'll want them to know who you are so they can
find more of your work!
• This may involve adding text or subtitles at various points if
appropriate.

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 TITLES AND CREDITS
• Titles and Credits are an important part of a finished
animation.
• They let people know who made it, when it was made,
perhaps who funded it and more. Once people have watched
your work you'll want them to know who you are so they can
find more of your work!
• This may involve adding text or subtitles at various points if
appropriate.

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 QUESTIONS???

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 THANK YOU

CREDITS:
http://www.ncert.nic.in/

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