cnm 190 advanced digital animation dan garcia, eecs (co-instructor) brian a. barsky, eecs...

CNM 190CNM 190Advanced Digital AnimationAdvanced Digital Animation

Dan Garcia, EECS (co-instructor)Dan Garcia, EECS (co-instructor)

Brian A. Barsky, EECS (co-Brian A. Barsky, EECS (co-instructor)instructor)

Jeremy Huddleston, EECS (TA)Jeremy Huddleston, EECS (TA)

Pixar Production Pixar Production PipelinePipeline

http://inst.eecs.berkeley.edu/~selfpace/

C10 Hearst Field Annex; 642-9920

3/16CNM190 : Advanced Digital Animation

Story-driven processStory-driven process

Pixar filmmaking process is Pixar filmmaking process is story-drivenstory-driven use traditional skills like use traditional skills like storytelling, drawing, painting storytelling, drawing, painting and sculptureand sculpture

allows the work to be easily allows the work to be easily shared, keeps it informal and shared, keeps it informal and encourages experimentationencourages experimentation

Technology serves the needs of Technology serves the needs of the storythe story

Story determines what to put in the Story determines what to put in the film and technology respondsfilm and technology responds




World, Character, StoryWorld, Character, Story

The story process is moved The story process is moved forward by designs for the forward by designs for the world & characters of the filmworld & characters of the film The world has its own rules, that The world has its own rules, that limit what the characters can dolimit what the characters can do

Building unique worlds is at the Building unique worlds is at the heart of animationheart of animation

The characters have things they The characters have things they want and need, that push the want and need, that push the limits of the worldlimits of the world

Characters should feel like they Characters should feel like they live beyond the frame of the filmlive beyond the frame of the film




DesignDesign

Everything is designEverything is design alternate cycles of planning and alternate cycles of planning and implementationimplementation

avoid ‘waterfall design’ where all avoid ‘waterfall design’ where all design is complete before design is complete before implementation beginsimplementation begins

don’t do any manufacturingdon’t do any manufacturing that happens at Technicolor after that happens at Technicolor after print is finishedprint is finished




Timeline & DepartmentsTimeline & Departments

four year design processfour year design process Planning — all four yearsPlanning — all four years

Story, Art, EditorialStory, Art, Editorial Implementation — the last two Implementation — the last two yearsyears

EditorialEditorial Modeling, Articulation, Shading, Modeling, Articulation, Shading, Digital PaintDigital Paint

Layout, Set Dressing, Animation, Layout, Set Dressing, Animation, LightingLighting

RenderingRendering




Story, Art & EditorialStory, Art & Editorial Three departments are the focus of Three departments are the focus of designdesign Story creates storyboardsStory creates storyboards

Drawings that are a comic strip version of the Drawings that are a comic strip version of the film’s important momentsfilm’s important moments

Art creates inspirational images, Art creates inspirational images, character and set designs, colorscripts character and set designs, colorscripts and lighting pastelsand lighting pastels

Refined images that establish the look and feel Refined images that establish the look and feel of the filmof the film

Editorial creates story reelsEditorial creates story reels A rough draft form of the film made using the A rough draft form of the film made using the storyboard drawings, scratch dialog and borrowed storyboard drawings, scratch dialog and borrowed music music

The goal of the planning process is a The goal of the planning process is a solid story reelsolid story reel




Objects & ShotsObjects & Shots

The implementation of the film is The implementation of the film is split between making objects and split between making objects and using those objects to make shotsusing those objects to make shots Everything in the film (every Everything in the film (every character, prop and location) must be character, prop and location) must be created firstcreated first

Nothing is free; if it is in the film, it Nothing is free; if it is in the film, it must be imagined and builtmust be imagined and built

Shots are created by populating each Shots are created by populating each scene in the story with the correct scene in the story with the correct objectsobjects

Only once the cast is on the set with Only once the cast is on the set with their props can we begin the visual their props can we begin the visual storytellingstorytelling




ObjectsObjects

The shape and shading are The shape and shading are created separately for every created separately for every objectobject Modeling and Articulation deals Modeling and Articulation deals with shape and how the shape with shape and how the shape movesmoves

These are primarily 3D skillsThese are primarily 3D skills Shading and Painting works on Shading and Painting works on surfacesurface

These are primarily 2D skillsThese are primarily 2D skills



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CNM190 : Advanced Digital Animation

Modeling & ArticulationModeling & Articulation

Modeling & Articulation handles the Modeling & Articulation handles the shape of the objects, and how they can shape of the objects, and how they can be movedbe moved Modeling is like sculpture, inside the Modeling is like sculpture, inside the computer — it creates the static shape of computer — it creates the static shape of the objectthe object

The model does not bendThe model does not bend Articulation or rigging provides the Articulation or rigging provides the ‘hinges/joints’ in the model that allow it ‘hinges/joints’ in the model that allow it to be positionedto be positioned

The rigged model can be posed (… and in the The rigged model can be posed (… and in the hands of an animator, can act)hands of an animator, can act)

Props and sets get less articulation than Props and sets get less articulation than characterscharacters



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Shading & PaintingShading & Painting

Shading and painting deal with the Shading and painting deal with the surface color and texture of the surface color and texture of the objectobject A procedural shader is a computer program A procedural shader is a computer program that represents how light interacts with a that represents how light interacts with a surfacesurface

Shaders can provide surface deformation as well Shaders can provide surface deformation as well as color — they can make a smooth model look as color — they can make a smooth model look bumpybumpy

Digital painting allows textures or other Digital painting allows textures or other paint marks to be applied directly to paint marks to be applied directly to surfacessurfaces

Once a surface has been shaded, digital paint Once a surface has been shaded, digital paint can be used to rough it up or add other can be used to rough it up or add other naturalistic detailsnaturalistic details



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ShotsShots Objects are assembled into shotsObjects are assembled into shots

Layout sets up the basic blocking for Layout sets up the basic blocking for character and camera movementcharacter and camera movement

Layout is informed by the storyboards and Layout is informed by the storyboards and story reelstory reel

Set Dressing ensures each shot is well Set Dressing ensures each shot is well framed by the set and propsframed by the set and props

Dressing may also build the set used by Dressing may also build the set used by LayoutLayout

Animation moves each objectAnimation moves each object Animation provides the acting in 1/24Animation provides the acting in 1/24thsths of a of a secondsecond

Lighting illuminates the shot to focus Lighting illuminates the shot to focus the action and to help create the moodthe action and to help create the mood

Lighting is directed by images created by ArtLighting is directed by images created by Art



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AnimationAnimation

Animate means “to bring to Animate means “to bring to life”life” Animation uses the hinges/joints Animation uses the hinges/joints in the object’s rig — “avars” or in the object’s rig — “avars” or articulated variables — to change articulated variables — to change its location & position over timeits location & position over time

Animators are actors who can break Animators are actors who can break down a performance into posesdown a performance into poses

Each pose attempts to capture the Each pose attempts to capture the essence of the character's thoughts essence of the character's thoughts and feelingsand feelings



14CNM190 : Advanced Digital Animation

RenderingRendering

Rendering is the final step Rendering is the final step in the implementation in the implementation pipelinepipeline Rendering is like taking a Rendering is like taking a digital picture of the world digital picture of the world inside the computerinside the computer

The renderer produces a 2D image of The renderer produces a 2D image of the 3D scene in the computerthe 3D scene in the computer

A film comprises 120,000 or more A film comprises 120,000 or more rendered 2D images, each onscreen rendered 2D images, each onscreen for 1/24for 1/24thth of a second of a second

cnm 190 advanced digital animation dan garcia, eecs (co-instructor) brian a. barsky, eecs...

Documents

advanced digital animationhttp

digital paintlayout

selfpacec10 hearst field

storythe story process

planning process

world characters

solid story reelcnm190

eecs tacnm190