3D Animation Essentials E-Book

Andy Beane

• Herausgeber: John Wiley & Sons
• Kategorie: Wissenschaft und neue Technologien
• Sprache: Englisch

Seitenzahl: 525

Veröffentlichungsjahr: 2012

Beschreibung

The essential fundamentals of 3D animation for aspiring 3D artists 3D is everywhere--video games, movie and television special effects, mobile devices, etc. Many aspiring artists and animators have grown up with 3D and computers, and naturally gravitate to this field as their area of interest. Bringing a blend of studio and classroom experience to offer you thorough coverage of the 3D animation industry, this must-have book shows you what it takes to create compelling and realistic 3D imagery. * Serves as the first step to understanding the language of 3D and computer graphics (CG) * Covers 3D animation basics: pre-production, modeling, animation, rendering, and post-production * Dissects core 3D concepts including design, film, video, and games * Examines what artistic and technical skills are needed to succeed in the industry * Offers helpful real-world scenarios and informative interviews with key educators and studio and industry professionals Whether you're considering a career in as a 3D artist or simply wish to expand your understanding of general CG principles, this book will give you a great overview and knowledge of core 3D Animation concepts and the industry.

Leseprobe

Table of Contents

Cover

Contents

Title Page

Copyright

Publisher's Note

Dedication

Acknowledgments

About the Author

Introduction

Who Should Read This Book

What Is Covered in This Book

Chapter 1: 3D Animation Overview

Defining 3D Animation

Exploring the 3D Animation Industry

The History of 3D Animation

Chapter 2: Getting to Know the Production Pipeline

Understanding the Production Pipeline’s Components

Working in 3D Animation Preproduction

Working in 3D Animation Production

Working in 3D Animation Postproduction

Using Production Tools

Chapter 3: Understanding Digital Imaging and Video

Understanding Digital Imaging

Understanding Digital Video

Chapter 4: Exploring Animation, Story, and Pre-visualization

Using Principles of Fine Art and Traditional Animation

Building a Good Story

Using Pre-visualization Techniques

Chapter 5: Understanding Modeling and Texturing

Modeling

Texturing

Chapter 6: Rigging and Animation

Rigging

Animation

Chapter 7: Understanding Visual Effects, Lighting, and Rendering

Creating Visual Effects

Lighting

Rendering

Chapter 8: Hardware and Software Tools of the Trade

Choosing a Computer

Using Monitors/Displays

Working with Graphics Tablets

Using 3D Scanners

Setting Up Render Farms

Finding Data Storage Solutions

Choosing Software

Chapter 9: Industry Trends

Using Motion Capture

Creating Stereoscopic 3D

Integrating Point-Cloud Data

Providing Real-Time Capabilities

Working in Virtual Studios

Appendix A: Answers to Review Questions

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 5

Chapter 6

Chapter 7

Chapter 8

Chapter 9

Appendix B: Gaining Insight into 3D Animation Education

Linda Sellheim

Larry Richman

Steve Kolbe

Appendix C: Learning from Industry Pros

Brian Phillips

Jim Rivers

Rosie Server

Index

End User License Agreement

List of Illustrations

Chapter 1: 3D Animation Overview

Figure 1-1: Da Vinci’s study of the arm

Figure 1-2: Example of a medical rendering

Figure 1-3: Forensics animation showing gunshot trajectory

Figure 1-4: Example of indoor and outdoor rendering for architecture

Figure 1-5: Example of augmented reality through a webcam. The paper the boy is holding has a marker that will allow the software to know where to place the image.

Figure 1-6: Replica of the Z1 computer in the German Museum of Technology

Figure 1-7: Colossus computer used to break coded messages in WWII

Figure 1-8: The same polygon sphere with flat shading on the left and Gouraud shading on the right

Figure 1-9: The Utah teapot in 3ds Max

Figure 1-10: Screenshot of Pong

Figure 1-11: Original Macintosh computer with a graphical user interface

Chapter 2: Getting to Know the Production Pipeline

Figure 2-1: A graphical breakdown of the 3D animation pipeline

Figure 2-2: This example of a film script shows basic written formatting.

Figure 2-3: A small snippet of a storyboard from a short animated film

Figure 2-4: A simple character in the default-modeling pose

Figure 2-5: Character concept sketches

Figure 2-6: An environment design

Figure 2-7: An environment sketch

Figure 2-8: A way to envision the assembly line of the 3D-animation production stage

Figure 2-9: A proxy representation (top) and the final model (bottom)

Figure 2-10: Images from a 3D layout in sequential order to demonstrate the basic look of the images

Figure 2-11: A head modeled by hand in Autodesk Maya with polygons

Figure 2-12: A raw laser scan of a head by a NextEngine desktop 3D scanner that was then converted into polygon geometry and viewed in Autodesk Maya

Figure 2-13: A parametric model made using SolidWorks

Figure 2-14: Final model before textures have been applied (left) and the same model after the textures have been applied (right)

Figure 2-15: Final model with its control rig turned on

Figure 2-16: Image of a still from a short animated film

Figure 2-17: A shot before (left) and after (right) color correction

Figure 2-18: The production triangle

Figure 2-19: An example of a Gantt chart for animation

Figure 2-20: A PERT chart

Figure 2-21: Sample shot sheet from a short film

Figure 2-22: A lighting- and rendering-tracking sheet in use

Chapter 3: Understanding Digital Imaging and Video

Figure 3-1: A grid pattern: the most common misconception of pixel layout

Figure 3-2: Examples of pixel geometry on four different monitors

Figure 3-3: An image displayed at 1280

×

720 (top), 320

×

180 (middle), and 80

×

45 (bottom)

Figure 3-4: A raster image and a vector image magnified 2,400 times

Figure 3-5: The effects of anti-aliasing

Figure 3-6: Representation of simple point sampling

Figure 3-7: The original image with a pixel grid overlaid onto it (left), a representation of the simple sampling of pixels to create the image (center), and the image with anti-aliasing applied to create a more accurate image (right)

Figure 3-8: Representation of anti-aliasing sampling

Figure 3-9: Screen capture of an image in Adobe Photoshop with the RGB channels open

Figure 3-10: The blue solid layer is on top of the green layer, but adding an alpha layer enables the green in the text to show through.

Figure 3-11: The original render (top left) and the alpha channel for that render (top right). In compositing software, a straight alpha creates a darkening along this magnified edge (bottom left), but the pre-multiplied option compensates and provides correct color.

Figure 3-12: The original render (left) and the render after a few extreme level changes (right). Notice the banding along the surface of the ball on the right.

Figure 3-13: CIE XYZ color space with the RGB color mode represented within the triangle

Figure 3-14: Square, NTSC, and PAL pixel shapes

Figure 3-15: A 3D rendered sphere on a square-pixel monitor and an NTSC television

Figure 3-16: A sphere rendered out squashed in the square-pixel display to look correct on an NTSC television

Figure 3-17: An extreme example of a very limited (and round!) safe area on an old TV

Figure 3-18: A 4:3 television with the title safe zone in blue, the action safe zone in yellow, and the full screen resolution in black.

Figure 3-19: A representation of the fields of interlacing video

Figure 3-20: Notice the stair-stepping lines in this still image of interlaced video

Figure 3-21: A visual representation of temporal compression

Chapter 4: Exploring Animation, Story, and Pre-visualization

Figure 4-1: The uncanny valley

Figure 4-3: Example of natural three-point lighting (left) and the three-point light directions (right)

Figure 4-4: The RGB additive-light model

Figure 4-5: Example of the CMYK and RYB subtractive color models

Figure 4-6: A color picker with hue, saturation, and value

Figure 4-7: An example of complementary colors on a color wheel

Figure 4-8: An example of three analogous colors on a color wheel

Figure 4-9: An example of split-complementary colors on a color wheel

Figure 4-10: A bouncing ball at different stages of animation

Figure 4-11: Four key poses of an eye blink

Figure 4-12: Main poses of a simple standing leap

Figure 4-13: Large windup for a boxing punch

Figure 4-14: A figure standing in a neutral pose and then shifting weight to his left to step with his right foot

Figure 4-15: A typical shot that crops the characters at the waist (left) and an over-the-shoulder shot of two people talking (right)

Figure 4-16: An overhead shot is not a good way to show two people talking.

Figure 4-17: The overlapping action of a tail on a ball

Figure 4-18: A bouncing-ball animation illustrating slow-in and slow-out

Figure 4-19: In these frames of a character leaping, you can see the arcing motion of the arm.

Figure 4-20: Aspect ratios for screen displays

Figure 4-21: An extreme wide shot

Figure 4-22: A wide shot of a theater with a character standing in front of it and to the left

Figure 4-23: A medium shot

Figure 4-24: A close-up shot

Figure 4-25: An extreme close-up shot

Figure 4-26: A POV shot

Figure 4-27: An over-the-shoulder shot

Figure 4-28: A graphical representation of the golden ratio

Figure 4-29: An example of the golden ratio in nature with a nautilus and the golden section within it

Figure 4-30: The golden rectangle (left) used to create the frame composition in an animated film (right)

Figure 4-31: The rule of thirds in practice

Figure 4-32: Too little nose room (left) and proper nose room (right)

Figure 4-33: Good nose room for a car shot traveling from right to left

Figure 4-34: Excessive head room (left) and proper head room (right)

Figure 4-35: Leonardo Da Vinci’s The Last Supper.

Figure 4-36: An example of using lighting to center the subject and draw the audience’s attention

Figure 4-37: The bright red color pulls the viewer’s eye to the button on the seatbelt.

Figure 4-38: The director is using a mirror to frame the character’s face within the overall frame.

Figure 4-39: Using depth of field to focus viewer attention

Figure 4-40: A camera pan

Figure 4-41: A camera tilt

Figure 4-42: A camera roll

Figure 4-43: A camera dolly

Figure 4-44: A camera track

Figure 4-45: A camera pedestal

Figure 4-46: Two shots of the same character, using a wide-angle view (left) and a zoomed-in view (right)

Figure 4-47: Example of a handheld camera move

Figure 4-48: Example of a rack focus change from one object to another

Figure 4-49: A jump cut from a medium shot (left) to a close-up (right)

Figure 4-50: The invisible line created between characters creates the 180-degree line that the camera should not cross.

Chapter 5: Understanding Modeling and Texturing

Figure 5-1: The three main components of a polygon

Figure 5-2: Polygon object and polygon

Figure 5-3: Adding an edge loop to a polygon cylinder

Figure 5-4: Edge flow of a human head

Figure 5-5: A cube smoothed to create a sphere (left), and an illustration of the polygon smoothing process (right)

Figure 5-6: Examples of extruding a polygon

Figure 5-7: A polygon cube without a beveled edge (top) and with a beveled edge (bottom)

Figure 5-8: Deleting and combining polygons. (1) Two separate polygon spheres. (2) The two spheres with their tops deleted. (3) An extrusion of the top edge loop to create a new shape. (4) The vertices connected together and the two separate objects combined to make a single object.

Figure 5-9: Separating combined polygons. The sphere and cube are combined in the left image and have been separated in the right image. This is not a function you can see on the objects themselves but in the box beside them listing the objects in the scene.

Figure 5-10: Polygon face with normal indicated

Figure 5-11: Polygon sphere with a few reversed normals, as shown in Autodesk Maya’s viewport and Render View window

Figure 5-12: Hard-edge polygon vertex normals

Figure 5-13: Smooth-edge polygon vertex normals

Figure 5-14: A polygon model with hard (left) and smooth (right) vertex normals

Figure 5-15: Examples of different topology resolutions of models with flat shading and Gouraud shading

Figure 5-16: Planar polygon

Figure 5-17: Nonplanar polygon

Figure 5-18: Nonplanar fix: Split the quad into two tris to create two planar faces.

Figure 5-19: Laminated faces on a polygon cube will give unexpected results in the smooth subdivision of that object.

Figure 5-20: Bowtie polygon example

Figure 5-21: A double-extruded edge

Figure 5-22: NURBS components

Figure 5-23: Lofted NURBS

Figure 5-24: Revolved NURBS

Figure 5-25: Extruded NURBS

Figure 5-26: The cube on the left is the original shape, the middle is a smoothed polygon, and the right is a subdivision surface.

Figure 5-27: A few steps of from-scratch polygon modeling

Figure 5-28: Preset polygon primitive objects in Autodesk Maya

Figure 5-29: Primitive modeling of a chair and a breakdown of the parts used to create it. This chair was created with only cubes scaled to the right shape.

Figure 5-30: Example of box modeling workflow

Figure 5-31: Examples of Boolean functions on a cube-and-sphere shape

Figure 5-32: Laser scan of a face on the left and the clean version on the right

Figure 5-33: A digital sculpture (left) and a low-resolution model (right)

Figure 5-34: Example of a 3D human model with the UV map

Figure 5-35: Planar (a), cylindrical (b), spherical (c), and automatic (d) mapping of a human model. The planar, cylindrical, and spherical mapping are not good matches for a complex form such as the human body by default.

Figure 5-36: This UV map for a human head has easily identified major landmarks that facilitate painting textures.

Figure 5-37: A human head model with a uniform UV map on the left and a nonuniform UV map on the right

Figure 5-38: The two spheres have the same light cast on them from the left side. The sphere on the right has a slight amount of ambience applied; notice that the bottom-right side of the sphere does not fall into complete shadow.

Figure 5-39: A sphere with the incandescence turned on (left side) and the same sphere with a glow applied (right side)

Figure 5-40: A sphere with no bump map (left) and with a bump map applied (right)

Figure 5-41: Examples of common shaders

Figure 5-42: Procedural map examples

Figure 5-43: A color map applied to a sphere (left), and the map alone (right)

Figure 5-44: A bump map applied to a sphere (left), and the map alone (right)

Figure 5-45: A specular map applied to a sphere (left), and the map alone (right)

Figure 5-46: A transparency map applied to a sphere (left), and the map alone (right)

Figure 5-47: A reflection map of a ramp applied to a sphere (left), and the map alone (right). The ramp is changing the reflective properties of the sphere.

Figure 5-48: A displacement map applied to a sphere (left), and the map alone (right)

Figure 5-49: A dragon model before (left) and after (center) the normal map has been applied, and the normal map alone (right)

Chapter 6: Rigging and Animation

Figure 6-1: A rig for a weapon (left) and a rig for a human (right) in Autodesk Maya

Figure 6-2: A ball with no rig will result in undesirable animation deformation and looks stuck into the ground, which is indicated by the gray band (left). A ball with a rig will result in correct animation deformation and rotations (right).

Figure 6-3: A parent-child relationship in the Maya Outliner

Figure 6-4: A simple hierarchy rig in Maya

Figure 6-5: A simple head rig with an improper pivot position (in the center of the head sphere), which results in unrealistic articulation

Figure 6-6: A simple head rig with a proper pivot position (where the head joins to the body) to allow for proper articulation

Figure 6-7: Example of a skeleton system

Figure 6-8: A hinge joint

Figure 6-9: A few slightly articulated joints

Figure 6-10: Various pivot joints

Figure 6-11: A ball-and-socket joint

Figure 6-12: Forward kinematics in an arm skeleton. The animator would rotate each circle to control the shoulder, elbow, and wrist.

Figure 6-13: Inverse kinematics in an arm skeleton. The animator would move the wrist to move the entire arm of the character at once.

Figure 6-14: Smooth skinning

Figure 6-15: Rigid skinning

Figure 6-16: Lattice deformer

Figure 6-17: Blendshape targets applied to a face

Figure 6-18: Example of an aim constraint controlling the eyes of a character. The highlighted green cross is the controller for the eyes, and when it is moved, the eyes will follow it.

Figure 6-19: Example of the differences between a parent-child relationship’s and an orient constraint’s control of the rotation of objects. The left side shows the original position of the spheres, the right side shows the bottom sphere rotated and how the parent-child behavior and the constrained behavior differ. The child will rotate around the parent’s axis and the constrained will rotate around its own axis.

Figure 6-20: An expression will link the movement of the sphere to the movement of the cube. When the cube moves vertically, the sphere moves twice as far horizontally.

Figure 6-21: Example of keyframes and in-betweens. The far left and right side show the character in the keyframes at frame 01 and 10. The middle area shows how the computer added the motion between the keyframes with in-betweens.

Figure 6-22: Function curves in a graph editor

Figure 6-23: Linear, spline, and step function curves change the motion of a ball between two keyframes

Figure 6-24: Tangent handles on a keyframe in the graph editor

Figure 6-25: A dope sheet in Maya. The yellow boxes are the keyframes, which can be moved in the timeline as needed by the animator.

Figure 6-26: Multiple camera options in a 3D application

Figure 6-27: Side, top, and front view of a character in a walking position

Figure 6-28: Annotate!Pro with markings on the screen to aid in motion-tracking animation

Figure 6-29: Ghosting of a bouncing ball to track motion

Chapter 7: Understanding Visual Effects, Lighting, and Rendering

Figure 7-1: The scene file with the emitter and particles along a path animation (left), and the rendered look of the particles (right)

Figure 7-2: A secondary animation of a tail is dynamically created with a hair curve to drive the motion of the joints along the tail.

Figure 7-3: Fur on a character

Figure 7-4: Hair simulation and styling on a human head

Figure 7-5: RealFlow scene (left) and the rendered image from Maya (right)

Figure 7-6: Beginning scene with no rigid bodies added

Figure 7-7: In this 60-frame progression, the rigid-body ball collides with the brick wall.

Figure 7-8: Diagram of soft-body dynamics

Figure 7-9: In this 32-frame progression, the soft-body blanket collides with the chair back.

Figure 7-10: A spotlight casting light on a corner

Figure 7-11: An omni/point light in a scene

Figure 7-12: A spotlight casts shadows on a row of cylinders, creating a V-shaped shadow pattern (left). A directional light casts shadows on a row of cylinders, creating a parallel shadow pattern (right).

Figure 7-13: Ambient light example of two spheres with identical shaders. The sphere on the left has only a direct light, so the back side of the sphere goes into complete darkness. On the right, the sphere has a slight bit of ambient light applied, so the back side does not fall into complete darkness.

Figure 7-14: An area light in the window (left) and the soft light pattern and shadows that it creates (right)

Figure 7-15: Linear falloff (left), inverse-square falloff (middle), and user-defined falloff (right), all coming from a spotlight. Each light has the same intensity.

Figure 7-16: Side-by-side comparison of depth map shadows and raytraced shadows with render times listed

Figure 7-17: Light linking enables a light to be directed to illuminate all or just some of the objects in a scene. All three spheres are the same, but the light is not illuminating the middle sphere.

Figure 7-18: Example of three-point lighting

Figure 7-19: Example of two-point lighting

Figure 7-20: Example of one-point lighting

Figure 7-21: Example of natural lighting to create a sunny-day look

Figure 7-22: Simple example of scanline rendering, casting scanlines into the scene and returning information about the pixels that the lines intersect

Figure 7-23: In this simple example of raytracing rays, the rays are cast from the camera, and if they hit a reflective surface, they will bounce until they hit a nonreflective object. Once the rays stop they will return to the camera to give the data searched for.

Figure 7-24: The same scene rendered with the scanline render method (left) and the raytracing render method (right)

Figure 7-25: Simple example of photon mapping. Each of the white circles are irradiance hits that are calculated to create a more realistic lighting system. In practice, hundreds of thousands of these hits are created and smoothed out.

Figure 7-26: Lighting without photon mapping (left) and with photon mapping (right). Notice the filled-in shadow regions and the color bleeding from the nearby spheres.

Figure 7-27: An IBL sphere surrounding the subject (left), the camera view sample points created to sample the surrounding area to find illumination (center), and the resulting render (right). There are no lights in the scene—just an HDRI of a sunny sky illuminating the object (resulting in a blue tint).

Figure 7-28: Example of BRDF anisotropic reflections in a brushed metal shader

Figure 7-29: In this example of the Fresnel reflection effect, you can see that the reflections are greater on the sides of the glass.

Figure 7-30: Example of subsurface scattering on multiple objects

Chapter 8: Hardware and Software Tools of the Trade

Figure 8-1: A workstation (left), a desktop (middle), and a laptop (right) computer

Figure 8-2: The input and output flow of an operating system

Figure 8-3: Windows 7 operating system screenshot

Figure 8-4: Mac OS

Figure 8-5: A CPU chip

Figure 8-6: RAM sticks

Figure 8-7: Illustration of a hard drive

Figure 8-8: An LCD (left) and a CRT (right) computer monitor

Figure 8-9: Wacom Cintiq tablet monitor (left) and Wacom Intuos 4 tablet (right)

Figure 8-10: Laser scan of a human head in a 3D application

Figure 8-11: Example workflow for network rendering

Figure 8-12: A local network storage setup

Chapter 9: Industry Trends

Figure 9-1: Vicon Motion Capture System

Figure 9-2: A stereoscope

Figure 9-3: Red and cyan anaglyph viewing glasses

Figure 9-4: Autodesk Maya with the anaglyph viewing display on

Figure 9-5: Point-cloud data in Pointools View Pro software

Figure 9-6: Example of raytracing

Figure 9-7: A low-level geometry rig (left) and a high-level one (right)

Figure 9-8: A character in Autodesk MotionBuilder with motion-capture data applied

List of Tables

Chapter 2: Getting to Know the Production Pipeline

Table 2-1: Template for a Model-Tracking Sheet

Table 2-2: Template for an Animation-Tracking Sheet

Chapter 4: Exploring Animation, Story, and Pre-visualization

Table 4-1: Side-by-side hero and villain traits

Guide

Cover

Table of Contents

Start Reading

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3D Animation

ESSENTIALS

Andy Beane

Acquisitions Editor: Mariann Barsolo

Development Editor: Candace English

Technical Editor: Keith Reicher

Production Editor: Liz Britten

Copy Editor: Sharon Wilkey

Editorial Manager: Pete Gaughan

Production Manager: Tim Tate

Vice President and Executive Group Publisher: Richard Swadley

Vice President and Publisher: Neil Edde

Book Designer: Happenstance Type-O-Rama

Compositor: Craig Johnson, Happenstance Type-O-Rama

Proofreader: Nancy Bell

Indexer: Ted Laux

Project Coordinator, Cover: Katherine Crocker

Cover Designer: Ryan Sneed

Cover Image: Andy Beane

Copyright © 2012 by John Wiley & Sons, Inc., Indianapolis, Indiana

Published simultaneously in Canada

ISBN: 978-1-118-14748-1

ISBN: 978-1-118-22579-0 (ebk.)

ISBN: 978-1-118-23905-6 (ebk.)

ISBN: 978-1-118-26379-2 (ebk.)

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To my wife, Heather, and my boys, Ollie and Max, thank you for all of the patience you have shown me during all of my fretting and for picking up my slack around the house to allow me to complete this project.

ACKNOWLEDGMENTS

This book allowed me to write out in a formal form information I am asked about weekly as a professor at Ball State University—questions such as What kind of jobs are there in 3D animation? and Where will I have to move to, to work in 3D animation? To the prospective students and their parents who have been asking these questions, this book is for you.

I would first like to thank my fantastic wife for supporting me during the writing of this book. Also I would like to thank Mariann Barsolo for giving me the chance to write this book and for helping me through the whole process. Thanks to Candace English, my development editor, for helping me make this book understandable and worth reading. Thank you to my technical editor, Keith Reicher, for helping me keep it real and correct. I would like to thank Larry Richman for giving me a recommendation that started this whole endeavor and for giving me my start in the education world. I would also like to thank the entire Sybex production team for making this book look great. I would like to thank everyone who helped me by talking about his book and creating images for me to use. They look good.

ABOUT THE AUTHOR

Andy Beane is an animation artist who has been teaching and working in the field since 2002. He currently oversees the animation major at Ball State University in Indiana and previously taught animation at the Art Institute of California–Orange County. His production experience includes a children’s television show pilot with Xzault Studio, “Coming Undone” music video, and Barnyard from Paramount Pictures. He wrote curriculum for the Autodesk Animation Academy 2010 and is also a board member of the MG Collective, an Indiana-based motion graphics and animation community group. He has an MFA in computer animation from the Academy of Art University in San Francisco.

INTRODUCTION

What is 3D animation? What kind of jobs are there in the field? How does 3D animation get created? What is the future of 3D animation? These are all questions that are asked by someone who is looking to pursue 3D animation as a career or hobby and are reasons this book was written. The answers to these questions are not always easy to find and definitely not in one location, so this book can be used as a reference to answer your personal questions about the animation industry.

This book looks at the history of the computer and how its evolution has driven and continues to drive computer graphics and 3D animation, and at the same time how computer graphics have driven developments in computer hardware and software. 3D animation is an industry that borrows from many other fields, including film, art, photography, sculpting, painting, and technology. In this book, you will look at up-to-date techniques and practices related to those realms and also take a look at what is coming up in the near future.

Who Should Read This Book

This book is for anyone who is at all interested in anything related to 3D animation. For students graduating from high school (and for parents of high-school students), this book can give you insight into the industry of 3D animation and allow you to better understand basic job functions, basic terminology, and 3D animation techniques. For students already in college or undergoing some other kind of formal training, this book can give you insight into future concepts you may need to learn to make you more marketable in the 3D animation industry. Finally, for people looking to change careers, this book will teach you the basics so you can figure out what part of the industry you might be interested in breaking into.

What You Need

This book is about concepts and techniques, so you really do not need any particular program to complete this book. But if you want to jump in and try some 3D animation techniques, you can get demo versions of 3D animation software from various software companies, including the following:

Autodesk Maya, 3ds Max, Softimage, Mudbox, and MotionBuilder at http://usa.autodesk.com/ and http://students.autodesk.com/

Blender at www.blender.org

Maxon Cinema 4D at www.maxon.net

NewTek LightWave 3D at www.newtek.com/lightwave.html

Side Effects Software Houdini at www.sidefx.com

Luxology modo at www.luxology.com/modo/

What Is Covered in This Book

You will learn the essentials of the 3D animation industry, including a history of the industry, how 3D animation projects are created, basic computer-graphics principles, basic animation, story and film theory, the core concepts of each of the job functions of a 3D artist, what hardware and software tools are available today, and what the future of 3D animation may have in store.

Chapter 1: 3D Animation Overview What is 3D animation? This question is answered in Chapter 1. This chapter also explores the different industries that utilize 3D animation in various ways. The history of 3D animation is presented, along with the history of the computer, as the two are tied together inextricably.

Chapter 2: Getting to Know the Production Pipeline Almost all 3D animation is created in a team setting, and this chapter breaks down the steps that a studio uses to create 3D animated projects. You’ll learn about the preproduction, production, and postproduction stages of the production pipeline and get a high-level view of the specific jobs in each of the stages.

Chapter 3: Understanding Digital Imaging and Video Almost all 3D animation is viewed via computer monitors, projectors, or TV screens, and all 3D animation is created on computers. So an understanding of digital imaging and video is a must. This chapter breaks down the digital image to its most basic form—the pixel—and then explores the other elements that make up a digital image.

Chapter 4: Exploring Animation, Story, and Pre-visualization All 3D animation must tell a story. This chapter presents basic 3D animation methods worked out through traditional 2D animation, basic storytelling theory, and film and pre-visualization techniques with cameras.

Chapter 5: Understanding Modeling and Texturing This is the first of three chapters that provide detailed looks at the individual job roles in the 3D modeling profession. Chapter 5 breaks down the basic principles, terminology, and techniques of modeling and texturing. When you’re finished with this chapter, you’ll understand what’s behind polygons, NURBS, UVs, shaders, and more.

Chapter 6: Rigging and Animation This chapter digs into the specifics of the closely linked animation and rigging roles to give you a good idea of their interrelatedness and the fundamentals behind the jobs, such as deformers, inverse and forward kinematics, and keyframes.

Chapter 7: Understanding Visual Effects, Lighting, and Rendering Here you’ll learn about visual effects, lighting, and rendering through discussions of particle systems, light types and options, raytracing, global illumination, and more.

Chapter 8: Hardware and Software Tools of the Trade Many tools are available to 3D animators today, including the computer, monitor, and human interface tools such as a mouse and tablet options. This chapter covers those plus storage options and solutions that make 3D animation possible with the large amount of data the files will create and files that will need to be shared by different artists at one time. This chapter also presents the software options 3D animators have so you can figure out what packages make the most sense for you to learn.

Chapter 9: Industry Trends The 3D animation industry is changing constantly, so it’s important to be aware of what is on the cutting edge and what is on the horizon. Techniques and methods such as real-time rendering, motion capture, stereoscopic 3D, and point cloud data are integral to the future of the industry.

Appendix A: Answers to Review Questions This appendix presents the answers to the review questions found at the end of each chapter.

Appendix B: Gaining Insight into 3D Animation Education This appendix brings you interviews with experts in the 3D animation education field so you can glimpse some of the differences within the formal 3D animation educational system. The appendix includes interviews with the following professionals:

Linda Sellheim, academic segment manager for primary and secondary education at Autodesk

Larry Richman, dean of academic affairs at the Art Institute of California–Sacramento

Steve Kolbe, assistant professor at the University of Nebraska–Lincoln

Appendix C: Learning from Industry Pros This appendix presents interviews with professionals in the 3D animation industry. Some of the differences between the hiring methods of different 3D animation fields come to light in interviews with the following people:

Brian Phillips, executive creative director at The Basement Design + Motion

Jim Rivers, hiring manager at Obsidian Entertainment

Rosie Server, senior recruiter at Sony Pictures Imageworks

Sybex strives to keep you supplied with the latest tools and information you need for your work. Please check its website at www.sybex.com/go/3danimationessentials, where we’ll post additional content and updates that supplement this book if the need arises.

CHAPTER 13D Animation Overview

3D animation has become a mainstay in film, television, and video games, and is becoming an integral part of other industries that may not have found it all that useful at first. Fields such as medicine, architecture, law, and even forensics now use 3D animation. To really understand 3D animation, you must look at its short history, which is tied directly to the history of the computer. Computer graphics, one of the fastest growing industries today, drives the technology and determines what computers are going to be able to do tomorrow. In this chapter, you will look at present-day 3D animation and then look back at how the past has shaped what we do today.

Defining 3D animation

Exploring the 3D animation industry

Delving into the history of 3D animation

Defining 3D Animation

3D animation, which falls into the larger field of 3D computer graphics, is a general term describing an entire industry that utilizes 3D animation computer software and hardware in many types of productions. This book uses the term 3D animation to refer to a wide range of 3D graphics, including static images or even real solid models printed with a 3D printer called a rapid prototyper. But animation and movement is the primary function of the 3D animation industry. 3D animation is used in three primary industries:

Entertainment

Scientific

Other

Each of these industries uses 3D animation in completely different ways and for different final output, including film, video, visualizations, rapid prototyping, and many others. The term 3D animation is still evolving, and we have not yet seen everything that it will encompass.

A 3D artist is anyone who works in the production stage of 3D animation: modeler, rigger, texturer, animator, visual effects technician, lighter, or renderer. Each of these job titles falls under the umbrella term 3D artist, and so each job can also be referred to more specifically: 3D modeler, 3D texture artist, 3D lighter, 3D animator, and so forth. These jobs are discussed in more detail throughout this book, to give you a good idea of the role of each on a day-to-day basis.

Exploring the 3D Animation Industry

Let’s take a closer look at the three primary industries using 3D animation. This section details the various opportunities of each so you can see what a person wanting to get into 3D animation could do today.

Entertainment

The entertainment industry is the most widely recognized of the three primary 3D animation industries and includes film, television, video games, and advertising—each of which has subfields within it. The entertainment industry is dedicated to creating and selling entertainment to an audience.

Film

Two primary types of films are created in the 3D animation realm: fully animated films and visual effects films. In fully animated films, all the visual elements onscreen are created in 3D animation software and rendered. Examples include Toy Story, Monsters vs. Aliens, and Shrek. Visual effects films are typically shot with real actors, but the backgrounds or other effects are computer generated. Jurassic Park, Sky Captain and the World of Tomorrow, and Tron are examples of visual effects films.

The film industry is one of the largest industries using 3D animation. These films typically take about six months to four years to complete, depending on the scale of the project. The production crew can range from 3 people to 300, again depending on the scale of the overall film.

Fully animated full-length films can take two to four years to create and have a very large crew of hundreds of employees. One studio usually completes the whole film internally. Short films (those shorter than 40 minutes) often are created by individuals or small studios. These short films are usually done on the side or after hours as personal projects. Large studios might create a short film to test a new technique or production pipeline. These films can be completed in a few months with a large crew or may take years depending on the artists’ work schedules.

Visual effects films are different from fully animated feature films in that they are shot by a regular movie crew. A visual effects supervisor helps with camera work and with collecting any other data needed for the addition of the visual effects. Then the completed shots are sent to visual effects studios to complete parts or the whole sequence of effects as needed. Today most visual effects–heavy films use one or two primary studios for most of the work to keep the effects looking consistent, but then farm out smaller shots or sequences to other studios to save time. Visual effects studios can be very large to very small, depending on the type of work they are expected to complete.

Television

3D animation is still trying to make its mark in the television industry. Creating a single 3D animated television show is quite expensive and time-consuming. Still, several of today’s shows are being created with 3D software, including South Park, Mickey Mouse Clubhouse, and Star Wars: The Clone Wars.

A more common usage of 3D animation in television is the addition of 3D visualizations to regular shows on networks such as the Discovery Health Channel, History Channel, and Science Channel. These visualizations typically are used in educational shows to help the audience understand certain topics.

The television industry doesn’t have the film industry’s luxury of lots of time and lots of money. Television shows need to be made in months, not years. The budgets are tremendously smaller, and more content needs to be created in a single season. 3D animation in television shows usually does not have the overall quality of that in film, but can still be very good if a stylized final look is used in the project.

Video Games

The video game industry enables artists to use 3D software to create virtual worlds and characters that will be played in a video game engine. This industry is massively popular and is at least as profitable as the film industry. There are two primary fields in the video game industry: in-game 3D animation, which creates the actual game world that players are immersed in while playing the video game, and game cinematics, which are cinematically created cut scenes of a video game that help drive the story forward in between levels.

Video game cinematics are like mini movies between levels that allow the game developer to control the storyline of a game while the player progresses.

The in-game side of this industry is closely tied to the computer programming that makes playing the video game possible. The creation of in-game art is limited by the hardware and software that is used to play video games in real time. For example, a game destined for a console such as the Xbox 360 or PlayStation 3 requires low-resolution models in order to allow numerous characters to appear in the game at once, along with the background elements and all the props and effects. To allow for real-time rendering and game play, the modeling artist must stay within a specific polygon count for these low-resolution models. Once the 3D animation assets are created, the video game programmers will create a system enabling the asset to be placed into the game to be played.

Low-resolution polygon modeling is covered further in Chapter 5, “Understanding Modeling and Texturing.”

Most game cinematics, like film, are limited today only by the budget and time needed to create the 3D animation assets and to render the final frames to be played in video. Game cinematic artists are similar to film 3D animators. They do similar work but typically in a faster timeline (although not as fast as television). Many game cinematic trailers and in-game cinematic scenes are of a very high caliber that can rival film.

Video games created for smart phones and tablets typically take a few months to develop. A large triple-A title such as Gears of War or Crysis might take 2 to 4 years to create. It is not unheard of for a game-development cycle to last 10 years, however.)

Triple-A video game titles are games that are expected to do well commercially and typically take longer to develop.

Advertising

The advertising industry is all about very short animations. Typically, only 10 seconds to 4 or 5 minutes is needed to show or describe a product or service. These short animations must be able to provide a great deal of information in this brief time span. Like film and television, 3D advertising animation can utilize an all–3D animated form or incorporate mixed-media visual effects for the final overall look.

Typical projects in this industry are television commercials, web commercials which can include print ads, and still imagery. A lesser-known side of advertising is product visualization (discussed in detail in the next section), in which the artist creates a 3D model to serve as a prototype of an actual product to show to an investor to create an interest in that product.

Advertising can have a very high level of quality but is created in a very short amount of time. Studios specializing in advertising animation are medium sized and follow a solid workflow in order to provide the fast turnaround needed for this type of animation.

Scientific

The scientific industries utilizing 3D animation include medicine, law, architecture, and product visualization. The use of 3D in these industries is not well known, however, because the final products are aimed at a specific audience and rarely are seen by the general public.

Medicine

The medical industry uses 3D animation in many ways, from creating a visualization of a specific medical event to depicting a biological reaction. For example, you can demonstrate what happens when plaque will build up in your arteries and will block blood flow to the heart, causing a heart attack. Art has been a part of the medical industry since the beginning of modern medical practices. Many of Leonardo Da Vinci’s sketchbooks, for instance, focused on human anatomy and medical processes. These drawings, shown in Figure 1-1, were used by doctors to better understand early medicine. Even today you can see posters of human anatomy on the walls of doctors’ offices. So it only makes sense that the medical field would take advantage of the new art form of 3D animation.

Figure 1-1: Da Vinci’s study of the arm

The most popular medical 3D animation type is medical visualization used for education or marketing. This animation is used to educate the public and medical staff on new techniques or drugs. It is also used in marketing new medical products to investors or medical professionals, as shown in Figure 1-2. 3D animation can create a vastly rich visual guide to human and biological systems and can provide a great amount of information in a short amount of time.

Figure 1-2: Example of a medical rendering

Image courtesy of and © Zachary Craw

3D animation can be used in simulations to help medical researchers predict the spread of a disease or understand which body part will fail first under great strain without actually putting a person at risk. By using motion capture, researchers can create a library of movements and then study the effects of various stresses on the human form. New probe-like technology enables researchers to track muscle strain as they watch which muscles are working the hardest during a specific movement or series of movements. The U.S. Department of Defense and professional sports have an interest in this type of data because it can help indicate how a new piece of protective equipment might be working or hindering.

Motion capture, a system of tracking human movement that can be used for medical research and the entertainment industry, is covered further in Chapter 9, “Industry Trends.”

One other form of medical 3D animation is tied to the video game industry. Ongoing studies are looking at how video games might be used to help heal brain injuries. These video games stimulate different areas of the brain, potentially helping the regrowth of brain tissue. These studies are very new but are showing good results, which means that more of these types of games could be created for other healing applications.

3D animation in the medical sector is a vastly growing market that can be lucrative to an individual artist or small studio of professionals. The biggest drawback to this industry is that most people training today in 3D animation would rather work in video games or film and not for a drug company or university research project.

Law

Law animation falls into two fields: forensics and accident reconstruction and simulation. This type of animation is created to prove, disprove, or elaborate on facts in a court case, to help either the defense or prosecution. It can include pure computer physics simulations or just a hand-keyed animation of the crime scene to enable the judge or jury to move around or study the crime scene if needed. It can be used, for example, to prove that a gunman could or could not have shot someone from a specific location (see Figure 1-3) or to demonstrate a car accident scenario. These types of animations are often not allowed to be used as pure evidence but can be used to demonstrate a theory that the prosecution or defense may have on a specific case.

Figure 1-3: Forensics animation showing gunshot trajectory

Image courtesy of and © Pat Howk

Forensics is a field that utilizes many different sciences to prove or disprove questions in the legal system.

Another aspect of this 3D animation field is the use of 3D laser scanning of a crime scene. This 3D laser scanning can create a perfect replica of a crime scene to be used as a reference when needed. This 3D scan can be accurate to within millimeters and therefore can be crucial to a court case or an investigation.

Architecture

Architects have been using computer-aided design (CAD) software since the 1980s to help them create better and more stable designs. Today architects use 3D software in conjunction with CAD programs not only to create models, but to test and visualize those models to see what structures would look like photorealistically before they are actually created. Software such as Autodesk AutoCAD and Autodesk Revit enable architects to test the stability of designs under certain conditions, to see whether they can withstand a specific type of natural environment or disaster. These CAD files can be converted and then rendered in software such as Autodesk 3ds Max and Autodesk Maya to enable investors and clients to see what a structure could look like from the outside and inside. This type of work is becoming more and more popular and can be a very cost-effective way to test certain material looks of a building before actually building it. You can see an example of interior and exterior architecture rendering in Figure 1-4.

Figure 1-4: Example of indoor and outdoor rendering for architecture

Images courtesy of © Justin Canul and Zachary Craw

Product Visualization

One last scientific area is product design and product rendering visualization. This is similar to architectural rendering in that products can be designed and tested in 3D software and then rendered to show investors. After the design is drawn up, a 3D artist will create a 3D model of the product in 3D design software to test its construction. Then a visualization animation will be created to show how the product will work and how it is assembled if needed. This type of visualization helps investors have a better grasp of what they may be investing in and can be used for commercial purposes as well, for presales.

Other

The 3D animation industry is in its infancy, and the technology that is driving this art form is changing on a yearly basis. This rapid pace of change necessitates the “other” category because some fields are so new that they do not fit into established mainstream categories. A trio of these new 3D animation fields are art, augmented reality, and projection mapping.

Using 3D animation in art is just what it sounds like: the creation of 3D elements incorporated in a final product to be shown in a gallery or other art-exhibition venue. This could include still imagery to be framed and posted on the gallery walls or a 3D statue created in 3D software and then rapid-prototyped and placed into the gallery as sculpture. Typically today 3D art animation is video installations that will use animated forms in a non-story-based structure. Sculpture might utilize moving 3D animations to enhance the piece. These types of 3D animations are typically not character- or story-based, but simply moving forms projected onto the sculptures.

Augmented reality might be considered by some as an advertising form of 3D animation, but because it is so new, it is premature to lump it into a certain field. In augmented reality, a user looks at the real world and sees 3D elements added to it. Typically, we would look through a webcam and use a marker (usually an image) to lock the position of the 3D elements though the camera as seen in Figure 1-5. Other viewing devices today are head-mounted with a see-through visor that add the 3D elements to the visual real world. There are also handheld augmented-reality devices and tracking with the use of GPS to add visuals to this reality.

Figure 1-5: Example of augmented reality through a webcam. The paper the boy is holding has a marker that will allow the software to know where to place the image.

Projection mapping is a new technique that can make any surface, typically large buildings, into a video display. This technique uses projectors to project onto a building a 3D animation displaying new and exciting effects such as destruction of the building or lighting on that surface. This technique has been used to create many interesting effects, and it should become a mainstay in 3D animation in the future.

The History of 3D Animation

It is exciting to be part of the 3D animation industry today. Unlike drawing, painting, and other traditional art forms that have been practiced for centuries, 3D animation is still in its infancy. New ideas and techniques are created every year. To really understand the history of the art form, you must look at the technology behind it. 3D animation would not exist without computers, and many of the breakthroughs in computers have been directly driven by the 3D animation industry.

Early Computers

Some believe the first mechanical computer was the Z1, designed by Konrad Zuse in 1938. Figure 1-6 shows a replica in the German Museum of Technology. The other computer that is often said to be the first is the Colossus in 1943. Shown in Figure 1-7, this computer was used to help British code breakers decipher German messages. Neither of these resembles today’s computers in appearance or behavior, but they put in perspective how young the 3D animation industry is, given that the tool required for this art form was invented only about 70 years ago.

Figure 1-6: Replica of the Z1 computer in the German Museum of Technology

Image © ComputerGeek, from Wikipedia

Figure 1-7: Colossus computer used to break coded messages in WWII