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anishortfilms · 6 years

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Animation classes for beginners

Animation classes for beginners

Beginners Guide to 3D

If you're interested in making either 3D animations visual effects video games Vr or 3D printing? Then this is the video for you this video will give you an introduction to 3D from a complete beginners? Perspective by answering these two important questions Where should I start and what software should I be using? So let's start with this first one There's a lot of buzzwords related to 3d. got 3D gaming 3D printing Animation Vr. Archive is visual effects and many more, so if you're confused don't blame you Well regardless of what field you want to specialize in a basic understanding of 3D is Necessary for all of these and what you learn in one field can often be transferred to another Like let's say you made this one character Well that character could be rigged and animated to create an animated short Or it could be exported a game engine and used as a playable character It could be 3D printed to make a little chess piece it could be injected into a Vr World or it could simply be rendered as a still image So getting started in any of these areas requires this basic understanding of 3D What are the basics well they could be summed up as follows? Modeling an object by creating a cage and moving it about till it forms the of your object textures or materials to make the surface look real when it's rendered and Lighting to create a pleasing final image when it's rendered These are what you could call the three building blocks of 3d now when you get more advanced. You'll learn about other stuff like Animation or compositing but 95% of what you want to make in 3d, we'll use these fundamentals and by the way if you're in learning any of this stuff Stay to the end of the video and I'll a video series for you to start on So that's where to start learning the fundamentals Now the next question that follows. This is a big one What software should I be using and this has made all the more daunting by the number of software choices? Now some people will say that you should be whatever the large studios are using but there's not really an industry standard studios today typically use a range of different software's for different things and Some studios like pixar use their own in-house software that isn't even available to the public But the good news is that if a studio likes your work. It doesn't matter. What software you use Art is their number one you've got a great Portfolio? You're already in Provided they're not on a tight deadline most studios will train you if you don't already use the software that they do Case in point on leonard who uses Blender when he got a job at animal logic on the Lego movie they used XSi so his first two weeks on the job was to learn it and Since he already knew the fundamentals of animation, and theory in Blender That was easily transferred to xSI and once he learned it. He was quickly up to speed with the rest of the studio So trust me lot of beginners get hung up on using. What the studio's use But it's really not that important in my opinion your priorities for choosing a software should be one it's inexpensive while learning to its functional to what you actually want it to do and three it's easy to learn so it's for these reasons that I recommend that everyone start with Blender and I don't just say this because I happen to have channel called Blender guru say it for several reasons The first reason is that of all the choices blender is the only one which is 100% free you don't have to buy expensive software licenses or apply for Limited student discounts, it's free and it always will be Now when you're just starting out This is important because you don't yet know if you'll even like 3d yet I'm just realistic here because I know people it assumed that the only way to learn 3D was to enroll at a college spend upWards of $100,000 in student loans pay for expensive software licenses and then after two years have the sudden realization The 3D wasn't what they expected Now if they had started learning Blender at home Followed some free YouTube tutorials. They would have spent $0 and Honestly, they would have enjoyed it more So blenders free but the next natural thought then is is blender as good as the expensive alternatives After all what's all that money go to if it's not to make them better Well, just like how wikipedia crusts and carter money doesn't always equal better Blunder is developed by volunteers around the world which has its pros and cons but one of the advantages is you often get features that users truly want a public company often need to do a cost-benefit analysis to justify development time to their shareholders But the real secret of Blender And this is the thing that really separates it from other open source software's is the open movies Ton Roosendaal who is the creator and founder of Blender? Realize that without a real project to test blender on that never know what features were necessary to make Blender production ready So in 2005 he came up with the idea of open movies Short films that were made with blender so they could learn the crucial features that artists need They started with elephants dream in 2005 which Led them to develop the compositor Then big buck bunny which helped them to develop for rendering syntel help them develop smoke simulation tears of steel for camera tracking and visual effects and Cosmos laundromat for improved painting and performance among other things there's even more open movies I haven't mentioned yet But if you want to binge watch some great short films while also seeing what blender can do I recommend watching cosmos laundromat? Common on Des - you can click the buttons here to watch them directly These open movies have helped to go from being a low-key hobbyist tool to something. That's truly Production-ready with Blender you could render photorealistic images model and Sculpt characters create realistic environments Architecture Fire smoke Fluid object simulations camera tracking compositing and much much more Tony derose from Pixar said that blender can do almost everything that pixar? In-house software can do and that a bunch of guys who use blender in their garage will be the next So that's what Blender can do Before I close I'll mention the final reason that I think beginners should start with Blender And that's the community in terms of search volume Blender dominates YouTube with several YouTubers like myself regularly making free tutorials on characters environments cars or virtually anything you want to make I've Heard from users of other packages that this is one of Blenders very strong points The community seems to want to give back and as a result you'll find people online That are constantly going out of their way to offer help There's an active Blender subreddit a dedicated blender stack exchange blender news site and a blender So if you're looking to get started in 3d blender is a very solid choice now I personally have been using blender for 12 years, but I started in the exact same position that you're in right I taught myself how to use Blender by following some free tutorials that I found online But today, I teach others to do the same so through this Youtube channel Blender guru I make Blender tutorials And I show people how to use blender so to help beginners like yourself what I've done is I've created a special YouTube course will show you a complete Introduction to Blender so how to use the interface and then how to do everything that I just mentioned so the basics of modeling Texturing and lighting and how to create your very first scene, so if you're complete , and you're looking to get started in Blender I recommend giving it a watch which you can do right here by clicking That little button and that will take you there otherwise. Thank you for watching and I hope to see you in the next video. Bye. As found on YoutubeAnimation classes for beginners Read the full article

#3D #3dprinting #beginner #CG #gaming #tutorial #VR

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anishortfilms · 6 years

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The Traditional Animation Process

start hey everyone today I'm going to be hey everyone today I'm going to be hey everyone today I'm going to be talking about the actual process of talking about the actual process of talking about the actual process of making a traditionally animated movie so making a traditionally animated movie so making a traditionally animated movie so last week I talked about what last week I talked about what last week I talked about what traditionally animated movie is but now traditionally animated movie is but now traditionally animated movie is but now I'm gonna say the actual process so to I'm gonna say the actual process so to I'm gonna say the actual process so to start off the process there's start off the process there's start off the process there's storyboarding so this is also the same storyboarding . so this is also the same storyboarding so this is also the same with any film really you usually always with any film really you usually always with any film really you usually always storyboard the film before you make it storyboard the film before you make it storyboard the film before you make it so this is basically just a collection so this is basically just a collection so this is basically just a collection of hand drawings saying what's gonna of hand drawings saying what's gonna of hand drawings saying what's gonna happen Nietzsche and how each scene is happen Nietzsche and how each scene is happen Nietzsche and how each scene is gonna look some of the camera angles and gonna look some of the camera angles and gonna look some of the camera angles and things like that as well as a few notes things like that as well as a few notes things like that as well as a few notes here and there and it's just used by here and there and it's just used by here and there and it's just used by everyone to know the flow of the story everyone to know the flow of the story everyone to know the flow of the story and how it's gonna work really so the and how it's gonna work really so the and how it's gonna work really so the current process used were utterly current process used were utterly current process used were utterly developed by Disney in the 1930s and developed by Disney in the 1930s and developed by Disney in the 1930s and then after the storyboard is maids comes then after the storyboard is maids comes then after the storyboard is maids comes the voice recording so voice recording the voice recording so voice recording the voice recording so voice recording is pretty self-explanatory this is also is pretty self-explanatory this is also is pretty self-explanatory this is also where a kind of basic soundtrack is made where a kind of basic soundtrack is made where a kind of basic soundtrack is made for the entire movie so this is called a for the entire movie so this is called a for the entire movie so this is called a scratch track and yeah it's very basic scratch track and yeah it's very basic scratch track and yeah it's very basic and it may change over time but it's and it may change over time but it's and it may change over time but it's just basically something for the for the just basically something for the for the just basically something for the for the storyboard to go along with in the next storyboard to go along with in the next storyboard to go along with in the next section and that next section is the section and that next section is the section and that next section is the animatic section . so this is basically animatic section so this is basically animatic section so this is basically put in the storyboard pictures from put in the storyboard pictures from put in the storyboard pictures from before along to the scratch track that before along to the scratch track that before along to the scratch track that was made in the voice recording section was made in the voice recording section was made in the voice recording section patsy patsy patsy if you nip it out mister lot clear if you nip it out mister lot clear if you nip it out mister lot clear scheme is that a box yes it's in the scheme is that a box yes it's in the scheme is that a box yes it's in the dressing table and it's basically moving dressing table and it's basically moving dressing table and it's basically moving the pictures along to the dialogue and the pictures along to the dialogue and the pictures along to the dialogue and music if there is music in the film this music if there is music in the film this music if there is music in the film this is the point where scenes can be taken is the point where scenes can be taken is the point where scenes can be taken out or timing issues can be found or out or timing issues can be found or out or timing issues can be found or scenes can be changed or anything like scenes can be changed or anything like scenes can be changed or anything like that this is before too much time and that this is before too much time and that this is before too much time and money has gone into the film so any money has gone into the film so any money has gone into the film so any problems need to be found at this point problems need to be found at this point problems need to be found at this point to avoid wasting money in the future and to avoid wasting money in the future and to avoid wasting money in the future and then comes the designing so the design then comes the designing so the design then comes the designing . So the design is sent off to the designing department is sent off to the designing department is sent off to the designing department where model sheets are made to basically where model sheets are made to basically where model sheets are made to basically show what the characters are gonna look show what the characters are gonna look show what the characters are gonna look like from different dimensions and like from different dimensions and like from different dimensions and things like that sometimes physical things like that sometimes physical things like that sometimes physical models are also made to so animators can models are also made to so animators can models are also made to so animators can get a 3d look of the character and know get a 3d look of the character and know get a 3d look of the character and know exactly also drawing from a certain exactly also drawing from a certain exactly also drawing from a certain direction and the art directors in color direction and the art directors in color direction and the art directors in color stylists also get to work coming up with stylists also get to work coming up with stylists also get to work coming up with a color scheme as well as an art style a color scheme as well as an art style a color scheme as well as an art style for the film to and then comes timing so for the film to and then comes timing so for the film to and then comes timing so timing timing timing isn't actually after the designing isn't actually after the designing isn't actually after the designing Persis it happens alongside it so this Persis it happens alongside it so this Persis it happens alongside it. so this is basically where the animatic is put is basically where the animatic is put is basically where the animatic is put to frame timings and this results in an to frame timings and this results in an to frame timings and this results in an exposure sheet being made of an egg exposure sheet being made of an egg exposure sheet being made of an egg sheet which basically is a guide for sheet which basically is a guide for sheet which basically is a guide for animators to know the timings for things animators to know the timings for things animators to know the timings for things bar sheets can also be made along with bar sheets can also be made along with bar sheets can also be made along with our instead of the egg cheese and this our instead of the egg cheese and this our instead of the egg cheese and this basically puts the actions as well as basically puts the actions as well as basically puts the actions as well as the dialogue on to music and sets the the dialogue on to music and sets the the dialogue on to music and sets the timing for both of them together and timing for both of them together and timing for both of them together and then comes the layout stage when the two then comes the layout stage when the two then comes the layout stage when the two previous stages were approved so at this previous stages were approved so at this previous stages were approved so at this point that background leo artists are point that background leo artists are point that background leo artists are gonna determine stuff like camera angles gonna determine stuff like camera angles gonna determine stuff like camera angles camera paths shading lighting and things camera paths shading lighting and things camera paths shading lighting and things like that and the character layout like that and the character layout like that and the character layout artists are gonna work out things such artists are gonna work out things such artists are gonna work out things such as character poses . how the characters as character poses how the characters as character poses how the characters move and some defining features of them move and some defining features of them move and some defining features of them throughout the film and then all these throughout the film and then all these throughout the film and then all these layout drawings that are created are layout drawings that are created are layout drawings that are created are then put together with the storyboards then put together with the storyboards then put together with the storyboards and all the rest of this stuff basically and all the rest of this stuff basically and all the rest of this stuff basically and then finally at this stage the and then finally at this stage the and then finally at this stage the animation can actually begin and at this animation can actually begin and at this animation can actually begin and at this stage another animatic is actually made stage another Animatic is actually made stage another Animatic is actually made to see if there's any final things that to see if there's any final things that to see if there's any final things that need to be changed before the actual need to be changed before the actual need to be changed before the actual animation begins and then once the animation begins and then once the animation begins and then once the animatic is approved and the directors animatic is approved and the directors . animatic is approved and the directors happy with everything the animation happy with everything the animation happy with everything the animation stage actually begins so at this stage stage actually begins so at this stage stage actually begins so at this stage is when the animators actually sit down is when the animators actually sit down is when the animators actually sit down and start animating everything out start and start animating everything out start and start animating everything out start making the characters there's lots of making the characters there's lots of making the characters there's lots of steps to this process again so I'm steps to this process again so I'm steps to this process again so I'm probably gonna make an entire video just probably gonna make an entire video just probably gonna make an entire video just saying about how the animation process saying about how the animation process saying about how the animation process actually works as in just the animation actually works as in just the animation actually works as in just the animation stage but basically there's all that stage but basically there's all that stage but basically there's all that stuff that happens and the actual stuff that happens and the actual stuff that happens and the actual animation comes out but there's actually animation comes out but there's actually animation comes out but there's actually different kind of layers to animation so different kind of layers to animation so different kind of layers to animation so all the characters are done on different all the characters are done on different all the characters are done on different layers and there's a separate person layers and there's a separate person layers and there's a separate person that does all the backgrounds so at this that does all the backgrounds so at this that does all the backgrounds so at this stage the background artists will start stage the background artists will start stage the background artists will start making all the backgrounds for the making all the backgrounds for the making all the backgrounds for the film's and just what any animated film film's and just what any animated film film's and just what any animated film you'll see that there's a lot of you'll see that there's a lot of you'll see that there's a lot of background so they've got a lot of work background so they've got a lot of work background so they've got a lot of work to do with that these bad burns are to do with that these bad burns are to do with that these bad burns are usually painted with Gucci or acrylic usually painted with Gucci or acrylic usually painted with Gucci or acrylic paint although sometimes watercolor paint although sometimes watercolor paint although sometimes watercolor paint and . Oil paint is used instead and paint and oil paint is used instead and paint and oil paint is used instead and these background artists work on-site these background artists work on-site these background artists work on-site the guides that are given to them by the the guides that are given to them by the the guides that are given to them by the backbone they are backbone they are backbone they are as well as the color stylists as this is as well as the color stylists as this is as well as the color stylists as this is done comes the ink and print and camera done comes the ink and print and camera done comes the ink and print and camera process so there's a traditional as well process so there's a traditional as well process so there's a traditional as well as a digital way to do this the as a digital way to do this the as a digital way to do this the traditional way is obviously the longer traditional way is obviously the longer traditional way is obviously the longer way so the driving sir end up being hung way so the driving sir end up being hung way so the driving sir end up being hung cells or celluloid sheets cells or celluloid sheets cells or celluloid sheets I've only it on top of each other to I've only it on top of each other to I've only it on top of each other to basically make the scene and then all basically make the scene and then all basically make the scene and then all the cells are covered by glass and then the cells are covered by glass and then the cells are covered by glass and then of. Ostrom camera takes a picture of them of Ostrom camera takes a picture of them of Ostrom camera takes a picture of them and that basically makes up a thing so and that basically makes up a thing so and that basically makes up a thing so sometimes photos are taken multiple sometimes photos are taken multiple sometimes photos are taken multiple times for the same scene and yeah that times for the same scene and yeah that times for the same scene and yeah that basically brings you to the final movie basically brings you to the final movie basically brings you to the final movie but if you go in the digital process but if you go in the digital process but if you go in the digital process it's a lot easier so these photos can it's a lot easier so these photos can it's a lot easier so these photos can either just be photocopied or they could either just be photocopied or they could either just be photocopied or they could be drawn on drawing tablets or tablet be drawn on drawing tablets or tablet be drawn on drawing tablets or tablet computers and then these can either be computers and then these can either be computers and then these can either be put over backgrounds that have been put over backgrounds that have been put over backgrounds that have been digitally scanned or backgrounds that digitally scanned or backgrounds that digitally scanned or backgrounds that were just drawn directly on the computer were just drawn directly on the computer were just drawn directly on the computer and yet these are all put together again and yet these are all put together again and yet these are all put together again and that's the movie so that's the and that's the movie so that's the and that's the movie so that's the entire process from beginning to end of entire process from beginning to end of entire process from beginning to end of making an animated movie it may seem making an animated movie it may seem making an animated movie it may seem easy from just me talking about it but easy from just me talking About it but easy from just me talking about it but the process is really hard and really the process is really hard and really the process is really hard and really time-consuming and it takes animators time-consuming and it takes animators time-consuming and it takes animators years to make just one movie and this years to make just one movie and this years to make just one movie and this isn't even taken into consideration this isn't even taken into consideration this isn't even taken into consideration this soundtrack has also made during this soundtrack has also made during this soundtrack has also made during this time - there's a lot of things that time - there's a lot of things that time - there's a lot of things that going to make in a film soundtrack but going to make in a film soundtrack but going to make in a film soundtrack but yeah that's it for this video that's how yeah that's it for this video that's how yeah that's it for this video that's how the whole traditional animation process the whole traditional animation process the whole traditional animation process works if you like this video be sure to works if you like this video be sure to works if you like this video be sure to give it a like be sure to subscribe to give it a like be sure to subscribe to give it a like be sure to subscribe to see more videos like this as well as see more videos like this as well as see more videos like this as well as movie reviews I also do in this channel movie reviews I also do in this channel movie reviews I also do in this channel and yeah hope you have a good day see and yeah hope you have a good day see and yeah hope you have a good day see you on the next video bye As found on Youtube The Traditional Animation Process Read the full article

#AmeerMatani #animationprocess #animationtraditional #celanimationprocess #celanimationprocessvideo #disneycelanimationprocess #HandDrawnAnimation #howtraditionalanimationworks #MovieMation #processofmakingtraditionalanimation #TheTraditionalAnimationProcess #traditionalanimation #TraditionalAnimationProcess #traditionalanimationprocessdefinition #traditionalcelanimationprocess #traditionaldisneyanimationprocess

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anishortfilms · 6 years

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Credited As: Stop Motion Animator

STOP MOTION ANIMATION

HOW STOP MOTION ANIMATION WORKS DIRECT FROM THE STUDIO LIFE

Alderson: I DIDN'T ALWAYS WANT TO BE A STOP-MOTION ANIMATOR. I THOUGHT I WAS GONNA BE A LIVE-ACTION FILMMAKER. YOU JUST GET BITTEN BY SOME KIND OF BUG. AND ONCE YOU'VE DECIDED THAT THAT'S WHAT YOU WANT TO DO, YOU JUST KIND OF HEAD OFF IN THAT DIRECTION! A STOP-MOTION ANIMATOR, ESPECIALLY IN REGARDS TO FILM, IS KIND OF LIKE A TRANSLATOR. OUR JOB IS TO EMBODY THE CHARACTERS WITH LIFE TO TELL THE STORY THAT WE'VE BEEN BROUGHT HERE TO DO. I'M CURRENTLY WORKING ON "KUBO AND THE TWO STRINGS." I'VE BEEN SHOOTING FOR 14 MONTHS NOW, AND WE'VE GOT ABOUT ANOTHER FOUR OR FIVE MONTHS LEFT. THESE ARE THE BIG BOARDS. THESE HAVE GOT THE SCHEDULE FOR THE FILM FROM WHERE WE ARE TODAY RIGHT UP UNTIL THE END. SO, WE'LL COME THROUGH AND WE'LL TALK WITH JARED ABOUT WHAT OUR PATH IS FOR THE FOLLOWING WEEK.SO, WE'VE GOT 6 DAYS IN THERE FOR 250 FRAMES. SO THAT'S 43 FRAMES A DAY FOR LITTLE HANZO? YEAH. YEP. Bumgarner IS THAT OKAY? THAT FEELS GOOD. YEP. THE THING THAT'S EASY TO FORGET IS THAT IT'S NOT JUST DAN -- IT'S DAN PLUS 30 OTHER ANIMATORS OUT THERE. SO THIS IS REALLY -- THIS IS LIKE A GIANT PUZZLE. IF ONE PIECE MOVES, IT TRICKLES DOWN. Alderson: IT'S LIKE THE WHOLE ORCHESTRATION OF THE FILM -IS HERE..YEAH. Alderson ...AND JARED'S CONDUCTING. SO, THE START OF THE PROCESS KIND OF -- IT BEGINS WITH AN EDIT SESSION FOR ME, IN WHICH I'LL SIT DOWN WITH THE EDITOR AND THE DIRECTOR, AND WE'LL GO THROUGH THE SPECIFICS OF THE SHOT THAT I'LL BE WORKING ON. Knight: SO HE COMES FROM THE SHROUD OF THE FOREST INTO THE SUNLIGHT HERE IN THE CEMETERY. AND SO I THINK YOU JUST WANT HIM TO HAVE THIS NICE NATURAL GAIT, MAYBE, YOU KNOW, 14, 16 FRAMES A STEP. AND THEN AS HE LIFTS HIS HEAD UP AND HE SEES THE CROWD AND WHAT THEY'RE DOING, I THINK YOU WANT JUST A LITTLE BIT OF A FALTERING IN THE WAY HE'S WALKING. Alderson: WE TRY AND KEEP ANIMATORS WORKING ON A SEQUENCE SO THAT WE KIND OF OWN THE FLOW OF IT, SO WE KNOW WHAT'S HAPPENING WITH THE CHARACTERS, WHERE IT SITS IN THE STORY, AND HOW IT ALL KIND OF RELATES TO THE BIGGER PICTURE. PART OF THE PROCESS AFTER WE'VE BEEN GIVEN THE DIRECTION IS -- AS AN ANIMATOR, IT'S NICE TO HAVE SOME REFERENCE. WE'LL COME OUT AND WE'LL FILM US PERFORMING A PIECE OF ACTING OR A PHYSICAL ACTION JUST SO WE HAVE SOME KIND OF VISUAL REFERENCE SO WE CAN KIND OF WORK OUT WHEN WE GO INTO A SHOT EXACTLY HOW WE'RE GONNA APPROACH IT. IT'S ABOUT JUST SEEING WHAT KIND OF THINGS WE CAN GATHER. AND EVEN ON THE MOST SIMPLE SHOTS, YOU CAN GET SOMETHING IN THERE THAT JUST KIND OF BOLSTERS THE SHOT UP. IT KIND OF GIVES IT A LITTLE BIT OF NUANCE AND A BIT OF EXTRA DETAIL. SO, ONCE I'VE KIND OF GOT THAT INFORMATION, THEN I WILL GO TO PUPPETS AND WILL DETERMINE IF RIGGING'S REQUIRED, WHAT KIND OF COSTUME CHANGES, ADAPTATIONS WILL BE NEEDED. WE NEED HIS SHAMISEN ON THE BACK. SO WE NEED TO OPEN UP THIS BACK RIGGING POINT. I'M GONNA NEED SOME SUPER-SUBTLE EYE MOVEMENT ON THIS ONE, AND I'M FINDING THE TOP LID IS STICKING A LITTLE TOO MUCH. I'M NOT GETTING THAT NICE TWIST THERE. FOR EXAMPLE, TO HELP HIM WALK DOWN THE STAIRS, EVERY NOW AND THEN, HE'LL NEED HELP SUPPORTING HIS WEIGHT, SO HE'LL NEED A RIGGING JUST TO HELP HIM ALONG. -HE'S GONNA NEED BUM RIG. -Weinberg: OKAY. Alderson: AND HE'S WALKING ON PRETTY FLAT GROUND, SO "X," "Y," AND "Z" WINDER AND MAYBE A TRACK. SO, JUST GETTING IT TO A PLACE WHERE I CAN START THE PROCESS. -HIS ARM'S TOO LOOSE. -Smalley-Ramsdale: OKAY. WE'VE BEEN WORKING TOGETHER FOR MANY YEARS, SO YOU DO KIND OF GET USED TO THE ANIMATORS AND HOW DIFFERENT ANIMATORS LIKE THEIR PUPPET TO BE TENSIONED. !!musiC@!!!musiC@! Weinberg: OKAY, GIVE THAT A FEEL REAL QUICK BEFORE I PUT IT IN THERE. Alderson: SO, ONCE THE RIGGING AND THE COSTUME AND EVERYTHING'S KIND OF READY, THEN I WILL TAKE THE PUPPET WITH THE RIGGER, AND WE'LL GET HIM SETTLED INTO FRAME, WORKING WITH CAMERA, WORKING ON POSITIONS, MAKING SURE IT FITS WITH THE ANIMATIC AND THE SHOT'S GONNA LOOK AS IT'S SUPPOSED TO. Werner: HOLLY TO NIKKI. Nikki: HEY, HOLLY. Werner: NIKKI, WE'RE READY FOR FINALS ON YELLOW FIVE. Alderson: ONCE WE'VE KIND OF FINALIZED THE SHOT, THEN WE GET ALL THE TEAMS TOGETHER TO KIND OF MAKE EVERYTHING LOOK ABSOLUTELY THE BEST THAT IT CAN BE, BECAUSE THE FINAL SHOT IS ESSENTIALLY A PERFORMANCE. AND ONCE WE START DOING IT, THEN WE'RE USUALLY IN THE ZONE UNTIL THE END OF THE SHOT. THAT'S THE MOMENT -- JUST BEFORE YOU LAUNCH -- THAT YOU GET TO CHANGE ANYTHING AND PRETTIFY EVERYTHING. AND THEN THE CURTAINS CLOSE AND YOU'RE KIND OF LEFT ON YOUR OWN. THAT'S THE TIME TO JUST KIND OF SHUT EVERYTHING OFF AND GET ON WITH IT. WHICH IS THE BEST PART. SHOWING THERE'S, LIKE, AN INTERNAL PROCESS HAPPENING WITHIN THIS KIND OF BIT OF PLASTIC, THERE'S SOMETHING IN THERE THAT MAKES YOU STOP AND THINK THERE'S A PERSON HERE, THINKING AND FEELING. IF YOU'RE WALKING, YOU KNOW, THE FEET HAVE TO BE IN THE RIGHT PLACE, THE HIPS HAVE TO BE IN THE RIGHT PLACE. THE TORSO HAS TO BE TWISTING IN THE RIGHT WAY. OTHERWISE, IT DOESN'T LOOK RIGHT. WE ALL KNOW WHAT SOMEBODY WHO'S WALKING LOOKS LIKE. YOU KNOW IF IT'S WRONG. THIS IS AN X-SHEET, OR A DOPE SHEET. AND IT'S BASICALLY SHOWING ON THE LEFT SIDE THE FRAME NUMBER SO WE CAN WORK OUT EXACTLY WHAT'S GONNA HAPPEN IN OUR SHOT. IF A CHARACTER'S WALKING, WE CAN MARK EXACTLY WHEN THE STEPS ARE SUPPOSED TO HAPPEN. BUT MORE IMPORTANTLY, IT'S USED FOR DIALOGUE. SO THE FACIAL ANIMATION WILL BE WORKED OUT BEFOREHAND, 3D-PRINTED. AND THIS WILL TELL US EXACTLY WHERE WE'RE SUPPOSED TO CHANGE THE FACE SHAPE. WE TAKE THAT IMAGE, WHICH PUTS IT NEXT TO THE FIRST ONE AS I'M SLOWLY BUILDING UP A SHOT. IT'S HUGELY TECHNICAL IN TERMS OF FIGURING OUT WHAT YOU'RE GONNA DO IN WORKING WITH ALL THE DEPARTMENTS. BUT FOR ME, I THINK A GOOD ANIMATOR IS SOMEBODY WHO JUST HITS THE EMOTION OF WHAT YOU'RE DOING PROPERLY. THAT'S THE MOST IMPORTANT THING IN TERMS OF TELLING A STORY. Knight: ALL RIGHT, SO... WHAT DO WE GOT HERE? IT'S BASICALLY -- IT'S BRINGING THEM TO LIFE. IT'S SHOWING CHARACTERS BEING ALIVE AND SHOWING A CONNECTION OR THOUGHT PROCESS, AS WELL. Knight: IT'S PERFECT. IT'S EXACTLY WHAT I WANTED. Alderson FROM WHEN I FIRST STARTED ANIMATING, PEOPLE HAVE ALWAYS SAID THAT MY WORK HAS AN EMOTIVE QUALITY TO IT, SO PEOPLE RESPOND TO IT. THEY ACTUALLY FEEL LIKE THEY UNDERSTAND WHAT THE CHARACTER'S GOING THROUGH. AND SO BEING GIVEN THE OPPORTUNITY TO DO THAT IS THE MOST SATISFYING THING. !!musiC@!!!musiC@!. As found on Youtube STOP MOTION ANIMATION SOME BEST SHORT FILMS Read the full article

#AcademyAwards(Award)#academyoriginals #Animation(TVGenre)#Animator(Profession)#beststopmotionmaking #credit #creditedas #danielalderson #FantasticMr.Fox(Award-WinningWork)#filmcredits #Laika #oscars #ParaNorman(Film)#StopMotion(TVGenre)#stopmotionanimation #TheBoxtrolls

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anishortfilms · 6 years

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Pixar: The math behind the movies - Tony DeRose

At Pixar, we're all about telling stories, but one story that hasn't been told very much is the huge degree to which math is used in the production of our films. The math that you're learning in middle school and high school is used all the time at Pixar. So, let's start with a very simple example. Anybody recognize this guy? (Cheers) Yeah, so this is Woody from Toy Story, and let's ask Woody to, say, walk across the stage from, say, left to right, just like that. So, believe it or not, you just saw a ton of mathematics. Where is it? Well, to explain that, it's important to understand that artists and designers think in terms of shape and images but computers think in terms of numbers and equations. So, to bridge those two worlds we use a mathematical concept called coordinate geometry, right? That is, we lay down a coordinate system with x describing how far something is to the right and y describing how high something is. So, with these coordinates we can describe where Woody is at any instant in time. For instance, if we know the coordinates of the lower left corner of that image, then we know where the rest of the image is. And in that little sliding animation we saw a second ago, that motion we call translation, the x coordinate started with a value of one, and it ended with a value of about five. So, if we want to write that in mathematics, we see that the x at the end is four bigger than x at the start. So, in other words, the mathematics of translation is addition. Alright? How about scaling? That is making something bigger or smaller. Any guesses as to what the mathematics of scaling might be? Dilation, multiplication, exactly. If you're going to make something twice as big, you need to mulitply the x and the y coordinates all by two. So, this shows us that the mathematics of scaling is mulitiplication. Okay? How about this one? How about rotation? Alright, spinning around. The mathematics of rotation is trigonometry. So, here's an equation that expresses that. It looks a little scary at first. You'll probably get this in eighth or ninth grade. If you find yourselves sitting in trigonometry class wondering when you're ever going to need this stuff, just remember that any time you see anything rotate in one of our films, there's trigonometry at work underneath. I first fell in love with mathematics in seventh grade. Any seventh graders? A few of you? Yeah. My seventh grade science teacher showed me how to use trigonometry to compute how high the rockets that I was building was going. I just thought that was amazing, and I've been enamored with math ever since. So, this is kind of old mathematics. Mathematics that's been known and, you know, developed by the old dead Greek guys. And there's a myth out there that all the interesting mathematics has already been figured out, in fact all of mathematics has been figured out. But the real story is that new mathematics is being created all the time. And some of it is being created at Pixar. So, I'd like to give you an example of that. So, here are some characters from some of our early films: Finding Nemo, Monsters Inc. and Toy Story 2. Anybody know who the blue character in the upper left is? It's Dory. Okay, that was easy. Here's a little harder one. Anybody know who's the character in the lower right? Al McWhiggin from Al's Toy Barn, exactly. The thing to notice about these characters is they're really complicated. Those shapes are really complicated. In fact, the toy cleaner, I have an example, the toy cleaner there in the middle, here's his hand. You can imagine how fun it was to bring this through airport security. His hand is a really complicated shape. It's not just a bunch of spheres and cylinders stuck together, right? And not only is it complicated, but it has to move in complicated ways. So, I'd like to tell you how we do that, and to do that I need to tell you about midpoints. So, here's a couple of points, A and B, and the line segment between them. We're going to start out first in two dimensions. The midpoint, M, is the point that splits that line segment in the middle, right? So, that's the geometry. To make equations and numbers, we again introduce a coordinate system, and if we know the coordinates of A and B, we can easily compute the coordinates of M just by averaging. You now know enough to work at Pixar. Let me show you. So, I'm going to do something slightly terrifying and move to a live demo here. So, what I have is a four-point polygon here, and it's going to be my job to make a smooth curve out of this thing. And I'm going to do it just using the idea of midpoints. So, the first thing I'm going to do is an operation I'll call split, which adds midpoints to all those edges. So, I went from four points to eight points, but it's no smoother. I'm going to make it a little bit smoother by moving all of these points from where they are now to the midpoint of their clockwise neighbor. So, let me animate that for you. I'm going to call that the averaging step. So, now I've got eight points, they're a little bit smoother, my job is to make a smooth curve, so what do I do? Do it again. Split and average. So, now I've got sixteen points. I'm going to put those two steps, split and average, together into something I'll call subdivide, which just means split and then average. So, now I've got 32 points. If that's not smooth enough, I'll do more. I'll get 64 points. Do you see a smooth curve appearing here from those original points? And that's how we create the shapes of our charcters. But remember, I said a moment ago it's not enough just to know the static shape, the fixed shape. We need to animate it. And to animate these curves, the cool thing about subdivision. Did you see the aliens in Toy Story? You know that sound they make, "Ooh"? Ready? So, the way we animate these curves is simply by animating the original four points. "Ooh." Alright, I think that's pretty cool, and if you don't, the door is there, it doesn't get any better than that, so. This idea of splitting and averaging also holds for surfaces. So, I'll split, and I'll average. I'll split, and I'll average. Put those together into subdivide, and this how we actually create the shapes of all of our surface characters in three dimensions. So, this idea of subdivision was first used in a short film in 1997 called Geri's Game. And Geri actually made a cameo apperance in Toy Story 2 as the toy cleaner. Each of his hands was the first time we ever used subdivision. So, each hand was a subdivision surface, his face was a subdivision surface, so was his jacket. Here's Geri's hand before subdivision, and here's Geri's hand after subdivision, so subdivision just goes in and smooths out all those facets, and creates the beautiful surfaces that you see on the screen and in the theaters. Since that time, we've built all of our characters this way. So, here's Merida, the lead character from Brave. Her dress was a subdivision surface, her hands, her face. The faces and hands of all the clansman were subdivision surfaces. Today we've seen how addition, multiplication, trigonometry and geometry play a roll in our films. Given a little more time, I could show you how linear algebra, differential calculus, integral calculus also play a roll. The main thing I want you to go away with today is to just remember that all the math that you're learning in high school and actually up through sophomore college we use all the time, everyday, at Pixar. 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