#Process of animation series

Once we have our models, our scene and cameras set up, we can start animating based on our storyboard. Maya interpolates between these extremes, called 'blend shapes' to allow us to combine different shapes in different proportions and make new expressions:ДЄnother way to affect the mesh is by using clusters or lattice deformers. Secondly, we need to create the extreme positions, or modes, of the face to give our character expressions. Once the joints are connected to controls, this rig is connected to the mesh through 'skinning' and then the rigger must paint weights to specify how the joints affect the mesh geometry. This allows the animator to key only the controls and not to worry about the joints. Once the joints are connected properly, the rigger adds controls to them. This type of rigging requires the animator to move every joint individually. Forward kinematics is usually used to rig the arms and the back. Inverse kinematics is usually used for legs since this allows the animators to place the foot in the correct spot and the rest of the leg will follow.

When rigging you can choose to use a combination of inverse and forward kinematics. The skeletal rig is made from joints connected together. One is constructing the skeletal rig of the model. There are two parts to rigging a character for animation in our film. The transformation of the real frog in 'Croak' from its beginning stage to the final result.ДЇor texturing, one must 'unwrap' the mesh into 2D and then paint in either 3D or 2D. Through the manipulation of vertices, faces, and edges, the original mesh is transformed into the final character. When modeling, the base object can be chosen from a cube, sphere, cylinder, cone and a other options. Given the sketches of the characters, modelers use programs such as Autodesk Maya and 3D Studio Max to create the 3D computer characters. Later on, the modelers use these sketches as guidelines when they create models in the computer. In this process, the characters and environment are created through sketches. One of the actors recording for Pixar's 'Ratatouille.'Д¬oncept design is the process where artists visualize what the director wants the film to look like.

The recordings also influence the timing in the scenes. These recordings allow the animators to gain ideas for the action based upon the movement of the actors. Before the actors are brought in to record the lines, people within the studio record scratch voices. One panel of a story board for Pixar's film 'Finding Nemo.'Д«efore the animators begin working on the different scenes, the voices are recorded for the film. This process is repeated until a final story is agreed upon. After taking into consideration the suggestions presented, the story board is redrawn with the new ideas. Then, one of the creators acts out and describes the pictures in the story to his or her colleagues in order to receive feedback. The story boarding process begins with an initial rough draft.

#Process of animation series

The story board, a series of pictures with captions that describe the outline of the story, helps in the placement of cameras and the timing of animation later on in the production process. When a film is in its beginning stages of production, the storyboard is one of the first aspects to be completed. The Steps in the Animation Production Pipeline Each part of the process is described with examples from industry and from the animated short 'Croak,' which we created with Autodesk Maya and Final Cut Pro. This project explores the production pipeline used to create a short or feature film in animation studios.