Storyboarding Basics

Storyboarding Basics

The Basic of Storyboarding

Kshitij Vivaan (Training Partner of MAAC Ahmadabad C.G Road) offers career courses in Animation, VFX, graphics, web designing & gaming for students from different cities of Gujarat such as Chittorgarh and Dungarpur. MAAC helps these students get the best job placements according to their skills and talents to get the best start to their Professional Careers.

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Difference between Material and Texture

Difference between Material and Texture

Difference between Material and Texture

There are few fundamental distinctions between materials and textures. For example, you cannot apply a texture to a static mesh or BSP geometry. Textures have to be a part of the material. The material is what you would use to texture the environment and apply to Static Meshes. In material, you can adjust reflection, refraction. Texture is the one property of the material to give the feel of the surface.

A texture is an image. Straight out of paint, gimp, Photoshop etc. The material is the details of what an object should look like. Most materials take textures as a parameter. There are many cases where a material takes multiple textures. For example, one texture might define color, another transparency, another normal and so forth. Here are the difference between a Material and Texture.

Click on Link: Difference Between Textures and Materials

 

Difference Between Material and Texture

Material

  • Textures and MaterialsThe Material is the skin that covers the model there’s a set of properties associated with each material changing these properties produces a different material.
  • Materials are made up of various textures combined in the Material.
  • Materials include various textures and material expressions that create a network of nodes.
  • The final result is a material you can use to apply on your geometry and Static Meshes.

Texture

  • Material and TextureThe texture is the image or the picture the will be applied to one property of the Material like (diffusion “color”, opacity, bump, reflection, etc.)
  • The texture is a single file a 2d static image. It is usually a diffuse, specular or a normal map file that you would create in Photoshop as a tga, tiff, bmp, png file.
  • These can be manipulated photographs, hand-painted textures or textures baked in an application such as xNormals.

 

MAAC Ahmadabad Satellite Road encourages students to make a creative Animation. A students from different parts of the cities such as Kota, Bikaner, Join Maac Animation Courses Ahmedabad to learn various Animation Courses.

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Basic Rule of Composition

Basic Rule of Composition

Basic Rule of Composition

The arrangement of visual elements in an image. To emphasize the subject, mood, action of an image and make it both easily understood and aesthetically pleasing to the viewer.

The compositing and Editing includes Color, Shape, Line, Contrast, Positioning, Viewpoint, Rhythm, Perspective, Proportion and Geometry.

Click on Link: Editing and Color Correction

 

Basically, it includes everything in an image.

6 Basic Rule of Composition

[1] The Rule of Thirds

Divide your image into thirds and place your focal points near the intersections.

The Rule of Thirds

The Golden Means

Divide your image into eights and place your focal points near the intersection of 3/8 & 5/8.

The Golden Means

This results in a more pleasing, balanced image.

The Golden Means
The Golden Means
The Golden Means

Do not bisect your image horizontally or vertically. Do not place important objects too close to the edge.

The Golden Means
The Golden Means

[2] Positioning

Besides the rule f thirds or the Golden Mean, there are some other guidelines for positioning the focal points in image:

1. A central Composition can be compelling and attention-grabbing, Symmetry enhances the feeling of respect, authority and dignity.

 Positioning

2. For a more dynamic image, make sure you vary the heights and sizes of your image elements.

Positioning

3. Unless you want to show that those elements are the equal point of view.

4. The Heavier the visual “Weight” of an image element, the nearer is should be placed in the middle of your image. Think of how you balance unequal weights on a seesaw. Also known as the “Fulcrum-lever” principle.

Positioning
Positioning

5. To create depth and interest, overlap objects in the image.

Positioning

6. Beware of Tangents which are areas where a line or object just touches another line or object.

Positioning

[3] Shapes and Lines

1. Horizontal Shapes are perceived as stable and calm.

Shapes and Lines

2. Vertical Shapes imply energy and growth.

Shapes and Lines

3. Diagonal Shapes are the Most Dynamic. They can imply movement or tension.

Shapes and Lines

4. Think about the mood of the image and the shapes that fit that mood. If an image feels boring, it probably needs more diagonals. Curves are more dangerous.

Shapes and Lines
Shapes and Lines

5. Triangles are a solid compositional shape. Arranging the focal points of your image in a triangular pattern leads the eye around the page.

Shapes and Lines

6. Circles also catch the viewer attention. You can use this to your advantage by flagging your focal point with a circle.

Shapes and Lines

[4] Rhythm and Repetition

1. Repeating the same types of shapes or lines within your image creates a pleasant rhythmic flow which you can also strategically break, to create a focal point or show contrast.

Rhythm and Repetition
Rhythm and Repetition
Rhythm and Repetition

2. Repeating similar elements in an organized arrangement emphasizes structure and formality whereas similar clustering elements create a more natural layout.

Rhythm and Repetition
Rhythm and Repetition

[5] Cropping

The way you crop image helps give it context. Plus some types of the image fit more naturally in a horizontal Space or vertical space. When you have a choice, use this to your advantage.

1. Landscapes often work well in a horizontal orientation. When the background overshadows a figure, the image becomes more focused on the power of the environment rather than the figure.

Cropping

2. Portraits or full-body image often fit well in a vertical orientation. Cropping an image closer to a figure brings the focus to the figure thoughts or actions. Never crop a figure at a joint such as neck, knee, wrist, waist, elbow, etc.

Cropping

3. A Vertical orientation helps to emphasize a height difference. Cropping off part of an action or object gives an illusion that it continues beyond the frame.

Cropping

4. Cropping out unnecessary objects or backgrounds can help bring focus to your subject.

Cropping
Cropping

5. Leaving room in front of a perceived action helps to create a sense of movement and space.

6. Allowing some extra room in the direction that a face is looking also helps to create “space”.

Cropping
Cropping

[6] Viewpoint

The Viewpoint you choose influences the viewer understanding of your illustration and which figure they identify with.

1. Viewing a figure or object from a low angle makes it appear dominant or intimidating.

Viewpoint

2. Unsurprisingly, viewing a figure or scene from a high angle has the opposite effect.

Viewpoint

3. Viewing a separate scene from within illustration can be a great way of showing a division or contrast. It is also a nice framing device.

Viewpoint

4. The Viewer will tend to identify with whatever character is most visible. Generally, it is the character that is closer to the viewer but could also be the character (3D Animation Movie) with the most readable face.

Viewpoint
Viewpoint

Keep this in mind if you are trying to show a hero/villain showdown.

Kshitij Vivaan (Training Partner of MAAC Ahmadabad C.G Road) offers career courses in Animation, VFX, graphics, web designing & compositing editing plus for students from different cities of Gujarat such as Bhavnagar and Surendranagar. MAAC helps these students get the best job placements according to their skills and talents to get the best start to their Professional Careers.

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3d Artist Career Option

3d Artist Career Option

3d Artist Career

MAAC Ahmadabad Satellite Road encourages students to make a creative Animation. A students from different parts of the cities such as Kota, Bikaner, Join Maac Animation Courses Ahmedabad to learn various Animation Courses.

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20 Steps to Make a 3D Animation Movie

20 Steps to Make a 3D Animation Movie

Make a 3D Animation Movie

The 3d animation production pipeline is the path by which an animated movie goes from a creator’s brain to the screen for the world to see. Understanding the process of all the elements is the first step to creating the vision.

Before starting the animation movie (3D Animation Film making), first, you need to have a plan that includes the scope of the project, the budget and the team you need to help your production to life.

Understand the animation workflow is essential to successfully manage your production so that is can get made promptly and can be completed on budget.

We have broken down the 3d animation production process into the steps that identify each phase so that you can create a better plan for the smoother experience for everyone involved.

20 Steps to Make a 3D Animation Movie

 

PRE-PRODUCTION

1. Story

It is the essence of the piece you are going to create.

It is the great movie idea you have developed.

It is the “vision” of the film. At the stage, the creators need to write and develop the script.

This is the reference point for all the other elements involved in the production process.

2. Storyboarding

This is where the script is broken down into scenes and drawn into panels much like a graphic novel.

The storyboard allows the director to envision the movie so he/she can decide what works and won’t work in the movie and make appropriate creative decisions with the other artists involved in this stage of the production.

Click on Link: How to Create a Storyboard Using After Effects

3. Editorial

Once the storyboard is finalized, they are sent to the editorial person who will then create an animatic out of the boards.

Working closely with the create an animatic out of the boards. Editorial will slow the various beats of a story with the rough timing and dialogue where necessary.

The reel that the editorial creates includes the storyboard images, scratch voices and temporary music and sound effects. It becomes the foundation of the movie.

Once the script and animation are complete, the voice talent records the final dialogue for the movie.

Editorial swaps out the scratch dialogue with the real dialogue.

4. Visual/Look Development

Visual development and the concept artists create the film look like including fully designing elements such as character, props, color pallets and backgrounds.

It gives the director and team a clear path forward as they go into production, so they know what the look is that they are shooting for.

5. Pre-Visualization

Pre-Visualization is where artist work with the script and storyboards to create the film in a 3-dimensional environment on the computer.

It is the gateway to animation production and if the time is put in so that the characters and environment are to scale this work can often be used to go directly into animation.

 

PRODUCTION

6. Modeling

Modelers transform the 2D concept art into the 3d models. They sculpt the characters, sets and props in 3D and refine them until the director is satisfied.

7. Surfacing

Surfacing artists create colors, textures and shader for characters, props and sets.

They work to ensure the textures match the approved concept art and designs created by the art department; i.e. visual development.

8. Rigging

Riggers build and attach 3D skeletons to the characters.

This skeleton becomes the “puppet” that the animators use to bring the characters to life.

Riggers create and place the controls that move the joints of the “puppet” and allow the animators to move the face and body so that the character can act and emote per the needs of the story.

9. Layout / Set dressing / Animation Preparation

Animation Preparation is the artists who place the artwork from the other departments into the 3-dimensional environment.

They also do set dressing, and stereo composition, if necessary.

10. Character Animation

Character animators bring the characters to life.

3D animators use a computer to pose the character using the rig that was created by the rigging department.

Character Animators are the actors in the animation.

Their job is to figure out how to tell the story through movements and expressions.

The character animators often act out scenes via video to use as the reference for their animation.

11. Crowds

The crowd’s department is responsible for the “extras” in large crowd scenes in the movie.

They work to create realistic looking actions for the crowd characters in the movie.

12. Character Effects

Character effects artists are responsible for everything that is moving on a character including clothing, hair, or feathers. They also create any interactions of the character with the objects.

For example, when a character sits on a couch, they are the artists who make the couch cushions bulge.

Make a 3D Animation Movie

13. FX Artists

FX artists are responsible for all the little details you take for granted in live productions such as what happens when there is an explosion or an action that leaves traces such as footprints.

FX artists must ensure that these details provide realism and support to the story.

14. Technical Director

Technical directors are responsible for problem-solving and troubleshooting any issues that occur in the production pipeline.

15. Matte Painting

The matte painting department creates everything outside the set including mountains, skies, and cityscapes.

They use color keys.

They create paintings that are the images the slide into the background of the animation.

Create the look of the world that lives inside the animation.

16. Lighting

Lighting is a key element that takes the 3D elements and 2D visual development work to create the look and tone.

There is a great deal of technical direction that happens at this stage.

 

POST PRODUCTION

17. Compositing

Composite is where additional elements are brought together with final rendered frames from lighting such as atmospheric elements.

The depth of field and color tweaking happen at this stage.

This is where the final look of a film comes together.

A good compositor can make a good shot look outstanding.

18. Music and Sound Design

Final edit must be locked before these elements are added.

Changing things by a few frames will throw sound design and the score off as they work to time things to the frame.

That is why this is typically left to the final stage of production.

19. Editor

Whenever new animation, lighting or compositing comes in for review, this is pulled into the edit by editorial.

They work to keep the production in sync with the latest work so that it is as current as possible.

First, the film is in editorial via boards and previs.

The animation, lighting and comp replace those elements as they come in.

20. Color Grading

Color grading is often the last stage of a production’s look.

Although lighters and compositors work to have consistency, they are often only working on a small part of the film.

The color graders job is to ensure the picture is consistent throughout each sequence, so there are no jarring changes in the light or look.

 

KSHITIJ VIVAN is an authorized training partner of MAAC Ahmedabad at CG Road and Satellite Road. Students from different cities of Rajasthan such as Chittorgarh and Udaipur come here to join Maac Animation courses. MAAC also helps these students to get the best job placements according to their talents and skills to get the best start in their Professional Careers.

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