things to draw that has 3d affect

Many people are dislocated when they meet the word '3D' tagged on in front of the words 'Animation Studio'.

Although blitheness has been with u.s.a. for as long as a few decades now, the concept of animation still seem pretty much magical to the layman. 'How exercise you lot make drawings come alive on screen?' is what they ordinarily ask. With the invention of 3D animation technology, the concept of animation becomes even more hazy and mystical to the layman. They still refer to 3D blitheness as 'drawing' and know not a matter about the procedure that goes on behind 3D animation.

As the owner of a 3D animation studio, I feel that it is very of import to educate our clients on what goes on behind 3D animation production. The knowledge will not just aid them appreciate the service better, only too helps to facilitate the process of collaboration and manage their expectations. This is important because it helps our clients accomplish what they want and allows u.s. to communicate effectively with them.

For this purpose, I've written this article – which hopes to demystify the process of a 3D animation production and unveil what goes on behind the airtight doors of a 3D animation studio.

Become prepared for an educational journey!

TVC Showreel from Mediafreaks on Vimeo.

A key player in the blitheness industry in Singapore, Mediafreaks is an animation production company that focuses on working closely with producers, distributors, broadcasters and partners worldwide to produce original television content and high-end animation for broadcast and marketing purposes.
Established in 2003, Mediafreaks has since produced hundreds of projects spanning from animated cartoon series to idiot box commercials to CGI for documentaries to medical and architectural visualization piece of work.
Mediafreaks focuses mainly on providing service work and its sis companies Mediafreaks Cartoon and Grapheme Farm create their own original animated content for export into the international market for circulate and licensing.

So What Is 3D Animation?

Practise not exist fooled by the seeming simplicity of this question.

I was really quite tempted not to write this commodity because information technology's such a hard topic to write on. It tin exist answered as complicated every bit you want it to exist or every bit short as yous desire. The affair is, I demand to permit clients know how complicated the process is, but non to let them walk abroad confused. Proverb that I will try my best to answer this question in the near concise but uncomplicated mode possible.

In a nutshell, calculator 3D animation refers to the work of creating moving pictures in a digital surround that is three-dimensional. Through the careful manipulation of objects (3D models) inside the 3D software, we can then export movie sequences which will give the illusion of movement (animation) based on how nosotros manipulate the objects.

What happens in animation is that movement is simulated in a way that the eyes tend to believe that bodily motion has taken place while the fact is the perceived sense of motion is only because of the consecutive images that are passed through very fast.

This theory is inherent be it for 3D, 2d or stop motion animation.

In traditional 2d animation, pictures are hand-drawn and every one showing subtle changes from the previous. When played dorsum sequentially, information technology creates the illusion of motion. In terminate motion animation, existent-life models are moved slightly and filmed. Again, the pictures will create the illusion of motion when played back. In 3D animation, everything is washed within the estimator and exported from the calculator.

The procedure of creating 3D animation tin can be sequentially divided into 3 phases: modelling – which describes the process of creating the 3D objects within a scene, layout and animation – which describes how objects are positioned and animated within a scene, and rendering – which describes the final output of the completed computer graphics. Through the combination of the to a higher place phases and a few other sub-phases, this completes the process of a 3D animation product.

In that location is much software in the market for creating 3D animation, ranging from the cheaper lower-stop ones to the professional high-end versions. If you lot are curious to run across how a 3D software works, you can download a free ane called Blender. Just Google it and you lot will exist able to observe its official website.

second Cel animation involves illustrating many pictures of a scene in diverse phases of movement and flipping through them quickly digitally to create the illusion of movement or animation.

3D computer blitheness is a costlier and time-consuming process compared to 2D animation as information technology involves many more steps.

Finish-motion animation is a painfully tedious process and involves tweaking the models fleck past fleck!

What's the Divergence between 2D and 3D anyway?

Isn't information technology obvious? Errr…not quite…read on to find out why.

The beginning concept y'all must grasp is that 3D ways iii dimensional and 2D ways ii dimensional. Now before you think I'g stating the obvious, let me go on to say that the 3D and 2nd in animation refer to the dimension in which the animation was created. Ahhhh. The plot thickens eh?

For 2nd animation, everything happens on a 2-dimensional platform. Pictures are flat, without depth and offer only one perspective. Objects and characters are normally fatigued without the subtle soft shadows we see in real life and colours take few varying shades. In 3D animation, everything happens on a 3-dimensional platform. Pictures have depth and offering multiple perspectives just similar in existent life and have soft subtle shadows cast on the objects and characters within.

In 2d, characters await cartoonish and unrealistic. In 3D, characters tin can look cartoonish only realistic at the same time.

Super Mario in 2D and 3D, Copyright(C) Nintendo. Encounter the divergence?

Another way to think of this is to think in terms of a painting and a sculpture. second is a painting, and 3D is a sculpture. 3D introduces "depth perspective," then we not simply see a rectangle (2d) simply a CUBE (3D). You may besides desire to retrieve of information technology like being the difference between a photograph of a drinking glass of h2o (2D) and being able to accomplish out and actually selection upwards the glass of water (3D).

You could start training yourself by comparing a drawing-like Bugs Bunny, Aladdin, Panthera leo King (2D) to "Toy Story 1, 2 & 3, "Finding Nemo" and "Incredibles" (3D). If y'all have non watched whatever of these dandy cartoons, you should grab ane correct away or exist branded Neanderthals forever!

Typically, 2d involves "drawing," or motion on, say, a flat surface (sketch pad, etc.) or in the vertical and horizontal planes. 3D involves "modelling," i.e., creating objects in 3-dimensions using a computer software, residing in an expansive virtual environs, complete with lights, reflections, other objects, shadows, etc.

Is 3D Blitheness an Offspring of 2d Blitheness?

Many people have the idea that 3D blitheness stemmed as a progression from 2D animation. While not entirely untrue, this is definitely not the whole truth as well.

If we have to make some class of a link, then I would say that 3D animation has more of its roots in stop-move animation than in traditional hand-fatigued second animation. The finish-movement moving picture techniques were used very well in the 1963 moving picture Jason and the Argonauts by Ray Harryhausen, although they have actually been around since the very early days of film in the late 19th century. But information technology was Ray Harryhausen who really brought the technique to life.

You lot might want to know also that the original Rex Kong movie produced in 1933, also used finish-motion techniques extensively.

Comparing 3D animation and stop-move, nosotros can actually come across where the similarities are.

For stop motion, it involves taking a model and filming one frame at a time. Slight changes are made to the model and then filmed again. This is to simulate motility. By building up frame later on frame and playing it back at betwixt 12 and lxx frames per second, the model looks like it is moving. This is a very painstaking process and by no means a walk in the park!

3D animation uses a like method but it is created using computers. Everything is controlled within the computer and the output is automated past the computer after you central in the instructions. It is decidedly less tiresome physically compared to stop-movement animation, just the fundamentals are similar in nature.

Even the lighting, texturing and photographic camera aspects of both animation methods share the aforementioned fundamentals, with the exception that one happens in reality, and the other on the computer.

I would call up that for a stop-motion artist to transit over to 3D animation and vice versa, information technology would be a lot easier and faster, equally opposed to a 2d artist. And having said that, I would end this section by proverb again that 3D animation smells more like an offspring of stop-motion animation than second blitheness.

The Procedure of 3D Animation

In that location are probably more steps to 3D animation than you lot think there are!

The process of a 3D blitheness pipeline is complex and can be a lot more complicated than any other forms of animation.

Depending on what project and which 3D blitheness studio is involved, the number of steps may vary.

In this lens, I've identified and illustrated the 11 near common steps involved in producing a 3D animation project.

They are namely:

1. Concept and Storyboards
   ii. 3D Modelling
   iii. Texturing
   4. Rigging
   v. Blitheness
   6. Lighting
   vii. Camera Setting
   8. Rendering
   9. Compositing and Special VFX
   10. Music and Foley
   11. Editing and Final Output

Step ane | Concept and Storyboards

A storyboard for Mighty Pups – a cartoon serial past Mediafreaks!

The very offset step involved in a 3D production pipeline is the conceptualization of ideas and the creation of the storyboards that translate these ideas into visual form.

A storyboard is a sequence of illustrations that showcase your digital story in two dimensions. The first dimension is time: what happens first, side by side, and final. The second is of interaction: how does the voiceover (your story) interact with the images, how do visual transitions and effects aid tie together the images, how does the voice overs interact with the musical soundtrack? Any element can interact with whatever other one, and the storyboard is the place to plan out the impact yous intend to brand on the audience.

Footstep 2 | 3D Modelling

3D Modelling is not drawing!

After the storyboards are finished and approved by the client, the job of building the props, environment and characters begin. The proper term is called 'modelling'.

Modelling is the process of taking a shape and moulding information technology into a completed 3D mesh. The nearly typical means of creating a 3D model is to take a simple object, called a primitive, and extend or "abound" it into a shape that tin be refined and detailed. Primitives can be annihilation from a unmarried bespeak (called a vertex), a two-dimensional line (an edge), a curve (a spline), to three-dimensional objects (faces or polygons). Using the specific features of your chosen 3D software, each one of these primitives can be manipulated to produce an object. When you create a model in 3D, you'll usually learn one method to create your model, and go back to information technology fourth dimension and again when y'all need to create new models. There are three basic methods you can use to create a 3D model, and 3D artists should understand how to create a model using each technique.

Step iii | Texturing

The art of giving clothes to the 3D models.

When a 3D model is created, 2nd images can be overlaid on information technology to add colours, designs, and textures. This is called mapping, and oft the entirety of a model's colour comes from this. These maps tin can be created in programs similar Photoshop, and the illusions of textures can be brushed onto the models as easily as if y'all painted them yourself; some animators fifty-fifty use real photographs of the textures they're trying to create, simply captured and so contradistinct to make seamless repeatable patterns. This is how many illusions of hair are created; rather than model individual strands, instead of grouped locks of hair are modelled, before a texture is overlaid with individual strands and details painted on.

Step 4 | Rigging and Skinning

We've gotta put in those skeletons into a 3D character before he can motility!

Setting upwardly a character to walk and talk is the last phase earlier the process of character animation tin can begin. This stage is called 'rigging and skinning' and is the underlying organization that drives the movement of a graphic symbol to bring it to life.

Rigging is the procedure to set up a controllable skeleton for the character that is intended for animation. Depending on the subject matter, every rig is unique and so is the corresponding set of controls.

Skinning is the process of attaching the 3D model (skin) to the rigged skeleton so that the 3D model tin can be manipulated past the controls of the rig.

Footstep 5 | Animation

At present you know animation doesn't always come first in 3D animation huh?

Animation is the procedure of taking a 3D object and getting information technology to move. Animation comes in a few different flavors. There's keyframe animation, where the animator manipulates the objects on a frame-by-frame footing, similar to onetime hand-drawn cartoons. Other methods of blitheness include placing objects on splines and setting them to follow the path of the curve, or importing motion capture information and applying it to a character rig. Nonetheless some other way to animate is to utilize your 3D application's built-in physics engines, such as when your scene requires that objects fall.

Footstep 6 | Lighting

Lighting in a 3D world is just as essential as information technology is in existent life.

Lighting, (in combination with textures, camera angle etc.) is where a scene has the potential to come up alive. Used improperly, lite can wash out a scene, make objects appear difficult or flat, and destroy all the hard work. But skillfully practical, lighting can make a scene convincing, or if realism is the aim, create (in combination with materials and geometry), a scene that is well-nigh indistinguishable from existent life.

In 3D, lights don't actually be as they do in the real world. Lights in 3D are objects that are designed to simulate how lighting works in existent life, simply in society to obtain the results yous're after, you take to apply a number of settings, not only to the lights, but to the materials.

Step 7 | Camera Angles and Techniques

Proficient photographic camera angles and techniques make the difference betwixt good cinematography and bad ones.

A camera is an amazing tool. In 3D, unlike the real world, physical limitations don't exist. Y'all can create a scene where the camera takes you on a journey inside the blood vessels of a human being torso, or to be an eye-in-the-heaven in your scenes, it tin can be used to create impossible perspectives, to zoom and pan then much more than. It's beyond the scope of this article to tell you everything about cameras, but here are some basics to get yous started.

First, it'south useful to look at some of the differences between 3D cameras and real-life cameras. In 3D, unlike in real life, at that place is no demand for a lens, focusing controls, film, discontinuity, etc. All of these functions are controlled via software. Where things are similar is how the camera is used. In 3D, you tin create i or more cameras, position them exactly as desired in 3D infinite and use settings to mimic focal length, depth of field, etc. Other options for moving a 3D camera are like to those in movie making, including truck, dolly, movement blur, orbit and pan.

In addition, software cameras take no size or weight restrictions. You can movement a camera to any location and even inside the tiniest objects. You can besides animate cameras then that several operations take place at one time, such as a zooming into a scene while changing the depth of field. Once you create a camera in 3D, you can pick a view and assign the view in that view to the photographic camera, pregnant that you will come across the scene from the perspective of the camera.

Step 8 | Rendering

This is where the graphics go 'made' and exported…but it's not the end all the same!!!

Rendering an epitome is typically the last step in the 3D production pipeline (only not the last step in the overall production pipeline), and is perhaps the most of import office. It is a stride oft overlooked or glossed over by beginners, who are more than focused on creating models and animating them. There are many aspects to creating a good final render of a scene, including attention to camera placement, lighting choices which may affect mood and shadows, reflections and transparency, and the handling of special effects, like fluids or gasses.

Footstep 9 | Compositing and Special FX

The renders are brought into compositing programs to edit, touch-up and add together on special effects

This is where the concluding renders are brought into compositing programs to edit, affect-up and add on special effects.

Compositing includes everything from what you probably unremarkably recall of as special furnishings, where things explode, evaporate, morph, etc. It too includes stage extensions (making the scene phase larger digitally in post-product), to environs creation (anything from buildings to complete worlds), to bluish/green screen replacement (shooting in-forepart of a blue or green screen and and so replacing the background with digitally created footage or footage shot elsewhere). Basically, the art of taking live footage and blending it with computer-generated footage would exist considered compositing.

Step 10 | Music and Foley

Music and foley (audio effects) are added to give the animation the extra depth and boost in audio enjoyment.

A music composer will create music soundtracks and accompaniment music to ready the mood for the animation.

A foley artist 'recreates' sound effects for picture, television and radio productions. Using many different kinds of shoes and lots of props – auto fenders, plates, glasses, chairs, and just nigh anything I find at the side of the road – the Foley Creative person tin can supercede original sound completely or augment existing sounds to create a richer runway.

Step eleven | Editing and Final Output

This is where it ends!

This is where information technology all ends! This is where the composited renders, music and foley are compiled and edited to ensure that everything is in synchronization. Once satisfied, the compiled product is exported as i of the many formats suitable for broadcasting standards and delivered to the client!

Picking the Correct 3D Animation Studio to Work With

Picking the correct blitheness company for your project will determine the success and failure of your marketing attempt.

That's non and then difficult to respond, is it?

Of class, yous go to Mediafreaks!

Alright, seriously now, no single visitor is suitable for every single project under the sun. I would similar to say that Mediafreaks is good at everything, just unfortunately, we are not.

Some companies excel at certain genres and other companies in other genres.

Mediafreaks specializes mainly in blithe commercials, broadcast animation for documentaries, medical visualization, graphic symbol design and architectural visualization. At that place are companies who specialize solely in special effects or architectural visualization piece of work.

The following is my honest advice regarding this subject field affair:

1. Detect a company that has an extensive portfolio or one that has done something similar to what you lot take in mind. The first ensures an experienced company and the 2nd gives you the confidence that they take done something similar before and can probably deliver the aforementioned to you.
2. Make sure that the company is using more than in-house staff than freelancers. Many freelancers are unreliable and may disappear when the going gets tough. Ultimately the company is responsible for their acquit, but you would have wasted your time and perhaps missed a practiced opportunity to print with your presentation or marketing entrada. So y'all stand up to lose out even if yous don't have to pay for the projection ultimately.
3. Ask for milestones and deliverables. Empathize what the company's pipeline is like. Any animation companies worth their table salt would be able to tell you a pipeline and milestone delivery that sounds logical and reasonable. Click here if yous missed my section on Working with an Animation Visitor to find out more.
4. Notice a company that responds fast to emails and telephone calls. If the company takes a long time to return emails and calls, chances are they are either likewise busy to respond, can't be bothered to respond or besides disorganized to reply. Either way, you should move on and await for the next vendor.
5. Observe a company that has project managers or business relationship managers in place. You lot want to speak to speak to marketing people who understand your marketing needs and not animators who remember about cool special furnishings and prissy animation.
6. After giving concise background information well-nigh your visitor and what you want to achieve, see how fast and pro-agile the company is in coming back with a proposed solution and a quotation. See if the quotation makes sense and that the company can account for each of the service listed.
7. I would not advise going around for quotations because quite honestly every animation company may charge differently co-ordinate to their staff strength, reputation, portfolios, whether they are using freelancers or perm staff, standard of work, etc. There are as well many variables and information technology is akin to comparing the prices of cars of dissimilar makes. It won't be fair in this respect. Endeavor to become for whichever visitor can possibly deliver what you need within your budget.
8. Lastly, ever piece of work with a visitor yous experience comfortable with. Get with your gut feeling. If you don't feel good near the company, it means you lot don't take chemistry with the people there and chances are you lot won't enjoy the working relationship. This volition affect the end product.

Example Studies

The utilise of computer animation in marketing and ad is strong every bit a communications tool. Many companies are discovering that it is much more than constructive and powerful than the wearisome PowerPoint slides and mundane TV adverts that utilize only live actors. While it shares some characteristics of other visual mediums, it has unique attributes that no other marketing medium can equal.

Permit's take a look at how your visitor can tap into the capabilities of this great marketing tool by studying some true case studies of how another companies have been doing it.

Case Written report: Hi-Corporation and Sharp

How-do-you-do CORPORATION is a leading research and development company in middleware development for embedded devices whose flagship production MascotCapsule® is a real-fourth dimension 3D rendering engine. In add-on to all Japanese carriers and handset manufacturers, the engine has been widely adopted in the U.s., Europe, Korea, and Communist china. Character Subcontract and Mediafreaks Cartoon – both sister companies of Mediafreaks Pte Ltd. specializing in the creation of original animated content – have entered into a licensing collaboration with HI CORPORATION to release a set of original characters from the animated series Katakune™ and Sedo Dog™ to be offered every bit downloadable content for mobile phones released in Nihon. These characters will be used for a service where users can set characters to display on their mobile telephone standby screens, menu screens, and other screens. The character moves around the mobile telephone screen and reacts co-ordinate to events such as incoming calls and mail. A graphic symbol from the Sedo Dog™ family has been embedded into a high-terminate Sharp mobile phone as a default offer. This case study shows how cartoon characters can exist used to make a product more enticing. Please click on the pictures or the link below to learn more almost our drawing characters and licensing opportunities.

Instance Written report: APMI Kaplan

APMI Kaplan Walkthrough by Mediafreaks from Mediafreaks on Vimeo.

APMI Kaplan – a quality educational facility – wanted to showcase their make new campus. However, in most cases, reality is imperfect and live shoots usually amplifies that imperfection. A 3D animation walkthrough helped to create the feel of studying in Kaplan's beautiful environment, sans the imperfections. The educational sector being a very competitive one, this extra presentation attempt immediately helps to institute Kaplan equally the correct place to study.

Instance Report: Shark Energy Drink

Shark Energy Idiot box Commercial from Mediafreaks on Vimeo.

Field Catering wanted to bring across how their Shark Energy beverage tin can restore energy to the nearly exhausted individual. Mediafreaks came up with a concept that showed how Shark can power upwardly an unabridged metropolis. Sure it is an exaggeration, only all TV adverts build on hype, and 3D blitheness does that the best! The conventional live TV adverts can never accomplish this kind of result. The Shark Energy Drinkable TV advertising was shown during the New Twelvemonth period to good response.

Case Written report: Schering Turn Clarityne

Clarityne TV Commercial from Mediafreaks on Vimeo.

Schering Turn wanted a unlike arroyo towards showcasing their Clarityne product – which helps curbs nose allergy problems. Mediafreaks came up with an animated Idiot box commercial that discusses how allergens bring about the allergy symptoms and how Clarityne tin assistance improve the quality of life. Again, if this was a 'live-actor' advert, the effect would be much more boring and less effective. The graphics concept was too implemented on buses as mobile behemothic ads.

Case Written report: Pilot Pen V-Grip

Pilot Pen V-Grip Television receiver Commercial by Mediafreaks from Mediafreaks on Vimeo.

It's tough to sell something as conventional and mundane equally the humble pen. No matter how much technology has gone into it, unless the pen has been given a micro super-computer and tin write on its own, a pen is still a pen. So how do you lot sell a pen? Check out this cheeky animated Television set commercial of a family unit who finds and so much fun using the new Airplane pilot V-Grip that they adopt to pen their conversations to each other! Again, having the commercial washed in 3D animated class brings out the fun and humour. A live advertizing just wouldn't have done justice.

Case Report: Linden Place

Linden Place Goggle box Commercial past Mediafreaks from Mediafreaks on Vimeo.

Linden Place is an up market residential property in Prc. The Boob tube commercial that the developers wanted to produce should spoke to those who recognize grade and prestige. Wanting to steer away from the conventional property commercials that are a dime a dozen, they decided to go for a beautiful and realistic 3D blithe rendering of an exquisitely crafted plague that emits elegance, prestige and exclusivity. To create the plaque in real life was as well expensive in comparison to a digital representation, and Mediafreaks came to the rescue.

Case Study: Wyeth Robitussin

Robitussin Crimson Cough Solution from Mediafreaks on Vimeo.

Robitussin Blue Cough Solution from Mediafreaks on Vimeo.

This set of ii x xx seconds Telly adverts were designed to create impact advertising through exaggerating the effects a bad cough can induce on people. The unlike scenarios enacted here dramatize the effects of the 2 different kinds of coughs that the Robitussin cough solutions are formulated for. Through the cycling of the two different Tv set commercials, information technology generated curiosity and involvement from the audience who realized that these were 2 dissimilar TV commercials featuring dissimilar cough solutions for varying coughing weather condition. Existence in bursts of twenty seconds and coupled with the fact that the scenario in each TVC is rather dramatic, animation was the perfect and cheaper medium to execute these adverts.

This article was written past the founding Manager of Mediafreaks "Aldric Chang" a artistic man of affairs who is active in music composing and production, internet marketing, casual games production, animation production, cartoon product and grapheme licensing.

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Source: https://www.media-freaks.com/the-process-of-3d-animation/

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