Hello, can anyone give me a breakdown of the production of a 3D short?
script > storyboarding > voice actors > 3D > effects > composite…etc? Thanks!
pipeline?
scrimski
#2
You forgot the editing(either animatics or online, probably both) and art direction/design
So it would look like
script > storyboarding > voice actors > offline edit >art direction/setdesign/character design > 3D > online edit > effects > composite.
You probably missed a few bits more, alone the 3d part splits up in a few processes.
em3
#3
scrimski, thank you for your reply.
I definetly understand that 3D is broken down into many sub categories. What does online and offline edit mean?
scrimski
#4
Offline edit means you edit some dummy material( like lower resolution fo material, animatic frames, frames with missing FX, set extensions, composited elements)in order to pace the film, to set up the flow of story, the speed, juxtaposition and to decide about reshooting, deleting scenes, reworking camera angles, adding pick ups of elements and all that.
Online editing means the original frame at full resolution.
Usually a process used in film editing as you save disk space when digitizing a lower resolution from film than full scale. After you done with your edit, you recapture the parts you actually used in the edit in full resolution.
maybe there is a special syntax for the equivalent when editing animations, but I’m not aware of any.
slickityjim
#7
There are actually several edit stages. You’ll go through rough and fine cuts, but depending on the nature of what you are doing you may also have VFX cuts, or animation cuts.
Animated films are built in iterative chunks. Usually you start with an animatic cut from storyboards. Then you’d move to animatics built from straight viewport output. Then you’d start cutting performances together. Last you’d do full renders.
The main reason for this is to keep as much flexibility as possible in the process, and to also maintain the narrative. Great lighting and effects can sometimes distract you from the central elements of story. Ultimately if the composition doesn’t work, and the sequences don’t cut well, the film won’t work. It’s important to see the bare bones of this as you are working.
The secondary reason is that final shot output is compositor based. 3D animators and TDs are really providing elements that will be used by compositors to construct the final shots. This workflow makes sure that the right elements are being created for use in compositing.
I’m actually going to be going through this a bit on my blog; www.neilmcbean.com.
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