Visual Development PDF

Visual Development Two main visual elements: 1. Characters main incidental 2. Locations As with characters, locations may be given greater and lesser priority in design build efforts, based upon how much they interact with characters or their overall significance to the story. The conce...

Visual Development Two main visual elements: 1. Characters main incidental 2. Locations As with characters, locations may be given greater and lesser priority in design build efforts, based upon how much they interact with characters or their overall significance to the story. The conceptual stage where the style of the show is established cartoony? realistic? highly stylized? combination? What if there is no visual starting point? assign several visual development artists to design characters and locations in a variety of styles conceptual art usually begins with loose approach but as development progresses the style becomes more distinct The Animatrix, 2003 The Second Renaissance Part I The Second Renaissance Part II Program World Record Kid’s Story Beyond A Detective’s Story Matriculated Final Flight of the Osiris Why go for legal advice? it is wise to consult legal advice during visual development process for characters, props, and logos similar likenesses to real persons or products may pose some risk of future litigation and the acceptance of these risks should be discussed and determined between the owner of the project’s copyright and the business affairs group Thanks! Character Design What is it? Character design is the process of designing interesting and unique characters where information about them are conveyed through their overall look and feel (appearance and gestures). Making decisions that impact the audience’s understanding and enjoyment. Making memorable characters. King Kazma, Summer Wars What’s the purpose? make the audience connect with the characters to engage viewers characters must be able to express a wide range of emotions (happy, sad, angry, excited, etc. and in a variety of different positions e.g. sitting, facing forward, facing sideways, running, etc.) Mojo Jojo, Powerpuff Girls  Body and Feature Shapes: curved vs angular, contrasting forms (large/small, tall short, etc). Costume: shape, drape, materials, and how it hides, accents, or transforms the character volumes Clarity: can the form be “read”– usually determined by the silhouette. Color helps! Context: the environment detail and lighting can have an impact on character design. The environment itself can be a character! Style: In the wide range of style choices, expressive/cartoonish vs realistic proportions is just one choice. Anatomy: A grounding in human and animal structures allows you to more effectively and meaningfully play with forms, and when you don’t have the option for much costume variety. The Character Design Process 1. Define your character 2. Bring the character to life Anatomy Poses 3. Draw the character Form 4. Design the Character Traits Shape Theory Taz, Tasmanian Devil 1. Defining your character character design starts with research designers must have an understanding of who their character is üWhere did the character come from? üWhere do they currently live? üHow old are they? üWhat is their general disposition? üWho is this character’s target audience? üWhat are their hopes and dreams? üWhat are their motives? Timon and Pumbaa https://avatar.fandom.com/wiki/Iroh once you have your character profile, you should.. start an informed research Example: character comes from a northern, woodland setting, üWhat do those creatures look like? üHow do they move? üDo they have fur, hair, or feathers? No-face, Spirited Away https://static.wikia.nocookie.net/p__/images/0/06/Appa.png 2. Bringing your character to life forming the actual character from anatomy to actual poses Anatomy: fully understanding anatomy is a must for anyone who wants to create an accurate model Head: Forehead, eyes, nose, ears, lips, mouth, and jaw. Torso: Ribcage, hips, and soft “twistable” area of stomach, etc. Arms: Shoulders, upper arm, elbow, and lower arm Hands: Wrist bone, palm, fingers, and thumb Legs: Upper leg, knee, and lower leg Feet: Heel, midfoot, and toes. Jimmy Neutron, Jimmy Neutron: Boy Genius  Fred, The Flintstones Donald, Donald Duck Dexter, Dexter's Laboratory https://www.boredpanda.com/digital-art-photoshop-famous-cartoon-characters-anatomical-skeletons-luisrogeriop 2. Bringing your character to life Poses: When practicing drawing a character, designers may want to explore different physical poses their character might find themselves in. Pose your character so good they can’t be ignored. Squidward, SpongeBob Squarepants  Head positions https://www.2danimation101.com/pose-a-character-3-struggling.html  Torso positions https://www.2danimation101.com/pose-a-character-3-struggling.html  Arm positions https://www.2danimation101.com/pose-a-character-3-struggling.html  Leg positions https://www.2danimation101.com/pose-a-character-3-struggling.html https://www.2danimation101.com/pose-a-character-3-struggling.html https://www.2danimation101.com/pose-a-character-3-struggling.html 3. Draw the character break down the drawing into simple shapes and lines add in the anatomy create silhouettes fill in the details https://www.idtech.com/blog/fundamentals-of-character-design 4. Design the character in designing a character's look, it's important to know who they are and how the audience should feel about them Traits: it’s useful for designers to write out 3 to 5 words that summarize up what attributes they want the audience to feel when they look at the character Shape Theory: There are three basic shapes that can be used to draw characters: circles, squares and triangles. Mewtwo, Pokemon Rules of Character Design for animations or games: 1. You are not free to make whatever you want! 2. Iterate: The more drafts, the better! 3. Consider the Basic Shapes. Soul, Soul Eater 1. You are not free to make whatever you want! there are constraints you must follow in any given project Examples: Project: You are designing for an existing project, and your designs must fit the world as already developed. Audience: You are designing for a particular audience, and you must create using forms and shapes that will make sense to that audience. Technical: You have restrictions on size to fit the game space or level of detail to fit the animation or technology budget… Kodama, Princess Mononoke  2. Iterate: The more drafts, the better! Image from Character Design Lecture notes by Jason Wiser  2. Iterate: The more drafts, the better! to encourage iteration, work from the most general forms to the most specific Start with Silhouettes: Form, Pose, Contrast https://www.clipstudio.net/how-to-draw/archives/157653  Reasons to make silhouettes trying small variations: to see which read better explore volumes: for interest plasticity of inspiration: build outward from a gesture pose, like adding clay, to let your ideas grow try multiple dynamic poses: to see how the form functions in motion Images from Character Design Lecture notes by Jason Wiser  Which of these designs strike you as interesting? Images from Character Design Lecture notes by Jason Wiser Strong Silhouettes = recognizable  Making Silhouettes: Work Inside-out 1. Start by getting the character pose down as a gesture drawing: one line for the curve of the spine, one each for the hips and shoulders, a head oval, circles for all limb joints and lines to connect them. Consider dynamic and expressive poses, showing emotion and intention. Ask someone to pose for you. Avoid hiding a limb by putting it right in front of the torso, or pointing right at the camera; let us see your shapes! Images from Character Design Lecture notes by Jason Wiser  Making Silhouettes: Work Inside-out 2. Build on this skeleton by adding volume with a big brush. Let the mass build outward, like adding clay! Images from Character Design Lecture notes by Jason Wiser  Making Silhouettes: Work Inside-out 3. Once you have the big masses of volume down, use a smaller brush to add details, like where pieces of clothing overlap or wrinkle at joints, fur, scales, tentacles, spikes, etc. Professional Character artists typically fill pages and pages with “thumbnail” (small) silhouette variations on just one character, to discover which of these volumes/ details/ poses can “read” best for that character. Images from Character Design Lecture notes by Jason Wiser  Making Silhouettes: Work Inside-out 4. Choose your favorite silhouette. 5. Color-pick a palette, add blocks of color in a layer below line art. Images from Character Design Lecture notes by Jason Wiser 3. Consider the Basic Shapes any shape can be a character identifying the core shapes of a design helps us to understand it https://www.clipstudio.net/wp-content/uploads/2020/05/0120_003_en-us.jpg 3. Consider the Basic Shapes What are the Shapes?: Spirited Away 3. Consider the Basic Shapes What are the Shapes?: Up The Incredibles Consider the potential meaning of shapes in your characters. Creating characters The more through lines there are from one shape to another, the better the shapes combine as a single form. Bold silhouettes come from a symbiotic combination of shapes. https://www.clipstudio.net/how-to-draw/archives/160863  The less shapes at the core of your design, the more iconic it becomes. https://www.clipstudio.net/how-to-draw/archives/160863  Building your design around a primary and secondary shape is very effective. https://www.clipstudio.net/how-to-draw/archives/160863  Primary / secondary can be applied to the face as well. https://www.clipstudio.net/how-to-draw/archives/160863  Using one shape in multiple positions and angles allows a more complex design to remain visually balanced. https://www.clipstudio.net/how-to-draw/archives/160863  Sometimes combining shapes inharmoniously can work well. https://www.clipstudio.net/how-to-draw/archives/160863 Dividing characters into 3 sections A great approach for designing a wide range of distinctive characters is to divide them up into three sections. https://www.clipstudio.net/how-to-draw/archives/160863 Dividing characters into 3 sections 1. Begin by randomly choosing the height of each section as either short, medium or tall. https://www.clipstudio.net/how-to-draw/archives/160863 Dividing characters into 3 sections 2. Next, randomly make the width of each section narrow, medium, or wide. https://www.clipstudio.net/how-to-draw/archives/160863 Dividing characters into 3 sections 3. If we just draw these as standing boxes we can already see the range of body proportions. https://www.clipstudio.net/how-to-draw/archives/160863 Dividing characters into 3 sections 4. Connect the shapes using either curved or angled lines. https://www.clipstudio.net/how-to-draw/archives/160863 Dividing characters into 3 sections 5. With your proportions in place, draw small thumbnail sketches of characters within them. Try lots of designs for each shape, it always works! https://www.clipstudio.net/how-to-draw/archives/160863 The 3-shape approach is so effective, you can use it to take one character and generate endless variations! Let’s start with this simple robot… References https://www.idtech.com/blog/fundamentals-of-character-design https://homesthetics.net/character-design/ https://www.skillshare.com/blog/the-basics-of-character-design/ https://www.thebeginnerdrawingcourse.com/blogforartists/2019/11/14/7-tips-for-character-design-drawing-better- characters https://conceptartempire.com/character-design/ http://madwomb.com/ https://www.2danimation101.com/pose-a-character-3-struggling.html https://www.esportstalk.com/blog/importance-of-character-silhouettes-10303/ https://www.clipstudio.net/how-to-draw/archives/160863 Creating Worlds for Animation  Worldbuilding is the foundation of great storytelling. A well-crafted world can transport readers to new worlds, inspire awe, and expand imagination. Creating a belivable world Animation Design and Production DA 309 Introduction Presentation by: Christ Mae Diaz  How can the art of animation bring stories to life? Animation design is a dynamic and interesting discipline that provides several creative potential. It requires a passion for storytelling, a strong sense of design, and a willingness to push the boundaries of what is possible through the use of motion and sound.  Without any live-action actor this time, J. Stuart Blackton was the first animation to be recorded in Source: https://www.youtube.com/watch?v=wGh6maN4l2I standard picture film. Humorous Phases begins with an artist drawing portraits on a blackboard in chalk before they animating and interacting with each other.  https://www.ciit.edu.ph/successful-filipino-animators/ Filipino Animators NELSON BOHOL RUBEN AQUINO ARMAND SERRANO JOSIE TRINIDAD Inside Out, Monsters University, Ruben became part of the films One of the brains behind films such Brave, WALL-E, Ratatouille, Cars, Walt Disney’s story artist Josie Winnie the Pooh, The Princess as Big Hero 6, Brother Bear, and and Finding Nemo. He joined Pixar Trinidad became part of films such as and the Frog, and Lilo and Stitch. Lilo and Stitch is Walt Disney’s in August 2000. Zootopia, Wreck-It Ralph, Tangled, He won the Outstanding visual development artist Armand and The Princess and the Frog. Achievement in Character Serrano. He worked at Sony and Animation award in the was part of Hotel Transylvania and International Animated Society’s Cloudy with a Chance of Meatballs 26th Annual Annie Awards, too films. He’s been working in the (Disney) industry for almost three decades now.  Applications Animation design is used in various applications such as: ENTERTAINMENT EDUCATION COMMERCIAL MARKETING How to become an animation producer? Begin as a production assistant and work up through the ranks of the production team Are all artist animators? Not all working on an animated film/ project is an animator What skills are required to get into the field of animation? Artist, member of the production staff, voice talent How to know if the project is suited for traditional 2D, digital 2D, or CG? Artistic vision, available funds, resources and skills Animation Producer Role of Producer (Producer's Guild of America) A producer initiates, coordinates, supervises, and controls, all aspects of the production process, including creative, financial, technological, and administrative. The producer is involved throughout all phases of production from inception to completion including coordination, supervision, and control of all other talents and crafts. Executive Producer Producer Line Producer of co- producer Associate producer Assistant producer Supervising producer Executive Producer Oversees the entire project from start to finish Oversees the hiring of key creative staff Involve in script development and visual development Producer A producer is a facilitator Creating a budget, developing a schedule Putting all production crew, post-production team, and facilities in place Line producer of co-producer Line producer of co- producer establishing and maintaining the production budget and schedule little to no creative input in production Associate producer Associate producer's job is strictly administrative Works closely with the production manager in coordinating and tracking the flow of artwork from one department to the next during pre-production May or may not be involved in post-production Assistant Producer The producer's right hand Work directly under the producer, specifically to producer's instructions or work a little more independently Supervising Producer Applicable in studios with multiple projects/ staff producers Oversee all of the productions ( Securing funds, facilitating the development process, hiring, coordinating clients, liaising with ancillary groups, nurturing creative environment) Producer’s Responsibilities The responsibilities depend mainly on the following factors: The format/length of the project The technique and/or process of animation The organization of the studio The producer’s experience and expertise 1. Manage creative vision and oversight of the project. 2. Create and obtain approval of a production plan including budget, schedule, and list of assumptions. 3. Finalize the script for production. 4. Identify and select the director(s). 5. Establish creative checkpoints with the buyer/executive. 6. Cast and hire the artistic team. 7. Cast and hire the administration and production staff, including the line producer, co-producer, associate producer, and production manager, if applicable. 8. Identify and select subcontract production studios, if applicable. 9. Negotiate deals with subcontract studios and outside facilities. 10. Cast the composer. 11. Complete and attain approval on key pre-production artwork. 12. Conduct an ongoing evaluation of production output and department quotas. 13. Supervise staff and monitor the day-to-day progress of production. 14. Communicate the overall production priorities to crewmembers. 15. Establish and maintain relationships with all pertinent ancillary groups, including licensing and merchandising, online, publicity, distribution, and promotions. 16. Resolve disputes and conflicts within the production unit and all outside services. 17. View and approve all animation. 18. Approve retakes and revisions. 19. View and approve the director’s cut. 20. Attain and approve the final cut. 21. Supervise the “spotting” of sound effects and music with the director. 22. Supervise the music recording session with the director. 23. Supervise the final mix session with the director. 24. Obtain approval of the content of the opening titles and end credits as well as title design and opticals. 25. Obtain approval of the final output. 26. Deliver the final product in the format requested by the buyer/executive. What makes an Ideal Producer Leader Communicator Nurturer of Creativity Innovator Delegator Energiser Decision Maker Ambassador I think the most important attribute of being an animation producer (or anything else for that matter) is patience. Everything in the process takes time—almost always longer than you expect it to—and the ability to wait it out, to keep hold of your original vision, to work with a wide variety of people, and to settle only for what is the best is paramount. It will always be harder than you think, and take longer, too, so be patient! Roy E. Disney Former Chairman of Walt Disney Feature Animation; Executive Producer, Fantasia 2000 and the Oscar®-nominated shorts Destino and Lorenzo (Walt Disney Feature Animation) Great animation producers keep energetic, talented minds on track. They appreciate the logistics that accompany complex production, while maintaining the joyful spirit that making animated movies is all about. Bob Osher President, Sony Pictures Digital Productions; Chief Operating Officer, Columbia Pictures Motion Picture Group A great animation producer is one who can inspire, support, and collaborate with all of the directors, actors, artists, technologists, and studio executives who make our projects successful. They must do this over the course of several years, keep their projects on schedule and on budget, and maintain their good humor in the process. It’s not a job—it’s a passion. Andrew Millstein Executive Vice President and General Manager, Walt Disney Animation Studios and Disney Toon Studios A good animation producer needs to have good sea legs and an uncanny ability to prioritize, reprioritize and then adapt even more. He or she must realize that animation is a marathon (not a sprint) and must keep the big picture in mind, finding ways to continually move the process forward towards short term and ultimate goals. A really good animation producer can do all of this while keeping a sense of humor in the face of challenges over a long, long time. Pam Marsden Senior Vice President, Sony Pictures Animation; Producer, Cloudy with a Chance of Meatballs (Sony Pictures Animation); Producer, Dinosaur, Mickey’s Twice Upon a Christmas (Walt Disney Feature Animation) Other positions Director Modeler Writer Texture TD Concept Artist Rigging TD Head of Story Animator Storyboard Artist Lighting TD Art Director Compositor Character Designer Sound Designer Background Designer R&D References: ScreenSkills. (n.d.). Careers in animation. https://www.screenskills.com/job-profiles/browse/animation/ 3D animation production process. (2022, September 28). Sliced Bread Animation. https://sbanimation.com/3d-animation-production-process/ The Animation Producer's Handbook, By Lea Milic, Yasmin McConville · 2006 https://www.google.com.ph/books/edition/The_Animation_Producer_S _Handbook/1W74AAAAQBAJ?hl=en&gbpv=0 pinterest.com For Inquiries: Christ Mae Diaz [email protected]  DA 309 Animation Design and Production EMC 4A - 2024 Prepared by: Christ Mae Diaz [email protected]  1914 Invention of Cel Animation Earl Hurd received a patent for his innovation of using clear sheets of celluloid (cels), which eliminated the need to redraw background scenes, since sheets containing various movements could be laid on top of one another. Bray and Hurd formed the Bray-Hurd Processing Co. in 1914 and created a monopoly on the animation Innovative Animators Released in 1937, it was the first American full-length animated Early American Animation Featured in American Memory feature. by: Karen Lund https://www.loc.gov/loc/lcib/9906/animate.html  Other careers in The Animation Industry Director Modeler Writer Texture TD Concept Artist Rigging TD Head of Story Animator Storyboard Artist Lighting TD Art Director Compositor Character Designer Sound Designer Background Designer R&D Director (Production Management) Holds the creative vision of an animated film or TV series.They are also responsible for the quality of the edited film/ series Direct the teams working on storyboard, design, layout, and background animation Roy E. Disney  Writer (Development) Writes the script. Writers develop a story, outline what happens in each scene, and then write all the dialogue with concrete actions. Animated writer: “ A girl rushes round the corner looking panicked, arms flailing, and collides with a boy. They both fall to the ground with a thud and the papers he is carrying fly into the air and flutter around them.” Live-action writers: “A girl comes round the corner and bumps into a boy.” Hayao Miyazaki Concept Artist (Development) Creates first sketches of the animation Their artwork is used as a reference point for the animators and designers Also known as lead artist, visual development artist Brittney Lee  Head of Story (Pre- Production) In charge of turning the writer’s words, the concept artist’s drawings, and the director’s vision into a visual representation of the story. produce series of panels to plan the action, staging, camera choices in 3D digital shots or 2D animation frames Miguel Jiron Storyboard Artist (Pre - Production ) Assist the head of the story in creating a storyboard, the visual representation of the animation’s narrative. may be asked to complete partially drawn panels to ensure that they are in the right style for the animation project Aliki Theofilopoulos  Art Director (Pre- Production) Responsible for the visual style of the animation. Decide how the characters, props, and environments look ensuring all artwork is high quality and in line with the director’s vision. Wendell Dalit Character Designer (Pre - Production ) Visualize and create the look of individual characters. They communicate the characters’ personalities through their facial expressions and physical poses. Ricky Nierva  Background Designer (Pre- Production) Designs the scenery where the animation happens. They uses the storyboard panels as a basis from which to create detailed backgrounds for each scene Kazuo Oga Research and Development plays a critical role in the innovation process which can lead to greater creative designs Modeller Translates concept art, character designs, and environment designs into models ready to be animated. Sound Designer Creates the soundscape for an animation. They have to be highly imaginative, especially when designing the sound of a fantasy creature or environment REFERENCES: ScreenSkills. (n.d.). Careers in animation. https://www.screenskills.com/job-profiles/browse/animation/ The Animation Producer's Handbook,By Lea Milic, Yasmin McConville · 2006 https://www.google.com.ph/books/edition/The_Animation_Produ cer_S_Handbook/1W74AAAAQBAJ?hl=en&gbpv=0 pinterest.com  DA 309 Animation Produ ct i o n Pipeline Pre - Production Junior Concept Artist Occupation CG Artist/Animation Artist Creates art as per instruction to support creative production processes. Creates concept art and color studies to enable visualization of characters, periods, or environments. May involved in creating storyboards for the flow of a production script and determining shot composition Functional Skills and Competencies: Background/Environment Design | Character Design | Concept Creation | Research Storyboard / Animatic Artist Occupation: CG Artist / Animation Artist Leads the preparation of the visual elements in a frame or scene Sets up the characters, backgrounds, props, lighting, camera setup, and movements according to the script and storyboard Guides and mentors a team of layout artists Functional Skills and Competencies: Concept Creation | Research | Storyboarding | Video Editing (for Animatics) Rigging Artist Occupation: CG Artist / Animation Artist Develops skeletons to manipulate the geometry of 2D characters, background, and props and create controls for use by the 2D animators Has an understanding of anatomy, physics, and body kinematics Functional Skills and Competencies: 2D Animation | 2D Rigging | Research Previz / 3D Layout Artist Occupation CG Artist / Animation Artist Sets up the preliminary layout to define the scale and location of a scene Develops a previz video to enable the visualization of the flow of a production Functional Skills and Competencies: 3D Modeling | 3D Animation | Storyboarding | Video Editing Senior Concept Artist Occupation CG Artist / Animation Artist Leads the development of art assets in production Responsible for developing complex artwork for concept art Guides a team of artists in executing simpler artwork Spends most of their time in creative ideation and execution of project deliverables Must have the ability to generate new ideas, develop plans to implement them, and have an eye for detail to be able to critique ideas. Functional Skills and Competencies: Background/Environment Design | Character Design | Concept Creation | Research Director / Art Director / Creative Director Occupation: CG Artist / Animation Artist Establishes the creative vision for the production content to deliver an impactful story in the visual medium Responsible for analyzing the script to understand the overall mood and flow Develop the visual styles and overall look of the content leads the execution of the creative vision by guiding the teams in delivering quality art and animation assets Guides the planning of advertising and promotion activities Involves being the custodian of the entire project or multiple projects.  Should be effective in planning, organizing, and stakeholder management to deliver project requirements on time Needs storytelling abilities Required to have expert knowledge in 2D and 3D animation Functional Skills and Competencies: Team Management | Marketing Skills | 2D Animation | 3D Animation 3D Modeling | Compositing Visuals | Background/Environment Design Concept Creation | Digital Lighting | Research | 3D Rigging Surfacing and Texturing Production 2D Scene Builder / Set-up Artist Occupation: CG Artist Responsible for assembling scenes by adding and resizing backgrounds, rigs, and props Ensures continuity and size relationships of the animatic clips by adding clips and audio files to each setup Responsible for setting up all conflict and hard scenes for the animators working on scene build Functional Skills and Competencies: 2D Animation | Background/Environment Design | Character Design Set Design | Troubleshoot technical/narrative/visual issues that become apparent during scene build processes 2D Layout / Color- Background Artist Occupation: CG Artist In charge of creating environments or use in production (interiors, exteriors, natural, or man-made) while keeping in mind to match the overall style of the project Functional Skills and Competencies: Perspective | Use of colors, shapes, and form Background/Environment Designs Research | Set Design 2D Animator Occupation: CG Artist Develops animation assets as per instructions Delivers complex animation sequences Acts as a quality control and checks the accuracy and completeness of the department's output Functional Skills and Competencies: 2D Animation | Storyboarding 2D Digital Ink and Paint Occupation: CG Artist Handles all the coloring requirements for assets coming out of production Ensures the correctness and clarity of the colors based on guidance from their superiors or the art department Functional Skills and Competencies: Character Design | Concept Creation | Research Senior 2D Clean Up and In-Between Artist Occupation: CG Artist Responsible for the final line and polishing the animator's work Needs to ensure the final image is on a model as provided by the client Expected to be highly accurate and exact in refining sketches that are roughly drawn and turning them into polished line drawings Be able to construct and examine a model sheet Possess a high level of technical skill and artistic proficiency High attention to detail Functional Skills and Competencies Intermediate knowledge of anatomy, human and animal movement, and skeletal framework | Character Design |Concept Creation | Research Animation Checker Occupation: CG Artist Responsible for checking all assets that come out from the different departments Acts as the last line of quality control before the work is passed on to compositing Must have a keen understanding of the entire animation pipeline to know what is required of each department Able to identify any flaws or errors that need to be corrected before the final artwork. Functional Skills and Competencies: 2D Animation | Background/Environment Design | Storyboarding 3D Modeling Artist Occupation: CG Artist Creates 3D models of various kinds for use in production May involve the use of polygon, NURBS, or subdivision surface geometry types Functional Skills and Competencies: 3D Modeling | Digital Lighting | Research | Surfacing and Texturing 3D Texture Artist Occupation: CG Artist Enhances 3D assets through the application of shade and textures Functional Skills and Competencies: Familiar with 3D applications | Well versed in 2D and 3D painting programs 3D Modeling | Digital Lighting | Research | Surfacing and Texturing 3D Animator Occupation: CG Artist Adds visually pleasing movement to 3D assets whether they be characters, vehicles, or props Functional Skills and Competencies: 3D Animation | Research 3D Lighting Artist Occupation: CG Artist Responsible for lighting all assets in a production from environments, characters, and props Works closely with the lighting supervisor and texture artists to ensure that the visual style is followed Produces modular, transferrable lighting rigs that can be shared across shots Functional Skills and Competencies: Familiar with 3D Applications and 2D compositing software | Digital Lighting Compositing Visuals | Research Surfacing and Texturing 3D VFX Artist Occupation: CG Artist Is in charge of all dynamics that serve to enhance already existing animation Works closely with the CG Supervisor and the Lighting and Compositing departments to deliver high-quality effects like smoke or fire Functional Skills and Competencies: Compositing Visuals | Digital Lighting | Research | Surfacing and Texturing Visual Effects Technical Director Occupation: CG Artist Provides support to the artists in the production and ensures their efficiency Good working knowledge of all different departments in production and how assets and information are passed from one to the other Guides technical processes and tools to the art team Functional Skills and Competencies: Knowledge of one or more scripting languages | 2D Animation 3D Animation | 3D Modeling | Compositing Visuals | Digital Lighting Research | 3D Rigging | Surfacing and Texturing | Tools Development CG Supervisor / 3D Art Supervisor / Creative Supervisor Occupation: CG Artist Establishes the creative vision for the production Responsible for analyzing the script to understand the flow and develop a visual style Leads the execution of the creative vision Functional Skills and Competencies: Storytelling abilities | 3D Animation | 3D Modeling | Compositing Visuals Concept Creation | Digital Lighting | Research | 3D Rigging | Surfacing and Texturing Episode Director Occupation: CG Artist Oversees every aspect of a given episode of an animated television show's season Delivers the narrative while working within the confines of the overall style coming from the Creative Director Functional Skills and Competencies: 2D Animation | 3D Animation | 3D Modeling | Background/Environment Design Compositing Visuals | Concept Creation | Digital Lighting | Immersive Design Research | 2D Rigging | 3D Rigging | Surfacing and Texturing Post - Production Post-Production Assistant Occupation: CG Artist / Video Editor Supports the operational aspects of the post-production phase by performing administrative tasks and logistical management 1. Responsible for undertaking straightforward operational tasks associated with tracking the progress of the post-production process Assists with the preparation and set-up of editing and ancillary equipment Ingesting and copying various media formats into an archive library Coordinates with the production team to access the raw edited files and maintain effective control of resources including equipment Functional Skills and Competencies: Media Data Management | Production Operation | Video Editing 2D Editor/Compositor Occupation: Assistant Media Editor Responsible for preparing the layers, footage, clips, and all visual elements of animation Assembles the final image of a frame, shot, or sequence, and takes different digital elements such as animations, background plates, graphics, and special effects, and puts them together to make a believable picture Responsible for the composition of images and shots and makes these look good based on how they're placed Ensures continuity by making sure the art from different sources looks the same  Spots mistakes and reports to the animation director and either corrects them or sends the work back through the pipeline to be improved Functional Skills and Competencies: Intermediate high-level image skills | Good grasp of storytelling principles | Compositing Visuals Concept Creation | Media Files Formats Conformation | Research | Sound Editing | Video Editing Media Editor (Color Grading, Online Editing) Occupation: Media Editor Responsible for managing the animation editing team and creating the final cut by assembling the raw recorded materisla and other files. Digitally cuts all the files and puts them in a narrative sequence that follows the screenplay and storyboard Refines the edited footage based on input from the director Does the final checks of the media formats and backups Functional Skills and Competencies: Color Grading | Online Editing | Editing Animatics | Media Editing Software Procurement for Production Operations | Production Operations | Sound Editing 3D Compositor Occupation: Compositor Responsible for preparing the layers, objects, and all visual elements of animation needed for the final stage Ensures that all the visual elements are clean and complete before the online processes Assembles the final image of a frame, shot or sequence Enhances the lighting, creates convincing shadows, and adds motion blur where it's required Functional Skills and Competencies: 3D Modeling | Color Grading | Compositing Visuals | Concept Creation | Research 3D Rigging | Digital Lighting Post-Production Supervisor Occupation: Media Editor Oversees all aspects of post-production processes and management of the post- production teams Responsible for resource and financial management by ensuring that projects are sufficiently staffed Translates the creative vision of the production into clean plans for the video editing teams Monitors project progress according to production schedule Functional Skills and Competencies: Color Grading | Compositing Visuals | Crew Selection | Immersive Video Editing Media File Formats Conformation | Procurement for Production Operation | Production budget Management | Production Operations | Sound Editing |Video Editing Digital Asset Librarian Occupation: Pre-Visual Artist / Digital Asset Manager Manages the collection, optimization, archival, and delivery of assets Maintains relevant naming conventions, metadata, and content rights information for digital content assets Manages access to the project's content for riggers, animators, and other production teams Functional Skills and Competencies: Content Ingest Operation | Data Wrangling | Media Content Cataloging | Media Data Management Production Coordinator Occupation: Animation Producer Performs administrative tasks and logistical management Responsible for keeping the lines of communication between departments and tasks Ensures the availability of research materials, digital assets, and facilities for presentations, conferences, or any inter-department communication Arrange mandatory compliance documents required for production Updates and status reports are submitted to them by production assistants. Functional Skills and Competencies: Contract and Vendor Management | Project Management | Production Operations Production Planning and Scheduling | Research Digital Asset Manager Occupation: Pre-Visual Artist / Producer Oversees the management of the production's digital content assets in the collection, optimization, organization, maintenance, archiving, and delivery stages. Develops policies for a data management system and master library of all creative assets Establishes relevant naming conventions, metadata, content rights standards, and assortment and collection relationships Functional Skills and Competencies: Contact Ingest Operations | Data Wrangling | Media Content Cataloging | Media Data Management Production Manager Occupation: Animation Producer Manages the entire production from an operations standpoint, while ensuring adherence to the production schedule and budget Responsible for setting up the production office, managing the day-to-day operations of the production, maintaining relationships with all vendors, and overseeing logistics management. Provide updates to different stakeholders about the budget and schedule of the animation production Functional Skills and Competencies: Business Negotiation | Contract and Vendor Management | Crew Selection Production Budget Management | Production Operations | Production planning and Scheduling | Project Management Producer Occupation: Animation Producer Leads the end-to-end management of film production from a creative and operational perspective Oversees and manages the entire lifecycle of animation production from ideation until distribution Performs creative as well as management responsibilities Leads a team responsible for the creative coordination and logistical management of production Required to liaise with multiple internal and external stakeholders to have his/her proposals approved  In some cases, also responsible for hiring the right animation team Guides the production in identifying projects with high customer and audience appeal and monetization potential Functional Skills and Competencies: Business Negotiation | Content Distribution | Crew Selection | Legal and Compliance Management | Market Evaluation | Production Budget Management | Production Operations | Project Management Reference Philippine Skills Framework for Animation INTRODUCTION  01 02 03 CONTENT FORMATTING SOFTWARE What is scriptwriting and its How should a script be What are the tools use in componnets written writing a script WHERE ARE SCRIPT USED Script writing is the process of writing stories for a visual medium in a screenplay format. Scripts focus more on the actions and dialogue instead of descriptions TV/ FILM VIDEO GAMES ANIMATION COMICS DIFFERENCE BETWEEN A SCREENPLAY AND A NOVEL SCRIPT NOVEL Internalized by actors and Builds from the imagination of directors then interpreted into the reader visual format Includes other details like Focuses on what is shown to worldbuilding and internal the audience i.e. dialogue and dialogue/motivations action FORMATTING ELEMENTS OF A SCREENPLAY 01 03 SCENE HEADING ACTION denotes if the scene is taking place inside or describe the look of the scene and the characters' outside (INT. and EXT.) and the scene's location as movements in it. Whatever is shown onscreen is well as time of day. dictated by the action lines and is written in present tense. 02 04 CHARACTER NAME SHOT Capitalized the first time they appear. Describe the an action line describing what is shown on camera. character briefly (looks and personality specifics) 05 07 DIALOGUE PARENTHETICAL all spoken dialogue specific instruction for how the dialogue should be delivered. Can be used to indicate a pause in speech 06 08 EXTENSION TRANSITION shows how the dialogue is heard if its in Voiceover Cues for how the scene changes to the next one. (V.O.) or present in scene but not on camera (O.S.) (i.e. CUT TO, DISSOLVE TO, FADE IN, and FADE OUT.) FONT PAGE 1.5” left margin 12 pt Courier 1” right, top, Monospaced and bottom margin Page number on top right  SOFTWARE Paid Options (Preferred by professionals) MOVIE MAGIC FINAL DRAFT 10 SCRIVNER SCREENWRITER Full-word processor that The preferred screenwriting file 250$ Price tag automatically outlines your format of the Writer’s Guild of work America West  SOFTWARE Free Alternatives KIT SCENERIST FINAL IN STUDIO BINDER WRITER DUET Collect research in one Includes action-to- Cloud-based and Real-time collaborative work place and visualize story dialogue calculator. beginner friendly and compatible with other on index cards. software. Free and Basic for Beginners and Note Taking EVERNOTE NOTION GDOCS Cross-platform and Customizable redirection What it says on the tin notebooks Notes and link SUPPLEMENTARY MATERIAL Anatomy of a Story: 22 Steps to Becoming a Master Storyteller” by John Truby Anatomy of a Screenplay — Movie Script Format Explained (And Why It Matters) Buying and Selling Projects Presented by: Christ Mae Diaz  Spotting the Idea Potential story ideas can be found in comic books, graphic novels, classic tales in the public domain, toys, children’s books, songs, and original characters and concepts. There are no set rules for when or where a great idea can be found. The key is the ability to recognize one and know how to sell it to the appropriate buyer  Comic books, comic strips, and graphic novels are among the easiest material to adapt for animation. With an established visual style, fully developed characters, and a storyline, the producer has almost all the main ingredients To locate comic books and graphic AsiaPOP Comic Convention( AsiaPOP Comicon) is an annual comic novels are at comic book conventions book fan convention in Metro Manila, Philippines that features international brands (comics, toys, animation, film, television, and music within the pop culture phenomena). The convention has since included a larger range of pop culture and entertainment elements across virtually all genres, such as video games, books, and sports Children’s books are another bountiful source for animated features, home videos, and television shows. With its reliable marketability and name recognition, children’s classic literature is an obvious choice for development Examples of public domain stories are Fox’s Anastasia, Disney’s Tarzan - Taking a famous story and adding a new spin to it is very popular, as is evident in the box office success of these titles.  Comic books, comic strips, and graphic novels are among the easiest material to adapt for animation. With an established visual style, fully developed characters, and a storyline, the producer has almost all the main ingredients To locate comic books and graphic Until the advent of Nickelodeon, selling original characters for novels are at comic book conventions television series was next to impossible. By taking risks and producing original material, Nickelodeon has successfully revolutionized both the look and content of the children’s television landscape. Two of Nickelodeon’s original and most popular series, Rugrats and Doug.  If you do not have drawing or writing skills, you can team up with either an established artist or a talent new to the field. Animation festivals are an excellent forum for finding great material and meeting animation directors and animators. At such events, you can view the work of Two television series that were renowned artists as well as first discovered as student projects are the Cartoon student films. Network’s Johnny Bravo (1997), by Van Partible, and Fox’s Family Guy, by Seth MacFarlane. Once you have found a property, it is important to identify its future format. In the television arena, the markets are very defined in terms of the target audience. This definition is based on the audience demographic and Nickelodeon, for example, is targeted at kids, while the Disney Channel is targeted the network’s brand. at families. Before you go ahead and spend money on a property, it is wise to do some research to make sure that there is a market for it. You may think you have found the most exciting superhero since Batman, but there may be similar properties in development, or can be superheroes are not currently popular. The Buyer  The first is a group with a distribution arm such as a network, cable company, or movie studio. It is best to sell your property directly to one of these outlets as the distribution is already in place. On the other hand, depending on the property and your background, it may make more sense to sell to an independent production house. While independent producers or production companies ultimately need to find distribution, they can have much to offer.  Second, they can draw on their internal resources to develop and prepare your project for pitching to targeted buyers. Depending on the size and experience of the company, they may be able to provide deficit financing. The independent producer could also be better equipped to turn a property into a franchise than would a network.  However, the buyer’s overall responsibilities are generally the same. Their goal is to identify new and oneof- a-kind concepts to develop for the company. Their success is based on getting projects greenlit, produced, and most importantly, creating a hit. Preparing a pitch No matter what form of pitch you choose, the three key elements to have in place are the concept(s), character(s), and the story(s). For television, from the start, there are two main ingredients to set up: a clear concept and a defined target audience. You should be able to explain what the series is about in a logline or one or two sentences. You must also have several stories prepared to illustrate that the property has a life beyond the pilot episode and that there is a reason why viewers would want to tune in each week Presentation Executives prefer that the creator and/or producer be attached to a lawyer or agent for a number of reasons. Indicate that your material has been reviewed by an industry professional who is confident that the material is developed appropriately and ready for pitching. The Negotiation Process Patience is vital when heading into the negotiation process. After everyone has agreed that they would be interested in developing a property, it goes into the world of ”business affairs,” where the attorneys work out the deal points to option the property CORE TEAM IN ANIMATION DESIGN AND PRODUCTION DA 309- EMC 4A When you are taking the first steps to start a feature-length animated film a direct-to-video project, or a television series, a select number of staff members need to be in place before the start of production. This skeletal group is what we are calling the core team. The initial creative group includes the producer(s) and the writer and creator/originator of the concept. THE ROLE OF DIRECTOR The storyteller on a project. It is his or her vision that is the guiding force. Facilitates creative vision, and guides the art styles. responsibilities include developing and completing the script in collaboration with the writer, storyboard artists, producer, and buyer executive communicating all artistic development VISUAL EFFECTS SUPERVISOR Conceptual artists are commonly referred to as visual development artists given holds the key to achieving the desired look in a computer- generated film tasked to deliver the creative vision to the screen while using technology and artistic talent must have a vast knowledge of software technology and compatibility PRODUCTION DESIGNER / ART DIRECTOR works closely with the director and visual effects supervisor to envision the entire look of the project develops color scripts consisting of palettes for character and locations to convey the proper mood and atmosphere of each sequence VISUAL DEVELOPMENT ARTISTS conceptual artists a group of artists with a strong aptitude for character and location design along with color styling must be prolific and flexible RECRUITING this department is responsible for finding the best candidates available for creative, production, and administrative jobs  this department works with the recruiting team and producer to identify the TRAINING training needs of the studio the immediate goal is to ensure that all artists are adept at using the current toolset for a particular production pipeline  works with the producer when hiring key personnel who need to be put under LEGAL AND contract BUSINESS also involved in deals with AFFAIRS subcontract studios and DEPARTMENT outside facilities such as post-production house main duties include option materials, handling title clearance, handling copyright issues, etc.  involved in hiring employees handle communication and job offer negotiations HUMAN in charge in welcoming staff RESOURCES and integrating them into the studio main responsibilities: writing job descriptions, setting up interviews, hiring and negotiating salary.. and the likes PRODUCTION ACCOUNTING the accountant keeps track of every penny spent during production as well as communicate financially status to the producer and studio executive  in charge of maintaining the computer hardware and TECHNOLOGY software for both the artistic DEPARTMENT and administrative staff system administration, research and development, production services, digital archiving REFERENCE: Producing Animation By Catherine Winder, Zahra Dowlatabadi The Story “Stories have always been an inseparable part of human nature; there is no connection stronger than storytelling among us. We are all storytellers, telling stories every day, mostly to ourselves; to remember, imagine, conclude, or entertain.” - dreamfarmstudios What makes a story good? a good story is about something the audience decides is interesting or important a great story often does both by using storytelling more than just to entertain, inform, or amplify -it adds value to the topic or theme the best story is a well-told tale about something the reader feels is relevant or significant 8 steps on creating a story for animation in the 3D animation pipeline, the next step after coming up with ideas is putting them down on paper translating the story from your brain into written words will reveal a lot 1. A burning core Your 3D animation story should have something to say at its heart: üa central concept ütheme ümeaning ümessage ütruth üperspective The Lego Movie, 2014 Ratatouille, 2007 Wall - E, 2008 Why must you tell the story? 2. Well-developed characters A story is all about its characters; if you don’t have a good character, you don’t have a good story. Give your characters a unique voice and opinion; challenge them, force them into making decisions. These complexities will make your audience engage with your story. Inside Out, 2015 2. Well-developed characters To fully develop your characters, you must create a character profile. üName üDescription üDesires üHabits üTraits üPersonal Details üGoals & Ambitions Inside Out, 2015 2. Well-developed characters interesting enough to hold attention audience must be able to relate to them can be exceptional but give them at least one trait the audience can relate to Inside Out, 2015 2. Well-developed characters Some character archetypes that can help you develop your story are: The sidekick: a supporting character for the main character to learn from or lean on. The villain: the opposite of the hero, trying to stop or destroy him. The shape-shifter: a character who is not who he seems to be when introduced The challenger: a person, creature, or event that the hero must overcome. The trickster: a character who tries to trick or outwit the hero. Inside Out, 2015 3. A well-described world The world in which the story takes place, whether literal or figurative, is an important element of a 3D animation. To create a powerful story, you have to fully define your world and know its rules inside out; there is no other way. 4. An engaging conflict The goal of the main character can be anything he wants and is willing to overcome obstacles for: üa valuable object to obtain, üan important event to attend, üor an accomplishment to gain. there must be at least one conflict in the story else it would be boring to watch 4. An engaging conflict Basic conflict types: üMan against man (external) üMan against nature (external) üMan against self (internal) 5. A logical storyline Storyline refers to the sequence of events inside a story where each event affects the next through the principle of cause-and-effect. That’s why nearly all stories sound similar in terms of structure. Your story must follow a logical sequence including: üa beginning üa middle üan ending 6. A standard narrative Arc a story requires more than just these three simple elements the narrative arc carries the tension level of the story and will unfold fully in scriptwriting Example: a typical feature film may start with an exciting opening to grab the attention of the audience and encourage them to keep watching. Then a small fall in tension follows that gradually builds up again through multiple crises, each one bigger than the last. 7. A plausible character Arc Characters are the main drivers of the story and “change” is an indispensable part of their journey; especially the main character the changes your characters undergo manifest themselves in the “character arc” Take note!: Every aspect of the story, including the character arc, must comply with your core idea. Conveying multiple or even conflicting messages can easily discourage the audience and ruin your story’s credibility. 8. A fascinating depiction of the impossible creating an absolute imitation of reality in a 3D animated feature or short film often looks unappealing and fails to attract the attention of the audience the true power of the 3D animation medium emerges when combined with a story set in a fantasy world that could never be fully depicted in live-action References https://dreamfarmstudios.com/blog/3d-animation-pipeline/ https://filmschoolrejects.com/finding-identity-lego-movie/ https://www.servicescape.com/blog/decoding-the-six-conflicts-in-literature-with-examples The Writing Process An excellent script is essential for a project's success. You may have some of the most beautiful and complex animation in the world; however, if the story does not work, chances are the show won’t either. The script progresses through several stages before it is ready for production. This process includes establishing and setting up the characters, their world, their conflict(s), and the resolution. Used as a tool for the writing team to help ensure consistency throughout the writing process sometimes called pitch bible, tv show bible a bible is the written concept that sets up the key element for a series description of the show, main characters, tone of the show, target audience used by casting director to select voice talent used by artistic crew to understand the tone of the show and how the characters and plots are intertwined Used in television and in some ways is similar to the seriesbible. Its purpose is to give the reader a sense of the show and to set up thecharacters; however, it is more fully realized than a bible. Like all scripts, it would follow some or all of the various steps outlined (Premise, Outline, Treatment) A paragraph or two that outlines the main story concept. Included are the main characters, the basic conflict, any complications, and how they are resolved A 12-year-old boy and his best friend, wise 28-year-old dog with magical powers, go on a series of surreal adventures with each other. More detailed version of the premise. It is generally a sequence-by-sequence breakdown of the story with a few lines of dialogue added to flesh out the characters, giving a project with multiple writers a sampling of the tone. In the outline, the flow of the action is spelled out. It is a good place to start at rather than going straight into script format since it is easier to change the structure of the story at this point. The number of pages ranges from 2 to 10 depending on the format being produced. The first draft fleshes out the story arcs, adding dialogue and action. First draft is given to the key creative staff on the project-usually the producer, director, and creative executive-for notes. A half-hour script is between 25 to 35 pages long. A feature script for an 80- minute film can be anywhere from 80 to 110 pages On series, the story editor may be responsible for inputting the notes after the second draft. In long form, it is very common for the script to go into production in segments while the rest of it is still in development. This is the stage at which final touches are completed on the script. Rarely is the structure of the script altered at this point. the feature script is never locked by the time preproduction begins, the reason being that the story is further developed by the collaboration of the director, the storyboard artists, and the scriptwriter the storyboard artist or, at times, a previs artist, takes a written sequence and visualizes the action and the goal here is to further improve the script Once production begins, the greenlit script goes through a number of stages. It needs to be constantly updated throughout the production process as lines and scenes are revised, added, and deleted. Each line of dialogue in the production script is numbered. Used during voice recording session as a reference tool this script is used to keep track of the recorded dialogue and the various takes the actor records typically all descriptions and scene directions are deleted, leaving only the lines of dialogue the director’s select takes are circled on the script and are given to the editor to cut into the track (referred to as circle takes) Once the storyboard is locked for production, the script is updated and conformed to match the storyboard. All changes or deletions are included in the conformed script. Conforming the script can be an ongoing process as opposed to a one- time step. shows the additional and replacement dialogue only. Used during post-production, the ADR script contains the lines of dialogue with their corresponding line number. very important that this script be created because it is needed for closed captioning and foreign-language dubbing because many changes can take place in postproduction, the final-as-aired script is conformed to match the actual as-aired or released version. ensuring that legal permission is obtained for details of the script the final script as a whole also requires clearance under the guidance of an attorney or legal affairs department, the earliest detail to clear should be the names of the main characters and locations