Available:*
Library | Item Barcode | Call Number | Material Type | Item Category 1 | Status |
---|---|---|---|---|---|
Searching... | 30000010332707 | TR897.7 H474 2013 | Open Access Book | Book | Searching... |
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Summary
Summary
Short animation projects are ambitious and time-consuming, but with a good plan and toolset, they can be hugely rewarding. Blender expert Roland Hess will get you up to speed on animated short fundamentals, including writing, storyboarding, blocking, and character creation. This follow-up of Blender Foundations will introduce the more advanced functionalities of Blender, such as the Library and Linking system, physics simulators, the integrated compositor, and the Sequence Editor. If that wasn¿t enough, this tutorial-based book will also have you create a short animation from scratch, making you a master of the Blender toolkit in no time.
* Learn how to fully manage your art assets using the Library and Linking system
*Gain practical advice on story construction tailored specifically for short animations
*Companion website includes the full Blender software kit, sample project files amounting to 100+ MB of valuable content, including models, textures, materials, scenes and animations
***PLEASE NOTE THAT WE ARE CURRENTLY EXPERIENCING DIFFICULTIES WITH THE COMPANION SITE URL. PLEASE VISIT http://cw.routledge.com/textbooks/9780240821450/ TO ACCESS ALL OF THE COMPANION MATERIALS!***
Author Notes
PROSE Award-winning author Roland Hess has worked with graphics and imaging software for over 20 years, and is one of the leading experts for Blender software. As an active user and developer of Blender, Roland brings a unique perspective to Blender instruction that helps to bridge the difficult gap between technical knowledge and artistic endeavor. Hess wrote Focal Press titles Blonder Foundations (2010) and Tradigital Blender (2011).
Table of Contents
About the Book | p. vii |
Chapter 1 An Overview of the Short Animation Process | p. 1 |
Creating a Short Animation | p. 1 |
Avoiding Death by Natural Causes | p. 1 |
Preproduction | p. 1 |
Production | p. 4 |
Postproduction | p. 9 |
The Importance of Following the Workflow | p. 10 |
Summary | p. 11 |
Chapter 2 Story Story Story | p. 13 |
What Makes an Engaging Story? | p. 13 |
Writing It Down | p. 17 |
Story Scope, Your Resources, and Reality | p. 19 |
Scope Example: Adding a Second Character | p. 20 |
Scope Example: Adding a Second Location | p. 20 |
Scope Example: Adding Length | p. 20 |
How Long Is My Story? | p. 21 |
Summary | p. 21 |
Chapter 3 Organization | p. 23 |
Your Digital Assets | p. 23 |
The Way That Blender Handles Assets | p. 23 |
A Suggested Organizational Structure | p. 25 |
Summary | p. 26 |
Chapter 4 Storyboarding and the Story Reel | p. 27 |
Storyboarding Basics | p. 27 |
Use a Long Shot | p. 30 |
Use a Point-of-View Shot | p. 30 |
My Solution: Montage Close-ups and Implied Action | p. 31 |
Suggested Tools | p. 34 |
Pen Tablets | p. 35 |
Paint Software | p. 35 |
Blender's Image Editor | p. 37 |
Creating the Storyboards | p. 41 |
Telling the Story | p. 43 |
Recording a Temporary Sound Track for Timing | p. 44 |
Assembling a Story Reel in Blender's Sequence Editor | p. 45 |
Sequencer Tools for Working with Image Strips | p. 53 |
Watching and Exporting the Story Reel | p. 55 |
Summary | p. 58 |
Chapter 5 Character Design and Creation | p. 59 |
Designing in Line with Your Theme and Reality | p. 59 |
The Boy | p. 62 |
The Snowman | p. 62 |
Modeling Based on Storyboard Requirements | p. 63 |
Faces, Hands, and Clothes | p. 64 |
Level of Detail | p. 66 |
Polygon Count | p. 68 |
Proxy Characters | p. 70 |
Preparing the Model for Future Work | p. 70 |
Summary | p. 70 |
Chapter 6 Libraries and Linking | p. 73 |
Libraries, and Why You Should Bother | p. 73 |
Linking Assets That Do Not Animate | p. 78 |
Linking Assets for Object-Level Animation | p. 84 |
Creating and Linking a Dupligroup | p. 84 |
Linking Assets for Character Animation | p. 88 |
Managing Your Links and Libraries | p. 91 |
Finding and Fixing Broken Links | p. 91 |
Moving a Shot File and Maintaining Its Links | p. 92 |
Moving an Asset File | p. 93 |
Summary | p. 93 |
Chapter 7 Rough Sets, Blocking, and an Animatic | p. 95 |
Creating Rough Sets | p. 95 |
Preparing the File for the Rough Set | p. 96 |
The Template (or Master) Scene File | p. 99 |
Matching Camera Angles to Storyboards | p. 105 |
Placing Your Characters | p. 111 |
Binding the Camera to the Marker | p. 113 |
Proceeding through the Story Reel | p. 115 |
Special Case: Reusing Cameras | p. 115 |
Additional Detail: Moving Cameras, Moving Characters | p. 116 |
Using the Grease Pencil | p. 116 |
Grease Pencil Over Time | p. 118 |
Creating an Animatic | p. 120 |
Replacing Storyboards in the Story Reel | p. 120 |
Summary | p. 122 |
Chapter 8 Good Sound | p. 125 |
Finding Decent Equipment and Environments | p. 125 |
What to Use | p. 125 |
Where to Record | p. 127 |
Making the Recording | p. 127 |
The Goal of the Recording Session | p. 128 |
Some Sound-Processing Basics | p. 129 |
Removing Noise and Adjusting Levels | p. 131 |
Previewing the Recorded Sound | p. 132 |
Summary | p. 133 |
Chapter 9 Managing Animation at the Project Level | p. 135 |
Render | p. 136 |
Working with a Team | p. 137 |
Staying Organized | p. 139 |
Animating in Stages and Getting Feedback | p. 140 |
Back to the Spreadsheet | p. 142 |
Case Study: Background Animation in Snowmen | p. 142 |
Chapter 10 Dialogue, Sound Effects, and Music | p. 151 |
When to Add Audio to Your Master Scene Template | p. 151 |
Adding Audio Strips to Shot Files | p. 151 |
Mixing and Exporting Sound for the Final Edit | p. 152 |
Mixdown | p. 156 |
Music | p. 156 |
Chapter 11 Final Sets and Backgrounds | p. 159 |
Workflow | p. 160 |
Quality versus Render Time | p. 160 |
Geometry | p. 161 |
Matching the Rough Set | p. 161 |
Movable Objects and Construction | p. 163 |
Materials | p. 163 |
Ray Tracing, of Course | p. 167 |
Subsurface Scattering | p. 167 |
Full Oversampling | p. 170 |
Lighting | p. 170 |
What Not to Use | p. 171 |
Lighting Exterior Shots | p. 178 |
Lighting Interior Shots | p. 182 |
Layering | p. 185 |
Getting Help with Set Building | p. 185 |
Summary | p. 187 |
Chapter 12 Simulation | p. 189 |
Blender's Simulators | p. 189 |
Fluids | p. 189 |
Cloth | p. 197 |
Rigid Bodies | p. 204 |
Ocean | p. 213 |
Dynamic Paint | p. 214 |
Smoke | p. 225 |
Particles | p. 233 |
Bits o' Stuff | p. 233 |
Strands: Hair and Fur | p. 241 |
Understanding the Cache Options | p. 243 |
Summary | p. 246 |
Chapter 13 Rendering and Compositing | p. 247 |
Goals and Overview | p. 247 |
Lighting Your Shot Files | p. 248 |
Compositing for Better, Faster Renders | p. 251 |
Faster Renders | p. 251 |
Getting a Good Render on Your Local Machine | p. 283 |
Final Animation Review | p. 285 |
Preparing for Render Farming | p. 286 |
Setting up and Using a Render Farm | p. 287 |
Using Network Render | p. 288 |
Checking the Final Frames | p. 293 |
Chapter 14 Final Edit | p. 295 |
Adjusting Timing | p. 295 |
Transitions | p. 298 |
Adding Titles and Color Plates | p. 299 |
Transforms | p. 300 |
More Complex Work | p. 302 |
Final Export | p. 303 |
Wrapping It Up | p. 304 |
Index | p. 305 |