1. Lesson 1: Intro to Animation
Overview of CG Animation Production Process
Overview of Different Tasks in CG Anim.
Maya Terminology
Introduction to the Maya Interface
Overview of Maya’s Internal Architecture

2. Digital Production Pipeline
Story
Visual Development
Character Design
Storyboards
Scene Layout
Modeling
Animation
Shading and Texturing
Lighting
Rendering
Post Production

3. Story Different types of stories
beginning/middle/end with conflict and resolution (drama)
Red’s Dream
sequences built around a situation
Mickey Mouse
String of Gags
Roadrunner
Story is the most important part of any animation
1 big, simple idea
the story you can tell in 2 sentences
Shorts are particularly hard to get right

4. Visual Development What look will your scenes have?
Who are the characters and how do they look?
Develop style
Includes the creation of characters, environments (desert, swamp), props, etc.
Involves painters, sculptors, illustrators, etc.
Lots of drawings pasted up on the wall!

5. Character Design After story come characters
Consists mostly of drawings, or sculptures
body poses
facial expressions
key features from multiple points of view
Note the lack of computers at this stage!

7. Storyboards The film in outline form
specify the key scenes
specify the camera moves and edits
specify character gross motion
Typically paper and pencil sketches on individual
Sheets taped on a wall
Still not very many computers…

8. Story Boarding (from “A Bug’s Life”)

11. What makes a good storyboard?
Does the shot sequence
maintain continuity
not confuse the audience
contain variations in pacing
Is the information clearly presented?
Are the characters clearly portrayed?
Is the story clear?
Do you have the techniques necessary to pull it off?
Can you do it with the time and $ you have?

12. Scene Layout Design the scenes
for example, build the room with an understanding of the camera pan
create colors, textures, props
keep in mind camera and character motion within the scene
use placeholder geometry and start to design camera moves

13. Digital Production Pipeline
Story
Visual Development
Character Design
Storyboards
Scene Layout
Modeling
Animating
Shading and Texturing
Lighting
Rendering
Post Production

14. Modeling Create geometric models of environment, props, characters
Keep in mind the ultimate purpose of the model – feature film, game, etc.
Set up internal skeleton and animation handles appropriately for that character’s behaviors

17. Rendering Frames can take hours to render
1800 frames for a single minute of animation
Pixar has a HUGE renderfarm

18. Post Production Sound track sync Titles
Cuts and effects (dissolves, fades, etc)

19. Costs:
Lilo and Stitch $80 Million
Spirited Away $20 Million
Pirates of the Caribbean $140 Million
Walking Tall $46 Million

20. Production Pipeline

21. Computer Graphics Animation Jobs
Character Animators
Effects/Prop Animtors
Modelers
Lighting Artists
Technical Directors – the interface to technology.

22. Long List of CG Jobs Character animators Effects animators Modelers
Lighting artists
Compositors
Motion Technical Directors
Modeling Technical Directors
Look Development Technical Directors
Look Development Artists
Production Software Technical Directors
Character animators use the computer to bring characters to life. To be a successful candidate, these artists may have backgrounds in any of the following animation disciplines in addition to their computer training: traditional (hand drawn), stop motion, or claymation. The sensibilities and mindset of a good animator should transfer between mediums, and we strongly support animators looking to explore new technologies and techniques. Prior training should cover anatomy, perspective and composition, including solving problems in weight, balance, movement, space, construction and proportion. A video reel of animated scenes is required.
Effects animators add the forces of nature to an animated film, as well as providing props, furniture, and even vehicles such as boats, chariots, carts and canoes. Expertise in the realistic creation of wind, rain, sunlight, mist, fog, shadows and fire aid in producing a believable world and setting the mood for the story. In addition to having a passion for the elements of nature, requirements for artists interested in this area of animation match those of a character animation artist. A video reel showing a variety of effects is required.
Modelers are responsible for creating complex, organic models needed for character animation, prop elements for effects and virtual sets for layout. Familiarity with some complex 3-D modeling package is highly encouraged. We would like to see hard copy or video output of digital models (including wireframes), as well as photographs of traditional sculptures or models, if available. A drawing portfolio of model designs and sketches, including some life drawing, is encouraged.
Lighting artists work in the 3-D environment creating the look of individual elements and entire scenes. This can include the creation of textures or the subtle use of virtual lights to enhance the mood and tone of a scene. Understanding of color, contrast and lighting design is required, and some familiarity with 3-D lighting is strongly encouraged. A portfolio showing video examples of 3-D lighting or traditional work, including painting, drawing or photography, is appropriate.
Compositors use state-of-the-art tools to assemble various elements into their final version. A strong visual sense and the ability to distinguish subtle differences that affect the matching of elements created in multiple mediums are imperative. A video showing skill in compositing moving footage, preferably film footage, animation and live action, and before and after shots is required. Other examples of work in computer graphics or traditional art mediums are also encouraged.
Motion Technical Directors work directly with character animators and modelers to define and create the controls that will allow the animator the creative freedom to pursue the ultimate in digital acting and performance. An understanding of animation principles and strong technical problem-solving skills is required. Examples of work showing computer graphic animation and modeling are important in a portfolio for this area.
Modeling Technical Directors create all non-character motion systems for animation. Among other things, this may include prop animation, particle systems or procedural animation. Tasks vary, depending on the requirements of solving individual production problems. Knowledge of 3-D animation systems, programming and modeling, are all appropriate skills for this production role.
Look Development Technical Directors work as part of a Look Development team that defines all the technical aspects needed to create the look of a 3-D element. This may include the development and writing of custom RenderMan shaders, painting and applying texture maps, or developing other custom software to accomplish the art direction goals of an element or environment. A person with a thorough understanding of 3-D computer programs, and how lights are specified within them, would be an excellent candidate for this role. Specific RenderMan experience is ideal. Visual examples of images exemplifying work in this area are requested for review.
Look Development Artists work with other Look Development staff to achieve the look of a more complex CG element (i.e., principle characters) in the show. This could include painting texture maps (e.g., color maps, specular maps, displacement maps, etc.), working with TD's to enhance the Look and creating lighting setups. This artist typically has previous production experience or has demonstrated exceptional skills/abilities in CGI/traditional artwork.
Production Software Technical Directors create software using their thorough knowledge of 3-D animation systems and graphics programming to help solve the creative requirements of show-specific production elements. Advanced degrees in computer science, math, physics or engineering may be appropriate, as may a background of proven industry experience and a solid understanding of 3-D graphics programming in C/C++ and high-end graphics packages.

23. Critical CG Activities
Modeling
Animation
Shading and Texturing
Lighting
Rendering

24. Maya Terminology
Scene – the entire scene, what we are animating. Your work gets stored in a scene file.
Project – a way to collect resources together, including multiple scene files.
The Dependency Graph/Scene Graph
Nodes
Attributes
Transform Node
Shape Node
Input Node

28. Maya Dependency Graph

29. Important Dependency Graph Nodes
Transform Nodes – Store location information.
Shape Nodes – hold geometry information.
Input Nodes – hold information that “drives” other node attributes. Ex makeSphereNode has radius information.
Material Nodes – hold coloring information.

30. Maya Rendering Process
In reality there are many steps in this.
Basic Process:
Evaluate the graph for current frame. This sets all Node attributes to specific values.
Traverse the graph and render each node in the order it is reached.

31. Maya Rendering Process

32. Maya Internal Architecture
Maya User Interface
MEL Script Editor
MEL Interpreter
Maya Programmer’s API – C/C++
Render Engine
Dependency Graph