pipeline italiano según fabio pellacini •
TRANSCRIPT
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projects in digital art pipeline 2007 fabio pellacini 1
the 3D production pipeline
projects in digital art pipeline 2007 fabio pellacini 2
overview
basic steps to make a 3d animation
why do we need a production pipeline?
what is the production pipeline?
a tour through the various departments at Pixar
no details, just a general picture
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projects in digital art pipeline 2007 fabio pellacini 3
image synthesis steps
projects in digital art pipeline 2007 fabio pellacini 4
image synthesis
geometry
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projects in digital art pipeline 2007 fabio pellacini 5
image synthesis
geometry + materials
projects in digital art pipeline 2007 fabio pellacini 6
image synthesis
geometry + materials + lights
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projects in digital art pipeline 2007 fabio pellacini 7
image synthesis
geometry + materials + lights = picture
projects in digital art pipeline 2007 fabio pellacini 8
image synthesis
frame the picture using the camera
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projects in digital art pipeline 2007 fabio pellacini 9
image synthesis
time to move
projects in digital art pipeline 2007 fabio pellacini 10
image synthesis
movement (rigid objects and camera)
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projects in digital art pipeline 2007 fabio pellacini 11
image synthesis
movement + deformation
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image synthesis
movement + deformation = animation
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projects in digital art pipeline 2007 fabio pellacini 13
animation production pipeline
projects in digital art pipeline 2007 fabio pellacini 14
why do we need a pipeline?
animated full-length features are huge endeavors Up to 5 years from conception to final (2 in prod)
> 500 people involved
requires big budgets and big organizations $ 100 M per movie often
need a solid structure to bring the creativeprocess from conception to final
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projects in digital art pipeline 2007 fabio pellacini 15
what is the production pipeline?
logical organization of the steps required toproduce an animated feature film
overlaps with the company organizationalstructure departments, budgets
projects in digital art pipeline 2007 fabio pellacini 16
pipeline organization
every company has its own pipeline
every movie changes the pipeline requirements are changing
save money
increase the quality of the movie
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organization
a movie requires a lot of time and people
how do you keep the project focused? vision
budget
execution
smart people that sign up to the vision
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key figures
director
producerlead technical director
lead animator
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key figures: director
creative lead
POV: the movie is a creative feast
responsible for the look and story-telling aspects
final word on all the artistic decisions
at Pixar, often the storys author
projects in digital art pipeline 2007 fabio pellacini 20
key figures: producer
executive lead
POV: the movie is a product
responsible for the budget aspects
final word on all monetary decisions
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projects in digital art pipeline 2007 fabio pellacini 21
key figures: lead TD
technical lead
POV: the movie is a project
responsible for the technical dept.
final words on the implementation
turns the director requests in technical solutionsthat match the budget
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key figures: lead animator
animation lead
POV: the movie is a play
responsible for the animation dept.
he can be consider to be the lead actor for themovie
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projects in digital art pipeline 2007 fabio pellacini 23
pipeline organization
projects in digital art pipeline 2007 fabio pellacini 24
the simplified pipeline
Story Editorial Art Casting
Modelling
Layout
ShadingPainting
SetDressing
Animation Simulation
Lighting Rendering
Rigging
Effects
many departments
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projects in digital art pipeline 2007 fabio pellacini 27
the simplified pipeline
Story Editorial Art Casting
Modelling
Layout
ShadingPainting
SetDressing
Animation Simulation
Lighting Rendering
Rigging
Effects
movement
projects in digital art pipeline 2007 fabio pellacini 28
the simplified pipeline
Story Editorial Art Casting
Modelling
Layout
ShadingPainting
SetDressing
Animation Simulation
Lighting Rendering
Rigging
Effects
final images
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projects in digital art pipeline 2007 fabio pellacini 29
the simplified pipeline
Story Editorial Art Casting
Modelling
Layout
ShadingPainting
SetDressing
Animation Simulation
Lighting Rendering
Rigging
Effects
vertical hierarchy too
projects in digital art pipeline 2007 fabio pellacini 30
the simplified pipeline
Story Editorial Art Casting
Modelling
Layout
ShadingPainting
SetDressing
Animation Simulation
Lighting Rendering
Rigging
Effects
what was I doing?
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projects in digital art pipeline 2007 fabio pellacini 31
pipeline stages
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story development
everything begins with a story!
storyboarding
process first idea
script and drawings that represent the story
trial and error process story is told many times and refined over time
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projects in digital art pipeline 2007 fabio pellacini 33
story development
Pixar/Disney
projects in digital art pipeline 2007 fabio pellacini 34
story development
Pixar/Disney
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story pitch
first time the story is publicly presented
Pixar/Disney
projects in digital art pipeline 2007 fabio pellacini 36
editorial
the keeper of the flow study the timing of actions in the movie
manage the editing of the movie prepare the various releases
similar to a traditional studio but we start with the story before we have video
Pixar/Disney
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art development
develop the look-and-feel of the movie characters and Sets
follow it through production
make most of the high-level artistic decisions
traditional media sketches, pastels, sculptures
process start with real world objects
develop look: shape, colors, materials develop expressions and movements
for characters, sculptures are developed
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art development - characters
Pixar/Disney
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art development - characters
Pixar/Disney
projects in digital art pipeline 2007 fabio pellacini 40
art development - characters
Pixar/Disney
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art development - environments
Pixar/Disney
projects in digital art pipeline 2007 fabio pellacini 42
art development - environments
Pixar/Disney
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casting
voices have to match your characters
Pixar/Disney
projects in digital art pipeline 2007 fabio pellacini 44
dialogue recording
useful for animation reference
Pixar/Disney
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modeling
defines the shape
process starts with art data
drawings
sculptures (sometimes scanned)
recreate geometry in the modeling environment
models have to look good to please the eye
be functional to fit in the pipeline work when deformed for animation
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character modeling
Pixar/Disney
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projects in digital art pipeline 2007 fabio pellacini 47
character modeling
Pixar/Disney
projects in digital art pipeline 2007 fabio pellacini 48
environment and prop modeling
Pixar/Disney
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projects in digital art pipeline 2007 fabio pellacini 49
environment and prop modeling
Pixar/Disney
projects in digital art pipeline 2007 fabio pellacini 50
shading
defines the material properties colors
light reflectance properties
textures
process study of real world objects
understanding the physics of their appearance
understand the important appearance aspects e.g. what make fur like fur (and not hair or grass)?
e.g. what makes metal look old?
match with overall look of the movie
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shading
Pixar/Disney
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character rigging
prepares a character for animation defines the deformation of the shape
shape changes when the character moves
defines controls for animators
process start with art data
work with animation to test the look and controls
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set dressing
creates sets out of props
prepares a stage for acting
projects in digital art pipeline 2007 fabio pellacini 54
set dressing
Pixar/Disney
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projects in digital art pipeline 2007 fabio pellacini 55
layout
defines the camera starting position
framing which objects are seen
movement
defines basic object positions starting point for animation
story boarding used as reference
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layout
Pixar/Disney
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animation
character movement and expression
process study realistic motion
develop a style of motion for the movie
very similar to acting
often develop entire new body language fish smiling?
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animation
keyframed animation movement is specified by changing individual controls
on characters at various frames
similar to 2d animation
used by Pixar and PDI
motion capture movement is recorded using live actors
editing to fix problems used by Sony Imageworks, Weta
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animation
very time consuming! requires big budgets and long development times
today biggest distinction between large studiosand smaller ones
hard to develop economy of scale
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animation
Pixar/Disney
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animation
Pixar/Disney
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simulation
not possible to animate everything
physically-based animation movement is computed to simulate physics
applications humans: hair, cloth, skin
natural media: water, fire, smoke
special effects: explosions
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simulation
Pixar/Disney
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effects
natural media: water, fire, smoke
weather: snow, rain, wind
special effects: explosions, morphing
very specific
encompasses modeling, animation and shading
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effects
Pixar/Disney
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effects
Pixar/Disney
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effects
Pixar/Disney
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effects
Pixar/Disney
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lighting
defines scene illumination
process study real world footage
study material/light interaction simple materials: plastic, woods, etc.
complex materials: metals
characters: skin, hair
start with art images
add and change lights to obtain the final picture
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lighting
Pixar/Disney
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lighting
particulatematter
surge andwell
caustics murkreflectionrefraction
Pixar/Disney
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lighting
Pixar/Disney
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rendering
compute the final images
Pixar/Disney
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interesting dichotomy
stylized characters, look, movement
based on physically correct building blocks movement: character animation vs. cloth/hair
simulation
shading: colorful surface material vs. subsurfacescattering
lighting: shadow-less lights vs. global illumination
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shot progression
Pixar/Disney
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shot progression
Pixar/Disney
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shot progression
Pixar/Disney
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shot progression
Pixar/Disney
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acknowledgements
Pixar Animation Studios permission to use the materials in this presentation
was kindly provided by Pixar Animation Studios