Cover image for 3ds Max 6 animation : cg filmmaking from concept to completion
Title:
3ds Max 6 animation : cg filmmaking from concept to completion
Author:
Fox, Barrett.
Personal Author:
Publication Information:
Emeryville, Calif. : McGraw-Hill/Osborne ; London : McGraw-Hill, [2004]

©2004
Physical Description:
xviii, 461 pages, 16 pages of plates : illustrations ; 24 cm
Language:
English
ISBN:
9780072228939
Format :
Book

Available:*

Library
Call Number
Material Type
Home Location
Status
Central Library TR897.7 .F69 2004 Book and Software Set Non-Fiction Area
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Summary

Summary

Explaining how to create 3D graphics and animation, this book aims to put the readers on the fast-track to careers in film or game design.


Author Notes

Barrett Fox has more than eight years of real-world animation production and seven years of experience teaching and writing about 3-D animation. He has written, produced, animated, and directed dozens of widely variegated 3-D animated projects


Table of Contents

Acknowledgmentsp. xiii
Introductionp. xiii
I The Preproduction Phase
1 Story Ideas: Finding a Concept Worth Animatingp. 3
Two Types of Story Concepts: Your Stories and Someone Else's Storiesp. 5
Type 1 Your Storiesp. 5
Type 2 Someone Else's Storiesp. 9
Filteringp. 10
Is the Idea Ripe to Be Animated?p. 10
Why Are You Making This Film?p. 14
Avoiding Pitfalls and Perilsp. 17
Clichesp. 17
Not Having a Storyp. 17
Gratuitous Photorealismp. 18
Biting Off More Than You Can Chewp. 18
Feasibilityp. 19
Your Experience Levelp. 19
Timep. 20
Resourcesp. 20
Scopep. 20
Two Final Filtersp. 22
I Now Pronounce You "Artist and Story"p. 23
The Example Film's Storyp. 23
2 Production: 3ds max and the Animation Pipelinep. 25
Wearing the Producer's 50-Pound Hatp. 26
Preparing to Preparep. 27
Scope of Workp. 27
R&D and Learningp. 28
Feasibility Revisitedp. 29
Planningp. 30
Defining the Max Animation Pipelinep. 30
Identifying Granular Tasksp. 33
Organizational Methodsp. 34
Scheduling: Putting a Gun to the Head of Inventionp. 36
Production Documentsp. 37
Factors That Affect Schedulingp. 37
Go Get 'em, Tiger!p. 39
Planning the Example Filmp. 39
Top-level Considerationsp. 39
Scope of Workp. 39
The Example Film's Toolsetp. 41
Feasibilityp. 42
What Got Cutp. 42
Key Methodology Decisionsp. 43
3 Scriptwriting: Story and Character Through Dialoguep. 45
Studying a Little Eugene O'Neillp. 46
Preparationp. 46
Background Referencep. 46
Outlining the Plotp. 46
Creating a Back Storyp. 47
Knowing What Your Character Would Dop. 47
Sample Biographyp. 48
Scriptwritingp. 49
What Does a Given Phrase Make You Animate?p. 49
Character Acting Starts with the Scriptp. 50
Writing Dialoguep. 50
Internal Dialoguep. 51
Writing Actionp. 52
Revisionsp. 53
Writing the Example Film's Scriptp. 53
Fine-tuning the Dialoguep. 55
4 Art Direction: Designing the Animationp. 57
Art Directionp. 58
Establishing an Aestheticp. 58
Referencep. 58
Creating Concept Artp. 60
Approach: Communicating an Ideap. 60
Character Designp. 61
Zoey's Facial Designp. 62
Male Facial Designp. 62
Female Body/Costume Designp. 64
Male Body/Costume Designp. 65
Zoey's Design Drawingsp. 66
Felix and Carlo's Design Drawingsp. 67
Set Designp. 69
Cloud 10 Set Designp. 69
Tying Your Aesthetic Elements Togetherp. 72
The Visual Identity for "The Game to Save the World"p. 73
5 Storyboarding: Cinematic Planningp. 75
The Cinematographer's Jobp. 76
Storyboardingp. 76
Blocking and Story Progressionp. 77
Character Choreography and Placementp. 77
Actionp. 77
Drama and Expressionsp. 78
Camera Composition and Camera Movesp. 78
Animators Edit at the Beginningp. 79
Storyboards Are the Ultimate Planning Toolp. 80
Drawing the Storyboardsp. 81
Previsualization: Beyond Storyboardsp. 82
Animaticp. 82
Color Scriptp. 83
Previsualization Animationsp. 83
Balancing Good Planning Without Sacrificing Serendipityp. 83
Storyboards for "The Game to Save the World"p. 83
Example Storyboardsp. 85
II The First Production Phase: Building
6 Sound: Your Film's Sonic Identityp. 95
General Notes on Soundp. 96
Sound as a Storytelling Toolp. 96
General Equipment and Processp. 97
Audio Advice from Industry Expert Alan Stuartp. 100
Character Dialoguep. 101
Voice Castingp. 101
Directing a Dialogue-Recording Sessionp. 102
Zoey, Felix, and Carlo's Recording Sessionp. 104
Alan Stuart on Dialogue Recordingp. 105
Sound Effectsp. 105
Basic Sound Effect Techniquesp. 106
Sound Effects for "The Game to Save the World"p. 106
Musicp. 106
Working with a Composer or Songwriterp. 107
Setting the Tone for Cloud 10p. 107
Alan Stuart on Sound Effectsp. 107
Using Existing Musicp. 108
Audio Workflow for Your Animationp. 108
7 Modeling Character Heads: The Digital Sculptor Ip. 111
Character Mesh Modelingp. 112
Editable Mesh Objects: Raw Trianglesp. 113
NURBS: Mathematically Precise Curved Surfacesp. 113
Patches: User-friendly Curved Surfacesp. 113
Subdivision Surfacesp. 113
Modeling a Character Headp. 120
Setting Up a New Workspacep. 120
Starting with a Spherep. 122
Extruding, Sculpting, and Refiningp. 124
Modeling Around the Eyep. 130
Modeling the Nosep. 139
Modeling the Mouthp. 143
Modeling the Earp. 146
Finishing the Head Meshp. 148
Subdivision Surfacesp. 153
8 Modeling Character Heads: The Digital Sculptor IIp. 155
Sculpting the Bodyp. 156
Setting Up a New Workspace and Starting with a Cylinderp. 156
Sculpting the Torsop. 157
Creating the Shoulder and Armp. 160
Building the Handp. 161
Building the Legp. 162
Building the Footp. 164
Building the Neckp. 165
The Finished Nude Bodyp. 165
Creating Clothesp. 166
Tailoring a Shirtp. 166
Stitching Some Pantsp. 168
Polygonal Loafersp. 169
Finishing the Bodyp. 170
Modeling Other Charactersp. 171
9 Texture Mapping and Finishing Characters: Costumes and Makeupp. 173
Texture Mapping the Headp. 174
Assigning Material IDsp. 174
Unwrapping the Headp. 175
Creating a UV Templatep. 179
Creating the Face Texture Map in Photoshopp. 181
Editing the Unwrapped Projectionp. 184
Finishing the Texture in Photoshopp. 187
Modeling and Texturing the Teeth and Tonguep. 188
Creating the Eyeballsp. 190
Creating the Material for the Facep. 192
Texture Mapping the Bodyp. 195
Source Photosp. 195
Preparing the Body Meshp. 195
Handsp. 198
Armsp. 200
Carlo's Shirtp. 201
Pantsp. 202
Shoesp. 203
Carlo Is Ready to Rigp. 207
10 Rigging: Preparing the Characters for Animationp. 209
Approaching Rigging: What You'll Need to Knowp. 211
A Series of Questionsp. 211
Key Conceptsp. 212
A Simple Rig for a Human Characterp. 214
Making a Skeleton from Standard max Bonesp. 214
Rigging the Skeleton: Giving Your Character Handlesp. 231
Exploring Character Rigging Furtherp. 247
Turning the Mesh into a Skinp. 248
Character Node Setupp. 259
The Character Rigs for the Example Filmp. 260
11 Set Modeling: Creating the Environmentp. 261
Building the Cloud 10 Glass Bubbles and Domep. 263
Creating a Spacep. 263
Modeling the Rest of the Scenep. 275
Begin Cameras Earlyp. 279
Lighting the Environmentp. 286
Mimicking the Light from the Night Skylinep. 286
Architectural Lightingp. 286
Balancing and Render Testingp. 289
Organizing Your Scene(s)p. 290
III The Second Production Phase: Animating
12 Layout: Preparing the max Scenep. 293
Back to the Producer's Jobp. 294
Scene Breakdown and File Creationp. 294
Organizing with Selection Sets and Filtersp. 298
Blocking Movementp. 301
Previsualization Revisitedp. 315
13 Body Animation: Character Motion Through Keyframingp. 317
The Basis for Animated Motion: Keyframingp. 318
Animation Principlesp. 318
Setting Keys with Set Keys Modep. 320
Animating with the Track View Window and the Trackbarp. 320
Getting Zoey Walkingp. 322
Locomotionp. 322
Adding Character and Personality to the Walkp. 329
Animating Scene 1p. 336
Readying the Interface for Animationp. 337
Pose-to-Pose Methodp. 337
Layering Method to Get Zoey Walkingp. 345
More Pose to Posep. 349
Adding Keyframes, Tweaking, and Repeatingp. 352
14 Facial Animation: Keyframing Expressionsp. 353
Rigging the Face with Morph Targetsp. 354
Defining a Set of Morph Targetsp. 354
Modelingp. 355
Setting Up the Morpher Modifierp. 362
Facial Animationp. 363
Animating the Eyesp. 363
Animating Facial Expressionsp. 367
Lip-synchingp. 373
Another Approach to Morphing: Musclesp. 377
15 Secondary Animation and Effects: Bringing the Background to Lifep. 381
Secondary Animationp. 382
3-D Effects Animationp. 382
Zoey's Aura: Swirling Informationp. 383
Scatter Compound Objectsp. 383
Orbiting Particle Systemsp. 389
Secondary Animation with the Flex Modifierp. 395
Final Linking, Naming, and Mergingp. 396
Carlo's Aura: Orbiting Light Trailsp. 397
Creating Random Oscillationsp. 397
The Appearance of Lightp. 398
Felix's Aura: A Flame Made of Bubbling Glassp. 399
IV The Postproduction Phase
16 Lighting and Rendering: Crafting an Atmospherep. 403
Choosing a Rendererp. 404
The Importance of Lighting in CGp. 404
Character Lighting: Three-Point Setupp. 405
Character Lighting Within a Scenep. 410
Integrating Character and Environmental Lightingp. 410
Adding Global Illumination and High Dynamic Range Imagesp. 411
How the HDRI Image for Cloud 10 Was Createdp. 414
Renderingp. 420
Environment and Video Effectsp. 420
Effects in the Example Filmp. 421
Final Renderingp. 423
Letting Your Computer Work for Youp. 424
17 Compositing and Video Editing: Finishing Touchesp. 427
Compositing with combustion 3p. 429
Creating a Videogame Interfacep. 429
Video Editingp. 439
Simple Editing with Adobe Premierep. 439
Video Compression Codecsp. 440
Getting Your Films Out to the Worldp. 442
Appendixp. 443
Resourcesp. 444
The Internet: 1,001 Usesp. 444
Magazinesp. 446
Films Made with 3ds maxp. 446
Booksp. 446
Author's Websitep. 447
Instructions for Using the CD-ROMp. 447
Installing and Using the Filesp. 447
Indexp. 449

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