Producing 3D digital animation

DLM 03 Developing print-based Learner’s Guide including all related documents
Notes Format of Learner’s Guide

Course: 3D Digital Animation
Unit of competency: Produce 3D Digital Animation
Producing 3D Digital Animation
Module: At the end of the session, learners should be able to:
Learning outcomes:

1. Prepare 3D requirements.
2. Create all models
3. Apply texture and place lights
4. Rig and animate models
5. Setup camera, layout and render scene/s

Duration: 240 Hrs
Situating Learning: You are a 3D Artist in Creative Kicks Studio. A director from an advertisement
agency gave a 3D animation job to your studio and you are assigned to do the
job.

The advertisement is for Glucontrolz commercial. The director will provide the
storyboard (as reference for the animation). Your job is to create a 3D digital
animation. The guidelines are as follow:

• You are to create a 3D leaf of vegetable ingredients of Glucontrolz
• Research on your own the leaf of the vegetables
• The output should look realistically, thus proper texturing and lighting

should be applied
• You can rig the leaf in any way you want provided you achieve the

specified animation
• Animate the leaf that it would reshape from leaf to capsule
• Layout the scene based on the story board
• The camera angle and render area should be the same as shown in

the storyboard
• Produce in the highest possible resolution
• The whole animation will run in 5 seconds
• The output should be in MOV format

You are to produce the animation in 3 days, but you can submit the animation
earlier. 3 days is enough for you to strategies how you will perform the job.
The director will check your output and present the animation to the client
after 3 days. If the client of the director likes your output, the director will give
you a movie pass as reward. In case of revisions, revises should be
completed after 2 days.

Assessment Criteria:

1) Components of personal interface are identified and discussed.
2) 3D Character models produced
3) 3D Environment model is produced
4) Basic Object is constructed
5) Shaders for objects are produced
6) Textures for objects are produced
7) Basic lights are implemented with Objects produced.
8) Characters with controllers are produced
9) Motion for character are produced
10) Object’s animation are produced
11) Scene set-up is produced

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© 2010, Institute of Technical Education, Singapore

DLM 03 Developing print-based Learner’s Guide including all related documents
Notes Format of Learner’s Guide

Learning Performance Learning Activities (Brief Learning documents
chunk Criteria (Documents referenced
description of strategies,
(1) The requirements by each learning
Prepare 3D from the design brief sequence of lesson, activity)
requirements and storyboard are
identified. evaluation) 1.1.1 Information Sheet
(Design Brief)
1.1. You will be grouped into 4
groups and each group will 1.1.2 Information Sheet
be provided with a sample (Storyboard)
design brief and
storyboard. 1.1.3 Work Sheet

1.2. The lecturer will ask you to
name all the objects in the
storyboard and
accessories of the
character in the design
brief.

1.3. The lecturer will provide
the complete answer and
you will reflect on the
answers.

Parts of the user 2.1. Lecturer will show to the 1.2.1 Information Sheet
interface are class the MAYA software. (MAYA Interface)
identified, common
tools are used to 2.2. Lecturer will discuss the 1.2.2 Information Sheet
create simple common tools and (common tools)
models and interface in MAYA.
manipulation tools 1.2.3 Work Sheet
are used to select, 2.3. Information sheet and
move, rotate and Work Sheet will be
scale models. provided regarding the
user interface and
manipulation tools to check
your understanding.

(2) Models are identified 1.1. You will be organized into 2.1.1 Information Sheet
Model all based on 4 groups. (Classification of
environment (milieu), Models)
objects characters and 1.2. Lecturer will show the
accessories. diorama in the class. 2.1.2 Work Sheet

1.3. Lecturer will discuss the
differences of each
model/object and approach
to modeling.

Good topology and 2.1. You will be organized into 2.2.1 Information Sheet
bad topology are 4 groups. (Topology)
differentiated.
2.2. Lecturer provides 2.2.2 Work Sheet
examples of 3-face and 4-
face topology.

2.3. You will be enquired of the
strategies acquired.

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© 2010, Institute of Technical Education, Singapore

DLM 03 Developing print-based Learner’s Guide including all related documents
Notes Format of Learner’s Guide

Learning Performance Learning Activities (Brief Learning documents
chunk Criteria description of strategies, (Documents referenced

sequence of lesson, by each learning
evaluation) activity)

(3) Paint Effects tools 1.1. Lecturer will show a 3.1.1 Information Sheet
Model all are used to create a sample forest created by (Paint Effects)
objects 3D scene. former students.
3.1.2 Job Sheet
(4) 1.2. Lecturer provides list of
Apply texture tools and its usage.
and place
lights 1.3. You will create a field or a
forest.

New learned tools 2.1. Lecturer provides sample 3.2.1 Information Sheet
are used to create a exercises created by (Hair Tools)
head with a hair, a former students.
flag and a fur ball. 3.2.2 Information Sheet
2.2. Lecturer provides a list of (Clothe Tools)
tools and its usage for hair,
cloth and fur. 3.2.3 Information Sheet
(Fur Tools)
2.3. You will create a head with
a hair, a flag and a fur ball. 3.2.4 Job Sheet

Additional tools are 3.1. Lecturer will show a clip 3.3.1 Information Sheet
used to create a from “Monster Inc.” to (Polygon Modeling)
NURBS car and a encourage you in
(Cartoon) Polygon modeling. 3.3.2 Information Sheet
character. (SubDiv Modeling)
3.2. Lecturer provides
examples, characteristics, 3.3.3 Information Sheet
parts, tools and usage of (NURBS Modeling)
Polygon, SubDiv and
NURBS. 3.3.4 Job Sheet

3.3. You will create a cartoony
Polygon character and a
NURBS car.

Use the appropriate 1.1. Lecturer uses the 4.1.1 Information Sheet
lighting position and PowerPoint presentation to (Principles of
angle, and select the discuss the principles of Lighting: Part 1)
appropriate lighting lighting.
material. 4.1.2 Job Sheet
1.2. Lecturer will assess if
appropriate lighting is used
in the exercise.

Determine between 2.1. Lecturer provides picture 4.2.1 Information Sheet
the styles discussed examples of realistic (Principles of
that is appropriate for lighting and stylized Lighting: Part 2)
the student’s lighting.
character. 4.2.2 Work Sheet
2.2. Lecturer discusses the
differences and approach
to achieved realistic and
stylized lighting.

2.3. Lecturer will ask what style
is appropriate for the
character that they have
created.

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© 2010, Institute of Technical Education, Singapore

DLM 03 Developing print-based Learner’s Guide including all related documents
Notes Format of Learner’s Guide

Learning Performance Learning Activities (Brief Learning documents
chunk Criteria description of strategies, (Documents referenced

sequence of lesson, by each learning
evaluation) activity)

(5) Appropriate shaders 1.1. Lecturer discusses the 5.1.1 Information Sheet
Apply texture for different different types of MAYA (MAYA Shaders)
and place materials is used shaders and its attributes.
lights and selected. 5.1.2 Work Sheet
1.2. Lecturer will post 10
objects and each group will
identify which shader is
appropriate for the 10
objects.

MAYA based 2.1. Lecturer provides the 5.2.1 Information Sheet
texturing to texture a procedures in MAYA based (MAYA based
simple house is texturing. texturing)
used.
2.2. You will create a simple 5.2.2 Job Sheet
house and texture using
MAYA.

Photoshop is used to 3.1. Lecturer provides the 5.3.1 Information Sheet
create a texture for a procedures in Photoshop (Photoshop based
cell phone model. based texturing. texturing)

3.2. Lecturer will show sample 5.3.2 Job Sheet
cell phones textured by
former students.

3.3. You will place a tattoo
picture in the cell phone
provided.

3.4. You will duplicate the first
cell phone provided and
design.

Create a scale for a 4.1. Lecturer will show sample 5.4.1 Information Sheet
monster hand. monster hand textured by (Bump Map and
former students. Displacement Map)

4.2. You will be assessed if you 5.4.2 Job Sheet
performed the procedure
correctly.

Create a scene 5.1. Lecturer will provide a 3D 5.5.1 Information Sheet
following the correct scene to be lighted as (MAYA Lights)
intensity and exercise.
positioning of the 5.5.2 Job Sheet
light. 5.2. Lecturer will assess if the
type, intensity, angle and
color of the light is correct.

Create a scene 6.1. Lecturer will provide 5.6.1 Information Sheet
following the correct Information Sheet of MAYA (MAYA Shadows)
appearance of the Shadows
shadow. 5.6.2 Job Sheet
6.2. Lecturer will assess if you
performed the procedure
correctly.

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© 2010, Institute of Technical Education, Singapore

DLM 03 Developing print-based Learner’s Guide including all related documents
Notes Format of Learner’s Guide

Learning Performance Learning Activities (Brief Learning documents
chunk Criteria (Documents referenced
description of strategies,
(6) Simple key drawing by each learning
Rig and is created applying sequence of lesson, activity)
animate the principles of
models animation. evaluation) 6.1.1 Information Sheet
(Principles of
1.1. Lecturer explains the Animation)
principles of animation.
6.1.2 Work Sheet
1.2. Lecturer shows the “Afro
Samurai” video.

1.3. You will be organized into
5 groups.

1.4. Each group will create a
simple key drawing of a
basketball player walking
and running while dribbling
the ball, then shooting the
ball in the basket.

1.5. Review the critiques and
feedback as a class and
summarize key learning
points.

(7) Object is created and 1.1. Lecturer provides MEL 7.1.1 Information Sheet
Rig and animated using MEL script format and simple (MEL Script)
animate Script. MEL script commands.
models 7.1.2 Job Sheet
1.2. You will animate a primitive
object as exercise.

1.3. Lecturer will assess if the
animation is correct.

Dope sheet and 2.1. Lecturer provides diagram 7.2.1 Information Sheet
graph editor is used of tools and usage of dope (Dope Sheet)
to edit/enhance sheet and graph editor.
animation. 7.2.2 Information Sheet
2.2. You will reverse roles on (Graph Editor)
these two activities.
7.2.3 Job Sheet
2.3. Lecturer will assess if
animation is correct.

Dynamics is used to 3.1. Lecturer provides 3D 7.3.1 Information Sheet
animate a Newton’s effects samples and video (Dynamics: Effects)
pendulum, particles enhancements samples
for the rocket and a using dynamics to 7.3.2 Information Sheet
Pinball maze. encourage you. (Dynamics: Rigid
and Non-rigid
3.2. You will reverse roles for bodies)
the two activities.
7.3.3 Information Sheet
3.3. Lecturer will assess if the (Dynamics:
created animation is Constraints)
correct.
7.3.4 Job Sheet

Rig is created for the 4.1. Lecturer provides diagram 7.4.1 Information Sheet
modeled character. of tools and usage of (Set driven key)
rigging.
7.4.2 Information Sheet
4.2. Lecturer will assess if the (Kinematics)
rigged character is correct.
7.4.3 Information Sheet
4.3. Lecturer will assess if (Joints)
deformers is used
appropriately. 7.4.4 Information Sheet

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© 2010, Institute of Technical Education, Singapore

DLM 03 Developing print-based Learner’s Guide including all related documents
Notes Format of Learner’s Guide

Learning Performance Learning Activities (Brief Learning documents
chunk Criteria description of strategies, (Documents referenced

sequence of lesson, by each learning
evaluation) activity)

(Controllers)
7.4.5 Information Sheet

(Binding)
7.4.6 Information Sheet

(Paint weights)
7.4.7 Information Sheet

(Blend Shape)
7.4.8 Information Sheet

(Face rigging)
7.4.9 Information Sheet

(Deformers)
7.4.10 Job Sheet

(8) Layout principles is 1.1. Lecturer explains the 8.1.1 Information Sheet
Layout scene, used in the created layout principles. (Layout Principles)
setup camera cardboard diorama
and render 1.2. You will draw objects in the 8.1.2 Work Sheet
scene/s cardboard found in your
storyboard.

1.3. You will layout the
elements accordingly.

1.4. Review the critiques and
feedback as a class and
summarize key learning
points.

(9) Appropriate shots 1.1. Lecturer explains the 9.1.1 Information Sheet
Layout scene, are used in the types, tools and usage of (Camera Shots)
setup camera scene. cameras.
and render 9.1.2 Information Sheet
scene/s 1.2. Lecturer will assess if the (MAYA Camera)
shots are appropriate and
Appropriate render dynamic. 9.1.3 Job Sheet
settings are used in
the scene. 2.1. Lecturer provides tools in 9.2.1 Information Sheet
rendering. (Render Settings)

2.2. You will reverse roles in 9.2.2 Job Sheet
the 2 exercises.

2.3. Lecturer will assess if file
format, file naming
convention and render
setting is correct.

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Information Sheet 1.1.1 – Design Brief

Learning outcome:

1 Explain the design brief.

Learning activity:

1.1 The requirements from the design brief are identified.

A design brief or (for animation production) animation bible is a written explanation - given to the production
- outlining the aims, objectives and milestones of a project. This document contains the result of the project.

A thorough and articulate design brief is a critical part of the design process. It helps develop trust and
understanding between the client (pre-production) and the production - and serves as an essential point of
reference for both parties.

Note: A good design brief is critical if the production is offshore or
some part of the production is not present in one location.

Above all, the design brief ensures that important design issues are considered and questioned before the
start of production.

Design briefs are an extremely important part of the functions for animation production. A typical design brief
will follow the following layout:

1. Title page
2. Table of contents
3. Concept Parameter
4. Sequence Treatment
5. Character Matrix
6. Milieu
7. Script
8. Goals

o What you plan to accomplish (includes due dates)
9. Solution Analysis

o Risks/Benefits
o Planned Solutions
10. Synopsis
o Evaluation
o Conclusion/Summary
11. Crew and Credits

Highlighted above are the important parts of the design brief necessary to start the production. The character
matrix and milieu decides the final look of the project. The due date is also important an aspect of the
production as it can affect the budget as the project prolongs.

A long document like an animation bible is not necessary for short films, clips or advertisements. A creative
brief can suffice the requirement of a production.

Note: Both design brief and creative brief should contain the look of the final output. The animation
information is supported by the storyboard.

A creative brief is a document used by creative professionals and agencies to develop creative deliverables:
visual design, copy, advertising, web sites, etc. The document is usually developed by the requestor (in most
cases a marketing team member) and approved by the creative team of designers, writers, and project
managers. In some cases, the project's creative brief may need creative director approval before work will
commence.

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The creative brief, consisting of a series of simple questions asked by the creative team and answered by the
requestor, becomes the guidepost for the development of the creative deliverable. As with many strategic
documents, if the project goes off track referring back to this mutually agreed upon document to see where
the divergence began is helpful.

Creative briefs can come in many flavors and are usually tailored to the agency or group that is developing the
creative deliverable. They know which questions (and answers) are of paramount importance to them in order
to deliver a high-quality creative execution.

A creative brief may contain:
• Background — what is the background of the project? Why is it being done?
• Target audience — what do they already think about this subject? Is there anything that should be
avoided?
• Objectives — what is to be accomplished? How will this be measured and success understood?
• Single message — what is the one thing to tell the audience? What is the single thing they should
remember about the offering? How will they believe what we say?
• Mandatory elements - mandatory elements such as the client's logo, address, phone number and so
forth.
• Deliverables — what is to be used to give the audience the message? What are the elements to be
produced?
• Timeline — how soon is this needed? When it is expected to be finished? How many rounds
(revisions) will this project undergo?
• Budget — how much can be spent to get this developed? Is there any budget needed to publish/flight
the creative?
• Approvals — who needs to give the "okay"?

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Information Sheet 1.1.2 – Storyboard

Learning outcome:
1 Explain the storyboard.

Learning activity:
1.2 The requirements from the storyboard are identified.

Recall pre-production stage. Storyboards, just like design brief, are created during pre-production stage.

Definition of Storyboard
The storyboard is the blueprint of an animation. Depending on your role in the production, you may be
required to create the storyboard from scratch, adapt and modify an existing storyboard, or be given a
storyboard that is complete and over while you have little or no control. Storyboards are graphic organizers
such as a series of illustrations or images displayed in sequence for the purpose of pre-visualizing a motion
picture, animation, motion graphic or interactive media sequence, including website interactivity.

A storyboard.

From the illustration from the you
can tell the sequence of the story.
Here, the bald guy is handing the
brush to the naked guy.

The naked guy uses the brush.
For animation, you can see the
direction of the brush’s movement
(represented by arrows).

In this panel, the camera pulls out
revealing the rest of the
characters (you can see the extra
guy on the left).

On this last panel, a different shot
is used showing the entire set.
Note that the previous shot can be
seen on the right middle portion
for consistency with the first. An
indicator will be used by the
director if pull out camera will be used.

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The pictures above are storyboards for an 8-minute animated cartoon.

The storyboarding process, in the form it is known today, was developed at the Walt Disney Studio during the
early 1930s, after several years of similar processes being in use at Walt Disney and other animation studios.

Note: In terms of layout, the Japanese had developed a different style for the storyboard. The information is
read from top to bottom (or vertical in manner). This different form or layout could had been affected
by how the Japanese’ are reading.

Origins
The storyboarding process can be very tedious and intricate. In the biography of her father, The Story of Walt
Disney (Henry Holt, 1956), Diane Disney Miller explains that the first complete storyboards were created for
the 1933 Disney short Three Little Pigs. According to John Canemaker, in Paper Dreams: The Art and Artists
of Disney Storyboards (1999, Hyperion Press), the first storyboards at Disney evolved from comic book like
"story sketches" created in the 1920s to illustrate concepts for animated cartoon short subjects such as Plane
Crazy and Steamboat Willie.

According to Christopher Finch in The Art of Walt Disney (Abrams, 1974), Disney credited animator Webb
Smith with creating the idea of drawing scenes on separate sheets of paper and pinning them up on a bulletin
board to tell a story in sequence, thus creating the first storyboard.

One of the first live action films to be completely storyboarded was Gone with the Wind. William Cameron
Menzies, the film's production designer, was hired by David Selznick to design every shot of the film. Many
large budget silent films were also storyboarded but most of this material has been lost during the reduction of
the studio archives during the 1970s.

Storyboarding became popular in live-action film production during the early 1940s, and grew into a standard
medium for previsualization of films: "We can see the last half century.... as the period in which production
design was largely characterized by adoption of the storyboard", wrote curator Annette Michelson in a 1993
catalog for the Pace Gallery exhibit Drawing into Film: Director's Drawings, which featured storyboards of
popular films. Storyboards are now an essential part of the creation progress.

Storyboarding's most recent use is outlining websites and other interactive media projects during the design
phase.

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Usage

Film
A film storyboard is essentially a large comic of the film or some section of the film produced beforehand to
help film directors, cinematographers and television commercial advertising clients visualize the scenes and
find potential problems before they occur. Often storyboards include arrows or instructions that indicate
movement.

In creating a motion picture with any degree of fidelity to a script, a storyboard provides a visual layout of
events as they are to be seen through the camera lens. And in the case of interactive media, it is the layout
and sequence in which the user or viewer sees the content or information. In the storyboarding process, most
technical details involved in crafting a film or interactive media project can be efficiently described either in
picture, or in additional text.

Some live-action film directors, such as Joel and Ethan Coen, used storyboard extensively before taking the
pitch to their funders, stating that it helps them get the figure they are looking for since they can show exactly
where the money will be used. Alfred Hitchcock's films were strongly believed to have been extensively
storyboarded to the finest detail by the majority of commentators over the years, although recent research
indicates that this was exaggerated for publicity purposes. Other directors storyboard only certain scenes, or
none at all. Animation directors are usually required to storyboard extensively, sometimes in place of writing a
script.

Theater
A common misconception is that storyboards are not used in theater. They are frequently special tools that
directors and playwrights use to understand the layout of the scene. The great Russian theatre practitioner
Constantin Stanislavski developed storyboards in his detailed production plans for his Moscow Art Theatre
performances (such as of Chekhov's The Seagull in 1898). The German director and dramatist Bertolt Brecht
developed detailed storyboards as part of his dramaturgical method of "fabels."

Animatics

In animation and special effects work, the
storyboarding stage may be followed by
simplified mock-ups called "animatics" to
give a better idea of how the scene will look
and feel with motion and timing. At its
simplest, an animatic is a series of still
images edited together and displayed in
sequence. More commonly, a rough
dialogue and/or rough sound track is added
to the sequence of still images (usually
taken from a storyboard) to test whether the
sound and images are working effectively
together.
This allows the animators and directors to
work out any screenplay, camera
positioning, shot list and timing issues that
may exist with the current storyboard. The
storyboard and soundtrack are amended if
necessary, and a new animatic may be
created and reviewed with the director until
the storyboard is perfected. Editing the film
at the animatic stage can avoid animation of
scenes that would be edited out of the film.
Animation is usually an expensive process,
so there should be a minimum of "deleted
scenes" if the film is to be completed within
budget.

Often storyboards are animated with simple

zooms and pans to simulate camera

movement (using non-linear editing

software). These animations can be

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combined with available animatics, sound effects and dialog to create a presentation of how a film could be
shot and cut together. Some feature film DVD special features include production animatics.

Animatics are also used by advertising agencies to create inexpensive test commercials. A variation, the "rip-
o-matic", is made from scenes of existing movies, television programs or commercials, to simulate the look
and feel of the proposed commercial. Rip, in this sense, refers to ripping-off an original work to create a new
one.

Photomatic
A photomatic is a series of still photographs edited together and presented on screen in a sequence.
Usually, a voice-over, soundtrack and sound effects are added to the piece to create a presentation to show
how a film could be shot and cut together. Increasingly used by advertisers and advertising agencies to
research the effectiveness of their proposed storyboard before committing to a 'full up' television
advertisement.

The photomatic is usually a research tool, similar to an animatic, in that it represents the work to a test
audience so that the commissioners of the work can gauge its effectiveness.
Originally, photographs were taken using colour negative film. A selection would be made from contact sheets
and prints made. The prints would be placed on a rostrum and recorded to videotape using a standard video
camera. Any moves, pans or zooms would have to be made in camera. The captured scenes could then be
edited.

Digital photography, web access to stock photography and Non-linear editing programs have had a marked
impact on this way of film making also leading to the term 'digimatic'. Images can be shot and edited very
quickly to allow important creative decisions to be made 'live'. Photo composite animations can build intricate
scenes that would normally be beyond many test film budgets.
The term 'photomatic' is probably derived from 'animatic' or photo-animation.

Comic books
Some writers have used storyboard type drawings (albeit rather sketchy) for their scripting of comic books,
often indicating staging of figures, backgrounds and balloon placement with instructions to the artist as
needed often scribbled in the margins and the dialogue/captions indicated. John Stanley and Carl Barks
(when he was writing stories for the Junior Woodchuck title) are known to have used this style of scripting.
In Japanese comics (see Manga) the borrowed English word "name" is used for manga storyboards. In Japan
this is actually the standard way of presenting a new episode to manga magazine editors.

Business
Storyboards were adapted from the film industry to business, purportedly by Howard Hughes of Hughes
Aircraft. Today they are used by industry for planning ad campaigns, commercials, a proposal or other
projects intended to convince or compel to action.
A "quality storyboard" is a tool to help facilitate the introduction of a quality improvement process into an
organisation.

Design comics are a type of storyboard used to include a customer or other characters into a narrative.
Design comics are most often used in designing web sites or illustrating product usage scenarios during
design.

Interactive media
More recently the term storyboard has been used in the fields of web development, software development and
instructional design to present and describe, in written, interactive events as well as audio and motion,
particularly on user interfaces and electronic pages.

Benefits
One advantage of using storyboards is that it allows (in film and business) the user to experiment with
changes in the storyline to evoke stronger reaction or interest. Flashbacks, for instance, are often the result of
sorting storyboards out of chronological order to help build suspense and interest.
The process of visual thinking and planning allows a group of people to brainstorm together, placing their
ideas on storyboards and then arranging the storyboards on the wall. This fosters more ideas and generates
consensus inside the group.

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Creation

Storyboard template.
Storyboards for films are created in a multiple step process. They can be created by hand drawing or digitally
on the computer.

If drawing by hand, the first step is to create or download a storyboard template. These look much like a blank
comic strip, with space for comments and dialogue (see figure above). Then sketch a "thumbnail" storyboard.
Some directors sketch thumbnails directly in the script margins. These storyboards get their name because
they are rough sketches not bigger than a thumbnail. For some motion pictures, thumbnail storyboards are
sufficient.

However, some filmmakers rely heavily on the storyboarding process. If a director or producer wishes, more
detailed and elaborate storyboard images are created. Professional storyboard artists can create these by
hand on paper or digitally by using 2D storyboarding programs. Some software applications even supply a
stable of storyboard-specific images making it possible to quickly create shots, which express the director's
intent for the story. These boards tend to contain more detailed information than thumbnail storyboards and
convey more of the mood for the scene. These are then presented to the project's cinematographer who
achieves the director's vision.

Finally, if needed, 3D storyboards are created (called 'technical previsualization'). The advantage of 3D
storyboards is they show exactly what the film camera will see using the lenses the film camera will use. The
disadvantage of 3D is the amount of time it takes to build and construct the shots. 3D storyboards can be
constructed using 3D animation programs or digital puppets within 3D programs. Some programs have a
collection of low resolution 3D figures which can aid in the process. Some 3D applications allow
cinematographers to create "technical" storyboards which are optically-correct shots and frames.

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While technical storyboards can be helpful, optically-correct storyboards may limit the director's creativity. In
classic motion pictures such as Orson Welles' Citizen Kane and Alfred Hitchcock's North by Northwest, the
director created storyboards that were initially thought by cinematographers as to be impossible to film. Such
innovative and dramatic shots had "impossible" depth of field and angles where there was "no room for the
camera" - at least not until creative solutions were found to achieve the ground-breaking shots that the
director had envisioned. It is very important that the director not be limited to what is just "possible" or
"normal" to the cinematographer. Technical 3D programs can sometimes help the cinematographer plan what
challenges the director has created for them to achieve complex storytelling shots.

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Work Sheet 1.1.3 – Design Brief and Storyboard
Learning outcome:

1 Explain the design brief and storyboard.
Learning activity:

1.1 The requirements from the design brief and storyboard are identified.

Activity 1. Below is a portion of animation bible for the short story iCon. Based on the information, draw a
character that would best represent the main character iCon.

CHARACTER MATRIX

Primary Character iCon

Dimension: H = 5 ft
W = 2.5 ft (excluding the arms)
Weight: L = 3 ft (excluding the welding tool and cord)
Function: 2 x 3 ft forearms and 2 x 2.5 ft back arms
300 lb
Form: Brick Layer, Electrician, Plumber, Steel Fixer and Welder. A
Company Maker: welder is a tradesman who specializes in welding materials
Model/Version: together. The materials to be joined can be metals (such as steel,
Color: aluminum, brass, stainless steel etc.) or varieties of plastic or
Casing/Chassis: polymer. Welders typically have to have good dexterity and
AI: attention to detail, as well as some technical knowledge about the
Fuel/Power Source: materials being joined and best practices in the field.
The head looks like a robot with bamboo hat, it has big eyes, four
arms with 3 fingers, has a tail for welding
Madera Group of Companies
6.53b
Gray, Dirty White
Gundarium Alloy and Adamantium Metal
Aesthetic Yielding Artificial Intelligence (AY-AI)
Energon Cube

Characteristics
The grip of the iCon is one of its astounding engineering breakthroughs. Embedded with sensors,

the 3-point gripping of the iCon can hold fragile materials like egg or a glass of water.
The armor plating is a mixture of Gundarium Alloy and Adamantium Metal. Due to the extreme

power source, combined with incredibly unbreakable materials, iCon can lift objects weighing up to 5 tons.
High mobility of the iCon is the result of technological advancement of its two distinctive wheels.

The track wheels in the front can navigate through any terrains. And, the automobile wheels which provide
easy movement for the unit. It is agile, which means, it can accelerate, brake, and turn on various terrain,
and it has obstacle clearance capability (the unit’s ability to travel over vertical obstacles like sand, gravel,
metal beams etc). The iCon can travel at approximately 80 kilometers per hour across flat terrain and up
to 110 kilometers per hour on roads.

The arms can extend up to 8 meters. The iCon is built with four arms, designed to double the
speed of construction. The arms were created like tentacles for fluidity of movement. iCon Robot is a
building construction robot. It is capable of reading and analyzing blueprints with its AI (Artificial
Intelligence).

With its super AI, he can read the internal structure of his fellow robots. He can repair, reproduce
and clone other robots.

He will not care how he will look like. On the appearance of Demolitioner, he will realize that his
new arms and legs are not what he needs. He needs to mature to realize that it is not what he really
wants.


 

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Characterization
A creative robot, he can make design out of any material. He also has developed a sense of

curiosity in the human world. The humans’ behavior and how the humans react to Gracie. He doesn’t
seem to realize the function of Gracie in the society.

Emotional Baggage
His over curiosity led to comparing his form with Gracie’s. This builds up his jealousness and him

being envy, thus losing his self-esteem.

Back Story
On the latter part of the story, iCon will replace his 2 forearms and wheels with inflatable arms and legs,

just like Gracie. He will remove his 2 back arms and welding tool. This act totally changes his form.
 

Activity 2. Analyze the storyboard below. This is a storyboard for Orlando Magic advertisement. Allocate
proper timing on each panel with total airing time of 30 seconds. Write a short essay (1 – 3
sentences) for each panel regarding the length of footage/scene.

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Information Sheet 1.2.1 – MAYA Interface

Learning outcome:

1 Explain interface, and usage of common tools and manipulation tools of MAYA software.

Learning activity:

1.2 Parts of the user interface are identified, common tools are used to create simple models and
manipulation tools are used to select, move, rotate and scale models.

Navigation in MAYA

With Maya or any other software tool, the key to being a good digital artist or animator is not necessarily,
knowing exactly where to find all the tools and buttons. The key is, knowing how to find the features you need.
Don’t let the interface intimidate you; it’s much friendlier than you might initially think, and there is more than
one way to get something done through the user interface (UI).

Maya is intricate with layers of function sets and interface options separated into categories. The purpose of
this information sheet is to help you get to know Maya and how it operates, building on your experience so far.

The best way to start is to explore the interface. Using your mouse, check out the menus and the tools. Just
be careful not to change any settings; the rest of this information sheet and its projects assume your Maya
settings are all at their defaults. Just in case you do change some settings inadvertently, reverting to the
defaults is easy. Choose Window => Settings/ Preferences => Preferences. In the Preferences window,
choose Edit => Restore Default Settings. Now all the settings and interface elements are restored to their
default states.

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The Maya Interface
Knowledge of the Maya interface is the foundation of everything you will do in Maya, from creating models to
texturing, animating, and final rendering. Maya offers a lot of flexibility, and you can customize it in myriad
ways.

Menu sets Lets you Main menu bar Contains Status line Contains icons
switch between sets standard menus (File, used for a number of
of menus for the Edit, Modify, Create, important tasks, such as file
tasks of animation, Display, Window) operations, object and
modeling, dynamics, followed by menu items component selection,
rendering, fur, live, that are displayed or snapping, and rendering. A
and cloth.
  hidden depending on the vertical bar separates each
selected menu set.
  logical group of icons.
 

QWERTY tools Shelf is a place to
used to set your own
manipulate custom tools and
objects.
  scripts.
 

Layouts Channel box
instantly Contains data about
change the the selected objects.
 
configuration of
the viewports.
  Playback controls
let you play, stop,
Time Slider rewind, and step
Lets you move through your
left and right to animation.
 
scrub through
the scene.
  Help line a short Viewports Primarily used Range Slider Limits
description of the to see your 3D scenes the range of the
Command line is a place tools and how to through camera or Time Slider.
 
to type text-based use them.
  orthographic views.
 
commands to Maya, such
as a MEL script.
 

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The Status Line
The Status line contains a lot of important icons that assist you with tasks such as managing files, selecting
masks, snapping, and rendering options.

Scene File Selection Input/output Absolute
Contains icons masks let you connections values used for
that let you decide which manage the current tool
open, save, components way objects
and create new are selected are connected
scenes.
  when you’re in as well as
component construction
mode.
  history.
 

Menu sets Selection Snapping Render Attribute
Lets you modes Let you functions controls Editor,
switch select by snap the contain icons tool
between hierarchies, cursor or used to render settings,
sets of objects, and objects.
  the scene and and
menus for components.
  control Channel
the tasks.
  rendering box.
 
options.
 

The QWERTY Tools
These tools are used for selecting and translating and are accessed primarily through the shortcut keys Q, W,
E, R, T, and Y.

Select (Q) Selects an object or, by clicking and dragging, multiple objects.
Lasso Selects object(s) by drawing a lasso.
Move (W) tool moves the selected object(s).
Rotate (E) Rotates the selected object(s).
Scale (R) Scales the selected object(s).
Soft Modify allows modification of the object with falloff.
Show Manipulator (T) shows the manipulator, allowing you to adjust construction history.
Last (Y) selects the last tool used.

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Layouts
The Layouts Tool Box quickly changes the arrangement and layout of the viewports. The viewport
arrangement you choose depends on the task at hand. If you are texturing and lighting a scene, you’ll want
the Hypershade available. An animator will need easy access to the Graph Editor. Clicking any of the preset
buttons instantly changes the views as follows:

Single perspective
Four perspectives
Perspective and Outliner
Perspective and Graph Editor
Hypershade and Perspectives
Perspective, Graph Editor, and Hypergraph
Mode select: Each button reveals a rollout allowing you to change the mode of the view.

Floating Menus
In Maya, you can tear off and “float” drop-down menus when you need repeated access to the menu. It can be
done by simply left-click the double bar at the top of the drop-down.


 

Left-click
here to float
the window.

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The Hotbox
Another way to easily access menus is by using the hotbox, which appears when you press the spacebar.
The hotbox places all the menu commands at your cursor. You can customize the hotbox to include all the
available tools or only those currently needed.

Common menus Panel menus
are the standard Menus associated

memnuesnufrobmar.t
h   e with the active
panel.
Recent Commands
is a list of the last
 
tools.
Hotbox controls
Lets you show/hide

menussaentsd.
 menu

View select Menu sets
Clicking in the
center box lets you Menus that are
change the view in
the current viewport. contained within the

menu sets aonnd/ocffa.n
 
be turned

Marking Menus
Marking menus let you quickly access functions wherever the cursor is located. Once you memorize a
marking menu, you can quickly select options with a simple keystroke and mouse gesture. Maya has a
number of preset marking menus. You can customize the interface to your own needs using the Hotkey Edi-
tor, which lets you assign a marking menu to a particular key.
Here are a few standard marking menus:

Holding down the W key while Pressing the H key selects the Pressing the E key displays
pressing the left mouse button menu set. the options for rotating objects.
opens a marking menu that
gives you options for moving
objects.

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You can configure and customize hot keys and marking menus using the Hotkey Editor (choose Window →
Settings/Preferences → Hotkey).

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The Channel Box
The button, which is on the far right of the Status line, displays the Channel box. The Channel box sits along
the right side of the interface and lets you quickly edit an object’s main attributes. Translate, Rotate, and Scale
are the most common attributes, but the Channel box provides control over many parameters of an object. It
can also act as an animation interface, in which you can key parameters simply by right clicking. You can also
lock attributes so they can’t be changed. This is helpful when the object needs to remain stationary, for
example.

Mode Switches between Object if multiple objects are
selected, lets you show the
Channel boxb,oLtahy.
e  r Editor, or individual channels of any one

Channels Drop-down menu object.
that let you key attributes,

 
copy and paste attributes, and
lock or unlock attributes. Locked attributes to lock or
unlock, highlight the attribute,
clicking over the Channel box.
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Inputs Mtohdeifioebrsjeccat.n
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  Attributes of the object let

you modify such as Translate,

Rotate, andoSthcearlse.,
  along with

Input attributes Modifiable Layer Mlaanyearginegr.C
  ontrols

attribsuetleesctreedlaitnepdutto.
  the

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The Attribute Editor
The Attribute Editor is an important window in Maya and takes the concept of the Channel box a step further.
Every object in Maya is defined by a collection of attributes, such as its position, color, shading, shape, and so
on. The Attribute Editor is the interface where you can control and modify these attributes in detail.

The Attribute Editor has a series of tabs representing the nodes connected to the main object. Each node
affects the object in a specific way, from altering the shape of the object to determining its shading.

The button, which is on the far right of the Status line, places the Attribute Editor on the far right of the screen.
You can also open the Attribute Editor by choosing Window → Attribute Editor from the menu bar. Pressing
Ctrl+A also displays the Attribute Editor for the selected object.

Selected If multiple Focus Displays all
nodes that have been
items are selected, it selected in the scene

displays tohneeaottbrjiebcutt.e
 s whEidleitothreisAottpriebnu.t
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Main menu is Menus

  List Lets you load
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 ttribute

a   autttorimbuatteicsamllyanwuhaelnly or
the Attributes Lets you
add, edit, and delete
object is selected.
exotrbajeactttroibruatensofdoer .a
  n

 
Pivots Lets you display

  a separate rotate and
Nodes Tabs that
scale pivot.

  contain attributes for

 
eachtonothdeeocbojnencte. c
  ted
Display Attributes that

  control how an object is

Transform Attributes displayed.

Translate, Rotate, and
 

Scale attributes for the

master node.


 

Limit Information A

series of rollouts that

let you limit the object’s

attributes.


 

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Viewports
Viewports are where most of the work in Maya happens. Viewports can hold views of your scene as well as
other types of windows that display information about your scene. The two types of views within Maya are
perspective and orthographic. You select and change views using the Panels drop-down at the top of every
viewport.
Perspective views let the camera rotate in 3D space as well.

Orthographic views, such as top, front, and side views, only allow dolly and pan.
Shading
Each view can have its own level of shading for viewing objects at different levels of realism. If you are
creating models, you might want to view just the wireframe, but others might want to view the fully shaded and
textured objects. The more realistic the shading, however, the slower the interaction; so complex scenes can
bog down the system. One handy option is shading only the selected items. Not only does this speed
interaction in complex scenes, it helps the selected items stand out.
The Shading drop-down on the top of the viewport controls the shading level.

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Wireframe Flat Shading Smooth Hardware High Quality
shows a simple fills in the Shading Texturing Rendering
outline of the spaces displays a displays shows
object. between the smooth object. textures. The advanced
wires. quality of the features such
textures as bumps and
depends on the transparency.
graphics card.

Navigation
To navigate within a view, hold down the Alt or Option key while clicking a mouse button.
Additionally, pressing F frames the current selection, and pressing A frames everything in the current scene.

Tumble: Alt or Option plus the Track: Alt or Option plus the Dolly: Alt or Option plus the
left mouse button rotates the middle mouse button moves right mouse button moves the
camera around a perspective the camera left/right and camera toward and away from
view. up/down. the subject.

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Information Sheet 1.2.2 – Common Tools

Learning outcome:
1 Explain common tools and manipulation tools of MAYA software.

Learning activity:
1.2 Use common tools and manipulation tools are used to select, move, rotate and scale models.

Selecting Objects
Objects in Maya can be NURBS (Non-Uniform Rational B-Spline) surfaces, polygonal surfaces, curves,
cameras, lights, cameras, and joints, among others. Maya has three levels of selection: objects themselves,
groups of objects (hierarchies), and parts of objects (components). Maya also has a sophisticated masking
system that lets you select only the objects or components you want.

Hierarchy – Objects – Component

A group of icons on the Status line determines the selection mode.

Hierarchies
Hierarchies are groups of objects. To create a hierarchy, select multiple objects, and then choose Edit →
Group. You can select a hierarchy by clicking the Hierarchy icon on the Status line, from within the
Hypergraph (choose Window → Hypergraph), and from within the Outliner (choose Window → Outliner).

This object is actually which are tied together
made of several objects... in a hierarchy.

You use hierarchies to logically group objects for scene management, as well as to help create complex
animations. A good example is the lamp. The base of the lamp is the “root” node of the hierarchy; moving this
moves the child nodes, such as the arm and the head of the lamp. Adjusting a child node, however, such as
the arm of the lamp, affects only those nodes lower in the hierarchy, such as the head of the lamp.

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Objects
Maya supports a variety of object types, including surfaces, curves, joints, and handles, among others. To
select individual objects or multiple objects, set the selection mode to Object and select with the mouse. You
can also select objects in the Hypergraph or Outliner.

Using the selection masks on the Status line, you can refine object selection. By toggling the selection masks,
you can select only the types of objects you want.

Joints Used as Curves Used
bones to to help build
deform
surfaces.
characters.

 

 
Select

  miscellaneous

Handles object.
Used to aid in
the selection
 

of objects.


 

Surfaces Deformations Dynamics Rendering
NURBS, Clusters, Particles Lights,
polygonal, systems, and
subdivision lattices, and soft bodies cameras,
surfaces, or other tools used for special textures, and
planes. used to deform effects. other related to


  objects.
  rendering.


 
 
 

Components
 

You use components to modify and change the shape of an object, such as a curve or a surface. Each type of

object has different types of components. A NURBS surface has components such as hulls and control

vertices (CVs), and a polygonal surface has vertices, edges, and faces. Using the selection masks helps you

to limit the types of components selected:

NURBS CVs
  NURBS hulls
 

NURBS isoparms
  NURBS patches
  Polygonal faces
 

Polygonal edges
  Polygonal vertices
 

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Quick Select
Quick Select, located on the Status line, lets you enter the name of an object to select it. This is handy when
an object is in a complex scene and hard to find. Using an asterisk (*) selects all objects containing the
characters, making it easy to select all similar items with a few keystrokes. For example, when selecting parts
of a character, typing Hand* might select everything related to that character’s hand. Devising and sticking to
a naming scheme can help tremendously when working on large projects.

The Outliner
Another way to select objects and manage hierarchies is with the Outliner. The Outliner presents all the items
in the scene as a hierarchical list. You can quickly scroll through this list to select scenes, and objects or
hierarchies of objects.
To open the Outliner, choose Window → Outliner. You can also configure the Outliner to reside in a viewport
using the viewport’s drop-down menus.
To select an item in the Outliner, left-click it. To select multiple items, left-click and drag them. Holding down
the Shift key lets you select objects in groups by clicking the first and last item of the group. Holding down the
Ctrl key lets you add or subtract items from the selection individually. You can easily rearrange hierarchies by
middle-clicking the item and dragging it.

Display Drop-down Text filter Typing a name
menu to control how or a global displays only

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  n is those othbejecctrsitethriaat.
m  atch

Root node Highlighted Show Drop-down menu
in green, this is the root
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  types
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Selected item Selected
Close hierarchy Left-
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  the Second view Moving

Open hierarchy Left- the bar along the bottom

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Transforming Objects
Transformations change an object’s translation, rotation, and scale. These changes are stored in the object’s
transform node. You access the Transformation tools using the hot keys: W (Move); E (Rotate); R (Scale).
You can also select these tools from the Tool Box on the left side of the interface.
Each transformation tool has its own manipulator, and each manipulator is color-coded. Red is the X axis,
green is Y, and blue is Z. Left-clicking and dragging in the center of the manipulator moves the object on all
available axes; clicking and dragging an individual manipulator transforms the object only on the selected
axis.

Note: Choose Modify → Freeze Transformations to set all your objects’ current transformations at their
zero positions. Choose Modify → Reset Transformations to set the transformations on selected objects
back to zero, placing the objects at their origin. This resets any transformations since the objects were
created or the last time you used Freeze Transformations.

Coordinate Systems
Transformations can take place along a number of different XYZ coordinate systems. These primarily affect
how an object is moved. You can change coordinate systems using the options panel for each tool.

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To access the options for any command, click the small box to the right of the command’s name in the menu.

The Move Tool
Move tool options (choose Modify → Transformation Tools → Move Tool) select the coordinate system for the

Move tool.

Object space is Local space is
aligned with the
aligned with the
soebljeecctte’sdparent.
 
selected object.

 
If the object is
Normal space
rotated, the is aligned with
the individual
orientation of X, normals when
in component
Y, awnedll.Z
  rotate mode. Maya
as uses U, V, and

World space is Ncofoorrdtihneates.
 
the default
coordinate
 
system and has
its axis aligned
with those of

Yth,easncdeZn-ea’sxeXs,.
 

The Move tool options panel

The Rotate Tool
Rotate tool options (choose Modify → Transformation Tools → Rotate Tool) select the coordinate system for
the Rotate tool.

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Pivots
The pivot is the center of each object’s coordinate system. This is particularly important when using the Rotate
tool, because the object rotates around the pivot.
To adjust the placement of the pivot, press Insert while in move mode. Once the pivot is in the proper location,
pressing Insert locks the pivot in place.
Another way to automatically adjust pivots is to choose Modify → Center Pivot. This moves the pivot to the
geometric center of the object.

When the pivot is placed outside the wheel, the When the pivot is moved to the center of the
wheel rotates around the wrong center. wheel, the wheel rotates properly

The Connection Editor
You use the Connection Editor (choose Window → General Editors → Connection Editor) to connect
attributes. It is divided into two vertical panes. Each pane contains a list of attributes from the selected objects,
which can then be selected and connected using the “from -> to” button.

To load an object’s attributes into the Connection Editor, select the object and click either Reload Left or
Reload Right. To connect attributes, left-click to highlight them on each side of the window.

Loads the selected

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Loads the selected

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Attributes Available 3D Digital Animation Created: Revised: Page N
attributes are shown in May 02, 2010 June 02, 2010

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Selected Attributes The
selected attributes are

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Work Sheet 1.2.3 – Name
Learning outcome:

2
Learning activity:

2.2

Identify the parts of the interface. Place your answers in the empty box.

Menu sets Lets you 7.
  Status line Contains icons
switch between sets used for a number of
of menus for the important tasks, such as file
tasks of animation, operations, object and
modeling, dynamics, component selection,
rendering, fur, live, snapping, and rendering. A
and cloth.
  vertical bar separates each
logical group of icons.
 
QWERTY tools
used to 6.
 
manipulate
objects.
  5.
 

1.
 

2.
  Playback controls
let you play, stop,
rewind, and step
through your
animation.
 

4.
 

Command line is a place 3.
  Viewports Primarily used
to type text-based to see your 3D scenes
commands to Maya, such through camera or
as a MEL script.
  orthographic views.
 

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8.
  9.

 

 

Handles Deformations Dynamics Select
Used to aid in Clusters, Particles miscellaneous
the selection systems, and
lattices, and soft bodies object.
of objects. other tools used for special
used to deform effects.
 

 
objects.
  Rendering
10.
  Lights,

 

  cameras,

  textures, and
other related to

rendering.


 

Identify whether the figure above used Smooth Shading, High Quality Shading, Wireframe, Smooth Shading
or Flat Shading.

What is pivot used for? (5 pts)

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