Download Hybrid animation: integrating 2D and 3D assets by Tina O'Hailey PDF

By Tina O'Hailey

Expand your mind's eye through letting move of the constraints of conventional animation mediums, software program programs, or workflows and integrating second and 3D resources. With the up-to-date and increased moment version of Hybrid Animation you’ll how one can decide on the concepts that most sensible exhibit the creative and narrative course of your venture and get the technical aid you want to convey your principles to life.

Learn how assorted pipelines of hybrid animation may be damaged down and rethought in numerous programs. Does the 3D personality lead a second personality? Or, does the 2nd personality have 3D components? might be a 3D prop is interacting with a second personality? All of those hybrid styles are explored from excessive finish to open resource software program. through the tip of the e-book you’ll have the ability to see how one can practice those ideas to the software program you've gotten now.

Insight and idea are at your fingertips with routines, step by step tutorials and featured interviews with Todd Render of Floyd County Productions and Marty Altman, former CGI Technical Director at Walt Disney characteristic Animation.


  • Now with up to date software program methodologies, new methods, and extended sections on Toon increase Animate professional, Toon growth concord and more.
  • Produce high quality 2nd and 3D narratives in a number of software program workflows, together with Photoshop, Corel, Flash, After results and Maya, Nuke, Houdini, Smoke, and Toon growth workflows.
  • Think seriously approximately visible kinds, the results of 2D/3D masking and the whole pipeline from begin to finish.
  • Explore extra chapters and over 6 gigs of pattern records on hand within the significant other info came across at

Tina O’Hailey is Dean of electronic Media on the Savannah university of paintings and layout with destinations in: Atlanta, Savannah and Hong Kong. Having labored for digital Arts, Walt Disney function Animation, she has broad event in characteristic animation and online game improvement. O’Hailey has served as an Artist improvement coach for Brother endure (2003), Lilo and sew (2003), Mulan (1998) and Prince of Egypt (1998).

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Extra info for Hybrid animation: integrating 2D and 3D assets

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Open our robot rig. ma, and click Open. When the red arrow is on, you are using character sets to animate. Because we have a camera set for this scene, we will use it to check our silhouettes. Animating to the camera means animating in the perspective, top, front, and side window with the ability to orbit around and looking at the Render_Cam to make sure the poses read well. Choose Panels > Tear Off Copy. Resize it and place it so that it is out of the way but still visible. ) In the Render_Cam panel, choose the following items so that you can get a clean silhouette view: a.

2. During playback in Maya, it wouldn’t evaluate the timeline! I was able to turn it on again by clicking on Modify > Evaluate Nodes > Evaluate All. I think this was more user error—the accidental hitting of a hot key. We will cover the technical aspects of a few of them here in this chapter. Maya and Photoshop A new feature that was put into Photoshop, as of version CS3, is the ability to edit and work on sequences of images. Click on the Image Sequence option. Oh, look—a window opens for you to set the proper frame rate (remember what we said in Chapter 1—there are many, many places to mess up frame rate); select 24 fps.

If you wish to use the older version of animation, take a look at the Photoshop documentation. The hot keys are the arrow keys, and you will need to turn on timeline hot keys by clicking on the option arrow in the upper right corner of the animation window and turning on Enable Timeline Short-Cut Keys. Rendering When you are done animating, you will want to save out your file as individual images. These images can then be composited together with the other levels in the compositing package of your choice.

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