Take The Long Shortcut

1. Colors Planet Coloring Your Dreams! 3D-Animation Project Process Take The Long Shortcut To Taste the success, believe you are success.

2. Production Process • Introduction • Script ( Creative Ideas ) • Storyboarding ( Sketch ) • Visual Development (Theme Setting) • Stereoscopic Film making • Casting • Modeling • Layouts ( Pre-Step Animation/ Sketch ) • Character Animation • Pre-Production ( Env-fillup and animation ) • Final Production

3. Introduciton • A Movie starts from between creativity and technology. Every detail, every leaf, tree, blade of grass, rock and cloud; every shadow and shaft of light; every thread of clothing and lock of hair (or fur), was imagined and brought to life by our creative teams over the four years or so that it takes to complete an animated film. So, how did we do?

4. Script ( Creativity Ideas ) • Great films begin with great concepts. Some of ideas should completely original, while some could inspired by a wide variety of sources, including children's books and comic strips. Once we've settled on an idea, the first step is to write a script.

5. Storyboarding ( Sketch ) • Once a script page is ready, we give it to our storyboard artists. Imagining how the words will translate into actions and pictures, they make a series of sketches, a kind of comic book, to tell the story and bring it to life. Once the directors and producer approve, the drawings are digitally photographed and strung together to create what we call a story reel (imagine a flip book that lets you see how the drawings flow together). We combine that with temporary music, sound effects and dialogue, and work with the movie in this form for about 1 months.

6. Visual Development (Theme Setting) • Once a script page is ready, we give it to our storyboard artists. Imagining how the words will translate into actions and pictures, they make a series of sketches, a kind of comic book, to tell the story and bring it to life. Once the directors and producer approve, the drawings are digitally photographed and strung together to create what we call a story reel (imagine a flip book that lets you see how the drawings flow together). We combine that with temporary music, sound effects and dialogue, and work with the movie in this form for about 1 months.

7. Stereoscopic Film making( 2d-layer animation) • Background: • Starting with the release of Monsters versus Aliens in 2009, all feature films at DWA have been slated to be produced in stereoscopic 3D. Jeffrey Katzenberg's vision to author films in stereo 3D was to forever change the film-making industry. The groundbreaking experience this new visual format provides has been compared to the advent of color and then sound in cinema history. With advanced technologies came the possibility to elevate our movie-making journey into the future and beyond. • Process: • The new process requires changes to the traditional methods of CGI film-making. The studio took and continues to take great strides in the integration of new technologies and processes to incorporate stereoscopic 3D film-making into the DWA workflow. This was achieved by making software, hardware and workflow changes. It affects all aspects of our story-telling and merges the technical with creative energies.

8. Casting • Our storyboards are drawn, our characters and sets are designed, so now we need to find voices for our characters and start recording their lines. Casting in animation is unlike casting for live action movies. Since we create the physical characters on the computer first, we're much more concerned with what an actor sounds like than how he or she looks. In other words, we cast with our ears, not our eyes. We record the actors before we start animating. We usually videotape the actors performing their roles to help provide reference for the next phases of production and to make sure that we capture key expressions, reactions and other nuances.

9. Modeling • From this initial design, our modelers will construct the digital 3-D model we'll use for planning and animation rigging. The modelers start with this wire frame sculpture that we call an armature, that breaks down our design into workable geometry and allows us to rig the figure, which will give the animator the ability to move our 3-D figure in whatever way is necessary to get the articulation we want. Once we've set up the armature, we can begin to add basic surfaces. It is this simplified "puppet in a box" or digital marionette that we use in our next step.

10. Layouts ( After modeling first step) • Layout artists use rough "stand-in" shapes to block out the movement of the character in the scene. This rough layout or animatic is the blueprint from which we determine camera movement, character placement, spacing, lighting, geography and scene timing. The animatic maps out the entire movie, giving us a digital picture of each scene before we actually begin the character animation.

11. Character Animation ( Only Character) • Once the sequence is working well in layout, the animators start bringing the characters to life in the computer. They articulate the thousands of controls that were created during the character-rigging phase to bring each character to life and to synchronize them to the voice performances. Now the characters really look like themselves, but not quite. Remember, this is just the animation; the scene isn't quite finished yet.

12. Object Animation ( Animation in Env, Fillup, bg..etc. • After the camera moves have been set and the characters have been animated, the next steps are effects and lighting. In a live-action film, it's easy to photograph things like leaves blowing in the wind, waves at the beach or even footprints in the sand. In computer animation, these simple things are all designed and animated by the effects artists. In other words, if it's not acting, but it moves, it's an effect. Let's use water to illustrate our point. For example a scene where character is the surfing onto the beach, . This is what the scene looks like once it has been animated but before any effects have been added. The effects animators take that very blocky and plain looking stand-in water and turn it into something beautiful. Let's focus on a single shot and look at the series of steps it takes to accomplish this. We start by building and animating the translucent surface of the wave.

13. Effects and lighting • Next we visualize how the surrounding environment is reflected in the wave like a mirror. We add foam to the surface, and bubbles under the surface. Then our effects animators add the finishing touch, spray and splashes. When all those elements are combined, or "composited", the composite is sent to the lighting department where we add final textures and lighting to get a complete frame for the movie.

14. Rendering & Production • Yeah…….Everyone knows this  • We have perfect audios, rendered files for pre-production process for cut or add any scene for continual theme getting. • Final clip rendering. • We deliver in various format like HD,TV-broadcast, 30mm screen print.

15. Team-Required • Fine-Art students for sketch, storyboarding, color & environment checking • 3D & 2D character & Object Modeler • 2D layer Animator for visual development & stereoscopic film making • Character & Objects Rigger & Animator • Lighting ,Effects & Environment Designer • Render Artist & Camera Movement • Casting ( Voice Artist – around 15 people ) (Male & Female )