Release. Pressure. Animate.

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well as keeping order in the overall pipeline. This is made simple by a color coded system (for each part of the partline and progress) and the possibility to filter and order the database to your own needs. There are other commercial systems providing such assistance out there (Shotgun for example), but they chose for a proprietary custom made one because the others were lacking simplicity. Simplicity increases the speed and intuitivity of the usage and seems to be of the essence. And this is exactly what they‟ve reached with this system. Though Shotgun is, of course, also developed to provide speed and intuitivity but the amount of features in the program made it especially hard to introduce it towards less technical people at Motek Entertainment. The creation of their own tool was designed to introduce the simplicity and primarily focus on the functions that were requested by these people and were needed in the production. A small screenshot of Motek Entertainments proprietary software ShotTracker for increasing speed and efficiency with controlling and supervising the production. The projects directed by Hans Walther are not all projects done by Motek Entertainment. Jasper Brekelmans, their technical guy, explains how different projects fit differently in their pipeline. He mentions projects coming in with a full previz 9 and storyboard, where others just have a basic script. Some projects need real-time previsualization and others need it sparingly. Some use only the Motionbuilder pipeline and others add in Maya with simulation and effects. The projects they do at Motek Entertainment can differ from taking on the full pipeline or delivering just a part of it for a bigger production. This needs them to be flexible. Jasper says it often consists of separate building blocks, for 9 Previz is short for previsualization and both are jargon in the 3D animation business for „an attempt at visualizing the scene before the actual production begins.‟ 2. The difference in Animation fields 4 6
example you could divide the pipeline into previz, mocap, Maya, effects, rendering, compositing and delivery. Some projects would require more blocks and others could even use only one or two; it all depends on the clients‟ needs. But all these tasks are clearly separated and tracked in the ShotTracker and even assigned to different individuals as well. There‟s much to say for a separate director and a production assistant that could take care of this type of progress checking, reports and data management. But even with a director the tool is a useful collaborative environment for team members to check the overall progress, what they need to do and how to do it. The overall management overhead is much less. With Mac „n‟ Cheese I often kept little excel sheets updated with notes for each team partner about what to fix next and it was necessary and helped, albeit on a low level. A smoother management tool as described would‟ve really changed the Mac „n‟ Cheese management for the better. This really is a must for production – especially for the size of productions like Mac „n‟ Cheese - and will therefore thoroughly be discussed when talking about concepts for improving the efficiency, intuitivity and the holding of a creative flow. Above: Excerpt from Mars needs Moms. A motion captured feature film released on March 11, 2011 by Walt Disney Pictures It‟s worth mentioning that the resulting motion with motion capture is really distinct from other animation fields, there‟s a lot of subtle movement and twitches in the movement which are hard to achieve within the others. Some subtle motions come from faulty capturing and cleaning up, but most is just because human beings make a lot of subtle movements. Though, when discussing the Disney development I argued, on basis of Richard Williams statement, that rotoscoped animation that was supposedly to look lifelike always felt off. The same is the case with straight Motion Capture. […]the Disney guys found the rotoscope stuff to be lacking a lot of the vitality, energy, and "life" of their regular work. That's actually something that many 2. The difference in Animation fields 4 7
Page 1 and 2: PRESSURE. RELEASE. ANIMATE. How to
Page 3 and 4: “Art challenges technology. Techn
Page 5 and 6: Table of Contents Table of Contents
Page 7 and 8: Introduction Not a very long time a
Page 9 and 10: This is all evolving around the mai
Page 11 and 12: There are two difficulties in discu
Page 13 and 14: 1.2 How can a flow be maintained or
Page 15 and 16: this piece of art - posing the char
Page 17 and 18: You know that feeling when you watc
Page 19 and 20: without any reference or sketching.
Page 21 and 22: 2.1 Animating like a puppeteer. (St
Page 23 and 24: ond with the character often create
Page 25 and 26: everything done smoothly at the mom
Page 27 and 28: same, hence a „tick‟ of the lig
Page 29 and 30: This paragraph is about what in gen
Page 31 and 32: “Too much action spoils the actin
Page 33 and 34: working clean and keeping your head
Page 35 and 36: think in the ways of those strong p
Page 37 and 38: the motion and action of the charac
Page 39 and 40: this can be a reliable way for „i
Page 41 and 42: It‟s hard to have a clear distinc
Page 43 and 44: the background. Any distraction at
Page 45 and 46: or the mixed approach as described
Page 47 and 48: customizing and tweaking the whole
Page 49 and 50: as the character parts don‟t actu
Page 51: As with traditional animation and m
Page 55 and 56: ecognizable style on its own, but f
Page 57 and 58: issue. “While early production mo
Page 59 and 60: There‟s a need for a strict goal
Page 61 and 62: Simplicity is what animators seem t
Page 63 and 64: Simple thinking Complex effects Ful
Page 65 and 66: creating a thorough plan that doesn
Page 67 and 68: Because using the early computer sy
Page 69 and 70: work you‟re looking at, regardles
Page 71 and 72: we‟ll see. According to a job des
Page 73 and 74: day polishing splines, arcs and spa
Page 75 and 76: It‟s important to allow supervisi
Page 77 and 78: doesn‟t. For him they were mainly
Page 79 and 80: - Discuss with supervisor. - Animat
Page 81 and 82: the animator (like reviews by the s
Page 83 and 84: By now I‟ve presented the importa
Page 85 and 86: the final movie too. They might see
Page 87 and 88: progression of the shot before star
Page 89 and 90: In management I‟ve noticed while
Page 91 and 92: already know exactly what pose happ
Page 93 and 94: (Autodesk Whitepaper - The New Art
Page 95 and 96: with a limited amount of informatio
Page 97 and 98: information to be (possibly) presen
Page 99 and 100: for. Sometimes it is necessary to a
Page 101 and 102: pop out is simplicity. For every ta
Page 103 and 104:
goals (based off of storyboard and
Page 105 and 106:
up and shut it down instead of a co
Page 107 and 108:
development 22 . Since the tracking
Page 109 and 110:
The same accounts for playing the a
Page 111 and 112:
animation studios, and if it were u
Page 113 and 114:
on it, as well as use it automatica
Page 115 and 116:
offer functionality for this in a r
Page 117 and 118:
guessing right away what the best t
Page 119 and 120:
to focus on only these parts and ma
Page 121 and 122:
een developed through the years for
Page 123 and 124:
data to handle through the years se
Page 125 and 126:
applying it to your objects animati
Page 127 and 128:
allows you to quickly sculpt tweaks
Page 129 and 130:
quickly and easily check your anima
Page 131 and 132:
without worrying about what and whe
Page 133 and 134:
viewing and commenting accordingly
Page 135 and 136:
stimulation might interfere with ac
Page 137 and 138:
A picture depicting an overview of
Page 139 and 140:
of the animating) could need this t
Page 141 and 142:
tools that really helped with the c
Page 143 and 144:
never really ended up using it as f
Page 145 and 146:
But looking at the character from t
Page 147 and 148:
otate around his head took me at mo
Page 149 and 150:
As stated we worked faster and were
Page 151 and 152:
Conclusion The main focus of my res
Page 153 and 154:
management, start using it and twea
Page 155 and 156:
Reference Sources Animation Mentor
Page 157 and 158:
Hoffman, Hans; T. Weeks, Sara; H. H
Page 159 and 160:
1. Workflow and Pipeline clarificat
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Release. Pressure. Animate.

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