Animation For Beginners Sample
Animation For Beginners Sample
BECOMING AN ANIMATOR
ANIMATION
FOR BEGINNERS
BY MORR MEROZ
COPYRIGHTS
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Sample Chapter.
i
This is a sample chapter from
This book is for those who are curious about what’s it like being an
animator. If you’re reading this you probably already think that being an
animator is pretty cool, but I know the actual reality of being a part of the
animation industry could look a bit vague for people outside of it.
In this book I will tell you everything I know about getting into animation.
I’ll go over all the types of animation, the necessary software and hardware
for each task, recommended reading material, the best schools for learning
animation in depth, some basics concepts of animation and even taking the
first steps to making your first film.
http://www.bloopanimation.com/animation-for-beginners-book ii
Section 1
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Coming Up with an Idea. the exact opposite. People want boundaries! They love
them.
Like I said in the previous section - your idea should
be focused on the skill you’re trying to show off. It A quick example: If I told you to draw a tree, you
should be very small and executable. I cannot stress might feel a bit ‘ugh’ or even freeze for a second. Then
this enough - if this is your first film - don’t over do it! you’d probably scribble some generic tree and move
Don’t take more than you can handle because you’ll on, not being creative or feeling inspired.
either not finish the film or get a mediocre one. Both
If, however, I told you to draw a tree using only
results are useless and a waste of time.
triangles, an artist would get excited. She would start
So how DO you come up with the right idea for you? thinking about how to do it, start thinking about
Start by restricting yourself to what you can’t do. I call creative solutions and try to make something unique
it the Restriction Method. and interesting. I bet it wouldn't look generic at all and
I bet every tree would look different.
What is The Restriction Method? Don’t worry, it’s not
some flaky theory, but a logical system I came up with That’s what creativity is - finding interesting solutions
that will get you to a solid idea, even if you feel stuck. to problems. A blank canvas has no problems, that’s
why it’s so hard to face it.
The Restriction Method is pretty much what is sounds
like. It’s all about making restrictions for yourself to Now that I explained what the Restriction Method is,
induce creativity and ideas. You might think that artists let’s examine the real life example of how I used it for
want ‘freedom’ and ‘space’ but human nature proves my own film - LIFT UP.
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Since I knew I will be doing this animated short film all was “I can’t believe how much emotion you got out of
by myself, I had to have restrictions. So I decided to a freaking cube!”
write them down.
So now that I have all the rules set up it’s time to come
• The movie will have only two main characters. up with the actual story. I started thinking and broke
down the elements in order to build the story:
• It will take place in 1 location
What’s the main difference between a ball and a cube?
• It needs to be humorous.
Well, one of them is round and the other is flat. When
• It will be under a minuet. will those differences make a difference? The first thing
that came up to me was walking. If you don’t have any
I already have a stronger starting point than most
legs or arms it will be a lot easier to move around as a
people just by writing down those rules for myself, but
ball rather then a cube. So I already have a conflict
I took it a step further. Since I am not so good with 3D
between the characters: A cube who is slowly trying to
modeling, I decided to restrict myself even more.
walk down a path and an arrogant ball zooming
I decided that my two main characters will be a ball around it, showing off, while the cube is struggling.
and a cube. No eyes, no legs or arms. Not only would
That’s a great start. I have established a conflict
that make my 3D modeling and rigging process a lot
between the two characters and found an interesting
easier but it would also be an amazing challenge as an
dynamic. But then I needed to find the twist. Not a
animator, bringing life into such basic shapes. Two
shocking twist but something that changes things
birds in one stone! In fact, one of the most common
around. I asked myself: In what case would a cube
comments I got from people who watched the film
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have the advantage over a ball? The answer was clear: My first film Food For Thought had plenty of dialogue
A slope. In a downhill slope the ball would roll quickly and I spend a lot of time with the script before moving
but going up the hill would be hard. on to drawings. On my second film LIFT UP, however, I
skipped the script and went straight to storyboarding.
So now I have a cube and a ball walking down a long
That was because that story was more physical than
road, and while the cube is struggling to move
verbal. I felt like drawing it instead of writing it would
forward, the ball is rolling around freely, mocking her.
be easier, and it’s just as effective in learning new
When they reach a hill, the cube climbs easily (since it
things about the story.
has flat sides) but the ball cannot get enough
momentum to follow. I use Celtx for script writing, it’s a great writing
software that syncs on multiple devices. It’s very
Will the cube help the ball after its display of arrogance
friendly to use and fun to write with. Another great
and selfishness? That was for me to decide, but look
solution is Final Draft, which seems to be very popular
at that: I had a story. I would never have thought about
with screenwriters. For more information on
that had I not restricted myself in the process.
screenwriting format go here.
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So what is a storyboard? A storyboard is a series of would look like at the end. That means that when
drawings meant for pre-visualizing the shots of a someone is reading your storyboard they should
movie. It is an essential tool for the director (in this instantly get the story.
case - you) so they could get a sense of the way the
A few things to help convey the story:
movie is going to look and feel.
• Write captions under the drawing
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Animatic Adobe After Effects is the most common software for
creating animatics.
After the storyboard is done you’ll need to turn it into
an animatic. With After Effects you can:
Simply put, animatic is an animated storyboard. • Manipulate the drawings with the puppet tool (if
Boards are brought together in an editing program and necessary).
are edited with the correct timing and pace of the film.
• Easily add elements to the view screen (such as
They include basic sound effects and dialogue
frame count, time-codes and shot number).
recordings.
• Export in various codecs and formats.
Similar to storyboards, animatics are used for pre-
visualizing the film before production starts. Animatics
Modeling
are extremely important for making an animated
After we got our story figured out and the animatic
movie, since they let you see what the movie might
looks good, we step into the 3D world for the first
look like for the first time. This is when you first get a
time. We usually start with modeling the characters,
sense of the pacing, the rhythm and the progression of
props and environments.
the film.
Modeling in 3D is the process of building and
This is also the last step before going into 3D, so it’s
shaping a character or an object in a 3D software, to
important to make sure no more story changes need
match the design. The modeling is done based on the
to be made.
character design and is something I have less
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experience with. That’s the reason I chose to go with a
Rigging
cube and a ball when I made LIFT UP, since they are
Rigging is the process of taking a 3D model and
the easiest objects to work with. I worked within my
building a skeleton into it so it could move the way we
restrictions.
want it to. This is a very important step for animators
For a deeper learning of modeling techniques I because they are the ones who will later have to move
recommend checking out Mastering Autodesk Maya that skeleton. You need to know in advance what kind
2014 or Digital Modeling. If you’re more into videos I’d of movement or facial expression you want the
recommend taking some Digital Tutors online courses. character to make. That’s why many animators have at
least a basic understanding of rigging and are
sometimes just as good at it as they are
animating.
Previsualization (Previz)
After you have all the 3D assets made (they are
rigged and ready to go) you’ll first make a previz
of your entire film.
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Previsualization (previz) is the process of making a There’s no one formula for the way previz
stripped down version of your film before actually looks, but I’ll share with you the way I do it.
making it. Made within the 3D program, a previz is
animated very basically, just enough to get the story It’s a good idea to leave space around your actual film
across. Think of it like a 3D animatic. for imputing various information. I usually just scale
down the video and add a black background in my
In recent years, live action filmmakers have started editing program (I use Adobe After Effects). Around the
making previsualizations before shooting their films, video there’re a few elements I like to have shown:
because it’s such a great way to see how shots look
before actually going out and shooting them. It could • The film title on the top middle.
save a lot of time and money if you know the scene is • WIP (Work in Progress) on the top left, so that
going to work ahead of shooting. viewers will know this is still in development.
For animation, just like live action, it’s a necessary
• Timecode on the bottom middle – one of the most
step. Animating takes so much time that you wouldn’t
important elements.
want to waste days and days working on a shot only
to find out later that the sequence doesn’t work. After • Frame count on the bottom right – timecode isn’t
storyboarding and making an animatic, previz is the enough, sometimes you need to know the exact
last step before diving into full animation. frame count of shots, or when giving comments it’s
easier to specify what frames need changing.
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• Shot number on the bottom left – so you can
Camera Shots and Angles
instantly know what shot you’re watching when
Speaking of cameras, here are a few things you should
writing notes or comments.
know about setting up your shots, camera lenses and
• Focal length (or lens size) above the shot numbers – movement.
not a must have, but I like to know the kind of lens I
Great cinematography is always challenging to
used for each shot.
achieve. Great and convincing cinematography in 3D
At the end you should have a version of your film with can be even more complicated. Why is it challenging?
basic animation. The camera movement should be Because in a 3D environment (the 3D software) there
finalized, because you’re going to keep it for the are no limitations, unlike real life where you are
animation phase. restricted by the rules of physics or by the budget of
your film.
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Speaking of lenses, let’s talk about them for a second. very dialogue heavy film and the search for a voice
In Maya we determine the lens in the ‘Focal Length’ actor was not something I had experience with.
attribute. If you’re familiar with lenses then you should
Luckily, I was introduced to Voices.com, a great
be able to figure out the right sizes for your needs, but
website for finding voice actors. It’s really great,
if you need a little guidance, here is a quick reference:
because you can submit a sample dialogue and get
• 8-15 focal length: Used for very wide shots, dozens of auditions from actors reading your script
landscape, establishing shots, creating deep within 24 hours. Hearing my script come to life was
perspective. one of the most exciting moments in the production.
Voice Acting First of all, it’s important to know that you’ll most likely
be focusing on very short segments of animation at a
If your film has any dialogue you’ll probably need voice
time.
actors. When I made Food For Thought I was facing a
What do I mean by that?
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A film is broken down to sequences. Each sequence is The camera movement and angle should already be in
made out of a few scenes and every scene is made place from the previz, and the character rigs should be
out of shots. A shot is defined as a take, in part or in in the right places. Before jumping into animating,
its entirety, that is used in the final edited version of the however, some preparation is needed.
film. It’s the piece of the film between two edits, a
Here are a few things you can do:
"piece of time”. In live action film a shot is everything
between the moment you start recording to the • Shoot reference. Even though you think you might
moment you stop the camera. Then in the editing know what an action looks like, you’ll be surprised
process the editor cuts these shots to the timeframe how much you don’t think about until you watch the
they need. action and analyze it. It’s good practice to record
yourself on video doing that action even if you’re not
In animation we only animate those final timeframes
going to animate it exactly the same, it’s good to
for the final edit. In a film they might shoot the same
have that reference nearby. You can also YouTube it
scene from 3 different angles, where in animation we
instead of shooting it yourself. Say you need to
only animated the time needed for each angle. It’s
animate a skydiver, it’s probably easier to look online
much less flexible but since animation is such a time
for a reference video than shoot one yourself.
consuming task studios just can’t afford to have all
angles animated. • Thumbnail the shot. If you have good drawing skills,
it might be good to thumbnail the main poses of your
A shot is usually very short, so in reality an animator
shot and then refer to them while you animate. I
wouldn’t animate a shot that’s more then a few
admit it’s something I do not do since I like diving
seconds at a time.
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straight into the animation, but it’s something I know For example, if the character is furry you’ll need to find
many good animators do, so keep that in mind. a way to create fur material to add to it. The same
goes for reflective materials like glass.
After the preparation we start by blocking out the shot.
Then, we refining it until it’s done. After setting up all the materials and the lights in the
shot we determine the render settings (resolution,
For more detailed information about the process of
quality and many others depending of the type of
animation read the ‘6 Steps of Animation’ section.
render engine). Now all that’s left is the actual
Once animation is finished and you’re happy with the Studios would usually use a render farm, which is a
way the movie feels it’s time to handle the way it looks. network of many computers connected together for
The process of texturing, lighting and rendering your the sole purpose of rendering. That results in faster
film is very technical, but basically it’s taking each shot render time. If the scene isn’t too complex you can
of the film and establishing the lights and appropriate render it on your own computer (I rendered LIFT UP by
3D materials to the characters and environment before myself on my 2010 iMac).
rendering the final output.
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The topic of texturing lighting and rendering is look different despite happening in the same location,
extremely complex and deep. If you intend to learn and so we need to subtly grade them to match each
more about it I recommend checking out Mastering other. After that is done we’ll do a final grade for the
Autodesk Maya 2014 or some great online courses at whole film to establish a general look and feel for the
Digital Tutors. whole film.
After the shots are all put together we perform color There’s separate tracks for dialogue, wind, people
matching on them. Color matching (or color correcting) chatter, footsteps, and everything else that happens in
is the process of changing the colors of each shot to the scene.
match each other. Often times different shots might
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I find it to be a very fun and creative process since it characters journey of helping each other, and maybe
requires a lot of creativity and out of the box thinking. incorporate the hill and going up a slope somehow.
Once it’s all mixed together with the music of the film, A good system to finding names is choosing an idea,
it’s time to export one final sound file and add it to the and going to town on it as much as you can, and then
editing program. Then all that’s left is exporting the doing the same for another idea.
final film.
For example, lets say we want a name with a square or
Picking a name for the film a cube in it, since the main character is a cube. I
would just make a list like that:
Before this section is over I wanted to talk briefly about
finding a name for the film. • Squared Away
I’ll try to give you some ideas on how to go about • We’re Square
finding a good name by sharing the story of how I
• Rectangled
came up with the name LIFT UP, and believe it or not,
it was much more methodical than you’d think. • Cubism
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Then I would focus on a different element, maybe • Over the Hump
the ball:
• Lift Up
• Bounce Then I pick my favorites from both lists:
• Bounced • Up and Down
• Bouncing • Moving Forward
• In the Ball Park • Rectangled (one of my favorites, but still too out
• Round and Round there)
• Rolling • Lift Up
Then maybe something about the hill, or moving up: • Rounding Corners (again, a geometry joke.
Irrelevant)
• Up the Hill
• Bounce
• Moving Forward
• Over the Hill
• Over the Hill
• Squared Away
• Path
• Cubism
• Hill Side
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The reason it’s a good system is that it lets you focus Here’s an estimated chart of how much time
on a single idea and get the most out of it, instead of I’ve spent on each step in LIFT UP:
looking at a white canvas and trying to come up with
something. It’s not so different from the restriction
method I wrote about in a previous section.
Animatic
So I looked at the list. They were all cute, but with Previz 7%
16%
names, just like love, when it’s right you just know it.
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THANK YOU FOR READING THIS SAMPLE
To get the complete book go to:
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