2: Anatomy of a Successful 3D Previs
A video presentation – 3D Previs examples, Progression from 2D
Design work from various productions at Living Lines Library
Production examples at Animation Progression Reels
Assembling a working edit
Discussions on Production Schedules
Discussion on Camera Setup:
Use aperture settings from real world specs for predictable cameras.
Maya aperture settings always in inches
Maya camera rotate order is better set from default to ZXY
Your friend against the unending war against gimbal lock. See Cameron Fieldings post on the euler filter and gimbal lock for more detail.
Scene Referencing Hierarchies - When dealing with environments the choice is:
Have a separate environment file per shot with environment assets referenced in. (This allows for environment flexibility per shot)
Have one set file for multiple shots with either assets imported or referenced in. (trade flexibility for a smaller data set to work with)
Group discussion of member’s Animatics/3d Previs in progress
Class Short Pitches and Interviews
Finalize remaining work on 2D Animatic based on feedback
Move all data (design work, animatics, etc. from last semester to your new shotgun project)
Update Shot List (every week) in shotgun and develop a Production Schedule for the semester and rough in for senior year.
Build your sequences list with a unique 3 letter code and number ie. for office scene that is the first sequence of a project: "OFC010".
Build your shot list under each sequence with a unique number ie. "s010". Tasks for each shot should be build using the default shotgun template.
Build your asset list under the asset tabs. Add model, rig, shade tasks.
Schedule these tasks.
Begin work on 3D PREVIS, use simple scenes, character stand-ins and refine camera choices and compositions:
Analyze and make best guess as to cameras/lenses.
Assemble a working edit with 2d animatic as bottom most layer and top most thumbnail layer. Insert 3d previs shots inbetween.