Overview of the 3D pipeline
In this discussion we will look at the journey of the dad in the film from concept to finished image.
The picture below gives an overview of everything that is part of our 3D pipeline from early concept to a finished image of a 3D model inside a scene.
Blueprints
This is a turn around of the model seen from the front and sides to help the 3D modeller get the proportions right.
The picture below show the turn around for the dad.
Clay Model
It sometimes helps to create a model in clay to get an impression of the model in 3 dimensions before it enters the computer. We made a claymodel of the pig, but not for the other characters in the film.
Sketches
In order to get to the refined version of the blueprint turnaround some sketches and ideas of course have to be formed.
Previs Model
A rough model of the family was created to give a quick and dirty impression of how the models would fit in the environment. The previs model were also used in the layout to block the camera until it could be replaced by the finished model.
Modelling
The model is created in the 3D program Maya based on the proportions of the blueprint. Here you can see the rough edged version of the dad model. Showing the fewer polygons speed up the working process as compared to the smooth high poly version being used when rendering the final movie.
Rigging
When the modelling is finished a skeleton beneath the skin of the character has to be created, if the character should move at some point. A part of this skeleton is also used when importing the motion capture data.
Skinning
The model has to be skinned. Skinning is to put weights on the body, so when the skeleton is moved around the mesh on top does not deform the wrong places.
Layout
The skinned and rigged model is ready to be imported into the layout scene. The finished model replaces the earlier prevismodel, and mocap, key-frame animation, textures and lighting are all imported.
In the image below all the blue objects are test versions which have to be replaced with the finished animated versions later on. Notice the green camera hovering in the background. This is where the camera will shoot from, when the scene is rendered.
Mocap
The mocap is imported into the layout and the animators can then finetune the data manually in animation. For instance the timing might be wrong or details on the body might need more work. The mocap recording studio we recorded in, was not very technically advanced, so we did not have mocap data for the fingers on the model. Instead the fingers have to be manually animated.
In the picture below the green skeleton is mocap animation being tested out.
Animation
The animators can clean up the mocap data and key frame other animations if this is required. We used mocap for the humans, but the pig and animals are all hand animated.
In the clip below you can watch some work in progress featuring both the humans and the pig in its various incarnations.
Texturing
The textures of the model are imported for each object. We use a new function in Photoshop, where you can import 3D objects and paint live on top of them.
Lighting
The scene can be lighted in several ways and this will of course affect the model.
Composite
In the postproduction the image can be manipulated in several ways.
Rendering
When the image looks satisfying, the image can then be rendered with a number of different rendering techniques.
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