Section A 1.

Autodesk Maya is 3D Animation software Maya 3D animation, modelling, simulation, rendering and compositing software offers a comprehensive creative feature set for 3D computer animation, modelling, simulation and rendering on a highly extensi le production platform. Maya provides high!end character and effects tool sets along with increased productivity for modelling, texturing and shader creation tasks. ". #hat is pre!production$ %t is a production stage &re!production is the phase of further developing ideas and planning prior to the process of production. %n a live action movie sense it is the period efore filming starts. %n an animation sense it is the period efore any real animating takes place. 'ike all great pro(ects the success is in the planning. )his section gives an overview of the different steps involved in the &re!production process and how each step helps to develop a *roadmap* on which to ase the further production stages. 3. +Anticipation, is one of Animation &rinciples -. +'ight ox, is one of the Animation )ool .. +%nsert key frame, short!cut in flash /0 Section B 1. #hat is animation$ 1xplain any one type of animation. Animation is the process of creating a continuous motion and shape change illusion y means of the rapid display of a se2uence of static images that minimally differ from each other. )he illusion3as in motion pictures in general3is thought to rely on the phi phenomenon. )he 3 types of animations are i. )raditional 45ell Animation6 ii. 7top Motion Animation 1. &uppetoon ". 5lay Animation 3. 5ut!out Animation 1. 7ilhouette Animation -. Model Animation .. 8 (ect Animation 0. &ixilation Animation. iii. 5omputer Animation 1. "D Animation ". 3D Animation Traditional animation, 4or classical animation, cel animation, or hand-drawn animation6 is an animation techni2ue where each frame is drawn y hand. )he techni2ue was the dominant form of animation in cinema until the advent of computer animation. ". #hat is perspective$ 1xplain any one type of perspective. )here are two simple rules a out representing depth. 7i9e decreases with distance, meaning o (ects that are further away from the viewer appear to e smaller. 8 (ects also overlap when one is in front of the other, hiding part or all of the farther o (ects. )hese two o servations are the asis for perspective. )he easiest way to understand how perspective works is to imagine standing in the middle of train tracks 4not recommended for safety reasons6 and looking along the tracks into the distance. :isually follow the tracks to the hori9on 4where the earth meets the

sky6 and the tracks appear to meet at a point in the distance. )his converging point is called the vanishing point.

Quite simply, perspective is the illusion that something far away from us is smaller. This effect can be naturally occurring as in a photo, or a mechanically created illusion in a painting. In 2D artwork perspective is a technique used to recreate that illusion and give the artwork a three dimensional depth. !erspective uses overlapping ob"ects, hori#on lines, and vanishing points to create a feeling of depth. There are several types of perspective used to achieve different effects.
3. #hat are the differences etween primary and secondary colours$ Primary Colours! )hese are colours that cannot e created through the mixing of other colours. )hey are colours in their own right. )he three primary colours can e seen elow ;1D!<1''8#!='>1. 'ight has its own set of primary colours and pigment 4ink6 has its own set of colours 5olours are colors of light. &igments are su stances which a sor color 4think that pigments ?eat? color6. )he three primary colors of light are termed additive primaries. )hey are red, green, and lue. ;ed and green mix to form yellow, or another color in etween such as orange or lime. %f someone shines yellow light at you and a mix of red and green light at you, you cannot tell the difference. =lue and green mix to form cyan, or a color in etween. Mix together red light @ green light @ lue light, and you see white light. !!!!!!!!!!!! &rimary colors of pigments are termed su tractive primaries. )hey are cyan, magenta and yellow. <ou see cyan, magenta and yellow in your printer ink cartridges for this reason. 5yan pigment a sor s red, and reflects green through lue Magenta pigment a sor s green, and reflects lue through violet along with red. <ellow pigment a sor s lue and reflects red through green. Mix together pigments and you com ine their a sorption of color. )his means that if you mix the following as pigments, you get ... cyan A yellow B green magneta A cyan B lue magenta A yellow B red cyan A magenta A yellow B lack, if egan with perfect pigments -. 1xplain pre!production process )he first process in the animation pipeline, and also one of the most important, is pre! production. %t egins with the main concepts which are initially turned into a full story, and then, once the story has een finali9ed, other things such as the script, shot se2uence and camera angles are worked on.

7ome ma(or components of pre production are 7tory =oarding, 'ayouts, Model 7heets and Animatics. ...they also provide a visual reminder of the original plan; something that can be referred back to throughout the production. Story Boarding )he 7tory oard helps to finali9e the development of the storyline, and is an essential stage of the animation process. %t is made up of drawings in the form of a comic strip, and is used to oth help visualise the animation and to communicate ideas clearly. %t details the scene and changes in the animation, often accompanied y text notes descri ing things occurring within the scene itself, such as camera movements. Cot only can story oards e especially useful when working in group environments 4something 2uite common in the animation industry,6 ut they also provide a visual reminder of the original planD something that can e referred ack to throughout the production.

Layouts 8nce the story oards have een approved, they are sent to the layout department which then works closely with the director to design the locations and costumes. #ith this done they egin to stage the scenes, showing the various characters* positions throughout the course of each shot. Model Sheets Model sheets are precisely drawn groups of pictures that show all of the possi le expressions that a character can make, and all of the many different poses that they could adopt. )hese sheets are created in order to oth accurately maintain character detail and to keep the designs of the characters uniform whilst different animators are working on them across several shots. During this stage the character designs are finali9ed so that when production starts their lueprints

can e sent to the modeling department who are responsi le for creating the final character models.

Animatics %n order to give a etter idea of the motion and timing of complex animation se2uences and :/E! heavy scenes, the pre!visuali9ation department within the :/E studio creates simplified mock!ups called +Animatics, shortly after the story oarding process. )hese help the Director plan how they will go a out staging the a ove se2uences, as well as how visual effects will e integrated into the final shot. .. 1xplain any " animation priciples Section C 1. Fistory of animation 1vidence of artistic interest in depicting figures in motion can e seen as early as &aleolithic cave paintings. Animals in these paintings were often depicted with multiple sets of legs in superimposed positions. Another example includes a .,"GG!year old earthen owl found in %ran in 7hahr!e 7ukhteh. )he owl has five images painted along the sides, showing phases of a goat leaping up to nip at a tree. An 1gyptian mural, found in the tom of Hhnumhotep, at the =eni Fassan cemetery includes a se2uence of images in temporal succession. )he paintings are approximately -GGG years old and show scenes of young soldiers eing trained in wrestling and com at. A 5hinese 9oetrope!type device had een invented in 1IGAD. Cumerous devices which successfully displayed animated images were introduced well efore the advent of the motion picture.

The magic lantern (c. 165 ! )he magic lantern is an early predecessor of the modern day pro(ector. %t consisted of a translucent oil painting, a simple lens and a candle or oil lamp. %n a darkened room, the image would appear pro(ected onto an ad(acent flat surface. Thaumatro"e (1#$%! A thaumatrope was a simple toy used in the :ictorian era. A thaumatrope is a small circular disk or card with two different pictures on each side that was attached to a piece of string or a pair of strings running through the centre. #hen the string is twirled 2uickly etween the fingers, the two pictures appear to com ine into a single image. &hena'istosco"e (1#(1! )hephenakistoscope was an early animation device. %t was invented in 1I31 simultaneously y the =elgian Joseph &lateau and the Austrian 7imon von 7tampfer. %t consists of a disk with a series of images, drawn on radii evenly spaced around the center of the disk. 7lots are cut out of the disk on the same radii as the drawings, ut at a different distance from the center. )he device would e placed in front of a mirror and spun. As the phenakistoscope is spun, a viewer would look through the slots at the reflection of the drawings which would only ecome visi le when a slot passes y the viewer*s eye. )his created the illusion of animation. )oetro"e (1# A*+ 1#(%! )he 9oetrope concept was suggested in 1I3- y #illiam Keorge Forner, and from the 1I0Gs marketed as the 9oetrope. %t operates on the same principle as the phenakistoscope. %t was a cylindrical spinning device with several frames of animation printed on a paper strip placed around the interior circumference. )here are vertical slits around the sides through which an o server can view the moving images on the opposite side when the cylinder spins. As it spins the material etween the viewing slits moves in the opposite direction of the images on the other side and in doing so serves as a rudimentary shutter. )he 9oetrope had several advantages over the asic phenakistoscope. %t didn*t re2uire the use of a mirror to view the illusion, and ecause of its cylindrical shape it could e viewed y several people at once. ,li" -oo' (1#6#! )he first flip ook was patented in 1I0I y John =arnes 'innett as the kineograph. A flip ook is (ust a ook with particularly springy pages that have an animated series of images printed near the un ound edge. A viewer ends the pages ack and then rapidly releases them one at a time so that each image viewed springs out of view to momentarily reveal the next image (ust efore it does the same. )hey operate on the same principle as the phenakistoscope and the 9oetrope what with the rapid replacement of images with others, ut they create the illusion without any thing serving as a flickering shutter as the slits had in the previous devices. &ra.inosco"e )he first animated pro(ection 4screening6 was created in /rance, y5harles!Lmile ;eynaud, who was a /rench science teacher. ;eynaud created the &raxinoscope in 1IMM and the )hNOtre 8pti2ue in Decem er 1III. 8n "I 8cto er 1IP", he pro(ected the first animation in pu lic, Pauvre Pierrot, at the MusNe KrNvin in &aris. )his film is also nota le as the first known instance of film perforations eing used. Fis films were not photographed, ut drawn directly onto the transparent strip. %n 1PGG, more than .GG,GGG people had attended these screenings. ". 1xplain the animation process 4steps6 &re-&roduction 7tory oarding 'ayouts Model 7heets

Animatics &roduction Layout >sing lo!res models or locks of geometry in the place of the final set and characters, the 'ayout Artist is responsi le for composing the shot and delivering rough animation to the animators as a guide. #hat they produce is the 3D version of what the story oard artists had previously drawn on paper. During this stage the Director approves camera moves, depth of field and the composition of the models making up the set and set dressing. %t is then the responsi ility of the Modeling department to deliver these approved set, prop and character models in the final layout stages. Modelling Modelers are usually split into two or more departments. #hilst organic modelers tend to have a sculpture ackground and specialise in uilding the characters and other freeform surfaces, hard!surface modelers often have a more industrial design or architectural ackground, and as such they model the vehicles, weapons, props and uildings. Te.turing #hether creating a texture from scratch or through editing an existing image, )exturing Artists are responsi le for writing shaders and painting textures as per the scene re2uirements. Lighting Cot only does a 'ighting Artist have to think lighting the individual scenes, they also have to consider how to ring together all of the elements that have een created y the other departments. %n most companies, lighting )Ds com ine the latest version of the animation, the effects, the camera moves, the shaders and textures into the final scenes, and render out an updated version every day. /igging ;igging is the process of adding ones to a character or defining the movement of a mechanical o (ect, and it*s central to the animation process. A character )D will make test animations showing how a creature or character appears when deformed into different poses, and ased on the results corrective ad(ustments are often made. Animation %n modern production companies, the practice of meticulously planning a character*s performance frame y frame is applied in 3D graphics using the same asic principles and aesthetic (udgments that were first developed for "D and stop!motion animation. %f motion capture is used at the studio to digiti9e the motion of real actors, then a great deal of an animator*s time will also e spent cleaning up the motion captured performance and completing the portions of the motion 4such as the eyes and hands6 that may not have een digiti9ed during the process &ost-&roduction Com"ositing )he compositing department rings together all of the 3D elements produced y the previous departments in the pipeline, to create the final rendered image ready for filmQ 5ompositors take rendered images from lighters and sometimes also start with compositing scripts that )Ds develope in order to initially comp together their dailies 4working versions of the shot.6

Sound 0diting )his department is responsi le for selecting and assem ling the sound recordings in preparation for the final sound mix, ensuring lip sync and adding all of the sound effects re2uired for the final film. 1ideo 0diting :ideo editing is the process of manipulating and rearranging shots to create a seamless final product, and it is at this stage that any unwanted footage and scenes are removed. 1diting is a crucial step in making sure the video flows in a way which achieves the initial goal. 8ther tasks include titling and adding any effects to the final video and text. 3. 1xplain animation trends 5urrent trends in animationR Keometric modeling and instrumentation =uilding characters with the right shape and control points is time consuming.. ;ealistic rendering ;esearch in rendering materials accurately is ongoing. ;ecent progress in =i!directional 7u surface 7cattering Distri ution /unctions 4=77;D/Ss6 is changing the look of everyday thingsT and skin. &hysical simulation 7ome effects are too difficult to model y hand 4fire, snow, steam, rustling trees, hair, cloth, etc.6 5an do simulation 4 oth physical and non!physical6 &article systems /luid flow and tur ulence modeling ;igid ody dynamics

5ontrolla le simulation #ant to have some interactive control. 1xampleR insert cloth wrinkle here. Fow do you merge this with the physical simulation without starting over$ Digital humans Making realistic human odies and faces and animating them is really hard.

Digital humansR motion capture

$ody shape modeling %acial animation %acial editing %acial animation

-. Fow to create a hook up pose and hook up shot

)he hook!up pose is the glue that holds the cartoon together. %f you cut from one character 4or more6 to a different scene entirely, you donSt have to worry a out the hook!up. %t doesnSt apply. =ut when you cut to a scene with one character 4or more6 to the next scene with the same character4s6, then you have to hook!up the poses. #hich means the characterSs pose in the last frame of the first scene and the first frame of the next one should asically match.

7ection D .. Design a city layout in a one point perspective

0. Design a edroom in a single point perspective

M.