For more junior animators, theyre probably pushing close to maybe one-and-a-half or two times more.
Dreamworks Animation Software Full Computational PowerDreamWorks engineers were able to harness the full computational power of multi-core HP workstations, providing animators a real-time creative tool that not only introduced more intuitive and artist-driven workflows into the animation pipeline, but eliminated numerous time-consuming processes where animators would waste multiple minutes, over and over each day, waiting for the execution of simple processes like viewing shot changes or loading a new set of character assets for a scene.Each will receive Academy certificates in the Scientific and Engineering Awards category. In the past, with our old software, Emo, when you were posing a character, you dont see the actual fully deforming hi-res geometry. Youd see stand-instheyre low res or punched out cylinders that approximate what the geometry would look like. The system does it that way because there are fewer computations for the workstation CPU and the animator can view close to real-time posing performance. But, that view is only an approximation that kind of gets them in the ballpark. To see a higher resolution version of their animation, with the full rig and computations, they would have to switch to what we called a recalc. It wasnt rendering. It was just doing a better deformation of the character for the whole shot. They would look at the movie, see what the motion looked like, go back to changing the stand-in, edit some moreit was a really clunky workflow. Theyd go get a cup of coffeeit really broke their process and efficiency. Premo refreshes in real-time, providing high-resolution fully deforming characters and environments that better resemble the final look. The second thing is much better fidelity, such as with the characters. Switching back and forth to generate a higher resolution deformation was bothersome. There was also the fidelity of the scene or the shot around itthe environment and number of characters. A lot of times, we could only work on two or three characters at a time. But if there was a big scene with more interactions, you had to visualize how what that all needed to look like. Do two or three characters, figure out what you want those to do, then work on another two or three characters. Premo also has great integration of an animation library, which is a global library of poses for each of the characters. Supervising animators will setup a whole bunch of face and body poses -- smile, frown, mad, sad. Now an animator can double-click on it a pose, it will set the character in that pose and then they can tweak it from there. Its very important that animators stay on model, that they dont pull on something, like a cheek, and break the model. Did you ever perform any quantitative assessments of just how much more productive Premo made your artists. Anecdotally, some of the top animators have been doubling or tripling their productivity.
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