Camera Study

Focal-Length

改變focal length(焦距長度)除了讓拍攝目標拉近放遠之外，也改變了三個視覺要素
1:field of view(視野)
2:depth of field(景深)(焦點前後清晰範圍)
3:perspective(透視)


Dolly Zoom

 The Dolly Zoom: More Than A Cheap Trick
https://www.youtube.com/watch?v=u5JBlwlnJX0

Dolly Zoom Vertigo Effect with Moza Air 2 and Mini S Gimbal
https://www.youtube.com/watch?v=e-gZUagXeOE

Mastering the Art of The Dolly Zoom
https://www.youtube.com/watch?v=Amj6RiGiTOE

Layout Animation Tools

MEL/Python是得力的助手，是artist不可或缺的製作工具。

高手部落格

Morgan Loomis
http://morganloomis.com/tools/

Convert Rotation Order
旋轉某個ctrl想調出特定pose，因為Gimbal的關係，有時無適當旋轉軸可用，即使切換local/Global/Gimbal，這時候可以改變Rotate Order(xyz/yzx/zxy/xzy/yxz/zyx)，一個個試看看，而此工具的優點是會分析並建議使用其中一種，並在不改動pose的Keys之前提下，修正好所有anim curve，快速有效又精準。
參考影片

worldBake
1:將最大ctrls(main)帶動的骨盆(root)和腳(IK)的位移旋轉bake到世界空間(暫用locator)，再刪掉main的Keys之後，將locator的keys還原給ctrls，可用來調滑步。
2:將constrain帶動ctrls的keys，bake到世界空間(暫用locator)，移除constrain之後，將locator的keys還原給ctrls。

animCurveEditor
選取物件在Graph-Editor針對動畫曲線及Keys的編輯工具

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Robert Joosten
http://technicaldirector.nl/tools/

Maya - Keyframe Reduction
簡化Graph-Editor內的動畫曲線的keys，卻不會改動曲線形狀
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Red9
http://red9-consultancy.blogspot.com/search/label/Download
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Graphite9
http://www.graphite9.com/MayaDownloads.html
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Highend3d
AdvancedSkeleton
人類、動物、各種角色的auto-rig，也會產生picker，免費給個人或非商業使用(在家裡用)，在公司或做為商業使用則需付費。
https://www.highend3d.com/maya/script/advancedskeleton5-for-maya

官網
https://www.animationstudios.com.au/advanced-skeleton
介紹影片

spPaint3d

大量instance角色或物件於地形上的工具，非常好用。

作者有註明只接受polygon/locator
The script only accept polygon objects and locators added to this list.
製作是reference的方式的話，可以選取整個模型的group，用instance的方式複製，放在一個locator下層，就可以列入清單來大量撒在地形表面。

https://www.highend3d.com/maya/script/sppaint3d-for-maya

multi swapper
用法類似Morgan Loomis的worldBake
https://www.highend3d.com/maya/script/multi-swapper-for-maya
參考影片

Time Warper
一般Time Warper，改變整個scene的Timing，但這個工具，可以只針對特定的ctrls，非常好用。
https://www.highend3d.com/maya/script/time-warper-for-maya
類似以下影片的功能

應用:
1:一匹馬跑步cycle動作，讓一群馬共用，需要時快時慢，跑前跑後或錯開速度timing。此時可選取不同匹馬，建立好幾個Time Warper，每個Warper只針對選取到的ctrls起作用。
2:一個cycle，放在第一格，用infinity往後無限循環，一隻大鳥，在空中表演對話或動作幾十卡，用此工具可以調翅膀動作快慢或次數，不需要移動keys(很容易亂掉)，也能連戲動作。

Animation Tools
數個功能的工具組，其中的Graph Filter，可以讓Graph Editor只顯示篩選好的位移、旋轉、縮放等Anim Curve。
https://www.highend3d.com/maya/script/animation-tools-for-maya-58713

Animation Manager
角色動畫的連續動作keys或單一pose的anim儲存庫，支援reference多次的檔案
參考影片
https://www.highend3d.com/maya/script/animation-manager-0-9-30-for-maya

autoTangent
快速修順大量動畫曲線的Tangent
https://www.highend3d.com/maya/script/autotangent-for-maya

abKeyWrangler
角色動畫快速做反向預備及緩衝_中間張偏割_動畫曲線縮放
https://www.highend3d.com/maya/script/abkeywrangler-for-maya

bTweener | Inbetween tool for Maya
兩個keys中間張的中割或偏割
https://www.highend3d.com/maya/script/btweener-inbetween-tool-for-maya-for-maya

參考影片

prAnimTools
走路腳IK的滑步修正(逐格吸附到某一格的腳掌位置)
https://www.highend3d.com/maya/script/pranimtools-for-maya

SC_SnapTool
吸附物件，先選要吸過去的B(child),再選不動的A依需求按某功能
https://www.highend3d.com/maya/script/sc_snaptool-for-maya

Constrain/Attach Transform to a Shape
批次將物件吸附貼在地面上
https://www.highend3d.com/maya/script/constrain-attach-transform-to-a-shape-for-maya

zooGraphFilter
篩選有設Key之特殊channel以快速選取
https://www.highend3d.com/maya/script/zoographfilter-for-maya

AnimRange
快速設定及切換一個ma檔內大量鏡頭的格數範圍(輸入後須按Set才會儲存)
https://www.highend3d.com/maya/script/animrange-for-maya

Overlappy
自動做動物尾巴等跟隨動作，會將每個ctrl的動作存成各自的animation layer
https://www.highend3d.com/maya/script/overlappy-for-maya-105076

Highend3d高手
https://www.highend3d.com/users/charliewales/free/downloads

Previs?

1: Visualization and storytelling to show the director's idea with all the low-resolution model.

2: Exhibit whole movie’s final result roughly.

3: Explore creative idea, easy to fix.

4: Communicate for efficient production, achieve the consensus between different perspective before production.

5: More precise and continuous than the storyboard.

6: Simulate real-world space in CG camera.

7: Experiment, staging and filming all visual elements with overall consideration.

8: Rehearsal all character’s blocking and camera movement to confirm all assets.

9: Make sure the camera’s area to deduct the useless props in a set.

10: Polish editorial(vision and sound).

11: R&D technical solutions.

12: Export technical data for next procedure.

13: Breakdown the amount of production.

14: Plan the schedule, Save money and time.

15: Demo reel to compete for cases.

1:故事影像化及敘事,導演想法具體呈現(使用粗模)
2:概略,卻完整呈現整部電影的最終影音成果
3:發想及不斷修正創意,修改容易
4:各部門提升效能,溝通的工具,於開拍前達成所有畫面要素及製作方向的共識
5:分鏡腳本的進階版:精準化及流暢化
6:透過CG鏡頭,呈現真實世界的空間觀念:景深,比例,透視,構圖
7:沙盤推演+布局+整合視覺要素
8:彩排角色走位+運鏡+表演空間來確認場景模型無誤
9:確認鏡頭取景範圍,鏡頭內的場景物件要細緻,鏡頭外的可移除
10:反覆修改確認定剪(影像+聲音)
11:技術開發,各部門製作可行性評估
12:輸出場景上視圖,鏡頭資訊等規格
13:解析實拍或CG的分工,製作總量的估算
14:進度,人力,時程規劃,拍片計畫,節省預算及工時
15:製作樣片來接案

 A good video for explanation of "Previs" on Youtube

double reference

In 3D animation phase, animators always need to animate a "whole" character that made up of one character and some accessories,weapons or other props. Artists who in charge of assets won't  do the combination of char,props for animators.Their responsibility is only making a single char or prop model(or rigged model) with a initial pose (A or T pose) or neat status and locate on the 3D world center 0,0,0. then ensure the model's shape can follow art designs,achieve the director's request and the construction in the model and rigging conform the regulation of production.

The assets team always concentrate the perspective on the "still status" of everything. Otherwise, artists who is response for "shots" (like previs or layout artist,animator..etc..)will focus on the "active status" of everything in the animation. Consequently, according to the storyboard,layout artists or animators should build a combination of char,props and consider entirely for following workflow.

When they start to load things into Maya files should use "reference" instead of import. It's a better way to get the newest version of everything from assets. The reference can has many hierarchies, so the animators supposed to reference the assets you need, then translate and rotate the chars' ctrls to get a appropriate  poses. The constrain function be also useful. It can put them together.

We regards this finished Maya files as a "bundle', made of "double reference" way. Afterwards, every shot that need it can reference this "bundle" into Maya file rapidly.

That's very convenient for animators to perform the animation.

the double reference hierarchy:

3D動畫製作期間,動畫師必須調整"一整組角色"的動作,包含了角色本身加上配件或武器等,assets組不會組合整組角色,他們只負責建立單獨的角色或物件模型(或含rig的模型),擺好A或T pose ,工整的放置在世界原點0,0,0.,然後確認模型的樣貌符合美術設計和達到導演要求,以及結構符合製作部門的規範

Assets組專注重點在靜態的視覺,至於製作shots的Layout人員或動畫師,則專注在生動表演的動態上,所以,Layout人員或動畫師必須負責組合表演需要的一整組角色,並考慮後續製作

當我們將物件置入Maya,會使用"reference"的方法取代"import",這是得到最新版本asset的好方法,reference可以有很多層,所以動畫師置入需要的角色,物件之後,位移或旋轉ctrls以得到適當的表演姿態,並善用constrain的功能將角色物件綁定成一整組

這樣組合好的檔案,我們稱之為"bundle"檔,使用兩層reference,日後,任何shots都只需要快速地reference此"bundle"檔,就可以得到一整組角色,方便製作角色動畫

以下是兩層reference的層級: