Graphics Reference
In-Depth Information
Figure 1.11
The story reel with several shots in place
After the fi nal shot is animated, and you can stand to watch the whole full motion story reel without wincing
too frequently, you fi nish the sets, surfacing, and lighting. Of course, what you do with the sets and lighting
can be helped along by the storyboards and a careful
analysis of the current state of the story reel. Just like
rigging, you could spend a nearly infi nite amount of
time creating beautiful, detailed surfaces for every ele-
ment of your imagined set. But it could be that only
certain items and spaces that appear in close-up need
that level of attention. Some things may appear at a
distance, or only briefl y, or moving so quickly as to
be smudged by motion blur, and those elements can
be given an appropriately smaller slice of your time.
And then, when you've surfaced, built, and lit appro-
priately, you render. Go get a cup of coffee. This is
going to take a while.
Figure 1.12 Render time for a single frame out of thousands
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