Hybrid Animation-Integrating 2D and 3D Assets

Hybrid Animation: The Main Problems (Hybrid Animation-Integrating 2D and 3D Assets) Part 1

Summary What is 2D/3D animation? Why use one medium over another? What is the main problem of combining media, and how does one judge the success of this integration? This topic addresses all of these topics. To begin your journey toward creating 2D/3D animation, the hands-on exercise section of this topic will have you create […]

Hybrid Animation: The Main Problems (Hybrid Animation-Integrating 2D and 3D Assets) Part 2

Visual Target Not Subject Matter The visual target or visual style of a film is a large factor in deciding which type of medium will be chosen. It is no longer the subject matter that is the deciding factor. The division between what medium is best for what subject matter has become so blurred as […]

Hybrid Animation: The Main Problems (Hybrid Animation-Integrating 2D and 3D Assets) Part 3

Registration Registration refers to when one object touches another in the scene. For example, when the 2D character Hogarth climbs into the 3D robot’s hand in the Iron Giant, where they contact is the registration line. In the past, having a 3D object contact a 2D object has been a large registration issue that was […]

Hybrid Animation: The Main Problems (Hybrid Animation-Integrating 2D and 3D Assets) Part 4

Hands-on Example The following exercise will allow us to go through a story creation process using the bull’s-eye method, thus solidifying our use of these new glossary terms. Because we are working on a 2D/3D project as well, you might find the process slightly different from what you have read in other topics. I have […]

Hybrid Animation: The Main Problems (Hybrid Animation-Integrating 2D and 3D Assets) Part 5

Visual Development Before we can discuss what this topic is about—creating a hybrid animation—we must research and design the style of our film. A little research will help us expand our horizons and move beyond the first image that pops into our heads. Graduate students spend the bulk of their time toward earning their degree […]

Interview Derald Hunt (Hybrid Animation-Integrating 2D and 3D Assets)

CG Animation supervisor It has become commonplace in our industry to mix 2D and 3D disciplines. There are many benefits that come from having access to a diverse set of animation tools and the skill to make them work together. This is a fantastic case of “If the only tool you have is a hammer, […]

Iterations For Developing a Pipeline and Nailing the Moments (Hybrid Animation-Integrating 2D and 3D Assets) Part 1

  Summary This topic covers how to isolate the most important and strongest emotional storybead/storybeat moments in a film. These “moments" are used to develop the visual target for the story. They are the frontrunners for working out the pipeline issues, isolating technical hurdles, and deciding what it will take to get the shot done […]

Iterations For Developing a Pipeline and Nailing the Moments (Hybrid Animation-Integrating 2D and 3D Assets) Part 2

How Many do You Need? For a film that poses few technical challenges, you would be free to pick any strong emotional moments. For a 2D/3D film, you will need to pick something that is strong emotionally but also highlights any of the pipeline or technical challenges that you are going to have to answer. […]

3D Character Leads 2D Character (Hybrid Animation-Integrating 2D and 3D Assets) Part 1

The largest section of this topic is dedicated to covering the techniques of putting together 2D and 3D animation media. I’ve abstracted the combination of media down into common patterns of combination. We’ll look at industry examples in each topic, but mostly we want to push buttons, master software programs, and make some nice images, […]

3D Character Leads 2D Character (Hybrid Animation-Integrating 2D and 3D Assets) Part 2

Ones or Twos? 3D animators might not think of this at first. 2D animators will ask this question immediately. 2D is normally drawn on twos. This means that every frame is held for two frames. Why? There is less to draw. Drawing something on ones, or a drawing for every single frame of film, makes […]

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