Hybrid Animation-Integrating 2D and 3D Assets

EFX (Hybrid Animation-Integrating 2D and 3D Assets) Part 4

Photoshop to Toon Boom 1. Hide all but the layer that you want exported out of Photoshop, and select File > Render Video. 2. The options are what we have used previously: QuickTime/ raw (to keep the alpha channel), premultiplied with white for the alpha channel; make sure your frame rate matches and that you […]

EFX (Hybrid Animation-Integrating 2D and 3D Assets) Part 5

TOON BOOM PRO 1.  Locate the Timeline tab. Right-click on the ink level and duplicate it twice. Name them Ink2, Ink, and Paint. The Ink 2 level will be the normal ink level that is unblurred. The middle ink level will be blurred, and what will become the paint level will be on the bottom […]

EFX (Hybrid Animation-Integrating 2D and 3D Assets) Part 6

TONES AND SHADOWS These two terms come from 2D animation. Because we are dealing with the compositing of elements to make a final image and not rendering everything in 3D for one final frame, we will continue to use these 2D terms for our 2D/3D pipeline. The term tones refers to the area on a […]

EFX (Hybrid Animation-Integrating 2D and 3D Assets) Part 7

Tone Matte First we’ll create our 3D tone matte for both the 3D portion of our character and the 3D reference section: Jaguar McGuire’s body and head. 1.    In your 3D package, create a light and shine it at your character. A spotlight has been created to shine on Jaguar McGuire by clicking Create > […]

EFX (Hybrid Animation-Integrating 2D and 3D Assets) Part 8

SHADOWS We’ll use the same technique of creating a 3D shadow in Maya and compositing it in After Effects. To create a shadow matte in your 3D package, you’ll need to be able to render a shadow pass. In Maya 2008 or earlier versions, you can use render passes. In Maya 2009, the company changed […]

EFX (Hybrid Animation-Integrating 2D and 3D Assets) Part 9

COMPOSITING We’ll bring the shadows into our After Effects composite. Here is a different way to bring in images. Previously we dropped them in as single images. This makes it easy to pull out an image should you need to reuse just one. For these shadows, we’ll bring all of them in as one piece […]

EFX (Hybrid Animation-Integrating 2D and 3D Assets) Part 10

2D TONES AND SHADOWS When drawing tones in 2D, the artist has to calculate where the light is hitting the character or object and draw this 2D matte. It is essential that these mattes flow along the character’s surface and react to the volumes of the character as it moves in the light. When drawing […]

Camera: Flat, Limited, and Deep Space (Hybrid Animation-Integrating 2D and 3D Assets) Part 1

Example of flat to deep space. LECTuRE NoTES You, dear reader/student, now have examined working with 2D and 3D art. When combining animation media, the artist must create a world that houses these media. The next topic to explore is how to look at the world where these images come together. The most common method […]

Camera: Flat, Limited, and Deep Space (Hybrid Animation-Integrating 2D and 3D Assets) Part 2

Limited space The following is a list of common attributes found in limited space: Character placement. On distinctive foreground, midground, background planes. Camera movement. Track, multiplane. Parallax between levels. Parallel parallax. The visible symptoms or subcomponents of limited space are seen in how the characters and elements are placed in relationship to one another in […]

Camera: Flat, Limited, and Deep Space (Hybrid Animation-Integrating 2D and 3D Assets) Part 3

Flat Space The files for this hands-on project can be found in the companion data. The files are as follows: •    Maya_Files/FlatSpace_HatPinLadies.mb •    Maya file with animated objects •    Maya_Files/2 psd textures •    Image_Sequence/pinGirls.[1-80].tga If you open the FlatSpace_HatPinLadies.mb file in Maya, you will see that two cameras are set up for the scene. The […]

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