Evil Click A Group Reel by J2DASK
Released 1 May, 2011
A J DASK Picasso Centennial Animation College Production 2
Contents Introduction Mentorâ€™s Desk Evil Click - Story PRE - PRODUCTION
Storyboard Character Design
Kumar Siddharth PRODUCTION Modelling Texturing Lighting
Expressions POST - PRODUCTION ABOUT THE MAKERS
SPECIAL THANKS TO:Mr. Gopal Joshi, Mr. Ranvir Singh, Mr. Sashi Bhushan Singh, Mr. Faraz Massod, Syed Safeer Abbas Rizvi, Rup Roy Choudhury, Deepak Gulati
No Part of this publication shall be reproduced, stored in a retrieval or transmitted in any form or by any means, electronic, mechanical, photcopying, recording or otherwise, without the prior permission of J2DASK. The Publisher and the editor do not necessarily endorse the views expressd by contribution of J2DASK and any legal dispute arising over an article shall be resolved with the jurisdiction of Picasso Centennial Animation College.
Published by : J2DASK Picasso Centennial Animation College Concept and Layout : Divyansh Mittal Designer : Jatin Sharma
Introduction “Evil Click” is a cumulative production of J2DASK. We started working on this project since 01 January,2011. We wanted to bring something different through our reel. From our past experiences we haven’t seen any demoreel based on horror theme, so we thought of why not try something different! Hearing this some of our mentors were excited and heartily encouraged us, while a few were like, will we be able to make it? though we were pretty sure and confident to make this project a success and worked hard to reach this day when we could finally release our reel happily. All along the project there was immense support and enthusiasm amongst the group members to do something with a different vision and to produce the highest quality of the teachings that has been invoked into us throughout our programme. We tried to follow the full pipeline while making a 3D reel as well as constantly guided by our mentor throughout the reel. This booklet consists of all the workflow that we were taught and told is modestly used in the industry.
With Regards, J2DASK firstname.lastname@example.org
Mentor’s Desk It is a great pleasure for me to express my views about these students of mine, for the first time when they came up with the idea about “Evil Click” I was really excited and at the same time to some extent felt, will it be a success? As it was a tough job to make an animated clip based on a horror theme. Right from the beginning I found the zeal and enthusiasm in them was very high, and they tried the best possible way to follow the pipeline as it is followed in the industry. They did not leave any single stone unturned right from the Pre Production i.e. storyboards, sculptures, reference video shoots which helped them a lot to reach this goal. Throughout the demoreel they were working really hard and were focused on the work and determined to do something different ,there were many times when they had to do things repeatedly as many changes and corrections that were given by me and without hesitating they did the work and it is really a pride for me as a mentor to see the team spirit among them. The best part in this group was there was a diversity in this group and everyone loved there job, like no one was forced to do something that they didn’t like or had no interest into, which really helped them to boost up the work and run things smoothly. Finally, I would like to wish them all, good luck and my best wishes are with them as they will be doing good whatever platform they go in as they have the capability to do so, and as a mentor I feel proud of them as I taught them right from the beginning and this is how they developed. Cheers! Live long and prosper, Dirk Pries
Evil Click - Story
t was about five in the evening, Joey was playing around with a football in the park. He was an easy going kid. He used to love playing football
so much as he would never miss any football matches.
In the same park Mr. Gibson was resting on a bench, reading a newspaper.
He was a very noble person and would never back off when it comes to help someone. Mr. Gibson was in his sixties and yet was quite fit. He loved to spend some time on his body. Everyday, he would spend one hour of his busy life in relaxing and working out. He would walk for about an hour and he would rest on the bench and read the newspaper. This was so perfect to observe him that one might get confused and rather get an impression of him being assigned to do so.
Joey was just kicking the ball around the park. While playing, the ball
lands near Mr. Gibson’s feet, he was distracted, but it wasn’t annoying to him because he was just resting. So Mr. Gibson just softly kicked the ball towards Joey.
As soon as the ball reached him, Joey kicked the ball hard this time and
it flew right beside Mr. Gibson and it landed in a house which was rather called as the “Haunted House”. No one knows about this house, it seems like it was there forever. But everyone knew it perfectly that once someone goes in never comes out.
What’s in this house? What happens to the people who go in? Who used to live
here? Same questions are asked by every new comer to the society But there is no one in the whole society who can answer these questions. All that everyone knows is that “Once someone goes in never comes out”.
Although, Mr. Gibson was quite angry at Joey, but when he turned towards Joey to
scold him he was melted and his heart sank by the look on Joey’s face. Mr. Gibson then felt some guilt inside him as to he even thought about scolding that poor kid. He was just playing! So he wanted to help Joey.
Mr. Gibson’s ego to help people overruled the fear he had for the “Haunted House”
and he just headed towards the house. He looks at the house for a while then slowly he gets to the door and opens it. It was quite dark in that house. Cobwebs had taken over the room. It was very dusty and messy. Mr. Gibson tried searching for the ball. But the room was very dark and it was hard for him to search the ball.
Mr. Gibson tries harder and sees the ball at the other corner. As soon as He picked
the ball , suddenly he sees a picture underneath the ball, He was stunned by looking at the portrait. He almost forgot about the reason to why he came on that house and he actually started to go deep in the picture. He was completely blank at this moment, he couldn’t relate anything, at this moment Mr. Gibson decided to go out of the house, he quietly walks towards the door
He was frozen and in a meanwhile he hears a flash charging just behind him, and to
find it out what was going on Mr. Gibson turned towards the sound and now he knows it for sure that his time is over. He gets so scared and completely shocked. Before he could react to the situation, the corpse then clicks a photo of Mr. Gibson and in no point of time Mr. Gibson disappeared.
The first process in the animation pipeline, and also one of the most important,
is pre-production. It begins with the main concepts which are initially turned into a full story, and then, once the story has been finalized, other things such as the script, shot sequence and camera angles are worked on.
Some major components of pre production are Story Boarding, Layouts,
Model Sheets and Animatics. Because the cost of making “each take” of an animation scene is far higher than a film producer shooting an additional take, they cannot reduce risk in the “shooting” period as done in film. This costlier animated content production means that as much of the risk has to be minimized up front in pre-production. This was the case in many studios, where tens of thousands of drawings and concept art are done in the pre-production phase, to literally nail down a “prototype” of the feature film, before the computers are put to work.
In concrete terms, pre-production means getting the idea and script
fleshed out in models, Story boards and finally, story reels. Story reels are a full sequence of the art conveying the story that can be viewed largely in its entirety. For animated features, pre-production may be more elaborate and iterative. Animated 3D features are still scripted as well as fully fleshed out in non-computer-generated art, and combined as a story reel. In a 3D process, the content pipeline is started by laying out the various aspects that ensues in production: modeling, rigging, surfaces (consisting of textures and colors), and various tests of animation and other software systems.
In fact, for a feature length animation film, the story may be changed
throughout the production process. The pre-production is also more extensive, involving much more art. The process consists of scripting, converting the script to drawings and story boarding.
Story Board The Storyboard helps to finalize the development of the storyline, and is an essential stage of the animation process. It is made up of drawings in the form of a comic strip, and is used to both help visualise the animation and to communicate ideas clearly. It details the scene and changes in the animation, often accompanied by text notes describing things occurring within the scene itself, such as camera movements.
- 10 Evil Click | J DASK | Picasso Centennial Animation College 2
Not only can storyboards be especially useful when working in group environments (something quite common in the animation industry,) but they also provide a visual reminder of the original plan; something that can be referred back to throughout the production.
- 11 Evil Click | J DASK | Picasso Centennial Animation College 2
Story Board - Continued
- 12 Evil Click | J DASK | Picasso Centennial Animation College 2
- 13 Evil Click | J DASK | Picasso Centennial Animation College 2
Story Board - Continued
- 14 Evil Click | J DASK | Picasso Centennial Animation College 2
- 15 Evil Click | J DASK | Picasso Centennial Animation College 2
Character Designing Model sheets are precisely drawn groups of pictures that show all of the possible expressions that a character can make, and all of the many different poses that they could adopt. These sheets are created in order to both accurately maintain character detail and to keep the designs of the characters uniform whilst different animators are working on them across several shots.
Age: 13 years old, Skin Colour: Fair, Dress: Causal T-shirt & Shorts, Height: 135 cm, Body: Slim looking. Nature: A cute kid.
- 16 Evil Click | J DASK | Picasso Centennial Animation College 2
During this stage the character designs are finalized so that when production starts their blueprints can be sent to the modeling department who are responsible for creating the final character models.
Age: 61 years old, Skin Colour: Fair, Dress: Wears a track suit, Height: 165 cm, Body: Average body, Nature: Has a helpful nature.
- 17 Evil Click | J DASK | Picasso Centennial Animation College 2
- 18 Evil Click | J DASK | Picasso Centennial Animation College 2
Now that the storyboard has been approved the project enters the production phase. Itâ€™s here that the actual work can start, based on the guidelines established during preproduction. Some major parts are layout, modeling, texturing, lighting, rigging and animation. Production consists of : Modelling : 3D computer graphics are often referred to as 3D models. 3D computer graphics are graphics that use a three-dimensional representation of geometric data that is stored in the computer for the purposes of performing calculations and rendering 2D images.
Texturing : Whether creating a texture from scratch or through editing an existing image, Texturing Artists are responsible for writing shaders and painting textures as per the scene requirements. The textures are created in the form of maps which are then assigned to the model.
Lighting : Lighters have a broad range of responsibilities, including placing lights, defining light properties, defining how light interacts with different types of materials, etc. They are required to establish direct and reflected lighting and shadows for each assigned shot, ensuring that each shot fits within the continuity of a sequence.
Rigging : Rigging is the process of adding bones to a character or defining the movement of a mechanical object, and itâ€™s central to the animation process. A character TD will make test animations showing how a creature or character appears when deformed into different poses, and based on the results corrective adjustments are often made.
Animation : In modern production companies, the practice of meticulously planning a characterâ€™s performance frame by frame is applied in 3D graphics using the same basic principles and aesthetic judgments that were first developed for 2D and stop-motion animation.
- 20 Evil Click | J DASK | Picasso Centennial Animation College 2
- 21 Evil Click | J DASK | Picasso Centennial Animation College 2
- 22 Evil Click | J DASK | Picasso Centennial Animation College 2
- 23 Evil Click | J DASK | Picasso Centennial Animation College 2
- 24 Evil Click | J DASK | Picasso Centennial Animation College 2
- 25 Evil Click | J DASK | Picasso Centennial Animation College 2
- 26 Evil Click | J DASK | Picasso Centennial Animation College 2
- 27 Evil Click | J DASK | Picasso Centennial Animation College 2
- 28 Evil Click | J DASK | Picasso Centennial Animation College 2
- 29 Evil Click | J DASK | Picasso Centennial Animation College 2
- 30 Evil Click | J DASK | Picasso Centennial Animation College 2
- 31 Evil Click | J DASK | Picasso Centennial Animation College 2
- 32 Evil Click | J DASK | Picasso Centennial Animation College 2
- 33 Evil Click | J DASK | Picasso Centennial Animation College 2
- 34 Evil Click | J DASK | Picasso Centennial Animation College 2
POST-PRODUCTION Post-production is the third and final step in film creation, and it refers to the tasks that must be completed or executed after the filming or shooting ends. These include the editing of raw footage to cut scenes together, inserting transitional effects, working with voice and sound actors and dubbing to name just a few of the many post-production tasks. Overall, however, the three main phases of post-production are compositing, sound editing and video editing. Compositing: The compositing department brings together all of the 3D elements produced by the previous departments in the pipeline, to create the final rendered image ready for film! Compositors take rendered images from lighters and sometimes also start with compositing scripts that TDs develope in order to initially comp together their dailies
Sound Editing This department is responsible for selecting and assembling the sound recordings in preparation for the final sound mix, ensuring lip sync and adding all of the sound effects required for the final film. Video Editing Video editing is the process of manipulating and rearranging shots to create a seamless final product, and it is at this stage that any unwanted footage and scenes are removed. Editing is a crucial step in making sure the video flows in a way which achieves the initial goal. Other tasks include titling and adding any effects to the final video and text.
ABOUT THE MAKERS
Divyansh Mittal is an aspiring 3D Lighting and Texturing artist and has immense observation skills and implements them from real life to the virtual world. He is also deep into video games and tries to learn the methodology of game development through it. And wants to work as a 3D lighting and texturing artist in a group of great artists in the industry.
Kumar Siddharth is an 3d Modeler, Digital Sculptor and Texturing artist and strongly believes in traditional art as an asset for any successful 3D artist and loves to bring his creativity on canvas. Photography is his passion and always tries to bring out something unusual and creative art through his images.
Jigar Chandra is a 3D Animator and likes acting very much and draws huge benefits as to make his characters act real and in the natural way. Apart from animation he also has a good knowledge of rigging which is an additional asset for an animator. Photography and soccer are his passion other than his routine work.
Ashish Tyagi is a 3D animator and has great acting skills, and has good observation of things and life around him from which he benefits a lot in the 3D animation. He has also worked as an actor for some commercials. He is also well versed with 2D animation and has worked in flash for some projects.
Kishor Das was really inspired by fine arts from his childhood and later decided to pursue BFA and during his study he was really fascinated by 3D artwork and finally decided to take animation as his career, and wants to see himself as a successful animator in the 3D industry.
Jatin Sharma always had his interest in movies and has a good acting experience and has been working on some projects as a graphics designer, and has also made a music video and was the lead singer and wants to be successful in the film industry as a sound developer and editor.
The production pipeline within this magazine is broadly common in most studios, however each studio is likely to have a custom pipeline determined by the type of project they are currently undertaking. A 2D production pipeline starts with workbook and goes all the way through final checking, composting and film output, whilst the 3D CGI production process emphasizes the design, modeling and rigging and animation stages. Moreover, animation production is a very coordinated process where different teams of artists work together while utilizing optimum resources and achieving the initial goal in the time available.
Your feedbacks and comments are most welcome. Write to us at email@example.com
J DASK 2
“ It was about five in the evening; Joey was playing around with a football in the park. He was an easy going kid.” “In the same park Mr. Gibson was resting on a Bench, reading a newspaper. He was a very noble person and would never back off when it comes to help someone. . . . . .”
DVD of “Evil Click” is included. Contact us at : E-mail : firstname.lastname@example.org www.facebook.com/evilclick