The nuts and bolts of the 3D animation creative process

Whenever I quote a project, for one of my clients, I realize that not everyone knows the step by step procedure that goes into a 3D or 2D animation. I try to include a description of each process, in each quote, to help the client understand what is involved in their project. This is fine if all goes as originally planned, but what happens when my client's client changes the content in the middle of the project?

I use the script as a blueprint for the project. The script, or treatment, calls out the specifics of the work to be completed. If the script changes, so does the 2D and 3D work to be completed. In an effort to help my clients know what is involved, I will attempt to describe the process of 2D/3D animation from beginning to end.

Whenever possible, and if the budget allows, I create a storyboard for the animation section of the script or treatment, along with the quote. This would involve rough sketches of key moments within the entire animation sequence. Any specific requirements, such as green/blue screen footage, product samples, voice over tracks, etc. would be spelled out in the quote.

Once the quote and storyboard are approved, and all the require materials are made available to me, I begin the 3D modeling process. I take reference photos of the object that I need to model, and in some cases actually use the photographs to create the model. The complexity of the 3D modeling process is defined by the complexity of the surface of the object to be modeled.

With the 3D model completed, color surface materials and textures are applied to the model to give it more realism. Any background objects are created in the same manner. If the animation needs to match footage, I can then import that footage into the the 3D animation program to determine the placement of the 3D objects in relation to the footage. If the movement of the 3D object needs to match an audio track, that audio track would now be imported into the 3D animation program.

Now the motion of the 3D objects is created based on the background image or an audio track. That motion can be previewed in a low resolution format. At this point these low resolution previews can be sent to the client for feedback. Any changes to color, motion, shape, etc. can be made and another low resolution preview can be generated and sent to the client for final approval.

Once the previews have been approved, a full resolution render is created. A render is the process of creating all the individual frames of animation (for video it is 30 frames per second) at the full resolution of the final product. Now that we have HDTV, resolution can be much higher than in the past, with standard television broadcast resolution. If the rendered images need to be composited with footage or special effects, this is done in Adobe After Effects. One of the techniques that I use to enhance the compositing process, is to render separate passes for shadows, reflections, highlights, ambient occlusion, etc. This gives me much more control in the final composited animation. I can adjust the shadows, highlights, etc. to fine tune the overall look of the animation. At this point I can add particle effects using a separate particle animation program. Particles can be generated in the 3D program, as well, but that is more complicated and is only necessary is the particle need to physically interact with the 3D objects.

Once the final animation is ready, I upload it to my FTP, where I have given my client a login and password, so they may download the footage into their editing software.

So that is the basic nuts and bolts of creating 2D and 3D animation. I hope I have given a better understanding of the process to my clients. If anyone has any specific questions, just shoot me an e-mail. I am always happy to answer any questions.

The state of 3D animation freelance work

Hello fellow 3D freelance animators,

As of this writing, the economy has hit most Americans very hard. This tends to bring out the worst players in business. A false perception of being "cut-throat" as the way to survive these hard times, can damage a companies reputation, in the long run. Some of these "cut-throat" tactics are ways to avoid paying for work done. The responsibility is on us freelancers to protect ourselves from being a victim of these unsavory business tactics.

On of the most common tactics is for a company to "lose" the invoice. This requires you to re-submit your invoice and wait an even longer period, than 30 days, to be paid. This costs you money. It is imperative to make sure that you get the invoice to the right party and confirm that they have received it, just a few days after issuing the invoice. Do not wait until the invoice is due to find out that the accounts payable clerk does not have your invoice.

Be sure to charge a deposit (one third of the total project estimate), a progress payment (another third of the total estimate), and have the final payment due upon delivery. Not all companies will agree to these payment terms, but it is essential that to make all efforts to establish this payment structure, especially if you have never dealt with your client, before.

Create your estimates so that they are tied to the script, or treatment. Be specific that the estimate relies on the script, or treatment, to not change. If the script, or treatment does change, after the estimate has been submitted, then extra charges will apply. Put this in plain text right on your estimate. I always allow a maximum of three "adjustments" to my projects. I define "adjustments" as client requested changes, to the animation, that do not change the content, but are things such as color changes, font styles, timing, etc. If they are content changes they must be items that I did not correctly represent according to the script, or treatment. After the three changes, extra charges do apply. This is important to declare on your estimates. It is in place for that client that keeps changing their mind on color, styles, etc. I'm sure I don't have to elaborate on this scenario.

Finally, getting new business is a long term investment. I join on-line discussion groups, and attend meeting of groups that my clients typically attend. This varies for the type of clients that you will gather, but try to target like minded clients to keep your target client to a manageable level. You don't want to spread yourself so thin that you are not doing an effective job of promoting yourself. I tend to go toward direct marketing as I have most of my clients in this field and I have a good feel for that industry. I also try to target inventors, but I am finding that market hard to penetrate. Not many inventors have the capitol necessary to flesh out a presentation of the "virtual" product using 3D animation. These tend to be long term projects as the "product" is undergoing a constant change as it is being developed. Many inventors, once they actually "see" their product in 3D, will make changes to it based on what they see in the 3D animation. 3D animation actually ends up being a design tool in the invention process.

I hope this helps my fellow 3D animators. Please do not hesitate to contact me with suggestions and/or comments.