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Digital Animation (By Coursework and Research M a s t e r s o f A r t s : Digital Animation (By Coursework and Research r e p o r t ) Research report A critical analysis of the production pipeline developed for the B u n a n d B u n e e short format animation s e r i e s with reference to local production norms. N t o m b i k a y i se Buthelezi 3 2 2 7 6 9 University of the Witwatersrand 3 1 O c t o b e r 2 0 1 4 Supervisor: Pippa Tshabalala Buthelezi 1 DECLARATION I hereby declare that the content of this research report is my own unaided work. It is submitt ed in partial fulfilment towards the D e g r e e o f Masters of Arts in the field of Digital Animation by Coursework and Research Report in the Faculty of Humanities, University of the Witwatersrand, Johannesburg, South Africa. It has not been submitted before for any other degree or examination at any other u n i v e r s i t y. ________ ________ Ntombikayise Nompumelelo Buthelezi 3 2 2 7 6 9 __31st__day of__October _ _ 2 0 1 4 . Buthelezi 2 ACKNOWLEDGMENTS I would like to thank the following people, without whom this paper would not have been possible: T h a n k y o u to Prof. Christo Dohe r t y a n d the Wits School of Digital Arts staff for all their guidance and support. I also extend my gratitude to Sao Mendes for all her assistance and support throughout the research process. I am grateful to my supervisor, Pippa Tshabalala, for her s u p p o r t and patience. Thank you to Paul Meyer, Amanda Goosen, Ditiro Masemola , Bronwyn Horne a n d t h e Bun and Bunee team for allowing me interviews and access to production documents. I would like to give a special thanks to Prof . Ruksana and t h e NFVF for assistin g me with funding. L a s t l y I would like to extend a big thank you to my family and friends for their continued support throughout. Fikile Buthelezi, Kwanda Buthelezi, Lindokuhle Buthelezi, Minah Mchunu, Zandile Mchunu, Zanele Mchunu, Mondli Mchunu, Skhumbuz o J w a r a , Nokuthula Nosilela, Thuli Zikalala, Zoe Mahopo - this paper would not have been possible without your love and support. Buthelezi 3 TABLE OF CONTENTS LIST OF FIGURES 7 CHAPTER ONE: INTRODUCTION 9 a) A FLEDGLING TOPIC b) C A S E S T UDY c) RESEARCH METHODOLOGY CHAPTER TWO: TRADIT IONAL PRODUCTION PRACTICE - T H E O R Y 2 0 a) PRODUCTION PHASES OUTLINE b) ANIMATION PRODUCTION SCHOLARSHIP 2 . 1 P R E - PRODUCTION 2 6 A) NARRATIVE B) CHARACTER AN D ENVIRONMENT DESIGN C) STORYBOARDING D) PRODUCTION SCHEDULING AND CGI’S CYCLICAL NATURE E) RESEARCH AND DEVELOPMENT F) MODELING G ) R I G G I N G H) TEXTURE MAPPING I) POSED CHARACTERS AS PRO MOTIONAL MATERIAL Buthelezi 4 2.2 PRODUCTION 4 2 A) ANIMATION B) SOFTWARE C) LIGHTING 2 . 3 P O S T - PRODUCTION 4 7 A) RENDERING B) COMPOSITING CHAPTER THREE: PRODUCTION IMPROVEMENT TOOLS 5 1 A) E A R LY A NIMATION B) CGI, ANIMATIONS ‘NEW’ AESTHETIC C) THE COMPUTER AS AN ANIMATING TOOL 3.1 PRIMARY TIME SAVING PRACTICES 6 1 A) MODELING B ) R I G G I N G C) ANIMATING D) LIGHTING 3 . 2 TECHNOLOGICAL TOOLS 8 0 A) SOFTWARE B) SOFTWARE FEATURES WHI CH IMPROVE PRODUCTION C) X S I SOFTIMAGE DISCONTINUED 3 . 3 STUDIO SPECIFIC CUSTOMIZATION S 8 7 Buthelezi 5 A) AFRICAN AND SOUTH AFRICAN STUDIO DYNAMICS AND CUSTOMIZATIONS B) TRIGGERFISH - PIPELINE DEVELOPMENT C) BLACK GINGER - XSI WORKFLOW CHAPTER FOUR: CASE STU DY 99 4 . 1 L U M A - T H E S T U D I O 1 0 1 A) LUMA’S COMMERCIAL WORK 4 . 2 T H E BUN AND BUNEE PROJECT 1 1 0 A ) I N T E R N S B) CHARACTER DESIGN C) DIALOGUE, SOUND AND PERFORMANCE D) THE PRODUCTION GUIDE E) FINAL THOUGHTS ON PRODUCTION PIPELINES - B U N A N D B U N E E TEAM CHAPTER FIVE: CONCLUSION 133 5.1 RESEARCH CONCLUSIONS 134 A) HOW DOES THIS RESEARCH CONTRIBUTE TO CURRENT ANIMATION PRODUCTION SCHOLARSHIP? WORKS CITED 1 4 0 Buthelezi 6 APPENDIX A: EMAIL INTERVIEW - AMANDA GOOSEN 156 APPENDIX B: EMAIL INTERVIEW - BRONWYN HORNE 1 6 3 APPENDIX C: LIST OF TERMS 167 Buthelezi 7 LIST OF FIGURES Figure 1: 3D CGI Production Pipeline. (Winder and Dowlatabadi 2 5 0 ) . F i g u r e 2 : Disney Pixar. Up. ( s h e r - a s l i c e o f h e a v e n . b l o g s p o t . c o m , 4 S e p t . 2 0 1 3 ; w e b ; 1 6 A u g . 2 0 1 4 ) . F i g u r e 3 : Disney Pixar. U p . ( d a n i g r e g o . b l o g s p o t . c o m , 1 2 A p r . 2 0 1 4 ; w e b ; 1 6 A u g . 2 0 1 4 ) . F i g u r e 4 : An example of a right leg widget (Anzovin 10). F i g u r e 5 : A character rigged with the biped builder (Anzovin 42). F i g u r e 6 : A dog rigged with the quadruped builder (Anzovin 3 4 , 3 7 ) . F i g u r e 7 : Graph demonstrating the time - saving qualities of Species (Excortex). F i g u r e 8 : Examples of male and female rigged Species models ( E x c o r t e x ) . F i g u r e 9 : The animation rig synoptic (E x c o r t e x ) . F i g u r e 1 0 : Disney Studios. C i n d e r e l l a . ( v i s u a l n e w s . c o m , 5 J a n . 2 0 1 3 ; w e b ; 2 1 F e b . 2 0 1 4 ) . Buthelezi 8 F i g u r e 1 1 : Example of colour bleeding in GI. (Seymour , f x g u i d e . c o m , 1 0 A p r . 2 0 1 2 ; w e b ; 2 1 F e b . 2 0 1 4 ) . F i g u r e 1 2 : Luma Creative Studios. Sandoz TV Spot . ( v i m e o . c o m , 2 0 F e b . 2 0 1 2 ; w e b ; 1 6 A u g . 2 0 1 4 ) . F i g u r e 1 3 : Luma Creative Studios. C o w b e l l - V i t a r i c h . ( v i m e o . c o m , 2 7 M a y . 2 0 1 3 ; w e b ; 1 6 A u g . 2 0 1 4 ) . F i g u r e 1 4 : Luma Creative Studios. Kemps Greek Style Dancing Cows. ( v i m e o . c o m , 2 7 A u g u s t . 2 0 1 3 ; w e b ; 1 6 A u g . 2 0 1 4 ) . F i g u r e 1 5 : Luma Creative Studios. Kemps Greek Style Dancing Cows. ( v i m e o . c o m , 2 7 A u g . 2 0 1 3 ; w e b ; 1 6 A u g . 2 0 1 4 ) . F i g u r e 1 6 : Luma Arcade . Island Hop. ( p o c k e t g a m e r . c o . u k , 1 2 J u n . 2 0 0 9 ; w e b ; 1 2 F e b . 2 0 1 4 ) . F i g u r e 1 7 : Luma Creative Studios, Bun and Bunee. ( a n i m a t i o n s a . o r g , 6 J u n . 2 0 0 9 ; w e b ; 2 1 F e b . 2 0 1 4 ) . Buthelezi 9 CHAPTER ONE: INTRODUCTION This research r e p o r t critically examine s C G I 1 a n i m a t e d s h o r t f o r m a t 2 series product ion norms and pipelines. The goal is to identify production methods which improve local CGI animation production processes. In order to identify p r o d u c t i o n improvement methods , t h e initiation; set up and resolution of th e CGI pipeline will be probed. F u r t h e r m o r e t h e t i m e a nd money saving effects of t h e c a r e f u l control of pre - production, pro duction and post - p r o d u c t i o n w i l l b e e x a m i n e d . The production pipeline of Bun and Bunee will be used a s t h e c a s e s t u d y. This animated short will be used because its prod u c t i o n pipeline has smal l, yet consistent practices which lead to a smooth running and time con serving production.
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