Sony Pictures Imageworks Research Articles

A Study on Animation Style of Full 3d Animated Feature Film for Full Animation and Limited

콘텐츠의 부가가치를 높이기 위해 고품질의 애니메이션을 제작하는 것은 애니메이션 제작자에게 매우 중요한 사업 목적이다. 극장용 full 3D animation 제작을 하는데 있어 자연스럽고 설득력 있는 고품질의 애니메이션을 만들기 위해 가장 보편적으로 알려진 방법은 Full animation 제작 방식이며, 그런 제작방식으로부터 표현되어져 나타난 주도적인 애니메이션 스타일은 Realistic animation과 Cartoon animation스타일이다. 극장용 full 3D애니메이션에서 Limited animation 스타일은 Sony Pictures Imageworks 에서 제작한 Cloudy by a Chance with Meatballs 에서 처음으로 시도 되어졌고 이후 SPI가 제작하는 극장용 애니메이션을 통해 지속적으로 stylized animation 스타일을 선보이며 Realistic animation과 Cartoon animation 스타일 이외의 주류적 스타일로서 흐름을 만들어 나가고 있다. 이 연구는 극장용 Full 3D 애니메이션 산업을 리드하고 있는 대표적인 북미지역 애니메이션 제작사의 대중적으로 흥행했던 작품들을 중심으로 full animation 제작방식으로부터 표현된 다양한 애니메이션스타일의 흐름이 어떤 배경으로 형성되고 변화 해왔는지 고찰할 것이고, 그런 고찰을 바탕으로 애니메이션스타일별로 적용될 수 있는 적절한 표준적인 상황들을 제언하여 다양한 관객들의 요구와 다변화 하는 시장 상황 속에서 차별화된 경쟁력을 가지기 위해 고심하는 애니메이션 제작자들에게 적절한 기준을 제언 한다.Producing high-quality animation to enhance the value added of content is a very important business goal for animation producers. In order to make successful hi-quality animation with natural feeling of movements and believable acting, animation producers need to work with Full animation process. There are three types of animation style based on Full animation process, which is Realistic and cartoon and Limited. Starting with “Cloudy by a Chance with meatball”, Limited style partially appeared in full 3D feature animated film and SPI continually released a number of feature animation with stylized animation. The aim of this paper is to present the appropriate standards through the analysis of trends in production process and analyses in the existing animation styles to help newly started animation studio to eager to gain competitive of their content from the high-quality animation market.

디즈니 극장용 3D 애니메이션에서 애니메이션 테크니컬 디렉터의 역할

극장용 3D 애니메이션의 제작이 활발해지면서 3D 애니메이션의 제작 공정은 복잡해지고, 제작 인원도 점차 증가하고 있다. 한정된 예산과 기간 안에 좋은 작품을 제작해야하는 메이저 스튜디오들은 그동안 애니메이션, 리깅, 옷 헤어, 이펙트 등의 분야에서 테크니컬 디렉터를 활용하여 문제점을 해결해왔다. 테크니컬 디렉터는 애니메이션을 3D로 제작하면서 등장한 새로운 직업으로 한정된 작품 제작 기간, 인력, 예산, 제작 공정 등의 문제와 맞물리면서 그 중요성을 더해가고 있다. 이 논문은 연구자의 디즈니 애니메이션과 소니 영화사 테크니컬 디렉터로서의 재직 경험, 업계 전문가들에 대한 자료 조사와 국내외의 관련 문헌들을 분석하여, 디즈니의 극장용 3D 애니메이션에서 테크니컬 디렉터의 역할을 '제작 공정 설계'와 '샷의 문제점 분석'이라는 두 가지 관점에서 분석하였다. 애니메이션 테크니컬디렉터는 제작 공정을 설계하고 테스트하며 제작 과정에서 발생하는 문제점들을 최대한 빠른 시간 내에 발견하여 해결한다. 또한 모델링, 맵핑, 캐릭터 리깅(Character Rigging), 옷, 헤어, 라이팅, 렌더링, 소프트웨어 개발부 등과 관련된 캐릭터나 샷의 다양한 문제점들을 분석하여 아티스트들이 제작 일정에 맞춰 작업을 끝내도록 지원한다. 국내에서도 3D 애니메이션 제작이 활발히 진행되고, 해외 스튜디오와의 공동 제작이 증가하고 있어, 애니메이션의 제작 공정을 개선하고 샷과 캐릭터의 다양한 문제점을 분석하여 제작의 효율성을 향상시키는 애니메이션 테크니컬 디렉터의 양성이 꼭 필요하다. As number of making 3D feature animation films is increasing, 3D production pipeline become more complicated and more artists are needed than before. Major studios in foreign countries, in burden of producing high quality films with limited amount of budget and time, have been handling such difficulties by hiring technical directors in each department such as animation, rigging, cloth hair, and effect. Technical director is new occupation which appears after trend of producing animation is changed from 2D to 3D. Importance of technical director is increasing in respect to studios' needs which are related to complication in production time, manpower, budget, and production pipeline. This research is based on the researcher's work experience as an animation TD at Walt Diseny Animation Studio and Sony Pictures Imageworks, interview with working professionals, and related books and thesis. It focuses on the role of animation technical director in Disney's 3D feature animation film from two perspectives, 'Designing Production Pipeline' and 'Analyzing Problem of Shot'. Animation technical directors design and test production pipeline so that they can detect and solve problems that may arise in production process as early as possible. They not only analyze numerous problems of characters or shots limited to animation department but also in other departments such as modeling, mapping, character rigging, cloth, hair, lighting, rendering, software development in order to support artists to complete their shots according to the production schedule. In accordance with recent trend of increasing number of 3D feature animation film production in South Korea and collaboration with foreign studios outside of South Korea, it is vital to train animation technical directors who can develop production pipeline, analyze various problems of shots and characters to escalate efficiency in production.

Making it real

In this initial feature for the launch of SIGGRAPH Quarterly's online magazine, Sony Pictures Imageworks' Rob Engle and Rob Bredow discuss the subject of stereoscopic 3D film production and presentation, and offer their ideas as to where this increasingly important technology may be heading in the future.

Finding your way in Computer Graphics

Despite busy schedules, our many members find the time to in some way get involved with SIGGRAPH activities, most typically the annual conference. Blocking out a full week to attend is for most a willing sacrifice to further professional development, catch up with friends and colleagues, review new innovations or to view fascinating art and great films, all related to the nuances of what computer graphics has to offer.In the deeper folds of the membership, others volunteer to help develop and organize the resources ACM/SIGGRAPH provides to the full community. One of those is this newsletter, "Computer Graphics", which I am sure the majority of its readers considers as their membership "magazine", published four times a year.The article, "Making It Real: The Future of Stereoscopic 3D Film Technology" from Sony Pictures Imageworks, written by Eden Ashley Umble, was initiated by Sande Scoredos, Executive Director of Technical Training & Artist Development. Carlye Archibeque, Senior Coordinator of Marketing & Communications was instrumental in pulling all the pieces and people together and getting it approved by the Imageworks legal department for publication. I mention this only because most will not be aware of how much goes into putting together a seemingly straightforward article about behind the scenes operations at a movie studio.Douglas Easterly's excerpt from his most recent book on Macromedia Flash development is a wonderful read on how multimedia artist Ricardo Miranda Zúñiga uses the technology to create his internet based art and social commentaries.As you flip through the pages of this first issue, you find that there are still sections under the Table of Contents that still need to be addressed. This is where the greater ACM/SIGGRAPH community comes in. Unlike a magazine you would purchase at the market, this one is driven by its members and sent directly to their homes, now in digital form. We are still getting used to the new format and I know that as time goes by, many will start to understand the ease of contributing and the newsletter will grow.So I urge each and everyone reading these pages to think of how your quarterly can best serve your needs. Let your voice be heard by sharing articles and information that will interest our community at large. I welcome to hear from each and every one that wants to get involved.If you are interested in participating actively in preparing and publishing "Computer Graphics", we have a few volunteer positions that we are looking to fill.