Why is its use so effective in movies such as finding Dory?

Disney Pixar is well known for its animation both 2D and 3D but in more modern times 3D
animation has become increasingly popular and is their predominant film animation style. There
are many reasons for this but some of the main ones are that 3-dimensional videos provide a
better visual recreation of characters, such as Dory in the movie, then other mediums such as 2D
animation would. This is because in 3D animation characters are able to be seen from all angles
un contrast to the 2 dimensional style of animation that previously consumed Pixar animation . The
characters movements mimic those movements of real fish and their movements are muddled off
real fish, which makes the characters more realistic and the film more plausible to an audience.
In addition to this when filming a 3D animation you are able to give characters a considerable
amount more depth then in other kinds of animation. 3D provides much more scope for the
animators to create and add volume to the character, meaning the animator had a lot more
detailed control on how the character aesthetically look.The animator can also use of more lighting
effects in a 3D animation as part of this creating a never ending stream to the different types of
texture that can be created of different characters, Where as on most form of animation you can
only use the X and Y axis, which wouldn't be very good for films such as finding Dory as, you
wouldnt be able to created the different shading and textures in sets such as coral reefs.

Also many audience members find films such as finding Dory more compelling to view as an
audience member then the previous 2D animation films created by Disney Pixar. The Hardware
and software used in 3D animation is very advanced and means that more complex movements
and facial features that, even though used to animate characters such as the clown fish Nemo,
mimic that of human mannerisms and movement and coupled with the compelling storyline of
finding Dory create a relatable, empathetic and compelling movie.

Example of complex facial expressions example of the shading and depth of

seen on characters in the movie animation seen of sets such as coral
reefs in the films

The 3D animation Processes

behind Pixar Finding Dory
The Pitch
Finding Dory all started with one of the Pixar employees pithing their idea of a sequel to Finding
Nemo to other members of the development team and because the pitch was successful it then
wen on to the next stage of development, which is creating a film treatment.

TREATMENT
The treatment for Finding Dory would have included details such as the summary of the main
idea of the plot line of Dory experiencing repressed memories and then going on a quest to find
her parent and finding out who she is. It would have also provided multiple different possibilities
for endings of scenes and character development, for both concept artists and story boarders to
explore and finalise in detail later on in the pre production process.

SCRIPT
The script for finding Dory was then written after the treatment and plot was determined and a
team of script writers would have written dialogue for the characters that followed the storyline
but also since it is a sequel film they would have had to develop dialogue that both demonstrated
character development whilst staying true to the success characters such as Dory had before
and include popular catch phrases such as Just keep swimming to give the film a sense of
familiarity that the original film Finding Nemo had.

CONCEPT ART
Concept art for all the new characters such as Hank in finding Dory were created. These were
sketches and ideas for what the new characters would look like.

STORYBOARD
A story board was then created for the movie, effectively being hand-drawn version of the movie
including features such as the action, camera angles, sound and dialogue. Each storyboard artist
receives script pages and a map of the characters' emotional changes and character development
that needs to be demonstrated through the character facial and actions. The artists then create
and their assigned parts of the film, effectively pitching their work to the director.

VOICE TALENT

"scratch" voices are recorded by pixar artists for the storyboard reels, so that they can see the flow
of the movie and make any quick changes to dialogue or plot before bringing in the voice
actors. Then professional actors will be brought in to begin recording the character voices, reading
from a script and improvising. Actors must record lines several different ways, and the best
sounding and expressed line is eventually animated. This is scene in minutes 3:17 - 11 in the
youtube video FINDING DORY - Find out how they made the Disney Pixar family animated movie
(https://www.youtube.com/watch?v=L423F8VU3kM)

REELS

A reel a video of neatest version of the storyboard in sequence and the video applies the
appropriate audio over the top. Giving the first video indication of what the film will look and
sound like as well as giving a fairly accurate impression of how long the finished film will last.

COLOUR SCRIPTS
Based on the treatment, storyboards, their concept art and the previous film , the department of
are began properly illustrating and finalising the aesthetic of world and the characters.
On top of designing this they also created a "colour script" for lighting, meaning they script the
shade and light of a scene. For example they would have scripted the lighting in the two scenes
below, Lighting is important in these scenes was it directs the audience on what to focus on.

MODELS
Animation software is used to create three-dimensional computer models of characters, props and
sets. The computer models demonstrate the shape and look of a character as well as
demonstrating the motion controls such as movement and facial expression. Since they are 3D
models they are created of 3 axis, the X, Y and Z axes, this in turn means they can be viewed
from many different angles and. When building a model from scratch you begin by making a
wireframe. For example, before characters such as Hank in Finding Dory was created he was
first made using grey blocks that were moulded into his basic shape, without colour and
movement .
The models are then give "avars", or hinges, which the animator will use to make the object or
character move, this would take longer depending on what creature was being created. For
example, an octopus would need more hinges then a fish because they more levers to move on
top of the base level body and facial movement.
Example minute 1:31 - 1:35

SETS
After the sets are built in three-dimensions they must be dressed with prop models, such as Tags,
tanks and coral reefs. The sets are particularly important as they are what the the director and lead
animators use to block the key character positions and camera angles for each and every shot of
the film, so if the set is out of proportion or things are in the wrong place the blocking can go
completely awry.
SHOTS

This is the process where the 2D images from the story board are taken and then replicated into
a 3D scene. There is a layout crew and they are responsible for coordinating where the
characters should be and move in the scene in accordance to a virtual camera that they will use
to create shots, in this process they have to follow the shots on the storyboard and still
translate the original emotion and mood of the scene through camera work.The layout team of
finding dory often created many different versions of shots to provide the editing department with
option of picking which shot was most effective for the scene. An example of where the shots
process would have been particularly important for the film Finding Dory is in the shots of Baby
Dory as they often shot from a high angle shot to make her seem smaller and cuter and cause the
audience to care more for the character.

ANIMATION
Using Pixar's animation software, they create the movements and facial expressions in each
scene. Pixar's animators code and create the action in the films scenes by specifying key frames
or poses in he scene. By utilising the software controls and the character avars to construct key
poses. The software then creates the "in-between" frames, which the animator can adjust if
necessary.

SHADE
There are computer programs called shaders and shaders add the different skin textures and
shading differentiations on characters skin/body and also the shading on the surrounding scenery.
For example on this image of hank we clearly see that his body has been shaded and different
textures have been created on his skin to replicate a slimy bumpy skin, also there are varying
shade of orange on his skin which show where his skin is stretched and also how the light is
making him appear. For the character hank a skin texture effect was imperative to the character
as in some scenes the characters skin would change colour to camouflage with his
surroundings.

LIGHTING
Using "digital light", every scene is lit in much the
same manner as stage lighting. key, fill and bounce
lights and room ambience are all defined and used to
enhance the mood and emotion of each scene.
Lighting takes its inspiration from the colour scripts
created by the art department. Animators , use
ambient, omnidirectional and spotlights to create
depth, shadows and moods.

RENDERING

They render all the files that make up a shot. Pixar used render man on Finding Dory to
translate all the files (sets, colouring, shading) into a sequence using all the information in the files
that make up the shots of a scene, (sets, colours, character movement), into a single frame of film.
Pixars Finding Dory was produced at a frame rate of 24 frames per second.

FINAL TOUCHES AND MUSICAL SCORE

The final stage is where the sic sequencing and score is added to the film, along with the with all
the other sound effects neede, for example when hank moves through the lab part of the aquarium
he sinks against glasses.Then special effects are layered over the top of the sequence . and the
photoscience department records the digital frame to film or to a form appropriate for digital
production.

NARUTO PRODUCTION
Pre-Production:
At the beginning of pre-production the Anime is much like the production of Finding Dory. For
example, it all starts with an original concept/idea being pitched to a team of people. For example,
before going into production Naruto was pitched to both the animation studios themselves as well
as the sponsors of Naruto.

After this the core team for making the anime is formed. This core team then creates the
storyline of the show episode by episode. The animator and director will create/hold some
meetings in order to go over key production elements such as the schedule, budget and quality of
an anime.

The next step is to start actually designing the anime. This stage concept art. In this stage they
start to design character looks , costume and props. Character designers either have the task of
simplifying manga/illustration designs so that they are suitable for animation, this happened in the
case of the Naruto shippudan films. however in the case of the original Naruto (2002) ,the
designers had to come up with entirely original and new set of characters and world based on
descriptions from the director/producers.

The Next stage is the first step in the actual production phase of the anime and it is creating
the storyboard of the anime. Storyboards for Naruto 3 weeks to do per episode. The storyboard is
there to convert to the artists and animators and vision of the director, story boarders are
employed to draw the storyboard to save time and make sure the drawings are accurate and clear
enough to easily read.

Then it is the layout process, it is essentially the beginning of art production. In this stage the
layout and look of Naruto (2002) was further developed so that the cels were proportioned and
positioned so that they can be used in the cut and living room to see where the background art
is needed giving the most detailed impression so far as to how final shot will look. The cuts are
drawn to the scale of the animation paper in addition to the exact details of cel placement. This
also includes high levels of description on the camera movement and other important features of
the shot.

The next part of this stage includes drawing in basic background. As well as some other features
of the shot are dram or written to help describe the cut. Quite often in Naruto multiple stages of the
storyboard were represented on a single layout drawing. They shaded cels in warm colours and
backgrounds in cool colours to avoid confusion.

The next step is called Key animation this is where Key animators use the storyboard to start
creating the actual animation drawings. Each Key animator working on Naruto is assigned a
certain number of different cuts by the lead Key animation artist. Key animators don't draw all of
the frames of the episode , they draw the essential frames that mark a distinct position or
expression of a cel/character in the sequence.

The next stage in the animation process is the in-between stage. This is where the in-between
movement. The in-between animators take the key frames and neatly trace/draw the in-between
stages of motion into the key frame. This is done by a team of people as each episode is 20
minutes long and that is roughly 28800 frames per episode, so to get the show to meet deadline a
team of people are employed to make sure that its all drawn on time.

Then the next stage is the composition stage. For Naruto the frames are finished on computer
software. Once, the in-between stage is finished they are checked and then all digitised and
coloured on the computer by colorers. They fill in the colours and textures to make the
final cels that go into the animation.

Once all the frames are coloured and finished, they can be processed as animation using a oftware
package. Background Drawings and painted have already been filmed. So that now the shots can
be completed digitally and the background art can be added on the computer.

Then after this effects are added. Although visual effects may not seem like they are prominent in
Naruto basic things like ambient lighting, flare, backlight, the glint on a sword, blur, and many other
things are all added as effects so that things such as fight scenes seem more viably exciting .

Then the next steps are dubbing sound and music to make sure the voice matches the audio.
Then also the final stage of editing such as adding the beginning credits and cutting the episode
to incorporate add breaks.