The general process is similar between 2D and 3D, with pre-production, mid-production and post-production, but the details are very different, and the technical interface between the various parts of the process is completely different, especially in mid-production. An example of the technical differences between the two modes of animation. For example, in episode 98 of Saints Row, the protagonist is given a sword, and when the 98th episode was completed and the 99th episode was in production, the director suddenly felt that the sword in the 98th episode was too small and wanted to increase it by 0.1 unit in the 99th episode. So in 2D animation mode, the size of the sword was increased in episode 99 and the project proceeded in an orderly manner. In the 3D animation mode, however, due to the long production cycle of a single episode, the production cycles of the various groups are often crossed during the project run. This means that when episode 99 goes into model making, episode 98 may have just finished its animation and is entering the lighting phase. In 3D animation projects, in order to optimise resources, the model, animation and lighting teams all share a common resource library. If the modeler had saved the new sword size directly without sorting and storing the model props in separate sets or informing the animation and lighting teams, then when the lighting team opened the file in episode 98, they would have found that all the shots of the main character with the sword had the sword in their hands, i.e. their hands were interspersed with the Tron. At this point the lighting crew would feed the interlacing problem back to the animation crew, and the animation crew’s workload would increase, costs would therefore increase, and the animators would suffer emotionally, as it was not their fault. This does not happen in 2D animation because all the elements are set in the original drawings and changing the size of the sword in episode 99 would never affect episode 98. This is not the case with 3D animation, as everyone shares the same repository, once the data in the repository is changed, all the working group files are affected. In the actual running of the project, such modifications to the models will occur on a large scale due to the needs of the plot. When such modifications to the size of the sword lead to production problems, the director cannot just rely on his past experience in 2D, but has to understand the technical principles involved, hold production meetings with the various teams, and set specifications and requirements for the coordination of the data in the resource library.
https://www.sohu.com/na/419275083_639597
Shi Jiaxin, director, graduated from Sheridan College in Canada. 2016, returned to China to direct the animation film “Sky Wolf”. Having studied animation overseas and participated in animation creation, she has gained an additional layer of profound understanding of Chinese culture and its export. Performing Chinese stories in the way of animation can not only let more foreign friends know and understand Chinese culture, but also be a kind of propaganda for Chinese culture.
Shi Jiaxin said, “What helped me the most from my study abroad was that I was able to think from a different perspective, such as how to make the story resonate more with the audience. Different countries and nationalities have different ways of thinking, and sometimes not everyone can understand what you want to say. I want to use animation as a form to present more moving Chinese stories to Chinese and foreign audiences.”
During the global epidemic, Netflix abroad has become Disney’s biggest competitor, which shows that online film and TV productions have been thoroughly integrated into people’s lives, viewing styles have changed, new viewing habits are gradually being formed and the potential of animation has increased again. She believes that after the epidemic, the animation film market will also see a boom in viewing as confidence in film viewing is restored. The most important thing in the animation industry is the perception and observation of life, with production skills coming in second place. A love of life and a combination of emotional expression and production skills are needed to produce works that resonate with audiences. The most touching emotions are “human feelings”, just like smiling when you are happy, crying when you are sad, frowning when you are sad and raising the corners of your mouth when you are happy. The best way for anime talents to sharpen themselves is to enrich themselves with projects, and to find problems in practice so that they can improve themselves in a targeted manner. His past work experience abroad has not only taught Shi Jiaxin production skills, but he has also learnt to stand in a different perspective and use different thinking logic to express himself. “Everything you learn, you become a character.” Freshness and environment will bring new inspiration and creative motivation to creators. She encourages young creators that they should experience more of different customs and different human environments, as these experiences will accumulate more excellent material for their creations. What can really take you far are self-discipline, positivity and diligence. In the future, Shi Jiaxin will put more effort on the development direction and creation, as the domestic production environment is getting better and better, animators have a unique opportunity to express and show themselves, and the national concept of animation is also changing, animation is no longer just for children, more adult viewers are beginning to fall in love with animation; with the popularisation of film and animation education, animation talents have emerged in recent years, the quality and ability of production staff are With the popularisation of animation education and the emergence of animation talents in recent years, the quality and ability of production staff have been on par with international standards.