Why can't anyone in our country make such a great three-dimensional animation of people?
I think that's because we didn't combine art and technology well. At present, most books on the market teach the technology and use of 3D software in the form of detailed explanation of functions, but ignore the most practical and fundamental foundation in 3D animation: the cultivation of producers, which mainly refers to the cultivation of art. In 3D animation teaching, especially in game 3D animation, it is misleading not to emphasize artistic accomplishment and painting skills, but only to emphasize technical operation!
For details, please
You should always remember that it is very easy to become a master of 3D software application technology, but it is very difficult to become an artist in 3D field. If you are still confused about this, I can give you an example. If you have a computer expert and a painter in front of you, we will give them a month to learn the same three-dimensional software at the same time. Then a month later, computer experts may have mastered every command and usage of the software, while painters only know a small part of the functions of the software. But it is with this small part of the function that the painter will definitely make three-dimensional animation works hundreds of times more wonderful than computer experts.
Speaking of which, I think you must understand. At present, what we need most is all-round talents who can fully master art and technology. If you are a person with high artistic accomplishment and painting ability, then I dare say that as long as you master 3D software, you are a leader in the field of 3D. If you are an expert in software technology. If you want to make wonderful three-dimensional works by yourself, then I advise you not to be busy studying constantly updated software for the time being, and try to improve your painting ability and comprehensive artistic accomplishment as soon as possible. Otherwise, you can't be a three-dimensional artist.
What are the division of labor and requirements for the development of game art?
Next, we will discuss what each post of game art development needs to do. And the commonness and individuality of the talents needed.
Generally speaking, the development of game art can be divided into original game painting, scene 3D production, role 3D production, role animation production, CG animation production, game special effects production and game interface production. The reason why I list the CG animation of the game separately is that many 3D producers will start to make some large-scale projects after mastering the 3D software, among which the most common are the 3D comics and CG animation avatars in the game. Apart from the movie stunts in American blockbusters, such 3D animation projects are relatively complicated, especially full 3D animation with characters.
First, lack of experience in document management. If you want to make a full three-dimensional cartoon, you must first make it clear in your mind that this is not an ordinary project, it has certain particularity. We have to deal with computers, not paper and pens, nor mechanical animation testers and cameras. Then what we have worked so hard to produce is not stacks of animated paper, nor rolls of beta videos. This is a messy, invisible computer format file. In this way, certain norms are needed in the production process and the management of finished products, otherwise it will be in a hurry. Making three-dimensional cartoons is by no means as simple as you think. Maybe you can easily make a more complicated three-dimensional scene or a more complicated character model, but you may not be qualified for the complete production of a three-dimensional cartoon. Just as you can draw a character, you may not be able to draw a complete comic story. Here, we need not only modeling, materials and animation, but also many factors, such as lens and sound, after completing these complex combination contents, so that even the files involved in a full three-dimensional animation with only one or two minutes will be chaotic and unimaginable. Therefore, it is very important to manage these chaotic documents in an orderly manner.
Secondly, the adaptability between scripted stories and three-dimensional animation. Adaptability here mainly refers to whether the scripted content of the story meets the requirements of three-dimensional animation. Three-dimensional animation has its own limitations because of its short history, strong technical requirements and various factors. It is impossible to complete all the animation effects in the world like a two-dimensional cartoon. At least it won't be as easy as two-dimensional comics. Of course, with the rapid development of computer graphics and image industry, this restriction will be reduced day by day, but it has not yet reached the realm where 3D software can make people gallop at will. Therefore, we must consider whether the script of the story meets the special requirements of 3D animation production, and try our best to avoid the lens effect that cannot be expressed by non-technical difficulties without reducing the artistic quality. For example, the clothes on a character's body, if a group of people are wearing cloth with simulation effect in a large scene, then a high-profile computer can't bear it. This requires you to set most of the characters' clothes to be tight, semi-tight or quasi-tight, so as to simulate them through the grid. This saves a lot of calculation and makes your animation complete smoothly.
Third, solving the inevitable technical problems will make people feel helpless. There seem to be only two answers: one is that you should continue to study the software and tap its maximum potential. The second is to find or develop plug-ins that can complete production and overcome technical problems. For example, if you use 3Dstudio Max to make clothes, you must turn to the Breyers plug-in, otherwise it will be difficult to produce convincing cloth effects in your works.
If you can't meet your technical needs anyway. Then you have to develop plug-ins or software yourself. Many foreign movie stunts are done in this way. For example, the seawater in the> sea is made by developed software. However, ordinary producers or businesses do not have such strength. In fact, whether it is a graphic cartoon or a three-dimensional cartoon. In addition to their own particularity, the general production process should be considered as something common. In other words, the three-dimensional animation we make has to go through the same process as the plane animation, that is, story, text and script, scene and design, storyboard, pre-recording, scene and role modeling, scene and role material, role animation, camera animation and special effects production, composite rendering, post-dubbing, editing and output.
This is why we say that the production of cartoons is far more complicated than the production of simple scenes and characters.
And the original painting is as important as the art of the game interface. Generally speaking, the original paintings of characters and scenes serve for later modeling and finding materials. Therefore, the design of this part is not only a simple rendering, but also provides reference and specification for the later work. So, for the scene, we should draw at least two kinds of pictures. One is the color perspective effect diagram, which is used to express the tone relationship and scene atmosphere, and to express the lighting effect as much as possible. The other is the top view of the distribution and size ratio of objects in the scene. This painting can only be written in pencil or pen and ink. No need to paint. If the three-dimensional scene in the game is designed and produced by the same person, then he sees these two pictures and believes that the producer will have a well-thought-out plan. If there are some complex objects in the scene, and you are the scene designer, you'd better draw their structural features and related details clearly, because the producer doesn't know the details of every part of the scene like the designer, so this part of the work is necessary. About role design, it may be more complicated. There are many problems before making 3D animation. The body structure of some characters is very complicated, especially the facial structure of the characters will make designers feel that even if they draw front, side, top and three views, they can't clearly express the structure to the producers. If this happens, it's best to make a small-scale model of the character you designed. This is more telling than any structural design drawing.
Here I simplify the scene modeling and role modeling. Because these two departments are the entry bricks for most game manufacturers. I believe that everyone will have a considerable understanding of these two parts. And what I want to emphasize is the game interface part. This part of the work seems trivial, but it is not. The interface is a frontispiece game. If others don't even want to see the door and are not interested, I believe their enthusiasm for this game will be reduced by more than half. And I found that some artists who are very experienced in the game sometimes can't complete an interesting and friendly interface. I think this is not a question of level, but a question of understanding the game and how to express it. Interface, in fact, in the final analysis, is still the part related to plane. How to skillfully use the limited screens of computers and televisions to maximize the performance of this concept is the key. Under the premise of defining the game method or steps, it is a good interface to let players have artistic beauty. So I think the producer of a good interface is not necessarily a technical expert, but someone who has a certain knowledge of plane vision. This part believes that people who have played games have this understanding.
So how to learn game art design?
Having said that, I think everyone should have an understanding of all positions in game art development, and I want to talk about the problem of game training.
When I was teaching in a game school, many students asked me questions, and quite a few asked me how to learn 3D animation. I think this is a very good question. If you really want to teach others, it is important to teach them how to learn, and the second is to teach them what to learn, so the learning of 3D animation should be the same. A good game art training course should not only teach students some software application commands, but also teach them how to master software methods. Basic skills of making 3D animation. There are many 3D animators who study hard according to related books, but in the end they still fail to produce excellent and wonderful works through their own abilities. Why is this? I think the main reason is that I haven't laid a good foundation. Or go the wrong way. This shows that the quality of game art training courses has a great influence on students.
Speaking of the method of learning 3D animation, it reminds me of the scene when I first started learning 3D animation. I think it will be most effective to tell you with my own personal experience. I learned 3D animation late, and I only started to contact 3D software in my third year of college. In fact, my motivation for learning 3D animation is not what you think. I have lofty ideals for the rapid development of animation in China. Of course, as sons and daughters of China, we should have great ambition to build our own country, but when a person has no position in his career, that is, he does not know what he will do in the future, that is not the first thing that comes to mind. Just like me. At that time, I heard that there was a craze for three-dimensional animation outside. I wanted to learn three-dimensional animation well because I was competitive and thought that my art foundation was not weak. However, at that time, my computer study was very poor in my class, so I had no choice. There is a lot of knowledge that I can't digest and understand. However, I became interested in three-dimensional animation that I was not good at, so I had the idea of self-study in my spare time. But at that time, my family's economic situation was not wide, because the cost of schooling accounted for more than half of my family's expenses. So I went to the Internet cafe near the school and rented a computer to study by the hour. Now think about the original energy is simply unimaginable. The internet cafe I went to is not the place that provides internet access around the university now. At that time, Internet cafes were places where people who had just emerged played computer games. Every time I go, I find a corner with few people and secretly put 3D Studio Max in the machine. After the loading is completed, I want to make sure that my boss didn't find it (at that time, my boss was not allowed to put anything on the machine in the computer room, probably for anti-virus), and then I began to study. I still can't forget the hard conditions at that time, and I was interrupted by the "killing" and abusive voices of noisy gamers from time to time in the process of learning. In this way, I mastered 3D Studio Max 1 in the Internet cafe where I played games. Function and application of 0. I believe that everyone's learning environment now must be better than my life.
The learning process of three-dimensional animation is bitter and annoying. At the same time, it makes people happy. It can be said that the learning of 3D animation is a "movement" with mixed feelings. When this "movement" is going on, I can almost forget to eat and sleep, and the reason why my function can reach this state is because there is a support point. This support point has a strange effect not only on learning 3D animation, but also on learning anything. This support point is "interest", the basis of learning only some things.
Having said that, I want to say that it is very important to maintain a strong interest in the learning process of game art, and I am afraid of losing interest if I don't understand it. If you are not interested in game art, then I advise you not to learn it, because it is a waste of time and money to learn things well.
Finally, I want to talk about some suggestions on game art training. First, three-dimensional art and two-dimensional graphic painting art are interlinked and closely related. The production ability of two-dimensional plane determines the basis of three-dimensional works. If you have an impression of foreign 3D animation, then the person or group who created this 3D animation must have high artistic accomplishment and painting creation ability. There is no doubt that it must be like this. Second: If you really observe nature carefully, you will find that even stones, plants and dust have unexpected vitality. If you enlarge them, you will find that the vitality of everything lies in the details. Nature is a great artist.
I don't know if you understand. If you haven't, I personally suggest that you Baidu take a look at Guangxin Animation. The details they said were more specific than mine. I hope you have a bright future.