3D Animation Production on a Budget – Time and Money saving Tips


Want to make your own 3D animated short movie on a budget? I wish to share some tips to help make it happen.  This is especially for those that are planning their first production.

First off to do a reality check.  Second see what happens if you don’t.  3rd thing I can give are these tips. I’ve touched on many of the following points before, but they are worth repeating.

The idea here is that time is money and while things like rendering can be speeded up with more computing power(=more money), you should first do everything you can to optimize your work – try make the project take less work and less render time.  There are some choises that can ease your way.  Having said that an animation production is always plenty of work – I’d lie if I said otherwise.

Story focus

If we take pointers from industry leaders, and we should, see how Pixar goes from success to success. They focus heavily on story. If you read interviews you know they really polish the story until it shines. Why not do the same?   Story, storyboards(and animatic) are by far the least expensive way to builda good a base for any movie.

Style choices

Second quite obvious Pixar-lesson is that even though their enviroments become ever more detailed and life-like, the characters stay cartoony. Why? Cartoon is highly expressive, gives all sorts of freedoms in anatomy and motion and allows using caricatyres. Also cartooony is design for sympathy and emotional impact. Set realistic character style against this and it loses big time.

Additionally we people know realistic humans, usually see many of them every day, and hence have an uncanny ability to notice if there is anything unreal about a realistic character on screen.  We can’t help but notice these things which brake the illusion and flow of the story, whereas cartoony figures don’t receive same scrutiny or critisism. And finally cartoony is easier and hence faster and cheaper to make.

Enviroments could have same stylistic approach or you could use photo-cutouts or paintings. Think about 2D-animations and how much they achieve with fairly static backgrounds and how much leeway these fictious works are given.  Almost anything goes because we don’t expect real world rules or logic apply to cartoons.

Modeling & Texturing choices

Again choosing cartoony helps here. Cartoony models don’t need much detail and you may not need to paint textures at all – you may not need to have 3D-painting or sculpting software at all.

Animation choices

Cartoony style gives leeway for animation too. It allow animations that are too fast to be real and that whisk from one dramatic pose. This is easier do than natural motion that can’t have as dynamic suddent starts and stops.

Also going very stylized characters, or having animated items for a characters such as Pixars Luxo Jr. lamp character, can reduce animation work.  Luxo-lamp there is no facial features or legs, it is like a body with a head jumping arond – less to animate.

If you choose to make a silent story(no dialog), you cut the workload.  No mouth is another way to save and so on it goes.  The animation however will not be any less effective -you will find the audience can sympathize with almost anything as long as it is well animated and has a good story. I’m not saying cut it all down to a simple shape – just keep in mind that you can simplify.

Filmography and Rendering choices

What do you need to show to tell the story? Taking cue from old masters of cinema, a horror not shown is often more effective than the one shown. Our brains are filling in the blanks all the time, anyway – you can tell stories with far less images than you may expect.

Real-world-ish lighting and rendering is easy to overdo or waste too much computing power on. You can achieve dramatic and functional lighting with just a few spotlights. Don’t go for GI(global illumination)-features straight away, for they mean longer rendering times, are more likely to cause flickering when rendered images are played together as a video.  And also GI does not replace hand-placed lights. Lighting specialist exist for a reason – lights are storytelling tools.

Render to series of images, not to video.  Rendering to image series’s make software crashes less troublesome and images give you far more options in post-production.  Also almost never render all things to one layer – instead render foreground, midground and background separately for futher editing and compositing possibilites.

If your images need enhancement or fixing, and they often do, push as much you can of that to post-processing(After Effects or similiar). Effects that often are toublesome to both setup and render may be a breeze to add as a post process.

You can check more tips for rendering here and some tips for modeling and animation here.

Hardware choices

As long as you optimize your work, the computer you work on doesn’t have to be an expensive beast.  With something like 1000 dollars you can have a fast enough computer. Just make sure you have a decent processor and enough work memory(ram). Graphics card can be anything middle range as middle range is, these days, very powerful already. You will need some storage space too, but that’s cheap and getting cheaper every day.

Software choices – some affordable options for animation production

This section is here to merely give ideas.  I know only some softwares and other and better combinations are possible. Also your selection of tools depends on what you need in addition to modeling and animation (sculpting, 3D-painting, post-processing or HD-video editing – or none of them). And of course  software features and pricing are subject to change, which is why I’m not trying to list any prices. Also note that I’m not listing 2D-image editing software here and don’t touch on music or sound at all – yet these are all important.

Goes from free to cheap and to affordable softwares

  1. Blender+some free video editing software(many available).  Blender does almost all, now even compositing I hear, and is free. Blender is also an invaluable addition to other combos for the excellent simulation (cloth, fluids, particles) and animation tools, and hence is included in every following combination.
  2. Wings 3D + Blender +Vegas Movie Studio HD Platinum. Wings is a fine polygon modeler and free. Vegas(this particular version) does a lot for reasonalbe price. In this combo you would still animate, do dynamics and effects and render in Blender. Vegas is used for video editing and basic compositing and effects.
  3. Wings 3D + 3D Coat + Blender + Vegas. 3D coat adds sculpting and 3D-painting.  In this combo too most will be in Blender unless 3D Coat now includes a timeline for animation rendering.
  4. Silo (+ 3D Coat) + Blender + Vegas. Silo has modeling and sculpting.
  5. Silo (+3D Coat) + Messiah + Blender + Vegas.  Messiah is for animation and for rendering.
  6. Modo + Messiah + Blender + Vegas.  Modo has modeling, 3D-painting, sculpting and rendering.
  7. Modo + Messiah + Zbrush + Blender + Vegas.  Zbrush offers advanced sculpting and fine 3D-painting.
  8. Modo + Messiah + Zbrush + Blender + After Effects/Vegas Pro. Now we have advanced tools for all.   After Effects brings a whole new post production dimension to the mix – makes getting a fine look easier and moves many effects from 3D to post process(2D).  Vegas Pro is the cheaper alternative, is great for video editing and does ok for basic compositing and effects.

So, that was some optimizing tips for making a 3D animation short on a budget.  I hope it will help someone out there going into their first productions.  Drop a comment below to let me know what you think.

Animation Character Creation Tutorial – Software Features Used

Techniques transfer from software to software. For example I have in the past observed work done in one software to learn a technique I can apply in many other software. This video is my (small) way to help others to do the same with this tutorial.

All 3D in the tutorial is done in Luxology Modo (ver.302), but you are not limited to Modo only. This video should help people using other software to check if they have the main features or tools available in their software.

And of course nothing is stopping you from using the tutorial just to learn character modeling, which is by far the most extensive part of this tutorial. Then the software is no issue. Polygon modeling tools used in the tutorial are available in most if not every polygon modeling software out there.


You also watch the video in HD at Vimeo
Music: Parametaphoriquement by GMZ

That’s one more bit of tutorial info and preview stuff for you. Expect more, at least a trailer, in the future. And if this topic was new to you, please start from the teaser. Comments, questions and such are welcome.

8 Animation Production Tips – Modeling and Animation

I wish to encourage lunacy that is Personal Animation Production.
This is Animation Production Tips collection 1.  These were born from problems I’ve faced, from the neurons burnt.  Read and save yourself a great deal of trouble.

Note that these are Tips.  Many could be expanded to full tutorials.  You may find futher info on some of these tips somewhere – maybe even here, later.  Important for now is to get the ideas across.

Tips for animation production

  1. Use each software to their strenghts.  Build a ‘pipeline’. May sound like a costly solution but doesn’t have to be(Wings for modeling+Blender for animation, effects and video&audio editing= all free).  You can build an affordable pipeline even with commercial software and have it all under the price of one Max or Maya licence.  One example of such a combo would be Silo, 3D Coat, Messiah and Vegas Pro.
  2. Model your characters for animation – use edgeloops to create surface flow that deforms well in animation.  See the above picture?  Your model has to be good to get that range of motion without problems.  This is crucial especially in the joint and face-areas.  In short your polygons should mimick the major muscle flows under the skin.  Surface flow is a major topic by itself.  If it is a new concept for you, I suggest you start from the following classic modeling document.  http://www.theminters.com/misc/articles/derived-surfaces/index.htm
  3. Don’t go super low-poly with your character models.  I’m very familiar with the obsession to optimize, but if you go exceedingly low in polys your character deformations become too large – no longer in your control.  A bit more polygons is better for displacement too – it displaces with more reliable results.
  4. Use displacement for detailing.  Sculpt or model the detail in a software that lets you bake it into a displacement-map.  In production use less detailed models and use displacement-maps to bring the detail out at rendertime.  Advantages are a lot lighter animated models and scenes meaning generally better animating conditions, faster manipulation and hopefully less crashes too.  Also you get faster overall rendering as detail is generated only where and when it is seen.  Most software should allow linking displacement to, say, camera distance.  Or you can set the amount of subdivision happening per pixel – meaning only the area that shows well in your current camera frame is subdivided for detail.
  5. Use as few bones in your rig as possible. Unless you’re creating the ultimate in realistic muscle deformation, you can get by with very few bones.  The less you have the smoother deformation created by them can be.  You know, organic.  In reverse the more bones you add the more you have to adjust bone influence or use muscle bones between them or corrective morphs or what have you – all to get rid of the too sharp deformations many bones bring.
  6. Transfer animation from one software to another with MDDs.  MDD is an universal way to transfer Mesh Deformation Data.  It transfers every deformation of the mesh in your animation software, even morphs, meaning all animation, to another software.  This way you can animate in animation specialized software and do the rest in whatever software you like. MDD-support should be common.
  7. Brake your animation into sequences.  Don’t try to animate all in one project-file and don’t try to export long animation mdds. The files can get corrupted and then you lose all at once. And long animations, especially with complex meshes, become huge as mdd-files.
  8. Set your character rig up so that you can do mesh or rig revisions with ease in production.  Lets say you find, right in the middle of production, that you have to change geometry in your characters shoulder area.  It will be an absolute pain if, to get the changed model moving again, you have to re-weight it and set the your mesh-based tricks(morphs and such) up again.  Instead use an animation software that gets by with bones and weight fields and such – so that all is in the rig and not tied to the mesh in any way.  Then you can change the mesh around the rig as much as you like, change to other characters even.  Messiah works like this.  Your software, if other, might not but may have some other way to save you from re-weighting-hassle.  Find it out and test it before you start animating.

Do you use these tricks in your productions?  What would you change?  What would you add?  What tip would you like to see expanded to a tutorial?