Tire Tread Marks Animation Using Particle Flow

Tire Tread Marks Animation Using Particle Flow
輪胎踩使用微粒流程的標記動畫

Source:http://www.escalight.com/tutorials/3dsmax-tutorials/tire-tread-marks-animation-using-particle-flow.html

1. Download this file (ZIP). Open file "treadmarks_particle_start.max". This file contains a moving tank. Here I used a tank. Later you can change the tank with cars or any object with tire. Note: The tank caterpillar track is animated using technique described in Tank Caterpillar Track Animation Tutorial.In this file you can also find a treadmark object. This object is just two simple plane combined as one, representing two tread marks (left and right tire).
下載此文件（zip）。打開文件“treadmarks_particle_start.max”。此文件包含一個移動的坦克。在這裡，我使用了坦克。稍後，您可以更改缸車或任何物體的輪胎。注：坦克履帶賽道使用動畫技術describ。

2. Create PF Source icon in top viewport. In Modify tab, use Viewport Quantity Multiplier = 100% so you can view all particle in viewport. Position this icon at the middle of tank. Then, activate Select And Link tool. Link icon to tank body. Now, icon will moved together with tank.
建立公積金源在頂視圖中的圖標。在修改標籤，使用視口數量乘數 = 100％，使您可以瀏覽所有的粒子在視圖。這個圖標的位置，中間坦克。然後，選擇並激活鏈接的工具。鏈接圖標罐體。現在，圖標會提出與坦克。

3. In Left viewport, position PF icon exactly behind the tire (tank track). And make sure it is slightly above the ground (plane). You may need to zoom in.
在左視圖，位置正好公積金圖標背後的輪胎（坦克履帶）。並確保它是略高於地面（平面）。您可能需要放大英寸。



4. Open Particle View (Press 6 in keyboard). Change these values:In Birth 01 operator, enter Emit Stop=300, to make particle emits until the end of animation. For a while, leave Amount unchanged, we will adjust this value later.In Position Icon 01 operator, use Location=Pivot. Particle will be emitted at the middle of icon.Then in Speed 01 operator, use Speed=0. This value will make particle stop right ater emitted. Delete Rotation 01 operator. We don't need this operator.
打開粒子視圖（在鍵盤上按6）。更改這些值：在出生01運營商，進入發射停止= 300，使粒子發射，直到最後的動畫。有一段時間，休假金額不變，我們將調整此值後。在01位置圖標操作，使用位置=樞軸。粒子的排放量在中間的圖標。然後，在速度01運營商，使用速度= 0。此值將停止正確提爾顆粒排放。刪除旋轉 01運營商。我們不需要此操作。



5. Drag Shape Instance operator from Depot into Event 01, make sure it replaces Shape 01 operator. In Shape Instance 01 parameter, click button under Particle Geometry Object. Click "treadmark" object in viewport.In Display 01 operator change display type into Geometry. Now, you can see "treadmark" object appear as particle.
拖動形狀實例經營活動從倉庫到01，以確保它取代形狀 01運營商。在形狀實例 01參數，單擊按鈕下的粒子幾何對象。點擊“treadmark”對象口中。在顯示 01運營商轉變成幾何顯示類型。現在，你可以看到“treadmark”對象顯示為粒子。



6. Scrub slider to view the animation. Notice that, the distance between treadmarks (particle) is too narrow. In Birth 01 operator, decrease Amount to 60.
洗刷滑子觀看動畫。 注意那， treadmarks (微粒)之間的距離是太狹窄的。 在誕生01操作員，減少數額到60。


7. Congratulations. You have finished this tutorial. Video below shows sample of rendered animation.
祝賀。您已完成本教程。視頻列出了樣品呈現動畫。

背景音樂

Background music ['bæk.graυnd 'mjuzɪk] 背景音樂

背景音樂（Background music，簡稱BGM），也稱配樂，通常是指在電視劇、電影、動畫、電子遊戲、網站中用於調節氣氛的一種音樂，插入於對話之中，能夠增強情感的表達，達到一種讓觀眾身歷其境的感受。另外，在一些公共場合（如酒吧、咖啡廳、商場）播放的音樂也稱背景音樂。

BGM (Background music), also known as the soundtrack, usually refers to TV shows, movies, animation, electronic games, the site for regulating the atmosphere of a music, insert in its dialogue can enhance the expression of emotion, to a means of allowing the audience an immersive feel. In addition, in some public places (such as bars, cafes, shopping malls) where music is also known as background music.

皮克斯動畫製作流程 2

source :http://pixar20.blogspot.com/2009/08/how-pixar-do-it.html


８.場景設定 the sets are dressed
建出3D場景之後，需安置道具，像是椅子、窗簾、玩具等，創造一個可信的世界。場景設計師會和導演緊密接觸，確保他所理解和設計的結果符合導演的構想。

After constructing the 3D scene, must place the stage prop, is likely the chair, the window, the toy and so on, creates a credible world. The scene designer can contact closely with director, guaranteed that he understands and the design result conforms to the direction conception.

９.鏡頭設定 the shots are laid out
將故事轉為3D場景，陳列人員會將角色安排至場景內，並使用虛擬攝影機拍攝不同的鏡頭，捕捉情緒氛圍和故事重點。此時通常會做出各種鏡頭版本，提供給編輯部門進行剪接，發揮整個故事的內容。一旦場景剪接完成，最終的版本便會交由動畫部門安排動作。

Transfers the 3D scene the story, will exhibit the personnel the role arrangement to the scene, and will use the hypothesized camera to photograph the different lens, the capture mood atmosphere and the story key point. This time usually will make each kind of lens edition, will provide carries on the film editing for the edition department, the display entire story content. Once the scene film editing completes, the final edition will then hand over by the animation department arranges the movement.

１０.畫面動作安排 the shot is animated
由於角色、模型、場景、對話、音效都已經設定完成，皮克斯動畫師們不需要進行任何繪圖的工作。他們就像演員或傀儡師，使用皮克斯的動畫軟體，他們安排每個場景的角色動作和臉部表情。使用電腦控制和角色控制點來定義這些關鍵姿勢，之後電腦則會自動做出關鍵影格之間的連續動作，但通常還是得經過動畫師的調整。

Because the role, the model, the scene, the dialog, the sound effect already established complete, Pike the Si animators do not need to carry on any cartography the work. They look like the actor or the puppet teacher, uses the Pike Si's animation software, they arrange each scene the role movement and the face expression. The use computer control and the role control point define these essential postures, afterward the computer automatically will make between the essential shade standard the consecutive action, but will usually undergo animator's adjustment.

１１.場景和角色著色 sets and characters are shaded
物件的形體是由模型來決定，而表面色彩和紋理則是由著色決定。著色的過程是由"shaders"完成，這個軟體程式能作出複雜的色彩變化。

The thing physique is decided by the model, but the superficial color and the texture are by the coloring decision. The coloring process is by " shaders" Completes, this software program can make the complex color change.

１２.燈光完成整個外觀 lighting completes the look
數位燈光就像舞台燈光一樣會打亮整個場景，利用主光源、補光、反射光和空間來強化各個場景的情緒和氛圍。燈光設定的靈感來源為當初藝術部門創作的彩色腳本。

Several lights will look like the stage lighting equally to hit the bright entire scene, will use the main photo source, to make up the light, the reflected light and the space strengthens each scene the mood and the atmosphere. The light hypothesis's inspiration originates the colored script which to initially the artistic department create.

１３.電腦資料算圖 the computer data is "rendered"
算圖是將所有檔案資料（包括場景、色彩、角色動作等），透過皮克斯算圖農場(Renderfarm)的電腦系統，轉換成影片中的單一影格。每一個影格代表電影中的1/24秒，算圖通常需要花費四個小時，但是有些影格甚至會耗費90小時來算。

The nomographic chart is possesses the reference material (including scene, color, role movement and so on), by Pike Si the nomographic chart farm (Renderfarm) computer system, transforms in the movie the sole shade standard. Each shade standard represents in movie's 1/24 second, the nomographic chart usually needs to spend for four hours, but some shade standard will even consume 90 hours to calculate.

１４.最後的潤飾 final touches are added
由編輯部監看成品，再加上電影配樂、其他音效和特殊效果，photoscience部門會錄下適合數位放映的格式畫面。

Supervises by the editorial department looks at the end product, in addition the movie will dub in music, other sound effect and the special effect, the photoscience department will take down suits several showing the form pictures.

從這些過程中，我們看到皮克斯的做事方式非常有計畫，通常都會訂出一個大方向，確保一部電影在經過多年的製作過程，不至於脫離主要架構。此外每一個步驟並非單向進行，而是經過不斷反覆的磨合，才能獲得最完美的結果。

From these processes, we saw Pike Si works the way to have the plan, usually can subscribe a general orientation, guaranteed that a movie is passing through many year manufacture processes, as for is not separated from the main construction. In addition each step carries on one way by no means that but is process unceasingly repeated wearing, can obtain the most perfect result.

皮克斯動畫製作流程

source :http://pixar20.blogspot.com/2009/08/how-pixar-do-it.html


這裡我們要來介紹皮克斯的動畫電影是怎麼創造出來的，皮克斯官方網站裡面有十分詳細的介紹，共有14個階段（難怪一部片可以花上好幾年製作），說明皮克斯動畫工作室內部精細的分工與各個部門之間的合作關係。

Here we must introduce how the Pike Si's animation movie does create, Pike inside the Si official website has the very detailed introduction, altogether has 14 stages (no wonder a piece to be possible to spend on several year manufacture), explains Pike between the Si animation work room interior fine division of labor and each department's cooperation.

１.故事創作討論 a story idea is pitched
首先皮克斯人員會將點子提案給開發部門的其他成員，感覺很像是推銷商品，因為得要說服「觀眾」，才有機會被採用。

First Pike the Si personnel the drop proposal for development department's other members, will feel that very likely sells the commodity, because must convince “the audience”, only will then have the opportunity to use.

２.故事先以文字敘述 the text treatment is written
在著手繪圖之前，先用簡短的文字敘述來說明故事的核心概念，並在符合具體構想的情況下，由開發部門與故事板藝術家天馬行空地思考劇情發展的各種可能性，延伸出更多版本。

Before beginning the cartography, uses the brief writing narration to explain that the first story the core concept, and in tallies with in the concrete conception situation, by the development department and story board artist powerful and unconstrained style ponder plot development's each possibility, extends more editions0.

３.繪製故事板 storyboards are drawn
故事板就像是電影版的手繪漫畫，作為動作與對白設計的藍圖。每一個故事板藝術家會拿到腳本或故事大綱(beat outline)，當中說明角色性情的轉變，以及如何藉由動作來表達。被分配到不同的鏡頭後，故事板則扮演引導的角色，幫助他們發想、把想法畫出來，並徵求導演檢核同意。

The story board likely is the movie version's handpainted cartoon, designs the blueprint as the movement and the dialog. Each story board artist will attain the script or the story program (beat outline), middle explained that the role personality the transformation, how as well as will express because of the movement. Assigns after the different lens, the story board acts the guidance the role, helps them to send thought that comes out the idea picture, and solicits the direction control agreement.

４.開始錄製角色配音 voice talent begins recording
一開始皮克斯的藝術家們會為之後的故事板影片，先錄製「聲音草圖("scratch" voices)」作為暫時的版本。之後才會請到專業的演員來錄製角色的聲音，他們依照腳本唸稿，但也會有即興發揮的時候。演員們（或配音員）會錄製不同的版本，再從裡面選出效果最好的來進行未來的動畫製作。有時候皮克斯藝術家們錄製的聲音草圖十分逼真，就會被延用下去，不另找專業配音員，像是皮克斯故事督導Joe Ranft就曾為玩具總動員的企鵝Wheezy、蟲蟲危機的毛毛蟲Heimlich、海底總動員的蝦蝦Jacques、汽車總動員的消防車小紅Red的配音。

From the very beginning the Pike Si's artists after the story board movie, will record “the sound schematic diagram first (" scratch" voices)” takes the temporary edition. Afterward only then welcome do record the role to the specialized actor the sound, they will read the manuscript according to the script, but will also have extemporaneously display time. The actors (or dubbing) will record the different edition, will select the effect from inside to carry on future animation manufacture well again. Sometimes Pike the Si artists record the sound schematic diagram is very lifelike, will be extended with, will look for specialized dubbing not in addition, was likely Pike the Si story directs Joe Ranft once for toy general mobilization penguin Wheezy, insects crisis's caterpillar Heimlich, seabed general mobilization shrimp shrimp Jacques, the automobile general mobilization fire engine small red Red dubbing.

５.故事板影片製作 editorial begins making reels
故事板影片是將先前的故事板剪輯而成，當初故事能被採用跟說故事的人說得好有很大的關係，所以此時故事板影片必須排除其他影響因素，來確認各個鏡頭和時間點能讓觀眾瞭解。

The story board movie was becomes the formerly story board editing, initially the story could use to said story the human said well has the very much big relations, therefore this time story board movie must remove other influencing factor, confirmed that each lens and the time spot could let the audience understand.

６.藝術部門創造外觀和感覺 the art department creates the look and feel
以最初的故事大綱為基礎，經過不斷的腦力激盪創意發想，藝術部門創造出能鼓舞人心的作品來描繪角色與世界，包括設計場景、道具、視覺外觀和色彩，並以粉彩繪製彩色腳本，強調場景中的光線安排，提供給燈光部門做為燈光設定的依據。

Take the initial story program as the foundation, passes through the unceasing mental ability to surge the creativity to send thought that the artistic department creates can the encouraging work describe the role and the world, including the design scene, the stage prop, the visual outward appearance and the color, and by the famille rose plan colored script, stressed that in the scene the optical fiber arrangement, provides for the light department does for the light hypothesis basis.

７.角色建模與骨架設定 models are sculpted and articulated
Character TD使用藝術部門提供的模型組件（一系列的圖片參考清單），建造角色、場景和道具的實體模型，再由電腦建立3D模型（有時會略過實體模型的步驟），3D模型上的控制點能讓動畫師設定角色的動作，玩具總動員的woody光是臉部就有100個控制點。

Character the TD use art department provides the model module (a series of picture reference detailed list), the construction role, the scene and stage prop's full-scale mockup, will establish the 3D model by the computer (sometimes slightly to cross full-scale mockup again step), on the 3D model's control point can let the animator establish the role the movement, the toy general mobilization woody light is the face has 100 control points.


comming soon

光線 LIGHT

Pixar: Art and Design

皮克斯：藝術與設計

Bill Cone 比爾．孔恩

source : http://pixar20.blogspot.com/2009/08/blog-post_10.html

在汽車總動員Cars － 這部場景幾乎發生在戶外的動畫片，需精準地表現光的變化，除了用粉彩做光線研究，改變他看待光線的向度外，Bill更將攝影機架設在山上，紀錄一天24小時的天空色彩轉換的連續影像，觀察地球陰影、物體直接光照與折射受光之下的色彩變化與亮度，也發現大自然的美是超越想像的。然而日光只是各種光源的其中一種，還須區分螢光燈、街燈、車燈的差異；一種燈光與多種燈光的交互作用；車燈照射在街景的亮度呈現的遠近感；室內室外的光線、白天夜晚的改變等，再將這些細微的變化表現在彩色腳本colorscripts中，呈現整體感與和諧的漸層與明暗。

Occurs nearly in automobile general mobilization Cars - this scene in the outdoors animated cartoon, must display the light accurate the change, except uses the famille rose to do the optical fiber research, will change him to regard the optical fiber to beyond consideration, Bill the camera framework will be located on the mountain, records continual phantom which one day of 24 hour sky color will transform, will observe the Earth shadow, the object direct illumination and the refraction the light under color change and brightness, also discovered that the nature US will surmount the imagination. However the sunlight is only each kind of photo source one kind, still needs to differentiate the fluorescent lamp, the street light, headlight's difference; One kind of light and many kinds of light correlations; The headlight shines in vista brightness presents far and near feels; The indoor outdoor optical fiber, the daytime night's change and so on, displays again these slight changes in colored script colorscripts, presents the associative perception and the harmonious gradually level and the light and shade.

除了真實物件的光影變化，他們也做出角色和場景的雕塑，光線照射在陶土雕塑上的產生明暗對比，幫助他們進行更細部的觀察，而建造雕塑來模擬光線配置，不僅能獲得想要的效果，花費的成本也比電腦低。

Except the real thing's light shade change, they also make the role and the scene sculpture, the optical fiber shine in the pottery clay sculpture the production light and shade contrast, helps them to carry on the detail observation, but constructs the sculpture to simulate the optical fiber disposition, not can only obtain the wish the effect, the expenditure cost is also lower than the computer.

縝密的觀察得到的光線研究只是安排場景色調的考量因素之一，還需同時反映故事主角的心情，即便在相同的時空之下，一旦麥昆McQueen的心情轉變，也須做出不同的安排。也因此每一場景的色彩搭配，都是經過精心的規劃與安排，Bill認為使用色彩傳遞訊息是最強而有力的方式。

The meticulous observation obtains the optical fiber research only arranges one of scene tone consideration factors, but must simultaneously reflect the story lead's mood, even if under same space and time, once wheat elder brother McQueen mood transformation, must make the different arrangement. Also therefore each scene's color matching, is undergoes the careful plan and the arrangement, Bill thought that the use color bush telegraph is the most powerful way.

3D rendering

source : http://pixar20.blogspot.com/2009/07/3d-computer-graphics.html

3D動畫的製作流程通常可大略分為三個階段：建模與材質貼圖、場景動作設定、算圖。建模（3D modeling）的意義就像傳統的實體雕塑，差別在於技術，它是透過3D建模工具與軟體的操作，塑造角色的型態、骨架的過程；再經由材質貼圖的步驟，將紋理質感、色彩變化等附蓋在模型之上（有時此步驟會到比較後面才做決定）。

the 3D animation's manufacture flow usually may greatly slightly divide into three stages: The modelling and the material quality paste the chart, the scene movement hypothesis, the nomographic chart. Modelling (3D modeling) the significance looks like traditional the entity sculpture, the difference lies in the technology, it is penetrates the 3D modelling tool and the software operation, the mold role state, skeleton's process; Pastes chart again by way of the material quality the step, (sometimes the texture sense of reality, the color change and so on will attach covers this step will arrive at behind comparison above the model only then decision making).

場景動作設定（layout and animation）則是將上個階段完成的建模放置於場景中，形成與空間的關係，根據腳本的規劃，安排角色的動作與週遭環境的互動。有了角色與場景，仍不能稱做動畫，得經過最後一個階段-算圖，才能完成。

The scene movement hypothesis (layout and animation) is the modelling which completes a on stage lays aside in the scene, forms with the spatial relations, according to script plan, arrangement role movement and all around environment interaction. Had the role and the scene, still could not be called as the animation, must pass through the last stage - nomographic chart, can complete.

算圖（也就是渲染，3D rendering）是將前面兩個步驟產生的結果，透過電腦程式的演算，轉換成動畫影像的形式。在這個過程中，必須顧及整體的燈光與氣氛，光線如何游移在角色身上，而角色本身又是如何與光線產生交互作用，以及透過觀看角度的操控，將3D的物件場景捕捉成視覺上可觀賞的2D影像。以皮克斯來說，每格動畫（1/24秒）需要耗時六小時來算圖，但像是怪獸電力公司裡面的毛怪，他身上二百三十萬根藍綠色毛髮的柔軟飄逸，就是電腦以每格十一小時的時間來算圖，而每當毛怪走動便創造出不同方向的毛髮波動，都是極大的工程。

The nomographic chart (is also exaggerates, 3D rendering) is the result which has the front two steps, by computer program's calculation, transforms the animation phantom the form. In this process, can take into consideration the whole the light and the atmosphere, how the optical fiber to waver on the role body, but how does the role itself also have the correlation with the optical fiber, as well as by the onlooking angle's control, catches the 2D phantom which the 3D thing scene in the vision may watch. By Pike Si, each standard animation (1/24 second) needs to last for six hours to come the nomographic chart, but is inside monster Electricity company's Mao Guai likely, on his body 2,300,000 cyan color hairs soft elegant, is the computer comes the nomographic chart by each standard 11 hour time, but whenever Mao Guai takes a walk then creates the different direction the hair fluctuation, is the enormous project.

Renderman

皮克斯工作室中的RenderMan專業服務器


Source: http://translate.google.com.tw/translate?hl=zh-TW&sl=en&tl=zh-TW&u=http%3A%2F%2Fwww.51render.com%2Fpost%2FRenderman.php


2004年6月5日PIXAR動畫公司發布了RenderMan Pro Server。該軟件包是該公司RenderMan 3D渲染軟件的升級。 RenderMan Pro Server捆綁了很多在影片和視頻中經常用到的工具。 新的版本價格為$3500。軟件為複雜的場景提供細微的光照效果，並完全利用先進的多處理器系統以新的渲染模式提升渲染能力。


June 5, 2004 PIXAR Animation Studios has released RenderMan Pro Server. This package is the company's RenderMan 3D rendering software upgrade. RenderMan Pro Server bundled with a lot in the film and video in the frequently used tools. The new version is priced at $ 3500. Software for complex scenes to provide subtle lighting effects and full use of advanced multi-processor system with a new rendering mode of rendering the ability to upgrade.


RenderMan具有功能強大的shader編譯器和抗動畫模糊功能，能夠讓設計者創造出非常棒複雜效果的動作片。同時RenderMan的還有一個功能是它的真實性，RenderMan能夠渲染出照片級真實的圖片，因此在工業界裡的運用很受歡迎。同時RenderMan的還有一個功能是它的真實性，RenderMan能夠渲染出照片級真實的圖片，因此在工業界裡的運用很受歡迎。


RenderMan has a powerful animation shader compiler and anti-blur feature that allows designers to create complex effects of great action movie. At the same time also a function of RenderMan is its authenticity, RenderMan to render a photo-realistic images, so in the industrial sector where the use of very popular. At the same time also a function of RenderMan is its authenticity, RenderMan to render a photo-realistic images, so in the industrial sector where the use of very popular.

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