Production pipeline fundamentals for film and game
Every production is built on the backbone of the pipeline. While a functional and flexible pipeline can't assure a successful project, a weak pipeline can guarantee its demise. A solid pipeline produces a superior product in less time and with happier artists who can remain creative throughout...
| Otros Autores: | |
|---|---|
| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Burlington, Massachusetts :
Focal Press
[2014]
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| Edición: | 1st edition |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009629739306719 |
Tabla de Contenidos:
- Cover; Half Title; Title Page; Copyright Page; Table of Contents; Acknowledgments; Biographies; Chapter 1 Introduction; Section 1.1 Production Pipeline Fundamentals for Film and Games; Section 1.2 How This Book Will Help You; Section 1.3 What is a Pipeline?; Section 1.4 Differences and Similarities Between Film and Game Pipelines; Section 1.5 An Overview of a Film Production; Section 1.6 An Overview of a Game Production; Section 1.7 Remember: Each Production is Unique; Chapter 2 The Stages of Production; Section 2.1 What You Will Learn From This Chapter
- Section 2.2 The Economics of Film ProductionSection 2.3 The Economics of Game Production; Section 2.4 The Stages of Production; Section 2.5 Other Language Barriers; Section 2.6 Pre-Production: An Overview; Section 2.7 Pre-Production in the Film Pipeline; Section 2.8 Pre-Production in the Games Pipeline; Section 2.9 Production: An Overview; Section 2.10 Production in the Film Pipeline; Section 2.11 Production in the Games Pipeline; Section 2.12 Post-Production or Finalling: An Overview; Section 2.13 Post-Production in the Film Pipeline; Section 2.14 Finalling in the Games Pipeline
- Chapter 2A Interlude: Previs and Related DataChapter 3 Asset Creation for Film; Section 3.1 What You Will Learn From This Chapter; Section 3.2 LIDAR and On-Set Survey Data; Section 3.3 Match-Moving, Rotoscoping and Plate Preparation; Section 3.4 Modeling; Section 3.5 Shaders and Textures; Section 3.6 Shot Layout; Section 3.7 Rigging; Section 3.8 Animation; Section 3.9 Effects and Simulations; Section 3.10 Lighting; Section 3.11 Rendering; Section 3.12 Compositing; Chapter 3A Interlude: LIDAR: Asset Capture on Set; Chapter 4 Asset Creation for Games
- Section 4.1 What You Will Learn From This ChapterSection 4.2 Data Import and Export; Section 4.3 Levels of Detail; Section 4.4 Optimizing Assets; Section 4.5 Creating Run-Time Animation; Section 4.6 In-Game Facial Animation; Section 4.7 Effects and FX; Section 4.8 System and Level Design; Section 4.9 Rendering and Shader Management; Chapter 5 The Basic Functionality of a Pipeline; Section 5.1 What You Will Learn From This Chapter; Section 5.2 What Pipelines Do; Section 5.3 Why Pipelines Change; Section 5.4 Defining Your Goals; Section 5.5 Defining Standards
- Section 5.6 File-Exchange Formats and Scripting LanguagesSection 5.7 Micro Pipelines; Section 5.8 Strategies for Managing Data: An Overview; Section 5.9 Directory Structure; Section 5.10 File-Naming Conventions; Section 5.11 Metadata; Section 5.12 Building an Asset Browser; Section 5.13 Versioning and Version Control; Section 5.14 Good Version-Control Policies; Section 5.15 Asset Review and Approval; Section 5.16 Tracking Production Data; Chapter 6 Systems Infrastructure; Section 6.1 What You Will Learn From This Chapter; Section 6.2 IT for Film: Types of Hardware
- Section 6.3 IT for Film: The Storage Cluster
