INSIDE 3DS MAX® 7 [Electronic resources] نسخه متنی

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INSIDE 3DS MAX® 7 [Electronic resources] - نسخه متنی

Adobe Creative Team

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  • Animation Rendering


    When rendering animation files, we have to lock down a few decisions before proceeding. First, will the animation be inputted into a compositing or editing program? If the answer is yes, a numbered sequence of files is wanted. Typically, they are Targa files, but for high-end compositing, .rla and .rpc file types add additional flexibility. Size is important as well. The output sizes in the Render Scene dialog can be helpful in determining the appropriate dimensions.

    The primary reasoning behind the numbered file sequence is twofold: First, you want to be able to easily break apart the sequence for editing. You know that you're exactly at whatever frame you desire. Second, you don't want to introduce any compression artifacts that you don't have to. Compressing and decompressing video will start to degrade the picture, so you want to do it the minimum number of times possible. There are additional practical reasons: numbered stills allow for network rendering and also enable a rendering to be started and stopped easily.

    Why compress an animation at all? The sheer mass of data that needs to be pumped through the video card would bring even the most advanced personal computer to its knees. Compression and decompression of the animation (and sound) take place with a driver called, fittingly, a codec. Like a font, the codec has to be on the system of both the compressor and the decompressor.

    Typically, you will find that whatever codec you choose, some member of your audience won't have it installed. DivX and the open-source XviD are two excellent choices in a modern MPEG-4 compression scheme. They will probably produce the highest quality with the smallest size. More info on encoding, and downloads of free drivers, are available on these Web sites:

    • www.divx.com/divx/

    • www.xvid.org/

    • www.doom9.org/166?/xvid


    For the money, investment in a digital video camcorder (DV format) can put your animation and video projects on tape at a fairly acceptable level of quality. Suitable camcorders can be had for under $1,000; the next jump up in quality costs about an order of magnitude more. Be sure that your camcorder can accept a remote input, so that it functions just like a VCR. The camcorder can be hooked up to a standard VCR and the S-VHS quality signal will be dropped down to VHS when recorded. To produce a DVD, you'll need a DVD burner and some of the freeware listed at the Doom9 site.

    As you might guess, animation comes in many forms. The 3D artist can be asked to add objects or effects to an existing scene, or on top of video. Architects and set designers use these techniques for their preliminary renderings.


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