Summing Up
It's appropriate that this chapter concludes the book, because it's now time for you to step outside your world as a 3D artist and get involved with the rest of the production. It's easy to take a passive role and merely react to the information that the art director or your client gives you, but the quality of the production will suffer for it. By taking a proactive stance, you can head off problems and save yourself headaches down the line. Being remembered as the hero doesn't hurt when it comes time for the next hiring, either!Here are a few suggestions:- Maximize your knowledge of the entire project.
Knowing what is going to be used where can bring to mind ways of streamlining that may not occur to others. - Become familiar with compositing software.
Even if you won't be actually touching the files in postrendering, knowing what compositors do is very helpful in figuring out how to deliver your files. The communication between 3D animation and compositing should be a two-way street. - Use layering on complicated renders.
If you always have fallback positions, your colleagues will remember you as an easy-going type who gets the job done. Pushing a production into overtime by having to rerender doesn't gain you any popularity, even if it isn't your fault. - Take the time to clean up your files.
Having to revisit old files to merge in a model is tougher if you're pawing through names like Object 237. Eliminating redundant tests, stand-in geometry, unrendered objects, and outdated materials (named 01-Default!) can make your life, and the lives of your colleagues, much easier. - Don't throw out tests and obsolete files.
There's nothing like the sinking feeling in your stomach when the art director decides that the way you did the shot last Tuesday is actually the favorite, and you have overwritten the file! Sharing tests can also help establish consistency among the artists in production.
As a final caution, always be wary of the old saying, "Don't worry, we'll fix it in post." You can help to put an end to those 11th-hour nightmare fixes that leave a bad taste in everyone's mouth by doing the best job that you can the first time around, in the most flexible manner possible. |
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