SIDDARTHA INSTITUTE OF SCIENCE AND TECHNOLOGY

(AUTONOMOUS)
(Approved by A.I.C.T.E., New Delhi Affiliated to J.N.T.U. Anantapur, Ananthapuramu.)
(Accredited by NBA (EEE, ME, ECE & CSE) & NAAC with ‘A’ Grade)
Siddharth Nagar, Narayanavanam Road, Puttur-517583

DEPARTMENT OF COMPUTER SCIENCE AND ENGINEERING

Certificate
This is to certify that the report entitled
“Animation Design (20CS0547)” is being submitted by
NAME : MG UMASANKAR________________________

REG. NO. :224E1A05E8_______________________________

in partial fulfillment of the requirements for the award of BACHELOR OF

TECHNOLOGY in Computer Science and Engineering to JNTUA, Ananthapuramu.
This Report work or part thereof has not been submitted to any other University or Institute
for the award of any degree.

Coordinator Head of the Department

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 SIDDARTHA INSTITUTE OF SCIENCE AND TECHNOLOGY
(AUTONOMOUS)

(Approved by AICTE, New Delhi & Affiliated to JNTUA, Ananthapuramu)

(Accredited by NBA for EEE, Mech., ECE & CSE and Accredited by NAAC with ‘A’ Grade)
Siddartha Nagar, Narayanavanam Road, Puttur-517583

DEPARTMENT OF COMPUTER SCIENCE AND ENGINEERING

SKILL ORIENTED COURSE REPORT

ANIMATION DESIGN
(20CS0547)
II B.TECH – II SEMESTER

SUBMITTED BY
MG UMA SANKAR
(ROLL NO)

224E1A05E8
2023-2024

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 SIDDARTHA INSTITUTE OF SCIENCE AND TECHNOLOGY:PUTTUR
(AUTONOMOUS)
II B.Tech. – II Sem
ANIMATION DESIGN(20CS0547)
(SKILL ORIENTED COURSE)

COURSE OBJECTIVES
The objective of the course is
1. To enable the students to be multimedia literates, which will prepare them to actively
participate in various media related activities for strengthening their skills?
2. The Course will have scope for skill development in the field of Electronics and Print
Media Production, which in turn make them employable in the media industry.

COURSE OUTCOMES
Students will be able to
1. Understand fundamentals of animations and present a visual concept to a target
audience.
2. Design and implementation of animation projects.
3. Develop and execute believable animation sequences.
4. Create animation sequences that employ basic cinematography principles.
5. Apply performance theory to the creation of animation. Produce layouts and
backgrounds with attention to composition, perspective and color.
6. Describe computer skills and appropriate digital asset management techniques to
function effectively within a production pipeline.

CONTENTS
1. Introduction to Animation, Traditional Animation, Stop Motion Animation, 3D and 2D
Animation
2. Installation of Blender Software
3. Blender Interface, Working with Viewports (windows), Creating and Editing Objects
4. Blender Render Engines, Materials and Textures, Setting Up a World, Lighting and
Cameras, Render Settings
5. Ray-Tracing (mirror, transparency, shadows), Animation Basics, Adding 3D Text
6. NURBS and Meta Shape Basics, Modifiers, Particle Systems and Interactions
7. Child-Parent Relationships, Working With Constraints, Armatures (bones and skeletons)
Relative Vertex Keys (shape keys), Object Physics
8. Creating Springs, Screws, Gears and other Add-On Shapes
9. Video Motion Tracking, Game Engine Basics (real-time animation), Video Sequence
Editor
10. Production Pipeline, Pre-Production and Storyboarding.

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 Introduction to Animation, Traditional Animation,
Expt.No:1
Stop Motion Animation, 3D and 2D Animation

AIM: To implement different types of Animations

1. Traditional Animation
2. Stop Motion Animation
3. 3D Animation
4. 2D Animation

PROCEDURE:
Introduction to Animation
Animation is the process of designing, drawing, making layouts and preparation of
photographic sequences which are integrated in the multimedia and gaming products.
Animation involves the exploitation and management of still images to generate the illusion of
movement. A person who creates animations is called animator. He / she use various computer
technologies to capture the still images and then to animate these in desired sequence.

1. Traditional Animation:
This is one of the oldest forms of animation in film. It’s sometimes called cel animation.
As mentioned above, in traditional animation, objects are drawn on celluloid transparent paper.
In order to create the animated sequence, the animator must draw every frame. It’s the same
mechanism as a flipbook, just on a grander scale.
Traditional is most often 2D animation. Aladdin, The Lion King, and other earlier cartoons are
the best examples of this. *Though, not all 2D is traditional. But we'll get to that in a minute.

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2. Stop Motion Animation:
Stop motion encompasses claymation, pixelation, object-motion, cutout animation, and more.
But the basic mechanics are similar to the traditional style like a flipbook. However, instead of
drawings, stop motion adjusts physical objects in each frame.
If moved in small increments, captured one frame at a time, the illusion of motion is
produced. Whether puppets, clay, or even real people, these manual adjustments can make it a
long, arduous process. Wallace and Gromit, Chicken Run, and The Nightmare Before
Christmas are all great examples of stop motion films.

3.3D Animation:
Today, 3D or computer animation is the most common type. But just because computers
have stepped in instead of actual drawings, it’s not necessarily easier. The computer is just
another tool, and 3D animation is still a long, intense process. In 3D animated movies, the
animator uses a program to move the character’s body parts around. They set their digital
frames when all of the parts of the character are in the right position. They do this for each
frame, and the computer calculates the motion from each frame.
Animators adjust and tweak the curvatures and movements their characters make throughout.
From Toy Story in 1995 to today’s Coco, 3D animation has become the dominant style in
animated films.

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4.2 D Animation
2D animation can fall under traditional animation like most early Disney movies —
Pinocchio, Beauty and the Beast, etc. But there is something called Vector-based animation that
can be 2D without being traditional. With Vector-based, the motion here can be controlled
by vectors rather than pixels. So, what the heck does that mean? Images with familiar formats
like JPG, GIF, BMP, are pixel images. These images cannot be enlarged or shrunk without
affecting image quality. Vector graphics don’t need to worry about resolution. Vectors are
characterized by pathways with various start and end points, lines connecting these points to

build the graphic. Shapes can be created to form a character or other image.

RESULT: Hence different types of animations implemented successfully.

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Expt.No:2 Installation of Blender Software

AIM: To Install Blender Software in System.

Blender is a 3D modeling, animation and rendering software. Most importantly, Blender is a

free and open-source 3D computer graphics program. Blender is most commonly used to create
animated films, art, 3D Printed models, visual effects and video games. Blender was initially
released in the year 1998 by Ton Roosendaal. The program is written in C, C++ and Python
Languages.

PROCEDURE:

Step 1:
Visit the official website using the URL https://www.blender.org/ with the help of any web
browser and click on Download Blender.

Step 2: Click on Download Blender 3.0 button.

Step3: Now find the executable file in downloads in your system and open it.

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Step 4: The setup screen will open and now click on the Next button.

Step5: The next screen will be of License Agreement, click on I Accept and click
on the next button.

Step 6: Click On the Next button.

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Step7: Click on the Install button.

Step 8: It will confirm that the software makes changes to your system, so click on
the yes button.

Step 9: When the installation process is completed Click on the Finish button.

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Step10: Blender is successfully installed on the system and an icon is created on the desktop.

Step11: Run the software and create your project.

So this is how we successfully installed Blender on the system.

RESULT: Blender software was successfully installed.

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 Blender Interface , working with Viewports(windows),creating
Expt.No:3
and Editing Objects

AIM: To implement Blender Interface, working with Viewports (windows) creating and
editing objects.

PROCEDURE:
Blender Interface:
1. This is where 3D models are visible.
2. Blender always starts with a ―default cube, which most people will just select
and delete (by pressing X) right way
3. But in fact you can transform this cube into whatever you like. Outerliner is used this is
where we find all the objects here by default it will give.
4. Using the Properties tab we can add materials to the object, manipulate them with
―modifiers and choose your render output path.
5. The Timeline when you press the Spacebar notice that the blue playhead starts to move
from left to right. If there was any animation in your scene, you would start to see it
now. Press the Spacebar again to stop playback.

Working with viewports

Select Window > Settings/Preferences > Preferences to open the Preferences window. Then
select the Display category and then your Rendering engine under the Viewport
2.0 section.Selecting DirectX 11 as your rendering engine lets you render DX11 hardware
shaders in real-time in the viewport.

Creating and Edit objects

1. To create any object we have to use
2. Open the Content Browser and click the Examples tab.
3. Open the folder of models you want, then drag and drop the model into the view panel.

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Editing to Create Ground Contour:
1. You can use proportional editing to create flowing landscape easily.
2. The first thing you need to do is create a plane in the top view (7 key).
3. While in edit mode, make sure all vertices are selected (vertices are yellow).
4. You can use the ―A key to select them all. In the Tool Shelf, select ―Subdivide.
5. Do this a few times. Select a single vertex somewhere near center.
6. Next, switch to a front view (―1 key) and enter Proportional Editing.
7. Select Smooth Falloff. Type ―G to grab (move) the vertex. Use the ―+ - keys
on number pad or scroll mouse wheel to change the size of the selection. Select other
vertices and falloffs for more hills and shapes.
8. To see your final work in a smooth display, exit edit mode (―Tab key) and, with the
object selected, Select Smooth from the Tool Shelf. This will smooth the mesh in
display and final output.

RESULT: Hence the blender interface, creating objects and editing objects implemented
successfully.

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Expt.No:4 Blender Render Engines, Materials and Textures, Setting Up a
World, Lighting and Cameras, Render Settings

AIM: To implement Blender Render Engines, Materials and Textures, Setting up a world,
Lighting and cameras, Render Settings.

PROCEDURE:
Blender Render Engines:
As you make your 3D models in Blender, your goal will probably be to generate (render)
an image or a movie as a final result. The software that determines how your scene will look is
the render engine. The render engine will need to know how to handle materials on your
objects, how the lighting in your scene should react with reflections, refraction, bounced
ambient lighting, shadows, etc. While there are several 3rd party engines out there that can work
with Blender, there are actually two engines built into the program: the classic internal renderer
and the newer cycles renderer. Some render engines will take a lot longer to generate an image
than others. Cycles handles lighting much better than the internal renderer, providing more
realistic results.

Classic Render Engine Cycles Render Engine

Material Settings
1. To add a material, first select the object you want to work with, then go to the
Materials panel in the Properties window.
2. Click the ―New button (unless you are working with the initial cube- that has a material
on it by default).
3. You will see more options open up. Right now, we are only interested in changing color
and glossiness.

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Textures Settings
1. After you create a material and would like to add some kind of texture to the object (i.e.
brick, carpet, wood grain, etc), you then click on the Texture button beside the Material
button.
2. After you click the ―New button, you have some choices in the texture buttons.
3. First, you need to decide if you wish to use one of Blender’s preloaded texture
generators or provide your own image as a texture.
4. Blender is capable of using almost any image file type whether created in a paint
program or is a photographic image.
5. JPEG images are most common. Blender can even place a movie on an object as a
material! This is a good effect if you want to add animation within your animation.

Setting up a world
Preview Window: Sample of your world settings
Mapping Options: You can flatten (Paper), Blend (Horizon/Zenith colors), or Real Sky (gives
true horizon)
Colour Settings: Horizon (bottom), Zenith (top), and Ambient (reflected light).Ambient
supplies global illumination.
Ambient Occlusion: Another way to simulate ambient lighting.
Environmental Lighting: Global lighting settings.
Indirect Lighting: Used to simulate light bouncing off objects. More accurate lighting effects.
Gather: Raytrace or Approximate. Approx. will allow for indirect lighting effects.
Mist: 3D fog settings

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Lighting and cameras
Lighting:
1. When you create a scene in Blender, you start with a few basic elements that will
include a camera, but may or may not include a light.
2. Remember that what the camera sees is what will render out as a picture or movie
depending on what you tell the program you want as a final output.
3. To get a simple rendered view, press the ―F12 key. If the picture is black, you do not
have a lamp or the lamp settings or placement is incorrect.
4. To exit the render window, press the ―Esc key.

The different types of lamps available for you to use are as follows:
 Point- Basic Blender Lamp- shines all directions.
 Sun- Provides even angle of light, regardless of placement from objects.
 Spot- Shines a direct angle of light.
 Hemi- A wider light, much like area lights.
 Area- Provides large area lighting (like a classroom) can be scaled.

Cameras:
1. By default, your scene already has one camera and that is usually all you need, but on
occasion you may wish to add more cameras.
2. You add more cameras by hitting ―ShiftA, like creating all other objects discussed up
until now.
3. To change which camera is active, you need to select that camera and press ―Ctrl and
number pad ―0.
4. This changes the active camera. Like all other objects in Blender, you can adjust the
camera settings as well. With the camera selected, click on the Camera button

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 Lighting

Camera
Render settings

1. The render window is where you set up the output for your scene. Do you want a JPEG
picture image or a movie? What size do you want the output to be?
2. Do you want shadows or Ray-tracing effects? How about Motion Blur? If you’re doing a
movie, how many frames-per-second do you want the movie to run?
3. All of these issues are addressed in the Render Settings. Obviously, the higher the
quality of the output, the slower it will render and the larger the file size will be when
finished.

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RESULT: Hence, Blender Render Engines, Materials and Textures, Setting up a world,
Lighting and cameras, Render Settings implemented successfully.

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 Ray-Tracing (mirror, transparency, shadows), Animation
Expt.No:5
Basics, Adding 3D Text

AIM: To implement Ray-Tracing (mirror, transparency, shadows), Animation Basics, Adding

3D Text

PROCEDURE:
Ray-Tracing:
1. To create a mirror, or reflective surface on an object, select that object and add a
material.
2. You can also add textures to an object and have a mirror surface. In the Material
buttons, you will find a panel called ―Mirror. All of the ray-mirror features are found in
that panel.
3. Check the ―Mirror button and experiment with the reflection settings. The Reflect
slider controls the amount of mirror. A full slider would be a perfect mirror.
4. For Transparency, press the ―Transparency button to activate it, select Raytrace.
5. Two main adjustments are IOR (Index of Refraction) is used to create the Lens effect
and bends light. Fresnel is used to control the amount of transparency.

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Animation Basics:
Moving, Rotating and Scaling:
1. These are the 3 basic modifiers to use on an object in animation.
2. When you create key-frames in Blender with these modifiers, Blender will figure out all
the in between locations on the other frames.
3. To insert a key on an object, go to the frame where you wish to place the key, move,
rotate or scale the object, then press the ―I key to ―Insert Key. Make sure your cursor
is in the 3D window when you push the ―I key.
4. The menu to the right pops up. You have 3 main options for now- Location, Rotation
and Scaling and combinations of these.

Animation:
There is a simple way to view your animation without having to render out a movie.
Take the current frame number to the place where you want to start viewing the animation.
Place your cursor in the 3D window you wish to view your animation and press the ―Alt and
―A keys together. The animation will play .You can also see your animation by pressing the
―play button in the Timeline window. You can also play backwards.

Animation is difficult to do without some basic knowledge of the Graph Editor and Dope Sheet.
As mentioned earlier, these used to be called the IPO (interpolation) and Action Editor
windows. The best way to access these windows is to change your screen layout from ―Default
to ―Animation.

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Adding 3D Text
1. To create text in Blender, select the location of your text with the 3D cursor, then press
―Shift-A to ―Add. Select ―Text.
2. The word ―Text appears on the screen in Object mode as a flat, 2D object.
3. To change the text, enter Edit mode. Go to the Font Settings.
4. Text can easily be changed by entering edit mode again. Some text settings are similar
to many text programs while many are not.
Here are your basic options:
1. Shape Panel
2. Geometry Panel
3. Font Panel
4. Paragraph Panel
5. Text Boxes Panel

RESULT: Hence, Ray-Tracing (mirror, transparency, shadows), Animation Basics, Adding

3D Text implemented Successfully.

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 NURBS and Meta Shape Basics, Modifiers, Particle Systems and
Expt.No:6
Interactions

AIM: To implement NURBS and Meta Shape Basics, Modifiers, Particle Systems and
Interactions

PROCEDURE:
NURBS:
1. We can do a lot with NURBS and there are several tutorials online describing them, but
for now, we will just work with a NURBS Circle to create an interesting looking tunnel.
2. Creating a Lofted Tunnel This process will take several profiles of a NURBS Circle and
connect them together.
3. First thing you need to do is create a NURBS Circle. To do this, press ―Shift-A, select
―Surface and ―NURBS Circle.
4. In Edit Mode, select the points and shape the circle a bit. After shaping, exit edit mode.

Meta Shape Basic:

1. Interest grew, programmers added other shapes and cleaned up the code.
2. we can now make several different meta shapes in Blender.
3. They all work with the same principle. As the shapes get close to one another, they
begin to ―pull and flow together.
4. As meta shapes combine, their mass grows which is ideal for certain animations. Meta
shapes can be animated like other objects and can be textured.
5. Ray-tracing settings like reflection and transparency can also create some stunning
effects.
6. Meta shapes are created like other objects, except that the first shape acts like a parent to
the other shapes.
7. As that shape is moved, the others display a rotation. Materials are also linked for all
meta shapes.

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Modifiers
1. The modifier works great for making patterned copies of an object.
2. If you need rows and columns, add 2 Array modifiers and set the X,Y,Z Offsets as
needed to obtain your pattern.
3. By checking the ―Object Offset button and selecting a control object (like an
Empty), you can spin and scale the array.

Particle systems and interactions

1. Start with a new Blender scene, erase the initial Cube, then add a UV Sphere.
2. Scale the sphere down to about ½ it's original size. In the Properties window, add a
Particle System for the sphere. Press ―Alt-A to see the animated particles.
3. You should see particles dropping off the sphere (spin your view to see the effects).
4. Press ―Esc to exit the animation and use your arrow keys to move up in time to about
frame 30

RESULT: Hence NURBS and Meta Shape Basics, Modifiers, Particle Systems and
Interactions are implemented successfully.

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 Child-Parent Relationships, Working With Constraints,
Expt.No:7 Armatures (bones and skeletons) Relative Vertex Keys (shape
keys), Object Physics

AIM: To implement Child-Parent Relationships, Working With Constraints, Armatures (bones

and skeletons) Relative Vertex Keys (shape keys), Object Physics

PROCEDURE:
Child-Parent Relationships
1. We need to hold down the ―Shift key to select multiple objects.
2. Select the child object FIRST, then select the PARENT object. The child object is
always selected first.
3. If you have a string of objects that need to be child-parented together (like the arm
example), you can only do 2 parts at a time so start at the end of the chain and do the
hand and forearm first, then forearm to upper arm and so on.
4. After selecting the 2 objects, press ―Ctrl-P and select ―Object to make parent.
You will see a dashed line drawn between the pivot points of the 2 objects.

Working with constraints

1. Your first step is to create a path.
2. Any type of Curve in the Add menu can be used as a path, but let’s use the Path option.
Hit the ―Shift-A, select Add, Curve, then Path.
3. You will then get a path on the screen. Enter Edit mode and you will see several points
and arrows pointing the direction of the path.
4. You will also see some options in the Tool Shelf related to the path, including ―Switch
Direction- useful if you shape the path in the wrong direction and find out after you
place the camera on it.
5. Shape the path as desired, add more vertices through Subdivide if necessary and exit
Edit mode. You can also select an end point and use ―E to Extrude.

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Armatures
1. To test the armature system you just created, select the armature only and switch from
Object mode to Pose mode.
2. Right-click on the top bone and rotate it. It should deform the mesh as you rotate the
bone.
3. By rotating the lower bone, you will rotate the entire mesh.

Bones and Skeletons

1. With The bone Names turned on so you can see which ones you need to effect, select
the mesh and enter Edit mode.
2. Editing bone vertex groups is similar to making normal vertex groups except that
Blender already named a vertex group to match every bone for you when you made the
child-parent relationship.
3. If you go to the Object Data panel. You will also see the standard ―Assign and
―Remove buttons.

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Relative Vertex Keys
1. We will now create the motion for this ―Key 1.
2. You will notice a ―relative block checked by default, meaning that the motion
we create is relative to this initial face shape.
3. You can change the name of the key by double clicking it. I usually keep the value of
the slider set to zero at this point.
4. It's now time to enter Edit Mode and alter the mesh for our first key.
5. To do this, I will select a vertex above each eye, turn on ―Proportional Editing
and scroll the mouse wheel to change the selection circle while moving the vertices up.
6. After you have the look you wish, go back to Object Mode. The mesh should return to
it's original shape. It should transition from normal to surprised as you move the slider.

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Object Physics
Creating Cloth Effects:
1. We'll start with a simple scene of a plane placed above a UV Sphere. Scale the plane up
about twice the original size and subdivide it 4 times.
2. We will ―pin 2 corners of this plane and have it drop down over the sphere like a flag.
Our next step is to create a Vertex Group in the Object Data panel.
3. With all vertices selected, ―Assign a weight of Zero. Then, select only the 2
corner vertices and ―Assign a weight of 1.00 to them.
4. These will be the 2 pinned corners we will use shortly. Return to Object Mode. Now
select the Sphere and add ―Collision to it in the Physics panel.
5. In the Physics panel, add a Cloth effect to the Plane. Without any vertex groups, the
cloth will fall and react with the sphere well when you press ―Alt-A or the Play button
in the bottom timeline window. I've also used ―Smooth from the Tool Shelf for both
objects.
6. You can also use groups as before by checking the ―Pinning box and choosing
the vertex group. You can also select various material types to simulate under
―Cloth Presets.

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RESULT: Hence, Child-Parent Relationships, Working With Constraints, Armatures (bones
and skeletons) Relative Vertex Keys (shape keys), Object Physics, created and implemented
successfully.

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Expt.No:8 Creating Springs, Screws, Gears and other Add-On Shapes

AIM: To Create Springs, Screws, Gears and other Add-On Shapes.

PROCEDURE:
Creating Screws and Springs:
1. In order to make these items, you need a closed shape for the profile (ex. circle or
triangle) and a 2-vertex line that controls the spacing from one coil to the next.
2. We'll make a screw form for our first example. Start by adding a Plane.
3. In Edit mode, select the 2 right side vertices and scale them down to make a triangle
form that will represent the triangle thread.
4. Move the 3D cursor to the left side and place it where you want the center of the screw
to be.
5. Now add another plane (while still in edit mode), delete the 2 right side vertices so that
all you have is a line, and place those 2 vertices on the 3D cursor.
6. These 2 vertices control the distance between the coils and must be part of the 1st mesh.
If they are not joined together, use ―Ctrl-J to join them.

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 1. My example has the line the same size as the edge of the triangle. This means that the
threads created will be tight together.
2. If you want space between the threads, make the line longer. I place these 2 point on the
3D cursor so it is easier to delete them later. Stay in Edit mode.
3. Now, use the ―A key to select All vertices. The line and triangle vertices should all be
selected. Make sure you are in a principle view since the spinning will occur related to
your view. Select the Screw command.
4. When you select the Screw command, additional options will display below the Tool
Shelf.
5. Steps will control the quality of the circular curve (I used 32). Turns is the number of
coils. Center and Axis will do some fine-tuning for you.
6. By spinning the mesh, you will be able to select the string of vertices created from the
line down the center.

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Creating Gears:
1. Since a gear uses a 3D shape for the tooth and not just a 2D profile like screws and
springs, we need to use the Spin command for that and duplicate the object as it is
revolved.
2. To start, add a cube, switch to a front view and shape the one edge to look like a wedge.
3. Select the 4 right edge vertices and hit ―S to scale and ―Z to scale on the Z axis only
4. This is a pretty simple gear tooth, but good for discussion. Now move the 3D Cursor to
a location where you would like the center to be. (still in the front view).
5. Enter Edit Mode and select all vertices. In the Tool Shelf, select the ―Spin to 360 (full
circle).
6. Need to adjust: Steps to match the number of teeth. Angle Dupli may need to be
checked to duplicate vertices rather than spin them.
7. To finish off the gear, add a cylinder to the center and shape/scale it to fit the teeth. You
could also use Boolean modifiers to cut holes for more detail.
8. Join the meshes together when finished.

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Add-On Shapes:
1. Go to the ―File pull-down menu and select ―User Preferences. In there, you will see a
tab called ―Add-Ons.
2. There are a lot of nice features you may want to use in there and by checking the box,
the script will be enabled. For now, we are checking ―Add Mesh- Bolt Factory
and
―Add Mesh-Gears.
3. If you want these enabled at all times, save the defaults. There are also many other mesh
types that could be useful in the Add-Ons. There are now architectural elements
available as well.
4. When you hit ―Shift-A now, you will see the 2 new options in the mesh menu.
5. By selecting ―Bolt, you will see a list of options in the Tool Shelf area. You can select
bolt or nut, a preset metric size, head shape and type, lengths, etc. Almost everything
you need for quick hardware.

Result: Hence, Springs, Screws, Gears and other Add-On Shapes Created successfully.

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 Video Motion Tracking, Game Engine Basics (real-time
Expt.No:9
animation), Video Sequence Editor

AIM: To implement Video Motion Tracking, Game engine basics(real-time animation),and

Video sequence.

PROCEDURE:
Video Motion Tracking:
1. The first step is to film the scene you wish to use with your 3D models. Obtain the
highest quality video possible for the best results.
2. Think ahead and plan for lighting, foreground/background elements, and smooth camera
motion. The video will need several high-contrast points (markers) in the scene that will
be used to create the Blender camera path.
3. After you have your video, open a new Blender file and change the ―3D View window
to the ―Movie Clip Editor window.Open your video.
4. It should now display in the window. Adjust your End Frame to match the video length.
In order to play the video, hit ―Alt-A or the bottom ―Play button.
5. In order to adjust the cache, go to the ―File menu and select ―User Preferences.
In User Preferences, go to the ―System tab and find the Memory Cache Limit
setting under Sequencer at the bottom of the display.
6. By pressing ―Alt-A or the ―Play button at the bottom of the screen should now display
the entire bar light blue. It is now time to start the tracking process.
7. By clicking the small triangle in the ―Tracking Settings box, you will see a few setting
you may need to adjust as you add markers.
8. Markers are used to track the camera motion and can be difficult to adjust. Here are
some of the basics to use when placing markers:
9. Add Markers- Use this to place a marker on a high-contrast area.
10. Delete Track- Deletes a marker
11. Tracking Settings- Adjust the marker settings. Discussed in the next section.
12. Track- Use the play arrow to create a track of the marker. The Clear button can be used
to clear a track to try again.
13. Pattern Window-Shows the pattern size of the selected marker.
14. Pattern & Search-Check these boxes to display the Pattern and Search areas of screen
15. Marker- A marker that is displaying the Pattern box (the contrast area to track) and the
Search box (the area to search for the pattern while playing through frames).

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Game Engine Basics:
1. It's now time to set up the real-time animation. The real-time game engine in Blender has
changed quite a bit over the years.
2. To enable the Game Engine physics, go to the top bar and find the box for the Render
Engine. Change it from ―Blender Render to ―Blender Game. This switches many of your
property tool panels to game engine options.
3. We are interested in settings in 3 of these panels:
4. Physics Panel: In the Physics panel, you control the Actors in your realtime animation. By
default, everything is ―Static, meaning that it doesn't react to the physics settings except
to have things bounce off them. They can still do things when logic blocks are applied to
them, but do nothing otherwise. The other 2 main types we will discuss later are
―Dynamic and ―Rigid Body actors.
5. World Panel: The most important setting for the game in this panel is the ―Gravity. By
default, it is set to real gravity, but what if you want to make a game set in space where
gravity isn't an issue? You will want to set gravity to zero or something really low.

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 6. Render Panel: Just like rendering a picture to see your output, this is where you enable the
game to play. You can press the ―Start button here or just press ―P to play in a viewport.
This means saving the game as an executable that can launch itself, free of Blender.The
color depth, Frames-persecond (FPS), and full screen effects. There are also many other
settings here that deal with the shading engine used, how lights and shadows are displayed,
and more.

Video Sequence Editor:

1. Let's start by adding 2 images to our time line. We'll add a Black screen image and a saved
image of out Lighthouse. To do this, click the ―Add button at the bottom of the window
and select the ―Image option.
2. We can add Effects, Sounds, Images, Movies and Scenes. Browse to your saved images.
May be 1st image will be a black screen. It doesn't matter which track you drop it into, but
usually work with the bottom tracks for images and movies.

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 3. Place the track to start at Frame 1. Items placed in the time line can be selected and moved
using standard Blender commands (G key). This is where you need to get a feel for how
long an image should be displayed. To lengthen an image, RMB click on the end of the
strip.
4. Only the end frame of the strip will highlight and you can stretch it with the ―G key. You
will also notice that the numbers along the bottom of the window represent seconds.
5. Only images can be stretched, videos cannot. It's now time to add the second image. Go to
the ―Add button again and find the next Image.
6. If you grab the green bar on the time line tracks (represents current frame) you can drag it
with the LMB as you watch the Preview Window.
7. We want a smooth cross fade. To add a Cross Fade, you need to select Both tracks that
you wish to cross with the LMB while holding ―Shift (standard Blender multiple
selection command) It is important that you select the image that appears first in time
(black image), then the second.
8. Otherwise, the cross will work backwards. With both selected, go to the ―Add menu,
―Effect Strip and choose ―Cross. Place it in the track above the two. There are
many options for different effects.

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RESULT: Hence, Video Motion Tracking, Game engine basics (real-time animation), and
Video sequence implemented successfully.

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Exp.No:10 Production Pipeline, Pre-Production and Storyboarding

AIM: To Implement Production Pipeline, Pre-Production and Storyboarding.

PROCEDURE:
Production Pipeline:
A production pipeline is an animation industry term referring to a detailed production plan
followed to efficiently convert ideas and concepts into a finished product. It also involves the
people, equipment, and software used in sequential order, starting from pre-production to post-
production.
Freelance animators and even those with major animation studios follow an animation
production pipeline in producing their animated videos and other animation materials. Doing so
will optimize the structure and strategies employed by your animation studio.
More specifically, it will help you manage your time and budget, improve team organization
especially in a big studio, and produce animations with the highest quality.
In this blog post, we’ll present the steps in making an animation production pipeline.
The 13 steps in the animation production pipeline are as follows:
1. Animation project strategizing
2. Story conceptualization
3. Animation scriptwriting
4. Art direction and character design
5. Storyboarding
6. Animatics
7. Key animation
8. Animation background layout
9. Animation Lighting
10. Sound design and dialogue recording
11. Animation color correction and color grading
12. Compositing and final revisions
13. Run-through and render the animated video

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Pre-Production:
1. When talking about pre-production, we’re referring to the stages that precede the
animation stage.
2. More specifically, this comes before we get to the point where every scene of a video is
illustrated, the voiceover is recorded, and before any kind of movement is designed at all.
3. It consists of strategy, scriptwriting, style development, and storyboarding. But even
though some of those stages may not be a surprise for those experienced in live-action
development, the way they should be approached in animation is unique.

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Storyboarding:
1. The last part of pre-production consists of a storyboard, which is the thread that guides the
illustrators and animators during the animation’s production
2. .This is where a storyboard artist and the creative director split the script into multiple
sections and draw the animation’s scenes and actions to create the visual narrative of the
story.
3. The style is a great ally of the storyboard because it dictates the visual tools that the
storyboard artist can use.
4. In the same way that a more abstract style will steer the storyboard to compositions that
include more shapes and metaphors, a character-based style will lead the storyboard to
follow a descriptive approach over abstraction, and so on.
5. This moment is where all your work so far comes together to shape what the animation
will be.
6. At this point, you already know your story’s content, visual style, and storyboard to guide
the production by planning each moment of the video’s actions and composition. Now you
are ready to move full speed ahead to production.

RESULT: Hence, Production Pipeline, Pre-Production and storyboarding implemented

successfully.

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