Our VR Production Workflow

Trying to change up the workflow helps to broaden creativity even while learning. The most common animation workflow to exist are the three stages of pre-production, production and post-production (Toon Boom Animation, 2019, p.1). However, depending on the scope and type of the project, the workflow varies within these stages. Our project being a VR film project will therefore involve a different workflow that will showcase our best practices this trimester.

From how the industry is progressing, a lot more creators are “jumping into immersive and interactive projects” (Failes, 2017, para. 1). A lot of new technology is being constantly invented and experimented with to implement in the ease of creating VR projects. Here is a video of a 3D artist, Matias Zadicoff, who tries animating directly in VR using MARUI-PlugIn or Maya. Hence, the workflow is gradually going to evolve for the creators as well.

Nevertheless, we aren’t equipped with such technology to carry out this process through the trimester. We will be using the linear methods of working but will implement tests through a VR headset (that I own) to enable changes to be made and constantly refined. Moreover, we have strategized our workflow in a way to play it smart. Here is how we are going to progress through this unit:

• I will work on the RETRO scene and should be done by WEEK 5 for rendering.

• Living room - models should be done by Jason while I am working on the RETRO, animations and lighting to be done by me and finalized by WEEK 7 for rendering.

• Cards Room scene will be done by Dalia to be rendered by WEEK 7 as well.

• WEEK 8 will be used to work on the Forest scene. Should be done by WEEK 10 latest to render.

• WEEK 9 will be used to work on the rollercoaster scene and should be finalized simultaneously by WEEK 10 or 11 latest to render.

*** each scene that is done rendering will immediately be composited in AE

A screen shot of the management strategies we have implemented - Gantt Chart on Google sheets. This is to be done by the team leader- me and constantly updated for progress.

“Read the directions and directly you will be directed into the right direction” - Door Knob

Moreover, something that will add on as a challenge to us is that we need to steer the attention of the viewer into the direction we want them to head - since its a 360 degree space. “The usual cinematography and editing of linear narratives is gone, because the user is now the camera operator” (Failes, 2017, para. 10). This is rightfully said since we need to craft the narrative in a way that is engaging but not forceful. Bill Hader, an animation supervisor at Reel FX said, “You really need to account for a variety of audience members and anticipate what they might look at and when they might look there and try to stage your animation in such a way that allows them to progress through the story”. Hence, animating in VR needs to direct the viewer’s attention through the story and the user experience (Failes, 2017, para. 10).

[Edited in Week 9] For this, we have crafted a narrative with visual elements that guides the viewer. For example, in the living room, we have the objects floating in a timely sequence to gauge the viewer’s attention that finally leads them into looking at a glowing rose. This glowing rose is personified to welcome the viewer into the next room. It gives a sense of appeal to the scene. Here is a preview animation of the scene.

Another challenge to us is that the shots need to be continuous, flowing from one into the other. We received feedback from our pitch presentation that the shots look too disjointed and needed to find a solution to overcome this. Hence we re-sequenced our shots while keeping a consistent timing in each shot. This also means that the files need to be worked on separately and merged into one before rendering. The rendering sequence will involve various ranges after it has been finalized to maintain consistency and increase production efficiency.

Therefore, this is how we will progress through the unit with our workflow strategy.

References:

Failes, I. (2017) . Animation In A VR World: How Is It Different and How Is It The Same? [article]. Retrieved from http://presskitchen.com/reel-fx-bill-haller-steve-cummings-cartoon-brew-vr-animation/

MARUI Plugin (2019, June 19). How VR changed one animator’s workflow forever [video]. Retrieved from https://www.youtube.com/watch?v=QWGcscB40Yk

Toon Boom (2019). Animation workflow. Retreived from https://learn.toonboom.com/modules/animation-workflow/topic/pre-production?c=