Lesson 1: The Script

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We decided to devote a relatively large amount of time to this lesson, since we think that a well-planned script is one of the basic conditions for the success of any project. Many beginning animators don't give this step enough attention, which is too bad. This stage is absolutely necessary to clarify exactly how and what you need to do. As a minimum, you must be able to estimate the duration of the clip, determine the composition of the models, and be able to render the animation. This process allows you to predict how much effort will be required and how long the project will take. It is also helpful to divide the project into stages.

The importance of this preliminary work is especially evident when working as a team, even one composed of just two people. You won't be able to work without coordinating your actions: You'll constantly run into conflicts and waste your time by repeating work, eventually leading to missed deadlines.

Note 

There are some people who are of the opinion that deadlines are made to be missed. To a certain extent that's true: In the work process, problems always arise. Usually, the problem is that the workload is heavier than was expected (sometimes to a much greater extent than was originally planned), and constant battles with the software, the operating system, or the hardware don't make things any easier. This doesn't only apply to the work of "creative artists." There was one case where IBM missed the deadline for its System 360 operating system by more than a year! However, all of this doesn't mean that you shouldn't set any deadlines at all.

Finally, if you have a well-planned script ready, you have a subject for discussion with the client. There's no worse situation than one in which the artist tries to convey an idea for a project to a client by waving his or her hands and using telepathy; nothing good comes of this. It's much more effective to show the client a stack of papers with models that have already been sketched and captioned, stages already designed, etc.

So, let's get down to writing the script and making some sketches. As a rule, when working "for yourself," it's usually enough to have some very simple drawings. We decided not to show you our sketches, and asked our colleague, Pavel Osharin, to do them for us; he does a much better job. You can see that the result of Pavel's work is a bit different from what we came up with (Fig. 1.1). This is yet another point proving the necessity of planning the project in detail before starting: If the concepts and actions of two people who have been working together for around five years don't agree right off the bat, we think you can see how the no-planning method will work for people who just recently met!

Figure 1.1: Sketches for the script

Episode 1. Spaceship flying toward the Moon. This episode consists of two sequential fragments. In the first fragment, a camera pans smoothly, capturing first the Earth and then the Sun. In the second scene, we see the station flare its engines and change trajectory (Fig. 1.1, a). The duration of each of these fragments is about 8-10 seconds, and as a whole comes to somewhere around 16-20 seconds. We'll need a model of the Earth for this episode, as well as one for the Moon, space, and the flying interplanetary station. We'll also need some effects - glow and flare, in particular. It would also make sense to employ a two-second fade-in at the beginning of the clip.

Episode 2. First phase of landing. A camera on the lunar module displays an approaching and shifting lunar surface (Fig. 1.1, b). This episode lasts 10 seconds. The display might be stylized in such a way as to look like the image displayed on a monitor. Models include the lunar surface and a highly detailed fragment of the lunar module. A blinking light that illuminates a fragment of the hull would add a nice touch.

Episode 3. Second phase of landing. Actual landing on the lunar surface (Fig. 1.1, c). The camera follows the module from the lunar surface. The duration of this episode is about 10-15 seconds. The required models consist of the lunar surface and lunar module. Additional effects - flowing dust baring the solid rock of the lunar surface.

Episode 4. First steps on the Moon. An astronaut moves along the lunar surface towards the lunar vehicle (Fig. 1.1, d). The camera follows his movements, while moving in an arc. This episode lasts approximately 10-12 seconds. The models used include those in the previous episode, plus the astronaut in a spacesuit and the lunar vehicle. As for effects, it would be interesting to show the exposure of light reflected off the spacesuit. This effect is clearly visible in lunar photos. And, of course, we shouldn't forget the footprints made by the astronaut's boots.

Episode 5. Beginning the investigation of the Moon. The moon research vehicle, operated by the astronaut, moves away from the lunar module, leaving tracks on the lunar surface (Fig. 1.1, e). The camera rises gradually, following the research vehicle, and showing the panorama of the Moon and Earth rising above the horizon. This episode lasts approximately 15-20 seconds. The clip concludes with the fade-out effect.

Summary. The total duration of the clip is about one minute and is intended exclusively for demonstration on a computer monitor. Provided that the frame rate is at 30 frames per second, it will consist of about 1,800 frames (640 × 480 pixels without fields).

It is tempting to begin creating model sketches right now. However, since the structure of this book is designed such that the lessons are independent from one another, we decided to distribute the sketches by appropriate lessons.

You can, however, begin the work of sketching the models at this time.

Our final advice for this lesson is related to your interaction with the customer. Unless it is absolutely necessary, try to avoid demonstrating intermediate results. As a general rule, models without texture, covered by default 3ds max colors, will surprise those who have no idea about the process. It's much better to postpone the final demonstration by a couple of days than to have to say something to the customer like: "Don't look at this too closely, it will look different." It will only confuse and disappoint him or her, and in no way will it help you produce a favorable impression or improve your reputation.

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