A graphics delivery method for multiple screens within a single video file. Different rectangle areas are designated to be mapped to individual screens using a media server. This is often used with live events and experiential settings.
The process of creating treatments for a prospective client in a bid to try and win a project. Pitching can be competitive against other companies, usually the agency / client will ask 3 studios / creatives for a pitch. Everyone job is unique and not every pitch is equal, but they can include everything from design, storyboards, written treatments, and style frames.
In film editing, a match cut is a transition from one shot to another where the composition of the two shots matches in terms of action, subject, or subject matter.
In animation and motion design, a match cut can be visualized as a shape or visual element that maintains the same size, position, and animation timing.
Morphing in motion design is a technique where one shape transforms into another. This is achieved by two ways. Either by creating a sequence of intermediate frames that smoothly transition between the initial and final shapes, giving the illusion of fluid transformation or by copying the paths of one shape to the other.
OTS is short for Over-The-Shoulder graphics. This is used in news broadcast design to describe a graphic that appears next to the newscaster. It acts as a visual aid for the subject matter being discussed.
The original software files used during production. For example, the original After Effects, Photoshop, Illustrator, Cinema4D files.
A gobo is an object placed inside or in front of a light source to control the shape of the emitted light and its shadow.
For studio photography purposes, the term "gobo" has come to refer to any device that casts a shadow, and various pieces of equipment that go in front of a light (such as a gobo arm or gobo head).
In theatrical lighting, however, the term more specifically refers to a device placed in "the gate" or at the "point of focus" between the light source, called a lamp, and the lenses (or other optics).
The exact derivation of the term gobo is unclear, although it appears to have originated in cinema studios in the 1930s. It may be an American slang abbreviation of "go-between", or "go-before" (just as New York's "SoHo" signifies the area "South of Houston Street").
Some lighting professionals believe that it is an acronym for "goes before optics" or, less often, "goes between optics"
When someone pays way too much attention looking at minute details. For example, when examining the grain of a composite element to make sure it matches the film stock. Someone who pixel-fucks pays more attention to tiny details than the overall effectiveness of the shot.
An artist often working with the creative leads to explore concepts and ideation for projects. Often creating style frames that help the team achieve a unifed visual direction.
On bigger projects with multiple edits, editors sometimes work in teams to help process large volumes of footage, alternate edits, and assisting with any task the lead Editor needs.
Artist responsible for creating the final edit often in premiere, avid or final cut. Can be instrumental in finding the best takes, shots, timings and pacing of a piece.
Usually the lead 3D artists on the team, they help translate the overall vision from the creative leads to the 3D team. Establishing pipelines, workflows, and also helping on set making sure the artists have the required data / assets they need.
An artist who has created a singular role to focus on for their speciality.
A technical director can have a wide range of qualities but often are put into roles to help guide the team in project pipeline. Usually a hybrid role that has qualities of a developer and an artist.
An artist who doesn't specifically focus on one single role on a team, instead can serve in multiple roles.
Associate Creative Director, often mentoring under a more senior Creative Director, an ACD can be adding to a team for additional support or as a single creative lead.
One of the 12 Principles of Animation. Timing refers to the arrangement and duration of actions and movements within a sequence. It involves determining the speed and rhythm at which different elements of the animation occur, including the timing of key poses, the spacing between frames, and the overall pacing of the animation. Adjusting an animation's timing adjusts how the viewer percieves motion.
An order list of values. You can make arrays of integers, floats, strings, or vectors. Also called a Matrix in some software.
One of the 12 Principles of Animation. Pose-to-pose animation is a technique used by animators to create motion by planning out key poses or keyframes at specific points in the animation sequence, and then filling in the in between frames after. In this method, the animator starts by sketching or defining the key poses that convey the main actions or movements of the character or object being animated. Pose-to-pose animation is often used for scenes requiring precise timing, complex movements, or specific storytelling beats, such as character performances, dialogue sequences, or action sequences. The opposite technique to pose-to-pose animation is straight ahead animation, and either technique is usually chose based on an animator's personal preference.
One of the 12 Principles of Animation. Derived in the fundamentals of cel animation, straight ahead is an animation technique where an animator draws each new frame sequentially, without planning keyframes in advance. The animator will draw the first frame and continue advancing through an animation until the last frame. The opposite technique to straight ahead animation is pose-to-pose animation, and either technique is usually chose based on an animator's personal preference.
One of the 12 Principles of Animation. Solid Drawing emphasizes the importance of creating drawings or designs with volume, weight, and depth on a two-dimensional surface. This principle helps to make characters or objects feel grounded with weight and realism.
One of the 12 Principles of Animation, coupled with follow through. Overlapping Action refers to the principle that different parts of a character move at different rates. It adds a sense of subtlety and/or complexity to main movements.
One of the 12 Principles of Animation, coupled with overlapping action. Follow through refers to the parts of an object or character that continue moving after the main action has stopped. It helps convey a sense of weight and realism.
One of the 12 Principles of Animation. Exaggeration refers to the act of amplifying specific parts of a character or object's visual look, movement, or actions. It is used to emphasize emotion, action or traits to push the boundaries of what would be realistic or expected.
One of the 12 Principles of Animation. In animation, an "arc" refers to the path traced by a moving object or character over time. This concept is based on the observation that most natural movements, whether performed by living creatures or inanimate objects, tend to follow curved paths rather than straight lines.
One of the 12 Principles of Animation. Appeal refers to the quality that makes characters, designs, and animations visually interesting and engaging to the audience. It encompasses various elements, including character design, personality, movement, and storytelling, all of which contribute to creating a connection between the viewer and the animated content.
An expoential way to add extra tessaltion to your geometry. Often shortened to SDS, a Subdivision surface can represent the extra tssalation in the viewport or only at render time.
High Dynamic Range
Lighting your 3D scene with path tracing to simulate the way light bounces off objects and surfaces in the real world.
A unit of measurement in refining the quality of your renders. Making clean (noise free) renders often requires higher samples of calcuation to reduce artifacts.
A image with low AA often has harsh stairstepping on the edges of objects. AA helps create smoother edges on objects in your scene. There are various filter types for AA and each have their own pros and cons to final image quality. Area and Box are the most commonly used.
Ways of affecting meshes / objects in a procedural way in your scene. The most common types are Bend, Twist and FFD (Lattices)
Non-Uniform Rational B-Splines. Nurbs are like vector data in that they can have infinte resolution and often used when working in procedural workflows.
A neural radiance field is a method based on deep learning for reconstructing a three-dimensional representation of a scene from sparse two-dimensional images. Often used to create a point cloud like effect from multiple images to represent them dimensionally
A method to simulate physics based motion for 3d objects. Used for cloth, rigid bodies, and even placing objects into your 3d scene. Often calculating the bounding boxes / hulls of meshes to create interactions between objects
Rigid Body Dynamics. A method of simulating physics based animation. Often working with colliding objects and colliders. Bullet is a popular Rigid Body Dynamics engine.
To convert a dynamic animation into a series of keyframes.
Volume representations using voxel grids. There is no clear direct meaning for the letters VDB but it stems from descriptions such as Voxel Data Base, Volumetric Data Blocks, and Volumetric Dynamic B+tree. VDBs can be used to store information for volumes like clouds, fog, fire, and almost any type of mesh representation.
Creating polygons with only 3 sides
The ability to take complex information from 3D and bake it out into a cache file that is often easier to read and write. Making a cache can also make sure that if working in scenes with simulations, that you can get consistent and repeatable animations.
The direction and intentionality behind edges on a mesh. Depending on the final output and use, edge flow and toplogy can be very important to real time applications, character deformations, and creating uniform surface animations. Most artist work in Quads or Tris depending on the final output and carefully construct their toplogy to create the most efficentuse of polygons.
Creating polygons with only 4 sides
Non-photorealistic Rendering. A way to create stylized renders that don't always follow the rules of tradtional photorealstic render engines. C4D has Sketch and Toon, Maya has a toon engine, and Redshift is also developing a toon based rendering engine.
A mixture of software and hardware based engines that combine descriptions of materials, lights, and cameras to create your final output. There have been dozens of render engines created over the past and are constantly changing. Most applications ship with a very basic software renderer that works with your CPU and doesn't require extra hardware. GPU render engines utilize your graphics card(s) and often game engine qualities to create fast and photorealistic renders. There are also NPR ( non-photorealistic renderers) created to capture more artistic and stylized images.
Pop-up customizable contextual menus in the 3D application Autdesk Maya
The explicit order of vertices on a mesh. Can become very important when transferring data between multiple meshes to create accurate information between the two meshes
A way to visualize concave and convex areas of a mesh in a grayscale map. Can add extra detail to meshes based on their distance and angle to itself and other meshes. Also called Ambient Occlusion.
An RGB image created to tell the surface of a mesh which direction the normals are facing. Sometimes high res meshes are baked into maps like Normal Maps to transfer high density detail to lower polygon meshes.
The process of adjusting skin deformations in proximity to bones / joints to control a characters movements.
The order of polygons and vertices that make up a 3D model surface
When working in 3D, the viewport is made up of othographic views and a perspective camera to work on your scene. Viewports are often rendered in lower quality than final renders to increase speed while working. Viewports can be configured in multiple layouts, viewed from user created camers and are often used to create playblast to preview a scene.
A black and white image used to create height information for the surface of an object
The approximation of light rays passing through a thin walled surface to represent volume. The most popular method used is Ray Marching, while older models often use path tracing.
Procedural curves / vertices created to define shapes. Splines are often used for procedural objects that can be used as data points for other types of 3d information. Type is a very common asset to use with splines so that the type can be updated.
An efficient way of duplication geometry in a scene , often as intances, to create complex animations.
A visualiation of the vertex, edge and polygon surface information as lines. Often used to quickly view mesh density and used in technical animations to showcase the inner workings of a mesh
Inverse Kinematics, a type of limited motion in 3d characters to create connection between multiple joints / bones in a rig. Often used for Legs and arms to calcuate human like movements.
A 2D flat representation of a 3D object for texturing.
Also called Light Selects, rendering out each contribution of lights in your scene to adjust in post
The interaction of light on the surface of an object or material
The base color layer of an object, also called the Albedo
One of the 12 Principles of Animation. Anticipation refers to the concept of preparing the audience for an action before it actually occurs. This principle helps make actions feel more realistic and believable. It involves adding a preparatory movement or action to indicate that a main action is about to happen.
Making sure that the overall saturation and bright values are not getting clipped and are within range of television standards. Often applied through a utility effect in After Effects. Stems from older televisions having issues properly displaying certain intense fields of color, but still used as a way to make sure there is visual parity across screens.
Areas of the screen that are protected for specific elements of the show, often for partner logos, marketing or program logos.
A modular graphic design element tied to the overall branding of the program that has a place to drop in footage. Most often used for showing "previously on" and "upcoming" moments of the program.
Selects can often refer to the hero clips to be used after a footage shoot. The takes that the client or creatives have marked as the best shots to use.
Often used when taking footage from shoots in raw formats and converting them to multiple formats that are easier for the team to work with.
A modular graphic design element tied to the overall branding that allows the editorial team to insert information at the bottom of screen. Often with no fly zones for logos and any important stationary graphics
A final edit combining all of the shots of a piece. Can include transition animations between shots, typography, or simply used as a way to collect all of the work from the team into 1 single file for output.
A title sequence or Title Treatment at the beginning of a show or promotional package.
A lower quality temporay version of footage to make a project easier to work with and preview.
The number of frames in 1 second. Film and animation often work in 24 frames per second, Broadcast tradtional works in 23.976 and 30 fps. Video games and realtime rendering often work at 60fps and higher.
Typically the next step after creating a board-o-matic. Once the storyboards have been placed into an edit, they can now have animated moments to help give clarification or added emphasis to moments in the edit. It could include rough blocking, camera moves, character placements, mixed in with rough sound design and music.
A sound used to illustrate a passing object, whether that be a car, a meteor or a fist. The quicker the sound, the faster the object. More bass in the sound would usually denote a larger object.
Rough animation is the phase where the main action is drawn out. this would be simple sketches made to work out the timing and position of characters or objects. These are initial drafts, so they are not detailed or clean. The main purpose is to map out the movement and timing of the animation.
A short, singular sound that illustrates a standout movement or event.
the process of defining the scene or sequences using drawn or computer-generated frames. The layout stage decides the positioning, movement, and scale of characters and objects in the scene. It's the conceptual blueprint of an animation sequence, working out the staging, camera shots (angle and framing), and perspective of the scenes.
A sudden, dynamic sound that can illustrate a jump scare, an object collision or a notable event. Usually imbued with the weight of the moment or the materials involved.
In animation, this term usually refers to any kind of visual special effect added to the scene to enhance its visual impact. Examples could include things like rain, snow, fire, sparkles, explosions, shadows, highlights, transformations, and more. These effects can be created using various techniques including traditional hand-drawn methods, or more modern digital methods.
Futuristic User Interface. This is typically found in sci-fi movies and shows. The key tenet of FUI design is a demonstration of functionality.
Essential Properties provide quick access to layer and effect properties within nested compositions in After Effects, saving time in complex animations. They allow you to override and reuse compositions with different values while keeping the source composition intact. Your edits affect instances, simplifying rendering.
Part of the storyboarding process for cel animation. They are visual boards and detailed notes that describe the ideas in the script. The beat boards typically happen right after the script and before the thumbnails. Beat boards got the name from story beats.
Often used in trailers, this is a deep, bassy sound that descends in pitch. Often used to illustrate a sense of ‘falling over the edge’, whether that be emotionally or literally.
This is the process of creating the illusion of motion by creating a sequence of images, or "frames," each slightly different from the one before. In traditional cartoon animation, this is often created by artists hand-drawing (or painting) each frame on transparent sheets called "cels".
An ambience or soundscape is a constant background sound that relates the environment and mood being portrayed. It can be quite literal like a whistling wind or more abstract like exploring a dreamworld.
A render farm is a high-performance computer system, e.g. a computer cluster, built to render computer-generated imagery, typically for film and television visual effects.
Squash and Stretch is a fundamental principle in animation and motion design that refers to the deformation of objects as they move to express their flexibility or fluidity. It's used to add a sense of weight, volume, and momentum to animated objects, making the motion appear more natural and dynamic. When an object is in motion or impacts with another object, it squashes (flattens) on impact and stretches (elongates) when moving quickly or rebounding.
The aftermath of an explosion or physical force and usually indicative of the materials in play, like glass, stone or wood. The sound of smaller objects or materials hitting a surface.
Loudness, K-weighted, relative to full scale. A unit of measurement of audio loudness over time intended to standardize loudness across various forms of audio distribution.
A deep, rumbling impact.
A term often used in film trailer sound design, best described as an emotive, compound sound that uses both a sweep and a hit to illustrate a notable event.
The final deliverable for audio combining all dialog, voiceovers, music, and sound effects in one audio file
A constant, dissonant sound, usually mid to low pitch. Can be diagetic as, for example, the drone of a passenger plane or non-diagetic as, say, a sense of dread.
Diagetic sound is created from within the boundaries of the film world. For example, the sound of a door opening off-screen.
Non-diagetic sound is created outside of the film world; the film characters are unable to hear it. For example, a musical soundtrack is often non-diagetic.
A prolonged tone that ascends in pitch, often used to illustrate building tension, an increase in power and generally the anticipation of an oncoming event.
Sound effects, often performed and recorded by Foley Artists, that relate to human movement, clothing, footsteps, physical objects and everyday items
A choppy, noisy, distorted sound reminiscent of defective electrical equipment.
Similar to a whoosh, but often slower and disconnected from a particular object. Instead this would usually be applied as a non-diagetic sound.
Texture is a granular, complex and prolonged sound that often exhibits characteristics of a particular material, location or concept. For example the splintering of wood, underwater currents or the fizz of digital static.