ethinkroot’s productions has the expertise combined with affordable solutions for you. ethinkroot is a full service visual communications production company with recognized commercials, graphics, Tv shows, motion graphics, sports day production animations etc..
ethinkroot service’s partners with our clients in all phases of creative development to guide you projects on budget meeting your business requirements for maximum results and ROI objectives. No matter the size of the project, ethinkroot offers clients the same enthusiasm, attention, devotion and creativity to detail and pride in producing high quality work. With the proper blend of design, technology and creative talent, ethinkroot services will help you company in creating new, cost efficient and highly effective corporate communication.
ethinkroot’s range of creative services reflects our commitment on delivering video expertise at reasonable costing.
CORPORATE & SPECIAL EVENTS
OUTDOOR PRODUCTION, VIDEO & FIELD
2D & 3D ANIMATION
ENTERPRISE VIDEO PRODUCTION
INDOOR AND OUTDOOR TELEVISION PRODUCTION
PROMOTIONAL, SALES, MARKETING VIDEOS
YOUTUBE, WEBSITE, SAFETY, TRIANING, TV – VIDEOS
EFFECTS, MOTION GRAPHICS, COMPOSITING,
PRODUCTION AUDIO & LIGHTING
The first process in the animation pipeline this is where the concept is developed.
Some major components of pre production are Story Boarding, Layouts, Model Sheets and Animatics.
Story board is developed based on the concept and storyline
Once the storyboards have been approved, they are sent to the layout department which then works closely with the director to design the locations and costumes. With this done they begin to stage the scenes, showing the various characters’ positions throughout the course of each shot.
Model sheets are precisely drawn groups of pictures that show all of the possible expressions that a character can make, and all of the many different poses that they could adopt. These sheets are created in order to both accurately maintain character detail and to keep the designs of the characters uniform whilst different animators are working on them across several shots.
During this stage the character designs are finalized so that when production starts their blueprints can be sent to the modeling department who are responsible for creating the final character models.
In order to give a better idea of the motion and timing of complex animation sequences and VFX-heavy scenes, the pre-visualization department within the VFX studio creates simplified mock-ups called “Animatics” shortly after the storyboarding process.
The storyboard along with the basic 2d layout drawings are sent to editing to make a rough cut which would give the sense of timing for the animated feature.
Now that the storyboard has been approved the project enters the production phase. It’s here that the actual work can start, based on the guidelines established during pre-production. Some major parts are layout, modeling, texturing, lighting, rigging and animation.
Using lo-res models or blocks of geometry in the place of the final set and characters, the Layout Artist is responsible for composing the shot and delivering rough animation to the animators as a guide. What they produce is the 3D version of what the storyboard artists had previously drawn on paper.
During this stage the Director approves camera moves, depth of field and the composition of the models making up the set and set dressing. It is then the responsibility of the Modeling department to deliver these approved set, prop and character models in the final layout stages.
Modelers are usually split into two or more departments. Whilst organic modelers tend to have a sculpture background and specialize in building the characters and other freeform surfaces, hard-surface modelers often have a more industrial design or architectural background, and as such they model the vehicles, weapons, props and buildings.
Rigging is the process of adding bones to a character or defining the movement of a mechanical object, and it’s central to the animation process
The rigging department is also involved in developing cloth simulation – so as well as making a character able to clench their fist or rotate their arm, the rigging and cloth department is responsible for making their costume move in a believable manner.
Whether creating a texture from scratch or through editing an existing image, Texturing Artists are responsible for writing shaders and painting textures as per the scene requirements.
In modern production companies, the practice of meticulously planning a character’s performance frame by frame is applied in 3D graphics using the same basic principles and aesthetic judgments that were first developed for 2D and stop-motion animation. If motion capture is used at the studio to digitize the motion of real actors, then a great deal of an animator’s time will also be spent cleaning up the motion captured performance and completing the portions of the motion (such as the eyes and hands) that may not have been digitized during the process.
The effects team also produce elements such as smoke, dust, water and explosions, although development on these aspects does not start until the final animation/lighting has been approved as they are integral to the final shot and often computationally heavy.
Not only does a Lighting Artist have to think lighting the individual scenes, they also have to consider how to bring together all of the elements that have been created by the other departments. In most companies, lighting TDs combine the latest version of the animation, the effects, the camera moves, the shaders and textures into the final scenes, and render out an updated version every day.
Lighters have a broad range of responsibilities, including placing lights, defining light properties, defining how light interacts with different types of materials, the qualities and complexities of the realistic textures involved, how the position and intensity of lights affect mood and believability, as well as color theory and harmony. They are required to establish direct and reflected lighting and shadows for each assigned shot, ensuring that each shot fits within the continuity of a sequence, all the while aiming to fulfill the vision of the Directors, Production Designers, Art Directors and VFX Supervisors.
Post-production is the third and final step in film creation, and it refers to the tasks that must be completed or executed after the filming or shooting ends. These include the editing of raw footage to cut scenes together, inserting transitional effects, working with voice and sound actors and dubbing to name just a few of the many post-production tasks.
Overall, however, the three main phases of post-production are compositing, sound editing and video editing.
The compositing department brings together all of the 3D elements produced by the previous departments in the pipeline, to create the final rendered image ready for film! Compositors take rendered images from lighters and sometimes also start with compositing scripts that TDs develope in order to initially comp together their dailies (working versions of the shot.)
General compositing tasks include rendering the different passes delivered by a lighting department to form the final shot, paint fixes and rotoscoping (although compositors sometimes rely on mattes created by a dedicated rotoscoping department), as well as the compositing of fx elements and general color grading.
This department is responsible for selecting and assembling the sound recordings in preparation for the final sound mix, ensuring lip sync and adding all of the sound effects required for the final film.
Video editing is the process of manipulating and rearranging shots to create a seamless final product, and it is at this stage that any unwanted footage and scenes are removed. Editing is a crucial step in making sure the video flows in a way which achieves the initial goal. Other tasks include titling and adding any effects to the final video and text.