[Figures 4] A hand-drawn image (left) and a digital representation (right).

Layout
Layout is the phase of production in which the two-dimensional images and written script begin to take form in the computer. A layout artist translates the hand-drawn image by creating digital photos and properly placing sets and props. The proper scene lengths and sound files are loaded with the shot and saved as a complete file that will be passed on to the next stage in the pipeline. Figure 4 shows a storyboarded image and the layout scene generated from it.

Although layout is used most in CG productions, it also appears in commercial and feature films. An artist working on a project involving the combination of live action and CG will most likely have a camera match-move associated with each scene he is given. This file re-creates the real-world camera and set in the virtual environment. The camera’s angle, size and lens must exactly match the accompanying background plate to ensure the digital elements have proper scale and perspective.

In both types of production, the character you are animating will be placed in this file. That figure will be a static object and marks the beginning of the animator’s duties. This will probably be the first file you touch. It should have all the necessary elements to complete the scene. There are, however, a few more steps before animation can begin.

[Figure 5] The first three shots of the short are turned over with special instructions to unique situations about the scene.

Shot Turnover
The shot turnover process involves the assigning of a shot to a specific animator. A brief meeting occurs and the artist walks away with a shot or series of shots to complete. This is an opportunity for the lead or supervising animator to discuss the major beats in a scene and provide any additional information from the director or client. In addition, unusual technical considerations might be discussed, such as special character setups that are specific to the shot, as well as staging and camera issues. The animator should walk away with a thorough understanding of what is required.

Figure 5 shows the boards and corresponding layout file for the first three shots of the short animated film. The focus for these shots is to wake up and re-energize. The character desperately needs to finish his work and knows there is a long night ahead of him.

In addition to the attitudes the character will possess, there are technical considerations. First, the character needs to have plenty of room for his stretching routine. This will involve strategic placement of the furniture. Second, the character interacts with a few objects in each shot. Special rigs were generated to constrain his hands to both the chair and cola can. It’s important to discuss these types of issues before work begins; they can influence how you approach the shot. Once these issues have been addressed, the animator can begin the process of planning her shot.