Boy Break Wall Animation

Outsourcing animation

The main reason for increasing the quality of American animation is the ability to outsource the heavy lifting to cheaper animation houses in the South and Southeast Asia gaining a large number of frames at low cost. The script, character design and storyboarding is done in American offices. The storyboard, models and color books are mailed abroad. Sometimes causes problems because no final product can be completed until the frames are mailed to the U.S.. Although budgets have been reduced, foreign productions houses are chosen per episode, or even per scene, depending on the amount of money available at that time. As a result there is a big difference in quality from one episode to another. This is particularly evident in shows like "Gargoyles" and "Batman": The Animated Series where, sometimes, the characters seem completely different from one episode to the dismay of its directors.

Hours Animation

Spielberg and Bluth

While Disney gave new life to animation, Steven Spielberg was making his own way. Animation amateur life, Spielberg was also interested in making high quality animation, and worked with his rival, Don Bluth animation producer to produce "Fievel and the New World." The box office success of this and Bluth's next film, "In The Land", Hollywood made him realize that Disney did not hold a monopoly on animated features. The other Hollywood studios resumed production of its own animated features, but still falling into the trap of trying to imitate Disney's 1997 film Don Bluth, "Anastasia", produced by Fox, is mentioned as the one launched the Fox Animation Studios and Disney's rival, however, these studies failed to succeed after "Anastasia" and closed in 1999. Like most successful productions of Disney, "Anastasia" was attended by Thalia, who played the central theme of the soundtrack in its versions in Spanish, English and Portuguese.

Spielberg and Warner Bros.

Spielberg, meanwhile, switched to TV and worked with animation studio Warner Bros. to produce "The Tiny Toon Adventures," a high quality animated series that paid homage to the great cartoons of Termite Terrace. "The Tiny Toon Adventures" had a good rating thanks to its young viewers, which inspired the Warner Bros to resurrect his dying animation studio and once again a contender in the field of animation. The Tiny Toon Steven Spielberg were continued by presenting "Animaniacs" and "Pinky and the Brain". The latter not only attracted new viewers to Warner Bros., but also captured the attention of viewers adolescents and adults.

Mr Bean Animation

Disney's return

In the mid 80's, the American animation industry fell into disgrace. Toy commercials masquerading as entertainment programs cartoons dominated the evening and the morning of Saturday, and the only experiment was carried out by independent developers. Even animated films were projected in theaters at times, but the glory of the old days was gone. Even the animation giant Disney, which had fought a corporate acquisition in the 80's, was considering abandoning the production of animated feature films.

Both the enthusiastic audience, critics, and the animators were taken by surprise when the long-awaited renaissance of animation began in the oldest and most conservative corporation, Disney.

Disney had a drastic change in the 80, its new chief Michael Eisner the company relocated to his feet, returning to its roots and revitalizing their studies. With great fanfare, in 1988 the study worked with Steven Spielberg to produce the animated film Who Framed Roger Rabbit, directed by Robert Zemeckis. The film was a success, and gave to the animation industry awaited push for that time. Roger Rabbit not only earned him a pile of money for Disney, but also sparked the popularity of the classic animation that continues to this day. The history of animation suddenly became an object of study (and their fans). Several directors, business legend, such as Chuck Jones and Friz Freleng were suddenly in the spotlight, being acclaimed after decades of being virtually ignored by audiences and industry professionals.

Disney continued the success of Who Framed Roger Rabbit? with "The Little Mermaid", the first of a series of animated films that seemed to recapture the magic of the golden age of Walt Disney himself. The studio invested heavily in new technology of computer animation for such purposes, but could do super-productions like "Beauty and the Beast" and "Aladdin," which attracted audiences that were not seen in decades, and Once provided a visual feast that has not been exceeded since the 40. The peak of the hit Disney was in 1994 when his film "The Lion King" exceeded all expectations of the study to become one of the most successful of all time. Even later Disney films as "Pocahontas," "The Hunchback of Notre Dame", "Hercules," "Mulan" and "Tarzan" was blockbusters.

Disney has also made inroads into the neglected area of the animated TV series. With the success of shows like "The New Adventures of Winnie the Pooh", "The Adventures of the Gummi Bears Disney" and "Duck adventures", the "new" Disney made his mark in TV pictures. Through association and repetition, Disney can provide high quality animation for TV. A series of large diffusion was conducted in mid-nineties, with some critics designating "Gargoyles" as the Disney animation project for TV's most ambitious and best done artistically. The soundtracks of each of these animated films were an important part of its success, because Disney was including in each of these projects a loud voice from the world of music, such as Elton John (The Lion King), Luis Miguel (The Hunchback of Notre Dame), Ricky Martin (Hercules), Christina Aguilera (Mulan), Celine Dion (Beauty and the Beast), Ricardo Montaner (Aladin), Jon Secada (Pocahontas), among others.

Child Crying Animation

In the past, many companies were quoting animations based on a dollar per second rate for finished footage and there appears to be a trend away from this method of pricing. Part of the reason is that the amount of work involved in producing one second of animation can vary enormously depending on what is required and the level of realism. The advances in computer visualization technology available today are mainly responsible for the widening gap between what was possible and what is possible today.

The best thing one can do is educate themselves on what parts of the animation process are the most time intensive and where they can expect to pay the most (or least) for the requirements.

Below is a breakdown of several cost factors that are "tangible". As with any outsourced service, you also pay for reputation, experience and overhead costs, but these are more difficult to quantify. The greatest cost in a forensic animation is the number of man-hours required to prepare, assemble, edit and finalize the animation. Since vehicle collisions are the most common forensic animations, most of the examples used below will reflect this particular example, however, the process and cost factors are more or less the same regardless if the animation being produced is of a crime scene, personal injury case, or medical procedure.

1. Information Gathering and Preparation

During the initial stages of a forensic animation, it is imperative that the animator be brought up to speed on the details of the case. This often means that all photos, video, drawings and reports must be provided to the animator and they must subsequently go through all the materials of the case. Initially, it is helpful to bring the animator into the initial discussions about the trial strategy and what is the objective of the animation. Further, it is useful to have the animator contact the accident Reconstructionist as applicable to go over details of the accident report and if there will be any transfer of other data such as a digital site survey or simulation data.

Where applicable, the animator may be required to travel to the location of where an accident or crime may have occurred. This is to obtain subsequent images and information that may not have been obtained or was not available in the existing scene materials or reports.

2. 3D Models - Recreating the scene assets.

Normally, it is very rare that a forensic animator can reuse the main 3D models in a scene. In the case of an automobile collision, there could be some "standard" 3D models reused such as a stop sign, traffic lights or electrical poles, but there are often times when even these smaller objects must also be built from scratch in order to obtain the highest level of realism.

There are typically three types of 3D models in a forensics animation. These are classified by their level of importance, accuracy and necessary level of detail. Primary objects are those that are directly involved in the animation. Think of them as your primary characters. Secondary objects are those which may not be directly involved, but their movement or relative position plays some part in making the animation accurate or credible. Tertiary objects are those which are strictly for the benefit of visualization and do not play a direct role in the animation. An example could be a tree off in the distance which would not affect the animation if it were removed except for the level of realism.

Creating accurate and realistic primary 3D models is still a time intensive task which has not changed very much over the years. The quality of the models and options associated with the level of realism are greater and therefore, there is an equivalent amount of time required to create the models. Where possible, it may be possible to purchase an existing 3D model and tailor it to suit the needs of the animation. This should only be done when the accuracy of the model is not a requirement and it may be a secondary or tertiary object in the scene.

In the case of a vehicle collision, the ground terrain is a good example of a large scale model which is required to be accurate and a true likeness of the actually area where the collision occurred.

Often, modeling may come from other sources such as CAD files, 3d scanning or photogrammetry. In each case, the model normally requires subsequent work to get the correct look or to adjust the surface topology of the object.

3. Mapping - Preparing and adjusting images

Although this could be classified as part of modeling, it is in fact a separate part of the 3D modeling process which involves the use of photo imaging software. If you were to consider a simple example of a stop sign, there is the geometrical portion of the model and there is the "textured" or "mapped" portion of the object. The red colour of the sign with the letters S-T-O-P is normally not modeled but need to be mapped. Mapping can be accomplished by taking an existing photo of the stop sign and extracting only the portion of the image that relates to the sign itself and not the background. In some cases, photos need not be used at all and the entire image map of the stop sign could be made with a program like Photoshop.

Since photos are often taken at various angles and depth of fields, the image needs to be rectified (i.e. any depth removed such that the image becomes orthographic or "flat") so that it can be pasted like a sticker onto the model.

However, in each case, there is a considerable amount of time committed to the process of editing photo images to extract usable maps for models and the more accurate, and realistic one wants their models to look, the more it will cost.

4. Assembling the Scene

Once all the scene objects have been created, there comes the task of assembling them accurately in the scene. Since accuracy is the single most differentiating point between any animation and a forensic animation, there is a considerable emphasis on the placement of objects and positioning of all the scene elements. In some cases, there are automated utilities to help the animator reduce the amount of time to place objects, but unfortunately, since each forensic animation is different, this is normally done through manual means. Hence, if there are many objects to be accurately placed in a scene, the amount of labour involved increases.

5. Animating the Scene

There are two ways to animate a scene. One is through the import of simulation data and the other is through keyframing. Keyframing is a manual technique where an object is fixed at a certain location at a certain time of the animation. At each point in the animation where the object is "fixed", this is called a keyframe. The 3D animation software interpolates between keyframes to distribute the motion.

A complex scene involving 5 or 6 vehicles would be more involved than a simple animation of 2 vehicles crashing since there are many more vehicles and positions to keep track of. Since there are many clients who request different collision scenarios, there may be several iterations or versions of the animation.

6. Lighting and Special Effects

Once the entire scene has been animated, this is normally the time to adjust the lighting and prepare any effects which might be required in the animation. When trying to replicate the exact lighting of a scene based on reference photos it can often be very difficult to achieve. Consider the range of lighting and weather conditions such as fog, rain, snow or night scenes.

When appropriate, it may be necessary to show breaking glass or skid marks. Creating accurate looking effects is a time consuming process. Normally, it is difficult to quantify something as "accurate" unless it is verified by an expert. For this reason, there could be several iterations of the lighting and special effects in order to match the expert's report/testimony.

7. Rendering

The act of rendering is how the 3D animation software converts the entire scene into a set of images which run (typically) at 30 frames per second. Depending on the complexity of the scene (i.e. complexity of items 1-6 above), a computer can render a single image at anywhere from a few seconds to an hour or more for each frame. Considering that a 1 minute animation has 1,800 frames, the time involved can be as little as 5 hours to 60 hours on a single computer.

Additionally, if there are 5 or 6 different views to be rendered and not taking any edits into account, the rendering portion can take a considerable amount of time.

Fortunately, many animators make use of either render farms (i.e. network of computers strung together that divide the work of rendering) or invest in high powered workstations. There are firms which specialize in providing rendering resources to animators and when a quick turnaround is required, this is an additional expense which is normally translated to the client.

Normally, rendering only makes up less than ten percent of the total cost of an animation. The actual time is dependent on the type of hardware used and this is part of the reason why companies have been moving away from quoting animations based on their length or dollar per second of completed footage.

8. Video Editing and Final Packaging

As the animation approaches the final stages of completion, the last few steps are the editing and compositing of the animation. The addition of any text, title screens, overlaying images and making any adjustments to the colour take additional time which is normally associated with how the animation is to be packaged and presented.

Most people today are finding that downloads and CD's are quite useful for viewing on a computer, however, if a client requests a self running DVD with menus and sound then this is obviously another involved step.

9. Changes and Edits

One of the most overlooked parts of creating a quality animation and avoiding constant changes is to ensure that clear objectives are understood by all parties up front.

Changing the animation half way through a project can substantially affect the total cost and may delay the delivery considerably. Knowing exactly what needs to be shown and limiting the number of edits keeps things on track and limits the risk of cost overruns.

The basic rule of thumb for the cost of a forensic animation is that as the level of detail, realism, accuracy and number of scenarios increases , so does the cost. A complex animation with many details means more preparation, production and verification hours for the animator.

A forensic animation can range widely from $3,000 to $30,000 depending on each of the factors explained above. There are no hard rules to pin down the price of an animation since each one is "custom built".

Be sure to get a clear idea of the costs by providing the initial case information to the animator. Most reputable forensic animators will supply an initial consultation at no cost in order to provide an accurate quotation or to tell you if an animation is even feasible. Also, ensure that clear objectives are set prior to embarking on a forensic animation. This will avoid unnecessary changes, increased cost and will keep projects on track.

Boy Jump In Car Animation

In this article I will explain in simple terms, what goes behind the 3D animation that you watch in movies and what makes it different from conventional two dimensional animation.

What is that extra 3rd dimension? 

Take a piece of paper and sketch a simple figure on it (a cat, a dog or anything that comes to your head). Lets say it is a cat and it is facing you from that sheet of paper. So you have the front view of the cat in front of you. Suppose if you feel that you want to see the cat from a side, will it help if you rotate the paper or flip it? No. Why? It is simply because the sketch you have drawn has the 3rd dimension missing.

Every real world object that you see around has a 3rd dimension and that is the reason why you can take it and rotate it to watch it from different angles. The sketch you have drawn had a length and a width, since the paper you used to draw also had a length and a width. But it lacks a thickness (3rd dimension) and hence your sketch also didnt have that extra dimension.

Suppose instead of sketching your imagination down on the piece of paper, you decided to sculpt it on a handful of clay. Since the medium you used (clay) had volume, you had to define the cats shape from all angles during the sculpting. Hence you unknowingly added that 3rd dimension to it and that is the reason you have the freedom to rotate it any way you want.

How conventional 2D animation works:

Before computers started playing their indispensible roles in the animation industry, everything was done manually by animators, who were essentially artists. They would create a series of slides having images on it, where each slides image is the continuation of the previous one in the sequence. For example if an animator wanted to simulate a ball falling down, they would create a sequence of slides where first slide would portray the ball at the top. The next slide will show the ball, may be 1 cm lower than that in the first slide. In the next one, again lower and so on, till the last slide shows the ball hitting the ground. When the whole sequence of slides are shown in front of the viewer in a fast rate, it creates the feeling of the ball falling down.

The whole process was tedious and time consuming. When computers came into play, the frame redrawing works had been minimised since, copying and pasting duplicate elements between successive frames was very easy with the computers aid. The artist has to make only the necessary changes that should exist between successive frames. As technology advanced, softwares evolved that again minimised the work of a 2d animator, in such a way that several things started getting automated. Using motion tweening and other techniques, an animator can set the initial position or shape of an object and then its final position and shape and the computer would generate the intermediate frames automatically. The artist even has the freedom to make corrections to that.

What was missing in 2D animation?

The 2D animation always lacked the essence, since all the real-world sceneries and objects are 3D and when they gets transformed to 2D, they lose their reality. Later stage cartoons started to simulate the 3D effect by using gradients, and varying highlights, but it required huge extra effort from the part of the artist.

How 3D Graphics works:

The stages in 3D animation are more in number compared to the 2D animation. The first part of 3D animation starts with character sketching and 3D modeling. In the next stage the characters are rigged for animation. In the next stage they are animated. This is in fact a too compact form of what happens in the background. Lets see each of them in a little detail.

· Character sketching: This is the stage where an artist sketches how the character should look from various angles. Usually the sketch will be done on paper or canvas. As many variations in poses are created so that it would help the 3D Modeler to sculpt a 3D Model out of it.

· Character Modeling: A 3D artist, who is expertised in a 3D modeling and animating tool, will examine the sketches and starts sculpting the figure using his imagination and skill. I used the word sculpting because the process is much similar to the real sculpting we do with raw materials like clay. The software tool that the artist uses provides various approaches to perform the modeling. Usually organic modeling techniques like Polygonal Modeling (a polygon is subdivided to get the desired shape), NURBS modeling (curves are arranged to create a surface flowing through them), Subdivisional Modeling (A hybrid blend between polygonal modeling and NURBS modeling) are used. In these modeling techniques, the 3D modeling artist will sculpt out the characters shape in 3D using a set of tools provided by the 3D modeling software, by following any of the above mentioned approaches.

The 3D Model obtained finally will be in an editable form and the model will be dependent on the approach used. For example a NURBS technique will yield a 3D Model in the NURBS representation (curves and surfaces). Once the modeling is complete, the artist converts it into the basic polygonal mesh (vertices alone). The polygonal mesh is nothing but a huge number of polygons that are arranged so as it forms the whole character. This conversion to polygonal mesh offers many advantages like faster rendering speed, and multi-software compatibility.

· Scene building: In addition to the characters the animation will have an environment and related objects. The 3D modeling software provides methods to simulate the environment, model the world , sun etc. For example in the 3d modeling and animation software called Maya, the artist have a huge library of Paint effects that contains Trees, leaves etc from which he can drag and drop into a scene and customize it in accordance to needs.

· Texturing: During this stage, all the objects in the scene are given suitable textures using the 3D animation tools specific facilities. Some tools provide only facilities for mapping an image texture on to the 3d model, whereas advanced tools even let you paint on the 3d meshs texture surface.

· Lighting and Camera setup:

This process is much like that in a real world movie making. The 3D animation software provides different types of lights which you can place in the scene in any direction you want. You can adjust the intensity, cone angle or even the shadow cast by the individual lights. Camera also is the replica of the real camera we use for shooting. We can place multiple cameras in a scene; adjust its focal length, aperture size and almost every parameter that you can find in a real camera.

· Animation: Once the static elements have been set, the 3D artist applies motion to them. This process, called animation is performed by setting keyframes. In order to animate a ball falling, the animator would set the first key frame at say 0th second with the balls position at the initial top position. He would set the next key at say 5th second with the balls position touching the ground. The 3D animation software interpolates the balls falling action between the 0th and 5th seconds. The animator can customize the interpolation behavior using graphs or by setting intermediate keys.

In Character animation, similar principles are applied. The skeleton will be animated by the animator and the 3d mesh skinned to the skeleton gets animated automatically. Character animation is often aided by plug-in tools (e.g.: biped) that has been created specifically for creating character animation sequences like walking or running cycles. The various scene elements, cameras and lights are animated using basic key-frame animation, based on the story board requirements.

· Rendering:

Once the scenes are animated, it will undergo a process called rendering, in which the 3d representation is converted to a video format, which can be read and edited using professional video editing software.

· Editing and mixing:

The rendered scenes are imported into video editing software and edited. In the case of movies where the human characters need to interact with an animated character, proper mixing is done at this stage, though the 3D scene creation would have been done with that aim in mind, using techniques like motion tracking.

The advantages of 3D animation:

You might have wondered why we should go after the 3D animation, when the whole process itself takes a number of stages and appears to be very complex. Apart from the complexities involved, it does offer a lot of advantages. Once the modeling process is completed, the 3D software allows very flexible control over the scene and animation. You can rotate the model in any angle you want (unlike 2D). 3D animation software also gives a rich collection of tools that aid the process of modeling and animation. You can choose from a wide variety of modeling techniques based on your requirement. Lighting and camera setup is the exact replica of a real world movie shooting environment. Apart from all these, the ultra realism offered by the 3D rendered scenes makes 3D graphics the best solution for the emerging animation industry.

Dog Watch Television animation

There seems to be many preconceived notions about forensic animations and their overall use in litigation. Many times, lawyers or accident reconstructionists will say that "An animation can show whatever the animator wants" or "Animations are difficult to admit in a court of law". However, to a forensic animator, this is also like saying, that your accountant can "fix your books". In reality, it is far from the truth.
Misconception #1 - "An animation can show whatever the animator wants"
Perhaps it is the fact that so much of what we see on television and in films is altered with lifelike special effects that we tend to associate anything with 3D visualization with more than a hint of skepticism. Ironically, much of the same software used to animate films such as "Spiderman" or "Lord of the rings" is also less known to be used in scientific visualization, research and forensic animations. People may associate the fact that an experienced special effects animator is capable of creating surreal, yet realistic looking effects. Therefore, it must not be accurate.
The greatest difference between a forensic animation and just any other type of animation is the "forensic" part. This implies that there is a large effort in understanding the details of what is being animated and that there is a large emphasis ensuring a high level of accuracy. An animator can spend more than 70% of his time on activities related to the verification of data and ensuring accuracy in the animation.
An experienced and qualified forensic animator would tell you that a large effort goes into building and checking each step of the animation process to the correct and accurate dimensions. In fact, very little is left to the imagination since most recreations are based on accurate data typically provided by the expert witness. A simple example is the terrain data of a particular scene. This can be obtained by means of a total station along with the positions of important features such as signs, traffic lights, debris or tire marks on the roadway.
Even the animation and motion of objects in a 3D recreation is typically based on information or data provided by the expert witness. This data is often obtained through careful calculations or through the use of simulation software. In the case of simulation software, the data can be directly converted or imported directly into the 3D animation software, leaving little room for error.
There may be cases where the forensic animator is provided with less than ideal information, however, even in these rare instances, an experienced forensic animator will have enough knowledge to ensure that the basic rules of geometry and physics (i.e. motion) are applied and adhered to.
Misconception #2 - "Animations are difficult to admit in a court of law"
Somewhere along the way, there have been animations which were so poorly constructed or erroneous they simply could not have been allowed in court. It would seem that these cases tend to stick in the minds of litigators and cause reluctance for future use of what is a perfectly acceptable and effective use of technology.
Normally, it is an inexperienced animator or lawyer which does not follow some of the basic rules of demonstrative evidence.
Some key points to consider when considering a forensic animation are:
1. The animation needs to support the testimony of the expert witness and should be considered an extension of the witness' report. The expert witness should be directly involved in authenticating and reviewing the animation.
2. Disclose the animation well in advance of the trial date. Evidence needs to be disclosed in a timely manner and the opponent requires time to cross examine the evidence.
3. The animation fairly and accurately conveys the data or matter that it purports to convey or depict. The animation should not be prejudicial in that it outweighs the probative value.
4. The animation should be relevant.
5. The forensic animator should be prepared to testify that the works created are based on sound technology, process and algorithms such that the final works are a reflection of the expert witness' opinion.
There are, of course, many other factors to consider which may be case dependant. Further materials and references are available for review including a paper entitled "The Admissibility of Demonstrative Evidence in Jury Trials:" Written by Barbara Legate of Legate and Associates and available at the AI2 forums (www.ai2-3d.com/Forums).
Today, most forensic animations are admitted into court since there are greater considerations and groundwork taken into account to ensure the accuracy, validity and quality of the animations. By choosing an experienced forensic animator and by adhering to the rules of demonstrative evidence, the risks associated with inadmissibility are greatly reduced.
Misconception #3 - "Animation and Simulation are the same thing"
There are two distinct ways to develop an animation and although the end result may try to achieve the same thing, they are fundamentally different in the means by which they are created.
A simulation is typically the output of a program which is operated by a qualified accident reconstructionist. The program has a set of key behaviours (i.e. mathematical equations) which define the movement of objects when given a set of known parameters. It is up to the accident reconstructionist to define all the input variables and ensure they are accurate. Once this is complete, the program is initiated to calculate all the positions of objects through some specific time.
The simulation software may also output the motion of objects in the form of exportable tabularized data and/or animation. However, most manufacturers of simulation based software programs have not been able to achieve the same level of realism as most animators are able to do with 3D visualization software. There may be a number of reasons to this which deal with further complicating already complex software or that perhaps the time spent on development is in the mathematics behind the simulation software and not primarily in the visualization or presentation of the data.
Another important issue which is common with simulation software is the validity of the data available. The old saying "garbage in, garbage out" is applicable. Since a simulation would typically be used as substantive evidence, it can get difficult to prove something is accurate without having solid data to back the animation up.
Animation
Demonstrative Evidence - illustrates how something works or how something happened based on the testimony of the expert or eye witness. The animator, not the software is responsible for accurately moving and positioning objects over time.
Does not try to prove anything, but just facilitates the account or testimony of a witness.
Simulation
Substantive Evidence - Takes actual dynamics and physics into account. The objects are not animated by "hand", but by software based on calculated inputs or data.
Tries to prove that something may have occurred a certain way.
Visually, an animation is more eye catching and realistic.
Simulations are improving in their presentation, but are still lacking realism.
On the other hand, an animation may be based on an eye witness testimony, calculations of the accident reconstructionist or from data output by a simulation package. All the events of an animation in a typical 3D visualization package are calculated and setup by the animator. Animations are almost always disclosed as demonstrative evidence and they do not try to "prove" anything. They are merely another form of expressing the opinion of the expert witness and are always presented as demonstrative evidence.
Misconception #4 - "We need it yesterday".
There have been many advances in the technology that forensic animators use which has improved the speed and efficiency of their work. Computer processing speeds have grown exponentially and the advances in software have allowed animators to do things which were simply not possible several years ago. There are even tools provided to animators which allow them to write custom scripts for repetitive tasks and specialized functions.
These advances in speed and ability would make one think that the time to complete an animation should also have been greatly reduced; however, this is not the case.
Part of this reason is simply the nature of the animation process. Much work needs to go into the understanding of the case, reading reports, taking measurements and verifying accuracy. This part alone can take a large part of the man-hours to create the animation.
Also, creating the 3D models ("scene assets") necessary to populate the animation is still a time consuming process. There are some advantages when a "library" of standard models is used (i.e. stop signs, light poles, traffic signs), however since each case is different and the specific details need to be reflected in the animation (such as the scene topography or specific damage to the vehicle), time must be spent to customize or create models from scratch.
Technology has effectively brought many more options to the realm of visualization which means that more work is being done in a similar amount of time. If one were to compare the time to produce an animation which was done 15 years ago to the same animation done today, there would be a noticeable decrease in the time to complete. However, the overall quality of presentation would certainly not be as appealing to the eye.
Due to media such as television and film and video games, people have become accustomed to a higher level of realism. The same animation which was used 15 years ago in a court of law, may not be as appealing or credible to an audience today.
It is important to leave as much time as possible to get a high quality animation and to allow time for the opponents to cross examine the animation. On average, a typical animation from a reputable forensic animator requires anywhere from a few weeks to months to complete depending on the availability of information, number of scenarios/views requested, level of realism and complexity of the animation. Unfortunately, there are still no "magic buttons" to do the manual work of a forensic animator.
Misconception #5 - "It's much too expensive"
Perhaps the most important piece of advice is to use a reputable and experienced forensic animator. There are some animation houses which specialize in advertizing or graphics which like to take on forensic work, but without a qualified and experienced forensic animator, there is a higher risk that the entire animation may be inadmissible.
A qualified forensic animator will bring to light all the options available, provide sound advice and set clear objectives up front. Setting clear objectives is possibly one of the most overlooked points. Without knowing the expectations, the goals of the animation are often missed or not well communicated resulting in last minute changes and edits which further increase the cost.
It is important the lawyers and accident reconstructionists understand the animation process and where the amount of man-hours are typically invested. Most forensic animators estimate or charge based on an hourly rate; however there are some which still prefer to quote by the case/project.
The general rule of thumb is that as the level of realism, complexity, number of scenarios and camera views increases, then so does the cost. This is why it is important to understand what is being requested of an animator. For example, changing a camera view slightly has a smaller impact on cost than does adding different animation scenarios with objects in different locations.
By taking a second look at forensic animations and their misconceptions, it is clear that there needs to be some understanding of the animating process by the client. Having an up front and open discussion about the objectives of the animation are imperative to having a positive impact on the case.
Drawing on the experience of a professional forensic animator who can explain the options available to a client and can discuss their associated costs removes the risk of falling short of the goals and ensures animations will be admissible in court.

Eugene Liscio is the owner of AI2- 3D Animations which specializes in forensic animations for litigation support. AI2 actively promotes the use of Forensic Animations, 3D Virtual Models, photogrammetry and other visual strategies for the courtroom. Eugene is a registered engineer in the province of Ontario, Canada.

Funny Child Animation

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What Characters Will Benefit From The DC Reboot The Most?

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With the DC comic revamp just around the corner, I've decided to look at what characters might benefit mostly from the shake-up. With a huge 52 titles set to be released in September, DC is showing that they are serious about their characters, and I for one can't wait. 

Cartoon Character Licensing - Hi Winnie the Pooh!

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How can the loveable character of Winnie the Pooh be at the heart of a Cartoon Character Licensing battle that has raged for the last 65 years? It's true though. The loveable 'all stuffed with fluff' bear has been winning over the hearts of children and adults alike since A.A. Milne first introduced him in "The House at Pooh Corner" in 1928, and the legal dispute over merchandising ownership has lasted almost as long as Pooh has been roaming the hundred acre wood.

Football Animation

Jobs in Animation - How to Select a Perfect Industry?

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For individuals looking to start their career with jobs in animation it is important to understand that there are several different industries available in the market. Animation is used in films, websites, cartoons, video games, architecture, automobiles and in many more industry. As an applicant or candidate you'll probably want to explore all these areas to find out which of these appeals you and suits you the best. 

The Best Way To Find A Visual Effect Company To Work With

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About three years ago, when I was first considering joining the exciting world of 3D animation and design, I found myself overwhelmed by the possibilities and various types of advice that were available to me. As I listened to those who would be my colleagues, whether they were veterans of the industry, or were new, eager, presences on the scene, I felt dizzy by the array of opinions about what would make a superior visual effect company truly stand out from the pack. Now that I've been in the industry for a few years, I feel like I've come to... 

My Favorite 3D Animation Company: Pixar

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This article is about one of the most inspiring movies I have ever seen created in 3D. This is really the film that inspired me to become and animator. Read below to see why. 

Making Cartoons - From Concept to Creation

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When developing a 3D Animation, the most important first step is to come up with a story. Whether the final product is something as large-scale as Toy Story, or as simple as a blinking light animation, there must always be a purpose behind it. 

Modern American Animation

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This article describes the history of animation in the United States of America since the late 80's until the early twenty-first century. This period is often called the renaissance of American animation, during which many large American entertainment companies reform and reinvigorate its animation department after the decline suffered in the 60, 70 and 80. From 1988 to the present Disney's return In the mid 80's, the American animation industry fell into disgrace...

Car Animation

3D Animation Studios Add a Whole New Dimension to Art

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At this day in age, computer-generated graphics have nearly gotten to a point where they are indistinguishable from real life. It isn't uncommon for a major motion picture studio to integrate 3D animated characters or effects over their live-action footage, to either enhance what is already in the scene, or to create an all new, fantastic landscape in which to work. With the rising desire for these 3D animated graphics, it isn't surprising that the amount of studios to choose from has increased exponentially over the past few decades.

Flash Design Just Got a Whole Lot Easier With Adobe Flash Professional CS5.5

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Flash design is an essential part of any interactive content production. Adobe CS5.5 has not only made the process easier, it has also opened it up to those who want to learn Flash. 

Top Ten Anime Convention Rules

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Ten rules to live by in order to make your next, or first, anime convention fun and enjoyable. Easy suggestions that you won't regret reading and doing. 

Disney Classics Coming to 3D

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The Lion King re-release hits UK cinemas on October 7th after a well-received box office in the US grossing over $600 million, making it the highest grossing September for any film to date. What made this re-release such a huge success, even after 17 years since it first hit the big screen? 

The History of Computer Animation

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Computer animation goes way back in time before the first computer animation software was developed. 3D animation was already in full swing. Disney was leading the way in technology and marketing. This article goes into a bit of 3D animated history.

Goat Attack On Girl Animation

Five Things That Impact The Value Of Animation Art

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What makes one piece of animation art sell for $5.00 and another one for thousands of dollars? Here a five things to consider when valuing or purchasing animation art.

What You Need to Know About Animation - Animation Software for Beginners

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Would you like to get into the business of animation? Are you absolutely new to the animation world? Have you been reading a lot about animation software for beginners, but find yourself lost among the many choices you have? Read on and we will try to make things a little easier for you. 

Reasons to Outsource 3D Animation

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These days, it is common knowledge that we live and work in a world and an economy that is global and diverse. At the same time, when it comes to our own little world of 3D animation, some in the field would prefer to keep their business close to home.

What To Look For In A 3D Animation Service Provider

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Are you presently attempting to up the general sales within your venture, but feel like you may be in a standstill in relation to what you can move from out of your warehouses making use of your present techniques? Most especially if you happen to be acting for a great company which may be just along the verge of building it to the 2nd measure of sales capability, and have the desire to allow sales that extra bit, you might be eager to use every distributed media avenue to make sure you really push your message on the market.

Heart Animation

Otaku Culture: What Is an Otaku and What Do They Do?

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Have you ever wondered what an otaku is? Or possibly what a little bit of their history is? Well, it's covered right here. Find out what an otaku is and what they do. Discover the differences between using the term in it's native country Japan versus using it outside of the country in places such as America.

The Disney Revival

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There's a few whispers among Disney fans that a second renaissance is on its way. What was seen in the 1980's with the rise in popularity for their animated films, after a troubled period for the studio, can be seen happening again today. Many Disney fans have dubbed this period the Disney Revival.

The Top 5 Disney Villains

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Throughout the history of fairy-tale storytelling, every hero and heroine has had an antagonist, nemesis or arch-rival. A strong willed and good natured character that saves the day has to have an opponent which embodies all the negative traits that divide them. 

Computer Animation Courses

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Having the best training in any field of study is very important if you want to be a force to reckoned with in that particular field. Learning during the years has taken different forms which keeps on changing day in and out; also, learning never ends so long as we live which is why acquiring the best of knowledge in what you love to do is very important. Today, one of the world's largest and fast growing industries is the entertainment industry and computer animations is a key factor when it comes to entertainment industries all over the world therefore leading to the increase of individual interest in studying computer animation course.

Mr Bean Animation

3D Modeling - Start Your Epic Creation

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It may seem scary and complex at first, but to let you in on a little secret you are already a 3D model master! Everyone has created a 3D model before, most likely as a youngster; remember Play-Dough, Model Magic? You were an expert 3D modeler at the age of five and didn't even know it! 

3D Character Animation - Bringing Motion and Emotion to the Arts

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When an animator is asked what drives the passion in their work the most, the answer is always 'bringing the characters to life'. What other medium allows the artist to not only design and flesh out their own creations, but have them move and interact with a world of their own? 

What Is Anime Based On?

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Anime is most commonly based off of a manga, which is basically the Japanese word for comics. That's not all though, anime is also very commonly based on video games, and some even have entire franchises of video games based on the anime. Of course, some anime are even original creations, these however require far more work than simply taking comic strips and animating them together (not a proper explanation of the manga to anime transformation but the gist of it). Original creations require, at least in my opinion, a truly visionary person to create them.

Small Builder Animation

Review for Nodame Cantabile - A Romantic Love Story

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 Nodame Cantabile is originally a series of Japanese manga drawn by Tomoko Ninomiya. The manga was later turned into an anime and Japanese Drama. While the manga provides a quick story, the anime and Japanese Drama allows the audience to enjoy fully the classical music that is being played. 

The Real World Brought to Life in Character Animation-3D Rigging

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The animators are so intricate in each step of 3D character design. Each animator is an expert in his or her own field of design. This expertise includes but is not limited to modeling, texturing, and rigging.

Mouth Animation

How to Get Rich as a Cartoon Animator

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My students at Cal Arts would occasionally ask how one gets rich as an animator. To get rich in the field of Animation one must own a character that becomes a "star". 

3D Animation - Make Better Designs for Your Dime 

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Transitioning into the world of 3D animation has been an exciting adventure for many studios across the world. The chance to gain inspiration from a whole new perspective is largely a great gift, but has proven to be slightly problematic for more classic companies. Disney itself came into a minor crisis, due to the fact that Mickey was always drawn with both circular ears visible at all angles, to keep his trademark silhouette.