#productionreport

[endrusmithreal]

Comprehensive Analysis of Propylene Glycol Production: Manufacturing Insights, Raw Material Requirements, and Cost Evaluation

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Procurement Resource’s detailed report describes the stepwise consumption of material and utilities along with a detailed process flow diagram. Furthermore, the study assesses the latest developments within the industry that might influence Propylene Glycol production cost, looking into capacity expansions, plant turnarounds, mergers, acquisitions, and investments.

Procurement Resource Assessment of Propylene Glycol Production Process:

1. Propylene Glycol Production Cost Via Direct Hydrolysis: This report presents the detailed production methodology and cost analysis of propylene glycol industrial production across propylene glycol manufacturing plants. In this process, propylene oxide undergoes direct hydrolysis with water to produce propylene glycol.

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2. Propylene Glycol Production Cost Via Chlorohydrin process: This report provides the thorough economics of propylene glycol industrial production across propylene glycol manufacturing plants. In this process, propylene monomer reacts with hypochlorous acid, resulting in propylene chlorohydrin. Subsequently, the propylene chlorohydrin reacts with sodium hydroxide to produce propylene glycol.

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3. Propylene Glycol Production Cost Via Peroxidation: This report presents the extensive cost requirement of propylene glycol industrial production across propylene glycol manufacturing plants. In this process, hydrogen peroxide and propylene monomer undergo a reaction to produce propylene oxide. Subsequently, the resulting propylene oxide is subjected to a hydration process to form propylene glycol.

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Product Definition:

Propylene Glycol (PG) is a synthetic, odorless, and colorless organic compound with the chemical formula C3H8O2. It is a viscous liquid that belongs to the family of diols, also known as glycols. Propylene Glycol is produced through the hydration of propylene oxide, a petrochemical derivative. It finds widespread use across various industries due to its versatile properties. In the food and pharmaceutical sectors, PG serves as a safe and effective additive, functioning as a humectant, solvent, and preservative. It is also commonly utilized in cosmetics and personal care products to improve texture and stability. Moreover, Propylene Glycol has a lower freezing point than water, making it a valuable ingredient in antifreeze solutions and de-icing products. Additionally, its ability to absorb and retain moisture makes it a preferred component in air humidifiers and e-cigarette liquids. However, due to its potential health risks when ingested in large quantities, PG must be used responsibly and within established safety guidelines.

Market Drivers:

The market drivers for Propylene Glycol (PG) are primarily influenced by its versatile applications across diverse industries. One of the key drivers is the growing demand in the food and pharmaceutical sectors, where PG serves as a safe and effective additive, contributing to increased consumption. In the cosmetics and personal care industry, PG's role as a humectant and stabilizer fuels its market growth. The automotive sector also drives demand, as PG's antifreeze properties make it a crucial component in coolants and de-icing products. Moreover, the expanding e-cigarette market has led to a surge in PG usage in e-liquids due to its ability to create vapor and enhance flavors. Additionally, PG's presence in air humidifiers, solvent formulations, and industrial applications further boosts its market demand. As sustainability and environmental concerns grow, PG's eco-friendly nature acts as an additional driver, attracting eco-conscious industries seeking greener alternatives. These factors collectively contribute to the steady expansion of the Propylene Glycol market.

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#PropyleneGlycolProduction #PropyleneGlycolProductionCost #PropyleneGlycol #Propylene Glycol ProductionReport

[laikaanimationtamara]

BAW2.3 Individual Progress Report

Since the BAW2.2 Report, I have been focusing on the creation of 3D Assets and Camera Shot Design in the Previsualization stage which I also wrote about as a development tool in my BAR13.2 Revised Lit Review. This is for my Worldbuilding and Visual Effects Major.

I continued work on the Internal Frame Model until it was finished for this stage, I will return to it during Production and add the final detailing and shaping. I have fixed components I thought looked awful and awkward, added more detailing and shaping to pieces of the framing, and connected parts so they would be more distinct functional components. I then gave it to Scarlett with the scaled Laika model included so she could place it in her scene and continue building the exterior rocket shell with it in place.

My BAW01.1 Essay was focused on camera angles which is at the core of the Camera Shot Design I’ve been working on. Test 1 was of a Veronika storyboard panel with Laika looking at sparrows flying past the capsule. I created three model variants, set up four different lighting styles, took the render that focused on Edge Lighting which fit the Noir/Hitchcock style we want and did a lighting focused Photoshop paint-over, taking cues from my BAW01.2 essay research. I then did a complete paint-over in Photoshop with oil paint brushes which I think was really successful.

Test 2 was of a Mark storyboard panel with the launch countdown timer. I followed a digital clock in Maya tutorial but made my own “font” for it in Illustrator so it belonged to me and was tweaked to my liking. It allowed for manually changing each number in the countdown in case we wanted more than what Mark storyboarded. I tried to bake the textures and then Alembic cache the models based on tutorials Rachel provided after the first render took 8 hours but that didn’t work and broke the attribute rig on the numbers making it so it just showed the 8 and nothing else. I did manage to decrease the render settings to make it take less time for the second render I did however, after offering the timer images to Veronika to use for the second animatic. 

Test 3 is of a Levi storyboard panel with Laika and other dogs running through a street, this is what I’m currently working on. Recreating this shot has included researching lampposts, modelling an American/Australian style lamppost before finding Russian ones and remodelling it so it would be as accurate as possible. My main focus for this shot is a lighting test, creating the Noir lighting entirely in Maya as opposed to Test 1 where I painted over it. I have done a small rigging test on my Laika model based on a tutorial as well but will be trying a different, better one very soon so I can properly pose the dog models in the scene. Creating the extra dog models is another thing I will be focusing on in the upcoming week or so, taking in the feedback Rachel gave me on the Laika model to try and make them as good as I can and we planned to base them on our real dogs. I tried using particle effects to add a 3D galaxy to the background as I haven’t really gotten to play around with VFX like Scarlett and Holly have but was unable to see it in the renderer so I will try and bring this into my next Test shot with Rachel’s sublime help where I think it’ll really add depth. For this shot though, I do want to add fog clouds of some description to help the road fade into the background which will allow me to play with creating VFX.

With all three of these tests I’ve done so far I’ve clarified and checked details with the person who drew the original panel to try and make sure I was bringing through what they’d originally envisioned. Additionally, I also gave Levi a UV Map of my Laika model for them to start doing texturing tests which I applied back onto the model for them to check against. Making the UV Map was good practice for later on, I will come back to this soon so a texture can be applied to it for the 3D Animatic.

I will be continuing to research, create assets and recreate shots for the 3D Animatic due at the start of June and investigate Real-Time Rendering, particularly with the Unreal game engine so we can begin testing that as well. Hopefully, the work I’ve been doing will give the group a head start on assembling the 3D Animatic.

#research #preproduction #productionreport

[sarageralds]

That moment when you think- Oh Shoot, did I note what time our shot was after lunch?! Ah, yes. Yes I did. Word.

#scripty #scriptsupervisor #filmmaking #moviemaking #productionreport

[laikaanimationtamara]

Group Progress and Projection Plan BAC/W02.3

The following is a Group Progress and Projection Plan for the Laika Animation group composed of Holly, Levi, Mark, Scarlett, Tamara & Veronika.

Continuing from the last presentation, the next major focus for the group as a whole was creating a 2D Animatic and creating 3D Previs assets. The Level 4 Lockdown, delay in equipment reaching team members and two heavy essays due on the same day as the 2D Animatic, pushed back the schedule somewhat. The next focus is on fully completing the Previs phase to move into Production for June 5th, with all assets and textures ready for Rigging and Animation from June 25th. From there we plan to go full steam ahead with at least three weeks set aside for the Rendering process.

We recently finished the 2D run of Animatics, which even though delayed in completion, has given the group a chance to see the whole sequence with the first run of sound design.   

The focus for the Story and Character majors at this stage of production was the animatic -- that is, deciding on the final flow, sound, and look of the animation. Between the three majors, we have created five animatics in this timeframe, with a couple of unfortunate delays, one due to Veronika having to redo her entire section of storyboard in a higher resolution; this, in turn, has delayed the finalising of Laika’s design (including her harness), which will now be the focus of the character and story team alongside the Pitch Bible, the beginning of modelling Laika and texturing.

With the delays, the Character and Story team had more time to invest in sound design. Levi looked particularly into ways to really help an audience emote using sound, as well as finding sound effects that could be used in the animatic. Meanwhile, Veronika researched rare instruments with sound that the group could look into using to create the desired atmosphere. The goal was to find music and sounds that could then be applied to the animatic tests. The animatics have allowed us to make final calls about the style, length, instrumentals and customisation necessary for us to begin the process of commissioning music.

While the 2D animatic scan will, therefore, be passed along to the potential composers as part of sound design, it will also be further developed through a rough 3D animatic, tweaking and adjusting until we reach the desired theme and tone. Once completed that will provide us with a solid idea of what the final product will look like and can be integrated with the work done by the Worldbuilding and VFX team.

As a Worldbuilding and VFX team, we want to research the workflow between Maya and Houdini, finding the most efficient ways to reduce render time during Production (such as caching, using a realtime renderer, baking lights, etc.) and create assets and VFX that look polished. As the backgrounds are mostly space scenes involving a significant amount of detail, we have tested many methods for animating our backgrounds such as particle effects in Maya and Houdini, animating layered planes and projection mapping. Our group is modelling primarily in Maya and has found it easier to understand and be consistent with. We are still overcoming program problems but as a group, we are working together to troubleshoot and fix problems.

As we head into June, our group focus will be on completing Previs while we continue to develop and test the Pipeline, our 3D Assets, the Animatic and Sound Design. Through this, we aim to give ourselves a solid idea of what the Final Animation will look like, as well as a headstart before full Production in Term Two.

#research #preproduction #productionreport

[laikaanimationtamara]

BAW2.2 Individual Production Plan

Within the Laika Animation Group, I am focusing on the creation of 3D assets for the animation. This is for my Worldbuilding and Visual Effects Major. 

Holly made the preliminary pipeline schedule on our HacknPlan and then I created four in-depth boards outlining the schedule for the four main phases/stages of the process. I split them into Pre-Production, Pre-Vis, Production and Post-Production. This matches the physical schedule I made in the classroom on a board using Post-It Notes that currently can’t be updated until the campus reopens. I have updated the HacknPlan version with the new pipeline dates and will be able to move items around on the physical board when I can access it again. I will continue the upkeep of the production schedule for the entirety of the project so everyone can see which tasks they’re assigned to and when they should be done by.

So far I have created a placeholder Laika dog model based on tutorials I watched, and am nearly done with the placeholder capsule model. These models will then be used for my own texturing (and early lighting) tests, animation tests and camera shot design tests, as well as being available for the rest of the team to use. I will then be moving forward into 3D concepting backgrounds based on the storyboards/animatic. Following that, I will begin modelling the surrealism elements. This will continue to build up the Set Layout and provide us with that solid base for the Production stage. I will be learning how to create VFX using Houdini alongside the modelling developments as well. During the Production stage next trimester, I will be heavily involved with creating the final models and textures, UV mapping, additional rigging, key pose animation, lighting and rendering. I am also slated to be involved with nearly every aspect of Post Production and Marketing, including the Key Visuals and the final logo design which will be created for the end of this trimester. 

In my BAW01 Investigative Essay, I wrote about camera angles and what they can be used to convey. For my BAW01.2 Essay, I plan to write about perspective due to the forced perspective with Laika’s window and touch on Hitchcock's use of perspective with light and colour, and what they can combine to communicate. I plan to use one Hitchcock film and two other films/director styles that have strong examples of perspective and/or lighting and/or colour that we can study for inspiration, in my BAW01.3 Contexts Paper. For my BAR13.2 Essay, I plan to write about Pre-Visualisation and how my research into Low Poly modelling for games last year will be utilised this year, for film/animation previs. I want to add one example of previs for a game and one example of previs for a movie to compare and analyse how previs is similar to low poly modelling. The research into Pre-Visualisation, camera angles & shot design, lighting and colour will all come together in the Previs and Modelling stages of the pipeline to help our group bring forth our 2D storyboards and animatics into 3D, allowing me to test the models I make to understand their limits, and how best to go about actually making the ideas we have real. Our previs will be the foundation of the animation, so I really want to push for it being as developed as possible with as many concepts realised as we can get. At the end of the previs stage, alongside the fully 3D Animatic, I want to have an individual strong Environment Keyshot that will be a combination of the assets and visual research our group has done.

#research #preproduction #productionreport

[laikaanimationtamara]

Tamara Blackette - BAW03.1 Project Proposal

Group Proposal

Veronika - The Story, Purpose & Projected Outcome

Our project centres around the Soviet Space dog, Laika, and our artistic interpretation of what she might have experienced -- or how she might have seen her experience -- those hours while she was in space, in an environment she had never been before. We intend for this to be a stylised 3D animation with 2D elements of roughly 3-3:30 minutes in length, with a strong musical score and followable plot. We are aiming for a well-blended, impactful final product that will allow people to connect more emotionally with the history around them and perhaps challenge at least our own ideas of what animation, especially 3D animation, can look like.

Holly - Art Direction

Star Sailor-1 uses a mix of 2D and 3D assets to create a unique art style. Lighting, colour, and texture play an important role in the animation. High contrast lighting creates a powerful and serious mood and helps elements stand out when using painterly effects. We use painterly effects to create a dream-like feeling and communicate with the viewer whether Laika feels grounded in reality or not. Space Sailor-1 uses colour to show the change in Laika’s condition; when Laika goes into space the colours are cool blues, purples and greens, these colours slowly grow warmer to reflect the heating up of Laika’s capsule. Keeping styles consistent between all team members has been achieved by setting guidelines to follow. For example, with 2D paintovers, we all use the same brushes and keep constant communication with each other to make sure we’re on track.

Levi - Sound Design 

Within the piece, the team hope to have a strong sense of Sound Design that plays a major role with the narratives storytelling. To achieve this Team Laika have partnered with a composer to create an original composition that encompasses exactly what they want in terms of feel and flow. Working with a composer means budgeting in a commission fee. Neo Te Aika (composer) agreed to be paid $100, however as a group we have decided to pay him $150. This includes a tip and is to reflect the short notice. This piece will work in conjunction alongside other sound design elements E.g Russian radio segments to help convey the story in place of dialogue. 

Scarlett - Roles & Teamwork 

As a group, we are split into roles, with Veronika and Levi focusing on story and character and Scarlett, Tamara and Holly focusing on worldbuilding and VFX. Story and character team members have created a fleshed-out story, storyboards, animatics and other 2D, 3D elements. Worldbuilding and VFX team members have been creating 2D, 3D assets such as rocket models, building models and shadow dog models. We are also working on VFX within animation such as water, clouds and starscapes. Communication will ensure the team is working in a cohesive style throughout the animation. We are using programs such as Discord, HacknPlan and a shared Google Docs to communicate.

Tamara - Production Schedule & Pipeline

In terms of the Production Schedule and Pipeline, we are currently slated for the Final Cut of the animation to be completed on Friday 13th November. We will then have the 16th-20th of November to finish our Graduation Exhibition resources. All Assets and VFX are slated for completion on Friday 25th September to allow most of October for the remainder of Rendering and the 2D Paintovers. As scenes are assembled they will be rendered so as to not slow down progressing them forward into painting. The Compositing, Compiling, Final Sound Design and Editing are slated for October to be developed as we complete sections of the animation. During October we plan to design an Exhibition display for our Graduation 

Our Pipeline has changed several times throughout Pre-Production and Previsualisation as we have developed and tested the concepts. We have predominantly used Maya and Blender for the creation of the 3D Assets which will then be taken into the Adobe Suite and Procreate to create the stylisation outlined by the Art Direction. From there it will be compiled and edited together using predominantly After Effects and/or Premiere Pro. 

Individual Project Plan

For the second semester I will be modelling, animating and rendering any remaining assets and visual effects needed to complete the water wave sequence of our Star Sailor-1 animation using Maya by the end of September. The Water Wave sequence consists of four main sections: Laika looking through the capsule at the particle waves, her running alongside the waves, the waves crashing into her and then the wave rolling over the capsule with her looking at it. As I complete assets and sections, I will then be using the Adobe Creative Cloud Suite to digitally paint over the frames in 2D to achieve the desired Oil Paint texture effect. My personal goal during the Production of the animation is to continue improving my knowledge and skills in creating VFX and 3D assets. As a result of digitally painting over the frames in a 2D Oil Paint style I will also be able to grow my digital art skill alongside my 3D skills. 

In the 2D paintover I wish to retain the Noir lighting style I did research into last term and was trying to replicate in the 3D assets I was making. As a group, we decided early on during Pre-Production that we wished to have high contrast High Key lighting and so far in the Previsualisation stage I was using Maya & Arnold lights to start this in the 3D scenes. I will still add the lights to the scenes the way I want them and then manually further emphasize the lighting in the paintover by increasing the contrast between the lights and shadows. This way I can see what the lighting will generally look like and I can increase the intensity/effect without adding further lights. This mini-pipeline for the lighting was what I did in Term One when I painted over my render of the Sparrow sequence. So far I have the 3D elements and constructed scenes for all the sections except the waves crashing into Laika. I constructed those scenes during the Previsualisation stage using Scarlett’s Rocket Exterior with my Internal Frame and Veronika’s Animatic model. Currently, I am waiting on the final Laika model to do final VFX adjustments and camera placements for the first two sections and create the wave crash section. In the meantime, I have conducted a Brush Test as I am going to be using Photoshop where the rest of my team will be using mainly Procreate and I’ve begun painting the final section’s background as I created the full 3D scene and effect for it during Previs last term. I have been using another Photoshop layer in the Colour Burn/Multiply mode over the top to help me see where to place the base shades with higher contrast to enhance the shadows and highlights.

As a group, the deadline for creating scenes and assets has been set for the end of September to allow most of October for Rendering. Once scenes are rendered we will be painting. I would like to complete the four main painted backgrounds/static element pieces one per week each Saturday across August, leaving the wave crash for last to give Veronika more time to complete the Laika model without hindering my progress. This should leave me September for making the wave crash scene, rendering and painting the moving VFX that changes with the frames which will mainly consist of the particles in the waves. This way I hope to remain at a consistent pace and if I need to step in and paint Laika in any of my sections to assist Veronika’s workload, then this will allow for slight leeway or delays. From the end of September onwards, I will also be assisting with the final compositing and editing of the animation as we complete scenes. This will likely mostly consist of Colour Grading and Lighting assistance/touch-ups and any final adjustments. I have offered to help Levi in creating the final Exhibition presentation we hope to do and I wish to create a Trailer for the animation.

(https://docs.google.com/spreadsheets/d/1Vh2wZKjnzU1mzH-sq329uWStwmSnln7lcvxYt9NiETE/edit?usp=sharing)

Additionally towards my Worldbuilding and VFX Major, I will be writing my Investigative Project essay on “Advancements in Special Effects”. I’m planning to cover older and modern practical effects, digital effects and programs used to create them. Through this, I hope to educate the rest of the class through the Seminar on my learnings about how both Practical and Digital Effects have evolved through time and the best programs to use to achieve our specific stylisation for Star Sailor-1. I hope to apply any techniques and deeper program understanding that I learn from this additional research into my sequence as I create it.

#research #production #productionreport

[scoutfdc]

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via Twitter https://twitter.com/scoutfdc December 14, 2018 at 08:01AM

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