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Chapter FIVE. 3D WIREFRAME DECONSTRUCTION > thoughts BEHIND THE DESIGN

thoughts BEHIND THE DESIGN

Working 3D imagery into Flash can be a challenge. Traditional 3D art is usually heavy and requires a ton of information to redraw—bad for file size and tough on CPUs. hillmancurtis.com art director Ian Kovalik has come up with a great solution that, believe it or not, is also super easy for the novice. I'm not a huge 3D guy; in fact, until Ian showed me his technique, I really never utilized 3D. Now it's another valuable tool I can call on to design with. That said, I will turn this chapter over to our gifted art director, Ian Kovalik…

In our experience, adding a 3D element to a Flash movie can be entirely rewarding or it can end up wasting a lot of time. Like any production process, it's good to consider whether it's worth devoting time to. Playing my own devil's advocate, I might dare ask, "Why use 3D?" One could presumably accomplish any goal in Flash without ever 88needing to think in more than two dimensions. Indeed, this book is full of great examples that don't use 3D. So why use it? The answer falls back on our favorite theme of communication: Everything we put into a movie should communicate something—a brand, an idea, or an emotion. And so it goes with 3D.


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