This page contains a Flash digital edition of a book.
CASTING INNOVATIONS


having visually interesting materi- als may seem like a minor issue for something as crucial as safety, it is extremely important the materials hold viewers’ attention so they retain the instruction. Unfortunately the vague potential for a dangerous situations on its own is not always enough to keep people focused. Neenah Foundry had recognized that taking advantage of the capa- bilities of modern graphics software could greatly enhance their materi- als. The examples from the con- struction industry reinforced this belief. The first video for Neenah was designed to instruct visitors on how to safely proceed through the plant. The primary goal in rework- ing the training materials was to keep all of the existing information but use modern graphics software to enhance it. This would be ac- complished by reinforcing the visual information with motion and audio to both help clarify the informa- tion and make it more engaging and memorable. A secondary objective was to create videos targeted to the correct audience, but in a way that would allow Neenah to poten- tially reuse the clips Turis created for videos targeted toward other audiences. The tools that would be used to accomplish all of this would be 3D Studio Max to model and animate each scenario and then the clips would be edited together in After Effects along with text and voiceover recordings. While much of this could be ac-


complished by shooting a video, 3-D animation has a number of advan- tages over shooting video. 3-D animation provides a distinct


advantage over paper and video in providing cost efficient, flexible and engaging training materials. The process began with reviewing


the “Safety Alerts” that would need to be covered in the video. Then there was a discussion between Turis and Neenah about how to target each of the “Safety Alerts” to the intended audience and the order in which they should be presented. Following that conversation a script


was put together including both the text that would appear online, as well as the voiceover and a descrip- tion of the action that would be happening in the shot. Upon the approval of the script,


Turis modeled the necessary ele- ments in 3ds Max and put together a storyboard, which included still images of the action that would be happening on screen along with the text for the captions and voiceover. Once that was approved Turis started animating. The final product was a two- and-a-half-minute animation that visitors could quickly watch before entering the plant. All of the infor- mation from the original documen- tation was covered, but the visual interest and clarity of information


was greatly enhanced by show- ing the scenario in question in an animated sequence. In addition, the animation was able to show scenar- ios in which the animated character did not follow proper procedure and the dangers that could potentially ensue. While Turis avoided mak- ing these scenarios graphic, they are a bit startling, which helps to keep viewers’ attention, thereby making the video more memorable. While the text was mostly


unchanged, Turis and Neenah were able to use less text due to the clar- ity of the animated visuals. This was all enhanced even further by the voiceover Turis recorded and edited into the video to reinforce the text and help ensure viewer engagement and retention.


The videos are brief and easy to watch for anybody on the plant floor. October 2016 MODERN CASTING | 45


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60