Found a great resource: Weta Workshop: Jane and the Dragon.
WETA
I've already gotten so much from their staging, props, backgrounds. In particular, I like the way they use plants and trees, either in the foreground or background to add depth or frame a shot. I like the way they handled the ground/grass/stone area and really like the ivy on the walls.
There's one shot that I need to change on my 3D animatic, I'm going to use an over the shoulder shot when Rosa first looks at the fakes. That would set up the POV shots a little better and orient the viewer.
I'm working on leaves and mushrooms at the moment. Small modeling work that keeps me in Maya while enjoying the winter break. I might rework Dee a little I sketched out a cuter version of her that's a bit more stylized. We'll see if it works.
Friday, December 22, 2006
Wednesday, December 20, 2006
Some random, end-of-semester comments.
I found 2 great inspirations while doing my Research Paper. One is Dumbo. I think I'll be stealing an awful lot from this film. Not only does it deal with scale in a seamless way (two characters of very different sizes) but a lot of the emotions are similar to the ones I want to capture, particularly from the Matriarch elephant - she has this building anger that I'd like Rosa to go through when Dee makes fun of her. Lots more, and I found a great resource for model sheets at Animation Archive.
http://animationarchive.net/Feature%20Films/Dumbo/Model%20Sheets/index.php
I think I'm going to spend time drawing my characters in these poses/expressions/gestures.
Drawing, when I get into it, really helps me understand the face muscles. I hope that will translate to my models and hopefully it won't mean a lot of changes. I tried to be careful of my edge loops - placing them where there will be movement. We shall see.
My other inspiration is Gini Cruz Santos, a Pixar animator that just struck a chord with me. I like her sense of hard work and sacrifice. Just refreshing from the "Dude, this ROCKS!!" or overly technical jargon I hear from other animators. Anyway, I loved her work without even knowing she was the one doing it (Dory and a good deal of the Incredibles), , so now it's great to put an animator behind a character and I can watch even more closely. She also is very candid about how much time goes into animation -- something I struggle with. I rush my work. There's a difference between working fast and rushing. I need to take my time, get more feedback and really get my scenes right.
Unfortunately, I found both these inspirations a little too late for me to expand on them in my paper, but I'll add them for my final-Final paper in May.
I loved working on my 3D animatic!!! It really takes it to the next level timing wise. I was very accurate on my Shot list for the first 35 seconds but the rest is a rough estimate. I'll update that as I go along.
I'm going to take one more stab at finalizing my charachters, they're still not as smooth as they should be (must check normals) and then I'll finish up rigging and blendshapes.
Ugh. End of the semester and so much to do!
I found 2 great inspirations while doing my Research Paper. One is Dumbo. I think I'll be stealing an awful lot from this film. Not only does it deal with scale in a seamless way (two characters of very different sizes) but a lot of the emotions are similar to the ones I want to capture, particularly from the Matriarch elephant - she has this building anger that I'd like Rosa to go through when Dee makes fun of her. Lots more, and I found a great resource for model sheets at Animation Archive.
http://animationarchive.net/Feature%20Films/Dumbo/Model%20Sheets/index.php
I think I'm going to spend time drawing my characters in these poses/expressions/gestures.
Drawing, when I get into it, really helps me understand the face muscles. I hope that will translate to my models and hopefully it won't mean a lot of changes. I tried to be careful of my edge loops - placing them where there will be movement. We shall see.
My other inspiration is Gini Cruz Santos, a Pixar animator that just struck a chord with me. I like her sense of hard work and sacrifice. Just refreshing from the "Dude, this ROCKS!!" or overly technical jargon I hear from other animators. Anyway, I loved her work without even knowing she was the one doing it (Dory and a good deal of the Incredibles), , so now it's great to put an animator behind a character and I can watch even more closely. She also is very candid about how much time goes into animation -- something I struggle with. I rush my work. There's a difference between working fast and rushing. I need to take my time, get more feedback and really get my scenes right.
Unfortunately, I found both these inspirations a little too late for me to expand on them in my paper, but I'll add them for my final-Final paper in May.
I loved working on my 3D animatic!!! It really takes it to the next level timing wise. I was very accurate on my Shot list for the first 35 seconds but the rest is a rough estimate. I'll update that as I go along.
I'm going to take one more stab at finalizing my charachters, they're still not as smooth as they should be (must check normals) and then I'll finish up rigging and blendshapes.
Ugh. End of the semester and so much to do!
Previs Final Deliverables
Research paper, includes my shot list.
http://64.17.142.111/downloads/webDebScottFinal_previs.pdf
Here's a 35 sec. clip of my 3D animatic that I hope to finish over the winter break.
http://64.17.142.111/downloads/short3D_animatic.mov
Here's my 2007 Production Schedule. Still a lot to do re: rigging.
http://64.17.142.111/downloads/Thesis_Production2007-2.pdf
Research paper, includes my shot list.
http://64.17.142.111/downloads/webDebScottFinal_previs.pdf
Here's a 35 sec. clip of my 3D animatic that I hope to finish over the winter break.
http://64.17.142.111/downloads/short3D_animatic.mov
Here's my 2007 Production Schedule. Still a lot to do re: rigging.
http://64.17.142.111/downloads/Thesis_Production2007-2.pdf
Sunday, December 10, 2006
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Meet the fakes.
Time for NURBS. These simple nurbs shapes were created by drawing a CV curve following the basic outline of the classic Don Featherstone plastic flamingos and extruding a circle along the path. Then I just scaled the CVs to fit the shape and added a cheesey pink Blinn. I'd like to add a little yellow and black to the beak, perhaps a little black for an eye. More painting.
The legs are poly cylinders and are parented to the bodies. The stiffness is great~ I have the pivots centered at the base and they fall over beautifully! I'm looking forward to knocking them over.
I think they're successfully "fake". They need to contrast with the 'real" flamingo character. I'm still not sure how this will playout because in some ways the fakes look more real than my character.
I think the story will still work.
I'm going to have some ivy spiral up a leg.
A very different modeling experience with Dee. The flamingo really paved the way with a lot of trial and error. I blocked out the rough pretty quickly, working with a smooth proxy and placed a rig in it much sooner than with Rosa. Just being more familiar with the tools has sped up production and I can recognize problem areas sooner.
I'd like to see more definition in the face, cheeks, eyes and see a little more curve in the body. The feet and legs are a too blocky, but the definition is OK.
One movement I can see using a lot is the "head down tail up" movement so typical in small birds. Head down will translate to "what are you doing?" and tilting back up will lead into the reaction.
I can see animating the legs in a lot of paired movement - hoping instead of walking. The legs are very straight here, but they will be quite bent when hopping around and barely visible when perched on a branch.
I foresee much painting of weights over the holiday break.
With this rough Dee, I'm going to work on a 3D animatic. Just block out the scene and camera angle/move. No character animation or rigging.
I have my shot list that I will type up and post later. This really got me thinking in a non-linear way, where I can concentrate on close-ups and facial expression during some sessions and the wider angle/action shots in another. For the C/U work, I'll render the characters and add the background in AfterEffects.
I'm a little concerned about textures for the characters, but I haven't put much time into that.
I'd like to see more definition in the face, cheeks, eyes and see a little more curve in the body. The feet and legs are a too blocky, but the definition is OK.
One movement I can see using a lot is the "head down tail up" movement so typical in small birds. Head down will translate to "what are you doing?" and tilting back up will lead into the reaction.
I can see animating the legs in a lot of paired movement - hoping instead of walking. The legs are very straight here, but they will be quite bent when hopping around and barely visible when perched on a branch.
I foresee much painting of weights over the holiday break.
With this rough Dee, I'm going to work on a 3D animatic. Just block out the scene and camera angle/move. No character animation or rigging.
I have my shot list that I will type up and post later. This really got me thinking in a non-linear way, where I can concentrate on close-ups and facial expression during some sessions and the wider angle/action shots in another. For the C/U work, I'll render the characters and add the background in AfterEffects.
I'm a little concerned about textures for the characters, but I haven't put much time into that.
Monday, November 20, 2006
A wing solution.
This is two-fold, I changed the tie-in to the body so that it resembles a regular arm giving it the freedom you'd have with a regular shoulder. Secondly, the feathers will drape over the back when in it's "folded" position adding some nice, natural detail. I need to work on the weights, joint position and maybe add more edge loops around the main joint, but otherwise, it works.
I plan to use the long feathers for some secondary animation.
My influence for the wings was the tail of the road runner and the BMW Angels, I also saw some nice wings in the eagle type birds in "Happy Feet". They really folded. Excellent work, Mine just fold back with a little bending.
This is a good stopping point for my break.
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This is two-fold, I changed the tie-in to the body so that it resembles a regular arm giving it the freedom you'd have with a regular shoulder. Secondly, the feathers will drape over the back when in it's "folded" position adding some nice, natural detail. I need to work on the weights, joint position and maybe add more edge loops around the main joint, but otherwise, it works.
I plan to use the long feathers for some secondary animation.
My influence for the wings was the tail of the road runner and the BMW Angels, I also saw some nice wings in the eagle type birds in "Happy Feet". They really folded. Excellent work, Mine just fold back with a little bending.
This is a good stopping point for my break.
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Kiwi.
http://youtube.com/watch?v=sdUUx5FdySs
I think we should discuss this in class next week.
Why is it so effective?
Why are so many people reacting to it?
Besides the sad beauty of the story, the short, happy life of a flightless bird, I appreciate the way the character was allowed to just do his thing. Nice. I'll make a point of getting out of my character's way.
http://youtube.com/watch?v=sdUUx5FdySs
I think we should discuss this in class next week.
Why is it so effective?
Why are so many people reacting to it?
Besides the sad beauty of the story, the short, happy life of a flightless bird, I appreciate the way the character was allowed to just do his thing. Nice. I'll make a point of getting out of my character's way.
Thursday, November 16, 2006
A Wish for Wings that Work.
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Let's just say I know how Opus feels.
My wings don't work. I put a simple rig in my model and the wings are all wrong. Some theories to improve the problem - the wings come out of the body too low, they need to be higher up toward the backbone. The bone structure calls for 3 nearly equal segments, I had the humerus too long making the fold all but impossible. I need to widen the area where the wing ties into the body to allow for a better rotation. Right now it's fine for up and down.
So, I guess there's only so much you can stylize. If you want something close to nature, you need to follow the rules. Back to the avian anatomy books.
But, on a positive note, I really liked the way my model worked with the rig. I was carefull to put enough segments where the joints are meant to go and I think it works pretty well without too much weight adjustment. Of course some adjustment is necessary.
On another positive note, I'm learning a lot about smooth proxy and modeling tools. I figured out the tolerences for merging vertices. Thank you, David. Life just got a lot easier.
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Let's just say I know how Opus feels.
My wings don't work. I put a simple rig in my model and the wings are all wrong. Some theories to improve the problem - the wings come out of the body too low, they need to be higher up toward the backbone. The bone structure calls for 3 nearly equal segments, I had the humerus too long making the fold all but impossible. I need to widen the area where the wing ties into the body to allow for a better rotation. Right now it's fine for up and down.
So, I guess there's only so much you can stylize. If you want something close to nature, you need to follow the rules. Back to the avian anatomy books.
But, on a positive note, I really liked the way my model worked with the rig. I was carefull to put enough segments where the joints are meant to go and I think it works pretty well without too much weight adjustment. Of course some adjustment is necessary.
On another positive note, I'm learning a lot about smooth proxy and modeling tools. I figured out the tolerences for merging vertices. Thank you, David. Life just got a lot easier.
Wednesday, November 15, 2006
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Jessen asked a good question yesterday. How much detail, or how little detail will the characters have. The answer is just enough to make it ineresting, but not a lot more then what's already there. I think color will add a lot. Some tail feathers, black flight feathers, the beak and legs. Maybe some lines to indicate feathers.
Dee will have a three color palette, black, white and a mushroomy light brown.
If I kept Rosa to two colors, I'd go for pink, yellow and black. I think making the legs yellow will work and will stand out against the greens and reds. Done!
the roadrunner is a great example, and I think I like him more than cartoons I've seen of flamingos. I didn't really like the way they were drawn in Fantasia 2000.
Sunday, November 12, 2006
Upcoming Schedule.
After this Tuesday's class, I'm taking a bit of a break. I have a wedding next weekend and the following Tuesday I'm off to Prague for the Thanksgiving weekend. I'll be back on the Sunday after T-Day. At first I thought this would put me behind, but I hope it recharges my batteries and I can end the semester with both characters completed as well as the set.
My goal for this week is to have a first draft of all the models.
I acted out and timed my story board and came out a little high. Still in the 2 minute range.
We'll see how it runs with the animatic using 3D models, cameras and play blasts.
After this Tuesday's class, I'm taking a bit of a break. I have a wedding next weekend and the following Tuesday I'm off to Prague for the Thanksgiving weekend. I'll be back on the Sunday after T-Day. At first I thought this would put me behind, but I hope it recharges my batteries and I can end the semester with both characters completed as well as the set.
My goal for this week is to have a first draft of all the models.
I acted out and timed my story board and came out a little high. Still in the 2 minute range.
We'll see how it runs with the animatic using 3D models, cameras and play blasts.
More Research.
I watched several DVDs and movies this week, each offering a hint of how to handle color, character, camera and chase scenes.
CHUCK JONESs: Extremes and InBetweens (I should just buy this, I've gotten it 3 times from Netflix)
I got several things from this DVD that I will incorporate into my characters.
FLAMINGO LEGS:I like the road runner's legs and how they tie into the body. I'll borrow a bit of that for my flamingo, it adds a bit of muscle as recommended by David. Not onlyl will this work for the running sequences, but also the dance sequences that will have a hint of Ballet in them.
FLAMINGO EYES: I think I've got an eye shape that will work for the flamingo, too. Something similar to the Kitten in "Feed the Kitty". slightly almond shaped that looks feminine but still has a round shape to it.
FLOATING FEATHERS: An idea that cropped up before but seemed like too much work, is back on the list of possibilities - Feathers. I'm only adding flight feathers and tail feathers on the characters, but I thought it might be effective to have a few free floating feathers, particularly pink ones, that gentlly float down if Rosa should happen quickly zip off the screen.
MOULIN ROUGE. (I've always loved this film, but this time I watched it for it's rich detail and deeply saturated color palette.
COLOR: When I showed Michael Hosenfeld my Photoshop Composite, his immediate response was "OH! Somebody LIKES color!" And I do, and it's something I want in this piece. However, I don't want it to interfere with the story or overwhelm the viewer. Watching Moulin Rouge, they seemed to break up the heavily saturated scenes with either dark scenes, or a closeup with bright highlights - s omething I plan to do. There's also a tiny scene that I'll use when Rosa is looking around the garden. An over head shot where she's seen through leaves and large colorful flowers.
A HARD DAY'S NIGHT: Camera. Wow! Such a classic. First of all, I like the claustrophobic feel as "the boys" go from room, to train compartment, to hotel room, to cab, to dressing room, staircase, etc - I think a small set adds to the energy of a scene and something I'm trying to achieve with the garden. And then that scene in the WIDE open field. I want to include a brief scene like that where all you see is the sky with the birds flying. Just a moment, but a nice break from the small garden, bird bath and leaves. Also, the movie is a great reminder to have fun, and relax and let the characters just be. If they're strong enough (one can only hope) you have to trust that people will just want to watch them because they like them, not just because they're doing something. (I think this is one of the fatal flaws in many otherwise good animated films - Shrek and Madagascar come to mind. No wonder Puss in Boots and the little critter are such scene stealers.
THE LAST KING OF SCOTLAND: OK, more color and a saturated palatte. Also, James McAvoy's eyes are so expressive. I might have to see it again just to watch his performance. This was a great movie. A bit of a stretch, but the two character's play off each other so well, and the emotion turns on a dime. All I'm shooting for is, maybe, angry to happy or happy to disappointed.
I watched several DVDs and movies this week, each offering a hint of how to handle color, character, camera and chase scenes.
CHUCK JONESs: Extremes and InBetweens (I should just buy this, I've gotten it 3 times from Netflix)
I got several things from this DVD that I will incorporate into my characters.
FLAMINGO LEGS:I like the road runner's legs and how they tie into the body. I'll borrow a bit of that for my flamingo, it adds a bit of muscle as recommended by David. Not onlyl will this work for the running sequences, but also the dance sequences that will have a hint of Ballet in them.
FLAMINGO EYES: I think I've got an eye shape that will work for the flamingo, too. Something similar to the Kitten in "Feed the Kitty". slightly almond shaped that looks feminine but still has a round shape to it.
FLOATING FEATHERS: An idea that cropped up before but seemed like too much work, is back on the list of possibilities - Feathers. I'm only adding flight feathers and tail feathers on the characters, but I thought it might be effective to have a few free floating feathers, particularly pink ones, that gentlly float down if Rosa should happen quickly zip off the screen.
MOULIN ROUGE. (I've always loved this film, but this time I watched it for it's rich detail and deeply saturated color palette.
COLOR: When I showed Michael Hosenfeld my Photoshop Composite, his immediate response was "OH! Somebody LIKES color!" And I do, and it's something I want in this piece. However, I don't want it to interfere with the story or overwhelm the viewer. Watching Moulin Rouge, they seemed to break up the heavily saturated scenes with either dark scenes, or a closeup with bright highlights - s omething I plan to do. There's also a tiny scene that I'll use when Rosa is looking around the garden. An over head shot where she's seen through leaves and large colorful flowers.
A HARD DAY'S NIGHT: Camera. Wow! Such a classic. First of all, I like the claustrophobic feel as "the boys" go from room, to train compartment, to hotel room, to cab, to dressing room, staircase, etc - I think a small set adds to the energy of a scene and something I'm trying to achieve with the garden. And then that scene in the WIDE open field. I want to include a brief scene like that where all you see is the sky with the birds flying. Just a moment, but a nice break from the small garden, bird bath and leaves. Also, the movie is a great reminder to have fun, and relax and let the characters just be. If they're strong enough (one can only hope) you have to trust that people will just want to watch them because they like them, not just because they're doing something. (I think this is one of the fatal flaws in many otherwise good animated films - Shrek and Madagascar come to mind. No wonder Puss in Boots and the little critter are such scene stealers.
THE LAST KING OF SCOTLAND: OK, more color and a saturated palatte. Also, James McAvoy's eyes are so expressive. I might have to see it again just to watch his performance. This was a great movie. A bit of a stretch, but the two character's play off each other so well, and the emotion turns on a dime. All I'm shooting for is, maybe, angry to happy or happy to disappointed.
Wednesday, November 08, 2006
Monday, November 06, 2006
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A few things I like here. I like the warm color, I like the back wall, size and proportion, I like the rose vine on the left, I like the simple pathway (I had a much more complex path before), I like the idea of a rose garden, simpler, easier.
What I don't like - too busy. Not sure about the trees in the back ground. Maybe it should just be sky. But this is very cosy looking. Overall, I think I have enough reference files to build and texture everything.
Textures and Painting.
This is where my thesis and "Painting and Compositing" merge. We're about to start matte painting in Hosenfeld's class and I'll work on the whole garden scene. The background will be projected on a sphere and needs to match/unify the props and environment.
Saw "Flushed Away" and LOVED the textures used. It's pretty much what I'd like to achieve with this project - a "claymation" type feel and warmth in CG.
I visited Lyndehurst this weekend in Tarrytown, NY, a beautiful mansion on the Hudson with 65 acres, a rose garden, extensive lawns, lots of old brick walls with ivy and vines - so LOTS of reference photos.
I'm going to piece together the garden in photo shop as a Style sheet for P&C.
I already have a great wood texture for the rake and shovel.
BONUS! I found this beautiful decoration on some pillars of a bird eating grapes with leaves and vines. I'll use that on the pedestal of the birdbath. You probably won't even see it, but it will be a beautiful, subtle detail.
This is where my thesis and "Painting and Compositing" merge. We're about to start matte painting in Hosenfeld's class and I'll work on the whole garden scene. The background will be projected on a sphere and needs to match/unify the props and environment.
Saw "Flushed Away" and LOVED the textures used. It's pretty much what I'd like to achieve with this project - a "claymation" type feel and warmth in CG.
I visited Lyndehurst this weekend in Tarrytown, NY, a beautiful mansion on the Hudson with 65 acres, a rose garden, extensive lawns, lots of old brick walls with ivy and vines - so LOTS of reference photos.
I'm going to piece together the garden in photo shop as a Style sheet for P&C.
I already have a great wood texture for the rake and shovel.
BONUS! I found this beautiful decoration on some pillars of a bird eating grapes with leaves and vines. I'll use that on the pedestal of the birdbath. You probably won't even see it, but it will be a beautiful, subtle detail.
Modeling - Reducing edges and vertices
I reduced the vertices by half. Still a lot of work to go, but you can see where I've removed edges, etc.
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I need to even out the edges and match up above and below the wing as well as above and below the beak. I fixed most 3 & 5 sided polys but I think I can edit/delete most to be regular 4 sided insted of the diamond shaped ones.
I also ran into trouble with the tail, behind the head, the tip of the beak and the mouthbag because these were based on cylinders and spheres and they seem to want to converge to a single point whenever I mirror geometry. By cuting out large chunks, I've been able to repair most sections. I'm still pleased with the shape and volume but I don't think it's a "good model" yet. Where it's pared down to the only the necessary.
Rig testing next week.
I reduced the vertices by half. Still a lot of work to go, but you can see where I've removed edges, etc.
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I need to even out the edges and match up above and below the wing as well as above and below the beak. I fixed most 3 & 5 sided polys but I think I can edit/delete most to be regular 4 sided insted of the diamond shaped ones.
I also ran into trouble with the tail, behind the head, the tip of the beak and the mouthbag because these were based on cylinders and spheres and they seem to want to converge to a single point whenever I mirror geometry. By cuting out large chunks, I've been able to repair most sections. I'm still pleased with the shape and volume but I don't think it's a "good model" yet. Where it's pared down to the only the necessary.
Rig testing next week.
Wednesday, November 01, 2006
More great input from Steve Mann, he showed me how he'd rig the beak and talked about correcting the edgeloops around the mouth and wings. Also about using only what you need geometery wise.
And THIS off of Jonhandhisdog where someone asked the magic question:
How do you rig a Long Neck? (bless this person). And who should answer?
Stephen Mann - I'm asuming it's the same Mr. Mann. So THANKS for this rigging advice!!!!!
And THIS off of Jonhandhisdog where someone asked the magic question:
How do you rig a Long Neck? (bless this person). And who should answer?
Stephen Mann - I'm asuming it's the same Mr. Mann. So THANKS for this rigging advice!!!!!
--------------------------------------------------------------------------------
from my experience I create a stretchy spine similar to that of JS or SuperToon series.
number of controls depends on length of neck
4 -5 prob the most youll ever have. just make sure you can straighten the neck , as well as put it into most of the positions you need.
for the head, I find that putting the contro at the basal scull connection is the best point to place the pivot.
then orient constraint a group above that head control to "world" and to "local" local gets grouped under the neck chain, and world gets grouped under the TOP node of the character. ( placement node)
then just blend betwixt the two for local space and world space ( i genereally find I'll set it for a paticular animation, but dont do too much switching in mid animation)
hope that helps.
-=s
Polys - Who's counting? Me.
OK, things are looking good, I'm cleaning up my model, reducing edge loops and vertices, fixing all 3 and 5 sided faces. I had the choice between going back to my low poly, but I think I prefer to clean up this version I have now. At least I know what I have and like it. I'll keep track of the poly count and see how low I can go. It's still a simple model and renders quickly - just need to lightened it up.
HUGE thanks to Aaron who pointed out a great flamingo MOV on the Apple site. It inspired several things that I think will enhance my project.
1. Flamingos move their heads side to side in quick movements, so that's a must. They also like to move together (as seen in Fantasia 2000) So I want Rosa to stand next to her "group" like it's perfectly normal. Maybe try to take a few baby steps to the left and then move right back. I think it would make a wonderful pause in the action.
2. GREAT flight sequence where they run while flapping until they're airborn. Perfect, exactly what I need. Frame by frame. Just right for running over the tree tops and wall.
3. the eyes. I really like the small eyes. Much thinking and modeling will have to take place. They're also on the side of their heads (typical of birds) and that's why they have that side to side motion. They have to be larger than real life, but not the googlie eyes I stuck together.
OK, things are looking good, I'm cleaning up my model, reducing edge loops and vertices, fixing all 3 and 5 sided faces. I had the choice between going back to my low poly, but I think I prefer to clean up this version I have now. At least I know what I have and like it. I'll keep track of the poly count and see how low I can go. It's still a simple model and renders quickly - just need to lightened it up.
HUGE thanks to Aaron who pointed out a great flamingo MOV on the Apple site. It inspired several things that I think will enhance my project.
1. Flamingos move their heads side to side in quick movements, so that's a must. They also like to move together (as seen in Fantasia 2000) So I want Rosa to stand next to her "group" like it's perfectly normal. Maybe try to take a few baby steps to the left and then move right back. I think it would make a wonderful pause in the action.
2. GREAT flight sequence where they run while flapping until they're airborn. Perfect, exactly what I need. Frame by frame. Just right for running over the tree tops and wall.
3. the eyes. I really like the small eyes. Much thinking and modeling will have to take place. They're also on the side of their heads (typical of birds) and that's why they have that side to side motion. They have to be larger than real life, but not the googlie eyes I stuck together.
Sunday, October 29, 2006
Modeling help needed.
Please let me know what you think of the geometry, particularly the edge loops.
This is the "good side". I went back and forth from poly to SubD and back again and had a lot of clean up to do, especially around the eyes and mouth. I plan on mirroring this side once it's cleaned up.
I added a partial crease around the open beak area and along the edge where the beak meets the face, though you can't see it in this shot. Very subtle.
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I'll add a shot of the wings, too. I'd like to get feed back so I can throw in a simple rig. ... which I'll do anyway, but it would be good to catch any obvious glitches first.
Please let me know what you think of the geometry, particularly the edge loops.
This is the "good side". I went back and forth from poly to SubD and back again and had a lot of clean up to do, especially around the eyes and mouth. I plan on mirroring this side once it's cleaned up.
I added a partial crease around the open beak area and along the edge where the beak meets the face, though you can't see it in this shot. Very subtle.
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I'll add a shot of the wings, too. I'd like to get feed back so I can throw in a simple rig. ... which I'll do anyway, but it would be good to catch any obvious glitches first.
Thursday, October 26, 2006
Industry Review ... Great Job Steve Mann!!!
Color me impressed on the feedback all the students received during the review. I was particularly pleased with mine as the good news is that I'm on the right track! or rather I don't have to change the direction I'm going. So, yeah! I was pretty sure the length/timing would come up, but I was pleased that it wasn't a question of "cutting" anything, rather, I can still do everything I want to do it will just take less time then my animatic shows. Fair enough. I completely agree. Off to buy a stop watch.
The "next steps" was to act out and time my scenes with a stop watch.
Find images or footage that best represent the action/mood/expression of the scene and edit them together in a new animatic to better understand the action/reaction I want to achieve without having to worry if my drawings are good enough or conveying the right message.
When my models and set done, even in rough form, "act" out the scenes by moving the characters and cameras around to better understand the timing and angles.
Modeling - mouth open and wings need to fit into the body better. [working on it!] opened the mouth last night, added the inside of the mouth and a "mouth bag" or whatever they call it in "Stop Staring". It was pretty cool because a lot of the modeling took place inside the head - like being inside the Statue of Liberty.
I'll play around with some rigging and torture tests to see how they deform.
Not sure if I'll start Dee yet, or keep going with Rosa.
I think I need to start Dee ...
Anyway, hope to show Steve an updated model and see if the wing is working as it should.
Color me impressed on the feedback all the students received during the review. I was particularly pleased with mine as the good news is that I'm on the right track! or rather I don't have to change the direction I'm going. So, yeah! I was pretty sure the length/timing would come up, but I was pleased that it wasn't a question of "cutting" anything, rather, I can still do everything I want to do it will just take less time then my animatic shows. Fair enough. I completely agree. Off to buy a stop watch.
The "next steps" was to act out and time my scenes with a stop watch.
Find images or footage that best represent the action/mood/expression of the scene and edit them together in a new animatic to better understand the action/reaction I want to achieve without having to worry if my drawings are good enough or conveying the right message.
When my models and set done, even in rough form, "act" out the scenes by moving the characters and cameras around to better understand the timing and angles.
Modeling - mouth open and wings need to fit into the body better. [working on it!] opened the mouth last night, added the inside of the mouth and a "mouth bag" or whatever they call it in "Stop Staring". It was pretty cool because a lot of the modeling took place inside the head - like being inside the Statue of Liberty.
I'll play around with some rigging and torture tests to see how they deform.
Not sure if I'll start Dee yet, or keep going with Rosa.
I think I need to start Dee ...
Anyway, hope to show Steve an updated model and see if the wing is working as it should.
A Moment of Silence, Please ...
"The pink plastic flamingo, a Florida-inspired icon that has been reviled as kitschy bad taste and revered as retro cool, is dead at age 49."
[Full Story, Sun Sentinel]
I had no idea. I guess I'm now officially paying homage to the pink plastic icons.
Lucky I got my AUTHENTIC Don Featherstone off eBay when they were only $10 for a set of 2.
"The pink plastic flamingo, a Florida-inspired icon that has been reviled as kitschy bad taste and revered as retro cool, is dead at age 49."
[Full Story, Sun Sentinel]
"The pop culture symbol met its demise after its manufacturer, Union Products, of Leominster, Mass., was socked with a triple economic threat -- increases in costs of electricity and plastic resin combined with loss of financing. Production ended in June, and the plant is scheduled to close Nov. 1, according to president and CEO Dennis Plante. Union Products made 250,000 of its patented plastic pink flamingos a year in addition to other garden products.
Robert Thompson, professor of popular culture at Syracuse University, paid tribute to the infamous bird that has been immortalized everywhere -- from the John Waters' movie Pink Flamingos, to bachelor parties and lawns across America.
"Let's face it," he said. "As iconic emblems of kitsch, there are two pillars of cheesy, campiness in the American pantheon. One is the velvet Elvis. The other is the pink flamingo."
I had no idea. I guess I'm now officially paying homage to the pink plastic icons.
Lucky I got my AUTHENTIC Don Featherstone off eBay when they were only $10 for a set of 2.
Tuesday, October 24, 2006
Sunday, October 22, 2006
Friday, October 20, 2006
RIGGING!!!!
I just received my AutoDesk DVD from Siggraph that has parts I and II of Jason Schleiffer's "Animator Friendly Rigging" (AFR). Even though I'm using a simple rig for my characters and props I hope to use his method of clean, easy rigging with the animator (that would be me) in mind.
I particularly like his 7 point check list for making good, animator-friendly rigs:
1. Consistent/Predictable behavior
2. Simplified control structure
3. Easy to use
4. Fast interaction
5. Minimal counter-animation
6. Solve the problem
7. Allows the animator to do their job without compromising their ideas
He outlines his system for "solving the problems" in 5 not necessarily easy steps:
1. Analyze the problem
2. Create a test of the solution
3. Analyze the solution
4. Recreate the solution cleanly
5. Recreate again (using code/mel)
Creating simple, effective controls is one of my goals and I think my two very different characters will let me experiment with 2 very different rigs.
Goals for this weekend, finish up my midterm deliverables, rosa's face, work on ball rig from AFR that I think will be the basis of Dee. That's partially why I waited to even start her, I knew this was coming and I wanted to use this squash and stretch set up. Her wings I'm pretty certain will just be simple FK for easy rotation in flight and some small gestures (shoulders, wing tips)
I just received my AutoDesk DVD from Siggraph that has parts I and II of Jason Schleiffer's "Animator Friendly Rigging" (AFR). Even though I'm using a simple rig for my characters and props I hope to use his method of clean, easy rigging with the animator (that would be me) in mind.
I particularly like his 7 point check list for making good, animator-friendly rigs:
1. Consistent/Predictable behavior
2. Simplified control structure
3. Easy to use
4. Fast interaction
5. Minimal counter-animation
6. Solve the problem
7. Allows the animator to do their job without compromising their ideas
He outlines his system for "solving the problems" in 5 not necessarily easy steps:
1. Analyze the problem
2. Create a test of the solution
3. Analyze the solution
4. Recreate the solution cleanly
5. Recreate again (using code/mel)
Creating simple, effective controls is one of my goals and I think my two very different characters will let me experiment with 2 very different rigs.
Goals for this weekend, finish up my midterm deliverables, rosa's face, work on ball rig from AFR that I think will be the basis of Dee. That's partially why I waited to even start her, I knew this was coming and I wanted to use this squash and stretch set up. Her wings I'm pretty certain will just be simple FK for easy rotation in flight and some small gestures (shoulders, wing tips)
Monday, October 16, 2006
I may have found the answer to my neck rigging. I found this link on jonhandhisdog.com (Jason Schlieffer) and folks there seem to be pretty excited about it. (so it must be good!) I haven't tried it yet, but I love the stretch, bend and smoothness - no snapping!!
I'm so glad, I was trying straight FK, spline IK and nothing seemed just right.
ElastIK
I just hope there are no glitches with Macs. I've run into mel issues.
[follow-up] Major glitch, the plug-in seems to be for windows only. I've emailed Michael Hutchinson the author/developer and hopefuly I'll get an answer. I also plan on following up on JS forum on how to recreate the smooth IK with native Maya nodes.
If not, I'm pretty sure a stretchy splineIK will be just fine.
I'm so glad, I was trying straight FK, spline IK and nothing seemed just right.
ElastIK
I just hope there are no glitches with Macs. I've run into mel issues.
[follow-up] Major glitch, the plug-in seems to be for windows only. I've emailed Michael Hutchinson the author/developer and hopefuly I'll get an answer. I also plan on following up on JS forum on how to recreate the smooth IK with native Maya nodes.
If not, I'm pretty sure a stretchy splineIK will be just fine.
Friday, October 13, 2006
Corpse Bride + Bob the Builder + Nightmare Xmas + W&G = The Look
I really like the bulky look of claymation, I find them very inviting and you just want to touch them, pick them up.
I like the textures and lighting, not overly realistic, but not too simple or abstract. There's a complete look to all of these productions that I hope to achieve with my characters and environment.
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I really like the bulky look of claymation, I find them very inviting and you just want to touch them, pick them up.
I like the textures and lighting, not overly realistic, but not too simple or abstract. There's a complete look to all of these productions that I hope to achieve with my characters and environment.
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Wednesday, October 11, 2006
Production Design - Characters, environment, props, material.
Will work on style, color, light and mood this week.
This PDF has a check list for all the assets in the piece and has check marks for modeling and texturing drafts.
http://64.17.142.111/downloads/ASSET_LIST.pdf
(sorry, the link function doesn't seem to want to work right now... copy paste)
Will work on style, color, light and mood this week.
This PDF has a check list for all the assets in the piece and has check marks for modeling and texturing drafts.
http://64.17.142.111/downloads/ASSET_LIST.pdf
(sorry, the link function doesn't seem to want to work right now... copy paste)
Mixed feelings about class yesterday.
I was hoping to see a few more animatics and some prep work for the Industry Review next week. But after reviewing the schedule, all that's needed is the visual script which were done. I'm hoping the "last minute" and some crunch time will yield more work. I see this as such a great opportunity to get input EARLY to avoid timely/costly changes later on in production. On the other hand, no one seems overly concerned regarding deliverables, so I won't be either. Not a criticism, just my own deadline driven mania.
My goals for the Industry review - continue working on improving the animatic and updating the storyboard, [modeling] work on Rosa's head, beak and eyes, block out the environment with simple models in Maya, and put together a style sheet.
Not quite ready for a shot list, but I do have Word table that lists props, assets, deliverables and status that I'll post as a PDF.
For the following week I'll have a rough draft of my paper. I have it somewhat mapped out in my head and it needs to be put in an outline and fleshed out. Part of my research will be the current trend of "Too Much CG". I simply love the short format and apart from some shining examples like "Toy Story" and "Shrek", I don't see feature length CG films delivering the magic. Same for Children's TV. This will cover the "how would I do things differently" part of my paper.
Here's my HELP LIST and folks I hope will be available to give it:
Modeling - Halbstein 10/24
Textures and Painting - Hosenfield 10/31
Lighting and Rendering - Pomeroy (early November if possible)
Animation - ??? any suggestions? (on-going through Spring semester)
I think this order works well, too. I'd like to get my model as finished as it can be before going for shading and texture help which I think should be in place for lighting and rendering. - David, comments on this workflow?
I was hoping to see a few more animatics and some prep work for the Industry Review next week. But after reviewing the schedule, all that's needed is the visual script which were done. I'm hoping the "last minute" and some crunch time will yield more work. I see this as such a great opportunity to get input EARLY to avoid timely/costly changes later on in production. On the other hand, no one seems overly concerned regarding deliverables, so I won't be either. Not a criticism, just my own deadline driven mania.
My goals for the Industry review - continue working on improving the animatic and updating the storyboard, [modeling] work on Rosa's head, beak and eyes, block out the environment with simple models in Maya, and put together a style sheet.
Not quite ready for a shot list, but I do have Word table that lists props, assets, deliverables and status that I'll post as a PDF.
For the following week I'll have a rough draft of my paper. I have it somewhat mapped out in my head and it needs to be put in an outline and fleshed out. Part of my research will be the current trend of "Too Much CG". I simply love the short format and apart from some shining examples like "Toy Story" and "Shrek", I don't see feature length CG films delivering the magic. Same for Children's TV. This will cover the "how would I do things differently" part of my paper.
Here's my HELP LIST and folks I hope will be available to give it:
Modeling - Halbstein 10/24
Textures and Painting - Hosenfield 10/31
Lighting and Rendering - Pomeroy (early November if possible)
Animation - ??? any suggestions? (on-going through Spring semester)
I think this order works well, too. I'd like to get my model as finished as it can be before going for shading and texture help which I think should be in place for lighting and rendering. - David, comments on this workflow?
Sunday, October 08, 2006
Thursday, September 28, 2006
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Bit of a breakthrough.... motivation wise.
When Rosa first introduces herself to the plastic flamingos, Dee is LAUGHING at her. First she might look like WTF? but then just laughs as the dance starts and then she copies/makes fun of her. THAT's why Rosa gets mad and wants her to cut it out! But it needs to be clear that Dee wants to be her friend. This from the birdbath, to the stepping over, to the tree where she's watching - she's like "Hello! Hellooo! it's Meeeee!" bounce.bounce.bounce.
Another reference/resource "Chicken Little" -- I really liked the way they did his head, particularly the eyes. I also liked the lighting, it was that yellowy, glowy kind of light. Feet were good, too.
Somehow, I'm shooting for some type of blend between the style/light/color of Chicken Little with the style/sophistication of "Corpse Bride".
Chicken Little is a sad example of everything technically perfect but it came up lacking. It wasn't funny.. however, I loved the character and the clever ways he made up for being small. I liked the style of the houses, car, town. I liked the reference to the old stories. The "extras" was less then impressive, but they did have some nice animatic stuff. I think the "acting" part of the animation was just boring. But I did like the character Chicken Little.
Research - Shorts - "KnickKnack" and "For the Birds"
I've been watching shorts and enjoyed the recommended "KnickKNack". The motivation of the snowman is so clear, that's missing in both Dee and Rosa. I think maybe in the opening shot where Dee is at the birdbath I'll have her look in the water at her reflection and maybe make her say hello or bow like she's trying to make a friend .. and then she sees Rosa. Just a quick moment but I think it will set the stage. Then she's happy "Oh, there's another bird here".
I've been watching shorts and enjoyed the recommended "KnickKNack". The motivation of the snowman is so clear, that's missing in both Dee and Rosa. I think maybe in the opening shot where Dee is at the birdbath I'll have her look in the water at her reflection and maybe make her say hello or bow like she's trying to make a friend .. and then she sees Rosa. Just a quick moment but I think it will set the stage. Then she's happy "Oh, there's another bird here".
Story Board + Animatic = Edits!
I created my first draft of storyboards for Tuesday - very rough and quick - and I placed them in FCP and added music. As I timed it out, I was able to cut a portion of the song so now I'm at 2:05 and not 2:54. I think just over 2 minutes is doable. I realized I left out the Neck Rollercoaster ride in my storyboard, but it's accounted for in the final dance.
Now starts the round robin of finding out what's missing (emotion, movement, motivation) and I'll draw the missing elements and place it into both the animatic and the storyboard. I hope to have a cleaner storyboard and an animatic for next Tuesday.
I need to clarify all the emotion in the characters.
For Research on Storyboards, I gleaned this of AWN's website from an animation teacher in Scotland. Good stuff here.
He recommends John Canemakers "Paper Dreams". (It's on my list)
__________________________________________________________________________________
- find a good, clear track of music, (DONE)
- the advantage you have when you use an existing music track as your story source (even though, for copyright reasons, you can't easily take it beyond the classroom) is that the timing is already there; if you're working from a short story or even a custom-written script (or a comic book or graphic novel), you have the additinoal challenge of working out the "beats" and the timing from scratch - and that's quite a challenge for beginners. Using existing music in this way gives you your "grid" right from the outset - and (later on) all the exposure sheet stuff is easier for that reason (ABSOLUTELY RIGHT)
- work out all the key story/character points by doing thumb-nails and comparing one idea with another (and another and another...); don't go for your first idea on everything (STILL WORKING)
- decide on your specifics (for design purposes): location, period, time of day/year etc. (GARDEN, MORNING, PRESENT DAY)
- use the right materials: a storyboard should be a living, "breathing" organism, not a grid of empty, printed squares that you "fill in" one by one. (STILL BREATHING, BUT A BIT WILD)
- use the SAME SIZE of storyboard/paper panels throughout (A5 is a good size for example) and, if possible, work on a cork-board on a wall so that you can stand back and see how it's all coming together. NEVER create a storyboard on the desk in front of you or expect it to "come alive" from a computer monitor - get your drawings up there on the wall and make sure you have at least one drawing (or thumb nail) to represent every idea you come up with, no matter how trivial it might seem at the time. If the drawing isn't legible more than 12 inches from the surface of the paper (this is usually the case with light, hesitant drawings, done with an HB pencil....) then it's no good as a storyboard panel (always think and work as though you have to pitch your ideas to outsiders who are not as visually literate as you are) (ONGOING PROCESS SINCE THE SUMMER - STICKY NOTES ALL OVER THE HOUSE)
- very few pencils or crayons help you to make a more legible mark on the paper than a black Chinagraph/wax/grease (un-wind) pencil (one you un-wrap from the point, NOT one you have to sharpen). Buy and use LOTS of these - and don't worry about colour until much later (I PREFER SHARPIE MARKERS)
- in storyboard work always make sure you go for legibility and not for "finish" (see some of the faster sketches in "Paper Dreams" to back this up - and forget all you've ever seen in those "making of" articles where every last "storyboard" panel looks like a finished book illustration) (WELL, I NEED TO POLISH MINE UP A LITTLE, THEY'RE VERY ROUGH)
- if you're working on a particular lighting cue or effect, remember that you can create clear, atmospheric panels using mid-tone grey paper and working in both white AND black to give a real sense of the mood and light direction/set-up (NOT SURE IF I NEED THIS, BUT GOOD IDEA)
- find OTHER people to work with - and watch (among other things) the original story pitch for Pixar's "Monsters Inc." on the Collector's Edition DVD, the deleted scenes from "Emperoror's New Groove" (also on DVD) and any other good, clear examples of legible, intelligent, top quality storyboarding, whether it's for live action or for animation (but concentrate on the animation source material if that's your own ultimate goal) (OK, NEED TO GET OUT OF MY VACCUUM - BUT I SHOWED CHRIS, MY 9YO THE ANIMATIC ...)
I don't know if any of this makes sense - but it's worked for the groups of students I've collaborated with, particularly when it's done as a kind of "smash and grab" exercise, with a limited time period in which to complete the initial "pitch" and then add the number of panels that are necessary to get it to the point where it's ready to become an animatic or story reel, timed/edited to match the original music/narrative track. (THIS IS WHERE I'M AT NOW ....)
If you allow too much time for this kind of exercise - things tend to get "flabby". You should be able to get the major points across in an afternoon.
Hope this may be helpful,
Fraser MacLean
Edinburgh, Scotland
________________________________
Thanks, Fraser, I'll post a link to the PDF when it's finished.
I created my first draft of storyboards for Tuesday - very rough and quick - and I placed them in FCP and added music. As I timed it out, I was able to cut a portion of the song so now I'm at 2:05 and not 2:54. I think just over 2 minutes is doable. I realized I left out the Neck Rollercoaster ride in my storyboard, but it's accounted for in the final dance.
Now starts the round robin of finding out what's missing (emotion, movement, motivation) and I'll draw the missing elements and place it into both the animatic and the storyboard. I hope to have a cleaner storyboard and an animatic for next Tuesday.
I need to clarify all the emotion in the characters.
For Research on Storyboards, I gleaned this of AWN's website from an animation teacher in Scotland. Good stuff here.
He recommends John Canemakers "Paper Dreams". (It's on my list)
__________________________________________________________________________________
- find a good, clear track of music, (DONE)
- the advantage you have when you use an existing music track as your story source (even though, for copyright reasons, you can't easily take it beyond the classroom) is that the timing is already there; if you're working from a short story or even a custom-written script (or a comic book or graphic novel), you have the additinoal challenge of working out the "beats" and the timing from scratch - and that's quite a challenge for beginners. Using existing music in this way gives you your "grid" right from the outset - and (later on) all the exposure sheet stuff is easier for that reason (ABSOLUTELY RIGHT)
- work out all the key story/character points by doing thumb-nails and comparing one idea with another (and another and another...); don't go for your first idea on everything (STILL WORKING)
- decide on your specifics (for design purposes): location, period, time of day/year etc. (GARDEN, MORNING, PRESENT DAY)
- use the right materials: a storyboard should be a living, "breathing" organism, not a grid of empty, printed squares that you "fill in" one by one. (STILL BREATHING, BUT A BIT WILD)
- use the SAME SIZE of storyboard/paper panels throughout (A5 is a good size for example) and, if possible, work on a cork-board on a wall so that you can stand back and see how it's all coming together. NEVER create a storyboard on the desk in front of you or expect it to "come alive" from a computer monitor - get your drawings up there on the wall and make sure you have at least one drawing (or thumb nail) to represent every idea you come up with, no matter how trivial it might seem at the time. If the drawing isn't legible more than 12 inches from the surface of the paper (this is usually the case with light, hesitant drawings, done with an HB pencil....) then it's no good as a storyboard panel (always think and work as though you have to pitch your ideas to outsiders who are not as visually literate as you are) (ONGOING PROCESS SINCE THE SUMMER - STICKY NOTES ALL OVER THE HOUSE)
- very few pencils or crayons help you to make a more legible mark on the paper than a black Chinagraph/wax/grease (un-wind) pencil (one you un-wrap from the point, NOT one you have to sharpen). Buy and use LOTS of these - and don't worry about colour until much later (I PREFER SHARPIE MARKERS)
- in storyboard work always make sure you go for legibility and not for "finish" (see some of the faster sketches in "Paper Dreams" to back this up - and forget all you've ever seen in those "making of" articles where every last "storyboard" panel looks like a finished book illustration) (WELL, I NEED TO POLISH MINE UP A LITTLE, THEY'RE VERY ROUGH)
- if you're working on a particular lighting cue or effect, remember that you can create clear, atmospheric panels using mid-tone grey paper and working in both white AND black to give a real sense of the mood and light direction/set-up (NOT SURE IF I NEED THIS, BUT GOOD IDEA)
- find OTHER people to work with - and watch (among other things) the original story pitch for Pixar's "Monsters Inc." on the Collector's Edition DVD, the deleted scenes from "Emperoror's New Groove" (also on DVD) and any other good, clear examples of legible, intelligent, top quality storyboarding, whether it's for live action or for animation (but concentrate on the animation source material if that's your own ultimate goal) (OK, NEED TO GET OUT OF MY VACCUUM - BUT I SHOWED CHRIS, MY 9YO THE ANIMATIC ...)
I don't know if any of this makes sense - but it's worked for the groups of students I've collaborated with, particularly when it's done as a kind of "smash and grab" exercise, with a limited time period in which to complete the initial "pitch" and then add the number of panels that are necessary to get it to the point where it's ready to become an animatic or story reel, timed/edited to match the original music/narrative track. (THIS IS WHERE I'M AT NOW ....)
If you allow too much time for this kind of exercise - things tend to get "flabby". You should be able to get the major points across in an afternoon.
Hope this may be helpful,
Fraser MacLean
Edinburgh, Scotland
________________________________
Thanks, Fraser, I'll post a link to the PDF when it's finished.
Saturday, September 23, 2006
Lighting and Set Design
I visited www.halbstein.com and read up on the lighting tutorial. I know I'll need help with lighting and rendering. I like the idea of setting up a scene with simple geometry to begin planning the lights, cameras and choreography.
I have a garden somewhat planned - just need to get it down on paper and then into maya in a simple form. Ideally, I'll have my storyboards finished for the Industry Review, but even better would be an animatic.
Ugh, almost forgot a style sheet ... I think I'll do that next week. I like working in this big, blocky sort of way getting the story down. I think the style can wait a little.
I visited www.halbstein.com and read up on the lighting tutorial. I know I'll need help with lighting and rendering. I like the idea of setting up a scene with simple geometry to begin planning the lights, cameras and choreography.
I have a garden somewhat planned - just need to get it down on paper and then into maya in a simple form. Ideally, I'll have my storyboards finished for the Industry Review, but even better would be an animatic.
Ugh, almost forgot a style sheet ... I think I'll do that next week. I like working in this big, blocky sort of way getting the story down. I think the style can wait a little.
I'm working on the storyboards.
The music really helped me pace this out. Of course the down side is if I can't use this particular music ... but the truth is, the story would be pretty much the same and so would the timing.Whatever music I end up using should have similar elements -- a simple start, the insturments double up and build, there's a crescendo and it all needs to be fun and bouncy. I think the story needs this amount of time to unfold.
A happy discovery -- nearly all my sketches for the storyboard focus on Dee. She just naturally came to the fore front. It's just nice because up until this point Rosa was always the main focus.
I admit I'm kind of glossing over the dance sequences ... "they dance", I'm not exactly sure what this would look like, if it will repeat/cycle or do something else. I'm reminded of something said about Jim Carey or Robin Williams, they'll just put in the notes "does something funny". I suppose this will be like this. I'll try to get more specific in my story boards.
I added the concept of a chase scene of sorts, because they can't really fight. It occured to me they can physically do the things used in current martial arts film since they can fly.
Animation wise, I don't think it will be overly complicated, running sequence, adding a bend deformer to branches.
I'd like to include some water effects if possible. Maybe Dee will be splashing a little in the opening sequence, washing up. Also a splash if they run through the birdbath in the chase sequence.
The music really helped me pace this out. Of course the down side is if I can't use this particular music ... but the truth is, the story would be pretty much the same and so would the timing.Whatever music I end up using should have similar elements -- a simple start, the insturments double up and build, there's a crescendo and it all needs to be fun and bouncy. I think the story needs this amount of time to unfold.
A happy discovery -- nearly all my sketches for the storyboard focus on Dee. She just naturally came to the fore front. It's just nice because up until this point Rosa was always the main focus.
I admit I'm kind of glossing over the dance sequences ... "they dance", I'm not exactly sure what this would look like, if it will repeat/cycle or do something else. I'm reminded of something said about Jim Carey or Robin Williams, they'll just put in the notes "does something funny". I suppose this will be like this. I'll try to get more specific in my story boards.
I added the concept of a chase scene of sorts, because they can't really fight. It occured to me they can physically do the things used in current martial arts film since they can fly.
Animation wise, I don't think it will be overly complicated, running sequence, adding a bend deformer to branches.
I'd like to include some water effects if possible. Maybe Dee will be splashing a little in the opening sequence, washing up. Also a splash if they run through the birdbath in the chase sequence.
Outline & Timing DRAFT
“You’re so Cool”
Duration 2:54
Music: Carl Orff “Gassenhauer”
00:00 - 00:08 Intro, Morning. Dee is sitting on a birdbath, Rosa’s leg is visible but the rest is off screen. Dee looks up
00:08 - 00:12 pan up to see bottom half of Rosa
00:12 – 00:20 Pull back, a large flamingo is standing in birdbath. She awkwardly gets down. [Dee watching, curious]
00:20 – 00:27 Shakes herself off, spreads her wings and stretches. She’s just woken up. [Dee does the same thing]
00:27 – 00:37 Rosa walks around the garden. There are flowers, bugs, potted plants, garden tools and then 2 plastic flamingos
00:37 – 00:44 Checks out fake flamingos (this should establish that these are fake and she is real)
She gives a shake (I think this will be a signature move like a girl flipping her hair) bows to say hello. [Dee watches from a long stemmed flower like a day lily]
00:45 – 00:58 Rosa preens, small dance (music still light)
[Dee keeps time bouncing on the stem like following a bobble head doll]
00:58 – 01;06 Camera moves around, the dance continues and Dee starts to join in
1:06 – 01:20 Music doubles. The two are dancing but not together. Both are really into it.
01:16 - 01:26 Rosa notices Dee and gets mad. She stops her dance and then Dee also stops. A little chase gives way. Dee goes to the birdbath (homebase?).
01:26 – 01:41 Drums kick in. Dee is mad, too. She can dance, too! She continues doing her thing.
01:41 – 01:48 Half Dance / Half Chase – Rosa chases Dee off the screen one way; Dee chases Rosa back the other way (think of smaller birds fending off a hawk)
01:48 – 02:03 Tree “fight” similar to “Crouching Tiger …”, some similar martial arts moves where they chase each other (TBD)
02:03 – 02:12 Plastic Flamingos fall down, Rosa realizes they are fake
02:12 – 02:25 Music builds – the two have fun TOGETHER.
02:25 – 02:45 Crescendo, neck roll (where Dee has a rollercoaster ride on Rosa's neck), more dancing
02:45 – 02:54 Camera Pulls away from garden, they keep dancing, Ending shot into sky/clouds.
02:54 End.
“You’re so Cool”
Duration 2:54
Music: Carl Orff “Gassenhauer”
00:00 - 00:08 Intro, Morning. Dee is sitting on a birdbath, Rosa’s leg is visible but the rest is off screen. Dee looks up
00:08 - 00:12 pan up to see bottom half of Rosa
00:12 – 00:20 Pull back, a large flamingo is standing in birdbath. She awkwardly gets down. [Dee watching, curious]
00:20 – 00:27 Shakes herself off, spreads her wings and stretches. She’s just woken up. [Dee does the same thing]
00:27 – 00:37 Rosa walks around the garden. There are flowers, bugs, potted plants, garden tools and then 2 plastic flamingos
00:37 – 00:44 Checks out fake flamingos (this should establish that these are fake and she is real)
She gives a shake (I think this will be a signature move like a girl flipping her hair) bows to say hello. [Dee watches from a long stemmed flower like a day lily]
00:45 – 00:58 Rosa preens, small dance (music still light)
[Dee keeps time bouncing on the stem like following a bobble head doll]
00:58 – 01;06 Camera moves around, the dance continues and Dee starts to join in
1:06 – 01:20 Music doubles. The two are dancing but not together. Both are really into it.
01:16 - 01:26 Rosa notices Dee and gets mad. She stops her dance and then Dee also stops. A little chase gives way. Dee goes to the birdbath (homebase?).
01:26 – 01:41 Drums kick in. Dee is mad, too. She can dance, too! She continues doing her thing.
01:41 – 01:48 Half Dance / Half Chase – Rosa chases Dee off the screen one way; Dee chases Rosa back the other way (think of smaller birds fending off a hawk)
01:48 – 02:03 Tree “fight” similar to “Crouching Tiger …”, some similar martial arts moves where they chase each other (TBD)
02:03 – 02:12 Plastic Flamingos fall down, Rosa realizes they are fake
02:12 – 02:25 Music builds – the two have fun TOGETHER.
02:25 – 02:45 Crescendo, neck roll (where Dee has a rollercoaster ride on Rosa's neck), more dancing
02:45 – 02:54 Camera Pulls away from garden, they keep dancing, Ending shot into sky/clouds.
02:54 End.
Wednesday, September 20, 2006
Some character sketches.
I did some early research sketches but they're rather technical and not very interesting. After I did my little animation test and talked about my characters in class I realized I really needed to create a character that LOOKED somewhat female. I played around with different faces, most looked too old/sexy. I came up with this one and we'll see how it translates to 3D. Not sure if the mouth needs to stay whithin the beak. The best resource pics were young figure skaters like Oksana Bauiel in the 1994 Olympics. Tall, thin, leggy with an eager young expression. I might try to find some of her old skating sessions for movement ideas. The theatrics and gestures seem to fit.
Haven't put too much thought into Dee. I kind of like the roundness of some of the sketches but the eager expression on others.
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I did some early research sketches but they're rather technical and not very interesting. After I did my little animation test and talked about my characters in class I realized I really needed to create a character that LOOKED somewhat female. I played around with different faces, most looked too old/sexy. I came up with this one and we'll see how it translates to 3D. Not sure if the mouth needs to stay whithin the beak. The best resource pics were young figure skaters like Oksana Bauiel in the 1994 Olympics. Tall, thin, leggy with an eager young expression. I might try to find some of her old skating sessions for movement ideas. The theatrics and gestures seem to fit.
Haven't put too much thought into Dee. I kind of like the roundness of some of the sketches but the eager expression on others.
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Music and a Title.
I knew I wanted some bouncy carribean type music and there were a few nice tracks on the "Frida" soundtrack by Elliot Goldenthal - an incredibly talented composer with quite the resume - that I thought would work well. I had no idea he was so established ($$$) so I followed a link on his page to another composer Hans Zimmer - he did the main theme used on "True Romance" called "You're So Cool". Well, little did I know he's also outrageously famous ($$$) and then I followed a link discussing the origins of "You're So Cool" to a German composer named Carl Orff (1895 to 1982). Orff states the music came from some fourteenth century music for Lute .... so I sent an email to the Orff foundation to see if I could use his "Gassenhauer"! (here's hoping) And to top it off, Orff played a vital role in how music is taught in today's schools! He was very interested in music for children which I think is very fitting for my project. I hope it's available at an affordable price. I have little knowledge of licensing and using music. I hope it works out. I admit, I like Zimmer's arrangement and crescendo, but I doubt I'll be able to use it. Instead, I'll borrow his name for my project because it too fits perfectly:
Working Title: "You're So Cool"
Music: Gassenhauer", Schulwerk (Music for Children). Composer Carl Orff
http://www.orff.de/Live_and_Work.284.0.html?&L=1
I knew I wanted some bouncy carribean type music and there were a few nice tracks on the "Frida" soundtrack by Elliot Goldenthal - an incredibly talented composer with quite the resume - that I thought would work well. I had no idea he was so established ($$$) so I followed a link on his page to another composer Hans Zimmer - he did the main theme used on "True Romance" called "You're So Cool". Well, little did I know he's also outrageously famous ($$$) and then I followed a link discussing the origins of "You're So Cool" to a German composer named Carl Orff (1895 to 1982). Orff states the music came from some fourteenth century music for Lute .... so I sent an email to the Orff foundation to see if I could use his "Gassenhauer"! (here's hoping) And to top it off, Orff played a vital role in how music is taught in today's schools! He was very interested in music for children which I think is very fitting for my project. I hope it's available at an affordable price. I have little knowledge of licensing and using music. I hope it works out. I admit, I like Zimmer's arrangement and crescendo, but I doubt I'll be able to use it. Instead, I'll borrow his name for my project because it too fits perfectly:
Working Title: "You're So Cool"
Music: Gassenhauer", Schulwerk (Music for Children). Composer Carl Orff
http://www.orff.de/Live_and_Work.284.0.html?&L=1
Tuesday, September 12, 2006
Bringing it all together.
A few things came up in class today that I think will really help streamline the story. The idea of trying something 3 times and then giving up can really work!
First Rosa is dancing to impress the plastic flamingos and Dee Dee copies her, interupts and things stop.
Start again. Rosa is dancing; DeeDee is copying (and really having a good time) and things come to a halt again.
The third time they're BOTH having a good time (perhaps I can do the rolling-around-on-the-neck move here) and the TWO of them knock the plastic flamingos over. They stop! Look at each other -- OMG what have we done? -- But when the music comes around again they realize they don't really care and start dancing again.
(Part of me KNOWS this has been done before either with Charlie Chaplin, The Marx Brothers or on the Carol Brunett show.)
I think I'll get some Silent films from Netflix. Buster Keaton and Chaplin. I think I'd like that type of exagerated gesture and expression - not to mention the timing.
NEXT big idea - using the same body rig and scripting the dance sequences. I THINK I can do this with the body, legs and wings. If I name all the joints according to the character, I can just do a search/replace. I'll have "ROSjnt01, ROSjnt02, ROSjnt03" and then find/replace to "DEEjnt01, DEEjnt02, DEEjnt03".
I'll test that this week. DeeDee might have a completely different rig for different scenes - more squash and stretchy - like the Flour Sack we used in Animation 1.
Very helpful class today, I appreciate all the time spent on my project. Next week I'll let someone else get a word in edgewise.
A few things came up in class today that I think will really help streamline the story. The idea of trying something 3 times and then giving up can really work!
First Rosa is dancing to impress the plastic flamingos and Dee Dee copies her, interupts and things stop.
Start again. Rosa is dancing; DeeDee is copying (and really having a good time) and things come to a halt again.
The third time they're BOTH having a good time (perhaps I can do the rolling-around-on-the-neck move here) and the TWO of them knock the plastic flamingos over. They stop! Look at each other -- OMG what have we done? -- But when the music comes around again they realize they don't really care and start dancing again.
(Part of me KNOWS this has been done before either with Charlie Chaplin, The Marx Brothers or on the Carol Brunett show.)
I think I'll get some Silent films from Netflix. Buster Keaton and Chaplin. I think I'd like that type of exagerated gesture and expression - not to mention the timing.
NEXT big idea - using the same body rig and scripting the dance sequences. I THINK I can do this with the body, legs and wings. If I name all the joints according to the character, I can just do a search/replace. I'll have "ROSjnt01, ROSjnt02, ROSjnt03" and then find/replace to "DEEjnt01, DEEjnt02, DEEjnt03".
I'll test that this week. DeeDee might have a completely different rig for different scenes - more squash and stretchy - like the Flour Sack we used in Animation 1.
Very helpful class today, I appreciate all the time spent on my project. Next week I'll let someone else get a word in edgewise.
Sunday, September 10, 2006
First draft model and rig test. I'll try to post the model in a BIND pose on Monday.
Rig Test first draft
It's a very rough first draft, but one of the most important things I have to figure out is Can I do this? So I want to post weekly updates and decide what help I'm going to need by the midterm. I experimented a bit using IK on the Left Wing and FK on the Right. I really think I'm leaning toward FK for the flying sequences.
IK for the legs. Spline IK for the neck - this needs a lot of trial/error work.
Early days yet for my character design but this will go hand in hand with the rigging plus story/action so I'll adjust as I go along.
Rig Test first draft
It's a very rough first draft, but one of the most important things I have to figure out is Can I do this? So I want to post weekly updates and decide what help I'm going to need by the midterm. I experimented a bit using IK on the Left Wing and FK on the Right. I really think I'm leaning toward FK for the flying sequences.
IK for the legs. Spline IK for the neck - this needs a lot of trial/error work.
Early days yet for my character design but this will go hand in hand with the rigging plus story/action so I'll adjust as I go along.
Wednesday, September 06, 2006
Links - useful for me, might be useful for other students. I'm often amazed at what's available online and how willing people are to share and teach.
Rigging
Jason Schleiffer
jonhandhisdog
Strut your reel
Rigging101
http://www.rigging101.com/
Richard Williams interview (3 parts)
http://www.youtube.com/watch?v=4VpT5Xa2cDk
CG Society
http://forums.cgsociety.org/
AWN forums
http://forums.awn.com/
ZBrush
http://www.pixologic.com/zbrush/purchase/purchase.html
ZBrush to Maya (GREAT tutorial .mov file on creating displacement maps)
www.Edwin3Design.com
Rigging
Jason Schleiffer
jonhandhisdog
Strut your reel
Rigging101
http://www.rigging101.com/
Richard Williams interview (3 parts)
http://www.youtube.com/watch?v=4VpT5Xa2cDk
CG Society
http://forums.cgsociety.org/
AWN forums
http://forums.awn.com/
ZBrush
http://www.pixologic.com/zbrush/purchase/purchase.html
ZBrush to Maya (GREAT tutorial .mov file on creating displacement maps)
www.Edwin3Design.com
Tuesday, September 05, 2006
Write a proposal of the story/concept - paragraph
Rosa the flamingo is lost and looking for her colony of other flamingos. She spies two plastic flamingos in a little garden and flies down to meet them. She tries everything she can to get their attention - dancing, preening and finally knocking them over. All the while, a little chickadee is eager to make friends with Rosa but gets underfoot and overlooked no matter what she does. It all comes to a head at the birdbath where the two learn to see each other eye to eye.
Rosa the flamingo is lost and looking for her colony of other flamingos. She spies two plastic flamingos in a little garden and flies down to meet them. She tries everything she can to get their attention - dancing, preening and finally knocking them over. All the while, a little chickadee is eager to make friends with Rosa but gets underfoot and overlooked no matter what she does. It all comes to a head at the birdbath where the two learn to see each other eye to eye.
Preliminary Thesis Statement
Through animated facial expressions and body posture, show two characters go through the awkward stages of making a new friend.
Proposal of the story/concept - 1 line
(I can't decide which fits best)
We often overlook the very thing we're searching for.
A real friend is better than a fake one.
Friends come in all shapes and sizes - even if they look different to you.
If you can't be with the one you love, love the one you're with.
Through animated facial expressions and body posture, show two characters go through the awkward stages of making a new friend.
Proposal of the story/concept - 1 line
(I can't decide which fits best)
We often overlook the very thing we're searching for.
A real friend is better than a fake one.
Friends come in all shapes and sizes - even if they look different to you.
If you can't be with the one you love, love the one you're with.
PRE-previs
I've done a lot of prep work over the past 12 months and I'd like to keep track of my efforts as well as set the ground work for many of the decisions I've made artistically and technically.
BACKSTORY.
A year ago I pitched a rambling, involved, multi-layered story to a teacher who told me it was "all too much". From that moment on, I've been paring down my characters and storyline to a manageable size. Two things that remain true to my first story are the setting, a garden with a birdbath and a minor character that has been promoted to major character - my flamingo "Rosa". While I'm sure my story might evolve over the production process, I've narrowed my focus quite a bit. Hopefully this will mean fewer changes over the next semester.
Meanwhile, academically, my summer was busy with 2 CADA classes: Animation 1 and Character Construction (rigging) with Danny Williams, the SIGGRAPH Conference in Boston, an all day AutoDesk Masterclass on rigging with Jason Schleiffer (LOTR, Gollum, Madagascar), and a 3 day "Academy" at Little Airplane Productions in downtown Manhattan.
RIGGING
I don't want to pursue rigging as a profession, but I do want to be able to rig my own relatively simple characters. Rosa's distinguishing feature is her long, flexible neck that will be a stretchy IK spline. Her legs will be a simple IK chain and her webbed feet will be set up similar to a hand and foot - open and close, cup, rotate and roll. Her wings will be set up very similar to a simple IK/FK switching arm that ends in 3 "fingers". These will be skinned to a wing with three large flight feathers. The wings will be used for some gestures but will not be a substitute for hands. Face will be animated through blend shapes.
ANIMATION
The main focus of my project will be animation so I really want to set everything up this semester so it all WORKS and I can spend next semester bringing it to life. I really need to hone my skills and take my time. Lots and lots of story boards and tests.
MODELING, TEXTURING, and STYLE
I'll be using Maya and ZBrush to create and texture my characters and the environment. I'm not aiming for anything photorealistic but hope to achieve a cross between to "The Corpse Bride" and Beatrix Potter - with a dash of art deco.
CHILDREN'S TV
At the Little Airplane Academy, (an amazing 3 days!), we went over script writing, directing, producing, pitching to networks, test groups, curriculum, and spoke with child psychologists, character developers, a composer, and a lawyer covering intellectual property. I would like to venture into this area of animation, preschool TV, and will gear my thesis project toward that goal. Educational but fun with a fresh look.
I've done a lot of prep work over the past 12 months and I'd like to keep track of my efforts as well as set the ground work for many of the decisions I've made artistically and technically.
BACKSTORY.
A year ago I pitched a rambling, involved, multi-layered story to a teacher who told me it was "all too much". From that moment on, I've been paring down my characters and storyline to a manageable size. Two things that remain true to my first story are the setting, a garden with a birdbath and a minor character that has been promoted to major character - my flamingo "Rosa". While I'm sure my story might evolve over the production process, I've narrowed my focus quite a bit. Hopefully this will mean fewer changes over the next semester.
Meanwhile, academically, my summer was busy with 2 CADA classes: Animation 1 and Character Construction (rigging) with Danny Williams, the SIGGRAPH Conference in Boston, an all day AutoDesk Masterclass on rigging with Jason Schleiffer (LOTR, Gollum, Madagascar), and a 3 day "Academy" at Little Airplane Productions in downtown Manhattan.
RIGGING
I don't want to pursue rigging as a profession, but I do want to be able to rig my own relatively simple characters. Rosa's distinguishing feature is her long, flexible neck that will be a stretchy IK spline. Her legs will be a simple IK chain and her webbed feet will be set up similar to a hand and foot - open and close, cup, rotate and roll. Her wings will be set up very similar to a simple IK/FK switching arm that ends in 3 "fingers". These will be skinned to a wing with three large flight feathers. The wings will be used for some gestures but will not be a substitute for hands. Face will be animated through blend shapes.
ANIMATION
The main focus of my project will be animation so I really want to set everything up this semester so it all WORKS and I can spend next semester bringing it to life. I really need to hone my skills and take my time. Lots and lots of story boards and tests.
MODELING, TEXTURING, and STYLE
I'll be using Maya and ZBrush to create and texture my characters and the environment. I'm not aiming for anything photorealistic but hope to achieve a cross between to "The Corpse Bride" and Beatrix Potter - with a dash of art deco.
CHILDREN'S TV
At the Little Airplane Academy, (an amazing 3 days!), we went over script writing, directing, producing, pitching to networks, test groups, curriculum, and spoke with child psychologists, character developers, a composer, and a lawyer covering intellectual property. I would like to venture into this area of animation, preschool TV, and will gear my thesis project toward that goal. Educational but fun with a fresh look.
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