Check out this "Bonnie and Clyde" animation ... (lightyears away from Chicken Little - Think of it as an antidote to becoming too cute) http://www.mediaramas.com/bc/quicktime.html
Thursday, September 28, 2006
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.
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.
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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