Some inspiration.
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.
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.
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.
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.
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
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
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.
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.
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.
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