Light fog and fade
Full scene
Reacting with props and enviornment.
Friday, 2 March 2012
Lazers and security
Just a quick update on the progress of the secruity system in my film, Nearing the end of the film Newton will have to navigate his way through a lazer field. The lazers them selves are 2 pieces of simple cylyndrical geometry placed inside each other, one with a 35% transperancy so it is visable and the room lights react when they cross, and the other has a glow applied to it but the geometery source itself is hidden.
A huge Thank You..........
I just want to say a massive thankyou to Anna and Arkadiusz from the 'Glassduo' for helping me with the musical score for my film, their work is truely staggering check them out at
http://www.glassharp.eu
Thanks again guys!
http://www.glassharp.eu
Thanks again guys!
Learning through Science!!!
I had a lot of fun over the past two weeks designing physics and science posters to decorate my museum with... Subtle PS cutout effects make all the Difference!
Welcome to Oak Ridge
Schrodinger's spectrum
Dr Frechette, Swing Physics
Foton world
Galileo and Acceleration
The Blackboards
Flight Physics!
Newton Finished Fur (Maya)
Once I sorted out my mapping issues I got to fine tuning Newtons fur, so here are some of the pictures though out the various developmental stages.
Final maya software settings with basic lighting and a sphere
Final Colour mapping/Direction and Clumping
Full body fur.
Final silhouette shape, as many of the film will be in silhouette this is a very important aspect, and hopefully looks ok!
This may look weird or like automatic mapping to begin with but...........
As we all know Maya can be rather moody, CRASH and simply refuse to comply with any of your wishes, and this has never been such a problem as when I am asking the programme to work with fur maps. (for baldness, direction length ect) This began to get me very annoyed as Maya, would never find the maps, load the wrong map, design its own maps and of course, Crash! So I decided to avoid maps at all costs, the most important aspect of the appearence of the fur (besides from the shape of the strands themselves) would be the direction/baldness of the fur. The placement, size and angle of the UV segments within the UV 1-1 Space can offer complete control of the aforementioned aspects of the strands/hair. Without the need to create seperate maps. Unfortunatly this does not apply to length which still creates random clumps and baldpatchs every time I click the length button that require an ENTIRE SYSTEM RESTORE to remove, I would upload a picture but i do not want to have to go through that again :(
UV design,
The final facial texture.
The final facial texture.
Character development
Concept paintings/simplifing the design
First character turnaround (rejected!!)
Finished Character Turnaround
Final Character design
The colours are highly likely to change to match the mood/swatch of the surrounding.
Tuesday, 18 October 2011
museum degisn and Inspiration
I'm not very well educated in the world of architecture, but I do have a certain appreciation for it and my personal favourite architect would be Delugan Meissl of Associated Architects, who designed the Porsche Museum in Stuttgart.
Very simple angular designs using plain walls that rely on natural light to fill the room and provide the atmosphere.
Other interesting designs i have found
Other interesting designs i have found
The new tale
It is still entirely based around the same character 'Newton,' however instead of arriving home with the cradle, I will now tell the story of how he aquires the cradle from a science museum.
The story it self is incrediblt simple, Newton subtly arrives into the main museum floor through an air conditioning system, rapples to the ground via a rope suspended from the vents above. Has a quick stroll around the floor out of curiosity, before making a B-Line for the cradle. The moment that he lifts the cradle from the plynth, a laser security system is acivated which he has to avoid and navigate upon his return journey to his escape rope. Unfortunatly however whenever he pulls on the rope it unwraps and falls from the ceiling and lands at his feet, leaving the poor raccoon trapped inside the museum......
It most probably will take slightly different twists and turns from this post but this should be the general 'jist.'
The story it self is incrediblt simple, Newton subtly arrives into the main museum floor through an air conditioning system, rapples to the ground via a rope suspended from the vents above. Has a quick stroll around the floor out of curiosity, before making a B-Line for the cradle. The moment that he lifts the cradle from the plynth, a laser security system is acivated which he has to avoid and navigate upon his return journey to his escape rope. Unfortunatly however whenever he pulls on the rope it unwraps and falls from the ceiling and lands at his feet, leaving the poor raccoon trapped inside the museum......
It most probably will take slightly different twists and turns from this post but this should be the general 'jist.'
Major League Changes
After many many many failed attempts at a creating the forest set.... I have bravely decided to run from the problem and start a new, and produce a prequeal to the film that never was.
Wednesday, 13 April 2011
Closer to finished turnaround....
I think this here will be cover of my Pro Bible.......
Wednesday, 6 April 2011
Even nicer Balls........
With reflections from invisible Fur, sure it takes 1.10 to render on my lapithtop but on the college ege ones that should be less than 1 min plus you only see him in reflections for approx 4-5 secs, but still worked first time, surprised yet happy face! ( : ? ( just relised that thats elvis face from tother side! )
Monday, 4 April 2011
Cradling thoughts
Had some great improvements to the rendering of the cradle today, only took 15secs too, even on my laptop (Thurifur the greatest wone ever in existence...... : ) close bracket.
Here's new render, with a single sharpen edges in Photoshop
Where it was on friday....
Here's new render, with a single sharpen edges in Photoshop
Where it was on friday....
Thursday, 31 March 2011
Inspiration....
As I previously have said, like most people what turned me to animation in the beginning would be the Disney Renaissance period, (fond memories of childhood plus stunning visuals and sounds to match) However I wish to discuss my current influences/ ones that have led me down this path.
Up until one year ago I would have always ranked 2D animation above 3d (despite my sheer undiluted hatred of animie, sorry anybody who reads this that really enjoys it, I've tried to like it, I've sat through films and full series, but I can't bring my self to it...point being despite this I adored 2D rant over) I felt that they had so much life and that you could feel the personality of the specific artist who drew each frame coming through the picture. However after coming to university I learnt about and discovered so many great 3D animated films that I changed my tune so to speak. The only prior 3d influence to that period of time would be the Dreamworks Series 'Father of the Pride,' which unfortunately was a monumental failure but nonetheless it's still my favourite animated series to date
The character designs we not realistic in anyway shape or form but they were able to seamlessly blend the mannerisms of the character to match the voice actors, if a link between voice and action is broken it I believe that it will alienate the audience immediately. How the character was portrayed to the audience was done in my opinion very well, through the movements and idiosyncrasies of each of the cast was enough to tell you all that was needed to know about that individuals, attitude morals ect. In fact the pilot and following episode were never aired as there was simply too much back story, basically throwing explanations it in the viewers face as opposed to them delving into the animated world.
Appearance wise it was ahead of the curve for the time it was released as it was a Dreamworks piece it was very similar to Shrek in appearance (Donkey even made a guest appearance on the show, simply to advertise Sherk 3 but he never looked out of place so for an animated series to have the quality of a multi million dollar block buster really impresses me) the set/char design was quite cartoon esque however they utilize the 3d, so that the textures were deep, the set was detailed, the chars had realistic fur and gloss on their eyes, the shadows created such a more believable atmosphere than a cel shaded environment. The simply topology and design combined with a more immersive visual is something I really strive to carry over into my own film.
Since then technology has vastly improved as have the appearance of the films, A great example of something that inspired me would be cloudy with a chance of meatballs, unfathomably far fetch'd but the visuals carry it off so well, again the caricature ish nature of it's design coupled with the realistic shading and lighting hugely enhance the immersiveness and believability factor.
I like the ldea of recreating complex textures in 3d hense my focus on Fur, films like Open Season, Madagascar, Over the hedge were simply awe inspiring for their fur, as tech progresses so do the outward appearing of the characters and it gives me something further to reference and more importantly to aim for.
1 Open Season 2 Over the hedge
As a Grammar school student my I was taught (ish) that classical artists were the most talented, the masters who could produce near photo-realism believe able textures.. so I guess I've migrated this view over into animation. As I grew up I discoved Futurism which I become quite fond of, a photo realistic painting might as well be a photo-still, the futurists captured realis tic movement, using abstract subjects, which I can enliken to the simply char immerisive atmosphere that I previously mentioned.
Gianfranco Balla 'Abstract Speed' and 'The Swift'
Marcel Du Champ Nude desending the staircase No.2 (My favoutive painting of all time as it is simply a flipbook but on one fantastic place of paper.
I actually found this next artist by accident, simply through doing a google search for something completly different, ( the fact that the web address is http://www.mixolydian.biz/ has nothing to do with the major/minor/mixolydian scale thing I said in my welcome message just is a rather large coincidence!) Giuseppe Canino is a 3d digital artist who focuses on sculpture and topology exercises. I see his work as an example of bring expression and life to a model and he avoids the uncanny valley (which is what my dissertaion is on) I have little intrest in the subject of his sculptures themselves, demons, mythological creatures ect but I can appearciate their technical brilliance. His choice of lighting and shaders also plays a large part in the convincing 'aushend' of this work.
Beauty and the Beast 4, Head Study 2
Up until one year ago I would have always ranked 2D animation above 3d (despite my sheer undiluted hatred of animie, sorry anybody who reads this that really enjoys it, I've tried to like it, I've sat through films and full series, but I can't bring my self to it...point being despite this I adored 2D rant over) I felt that they had so much life and that you could feel the personality of the specific artist who drew each frame coming through the picture. However after coming to university I learnt about and discovered so many great 3D animated films that I changed my tune so to speak. The only prior 3d influence to that period of time would be the Dreamworks Series 'Father of the Pride,' which unfortunately was a monumental failure but nonetheless it's still my favourite animated series to date
Appearance wise it was ahead of the curve for the time it was released as it was a Dreamworks piece it was very similar to Shrek in appearance (Donkey even made a guest appearance on the show, simply to advertise Sherk 3 but he never looked out of place so for an animated series to have the quality of a multi million dollar block buster really impresses me) the set/char design was quite cartoon esque however they utilize the 3d, so that the textures were deep, the set was detailed, the chars had realistic fur and gloss on their eyes, the shadows created such a more believable atmosphere than a cel shaded environment. The simply topology and design combined with a more immersive visual is something I really strive to carry over into my own film.
Since then technology has vastly improved as have the appearance of the films, A great example of something that inspired me would be cloudy with a chance of meatballs, unfathomably far fetch'd but the visuals carry it off so well, again the caricature ish nature of it's design coupled with the realistic shading and lighting hugely enhance the immersiveness and believability factor.
I like the ldea of recreating complex textures in 3d hense my focus on Fur, films like Open Season, Madagascar, Over the hedge were simply awe inspiring for their fur, as tech progresses so do the outward appearing of the characters and it gives me something further to reference and more importantly to aim for.
1 Open Season 2 Over the hedge
Gianfranco Balla 'Abstract Speed' and 'The Swift'
I actually found this next artist by accident, simply through doing a google search for something completly different, ( the fact that the web address is http://www.mixolydian.biz/ has nothing to do with the major/minor/mixolydian scale thing I said in my welcome message just is a rather large coincidence!) Giuseppe Canino is a 3d digital artist who focuses on sculpture and topology exercises. I see his work as an example of bring expression and life to a model and he avoids the uncanny valley (which is what my dissertaion is on) I have little intrest in the subject of his sculptures themselves, demons, mythological creatures ect but I can appearciate their technical brilliance. His choice of lighting and shaders also plays a large part in the convincing 'aushend' of this work.
Beauty and the Beast 4, Head Study 2
Some Futher Character Design Ideas
I though that I had pretty much settled on these as they would be purdy functional and easy to animate, however I feel that they seriously lack a likeability factor, so i'm including and early corel paint work which I'm going to develop this week end that looks much cuter but it's current shape urmmmm.... let's say definitly does not lend itself to a nice n easy rig and thus animation..
Turn arounds standing and sitting
The 'Nice wee design,' even though the width of his head is the height of his body
(I this was inspired my a design I saw on a t'shirt printing website, either wordans or cafe press i believe)
I like the idea of a brown and tawny colour scheme as it will blend much better in with the warmly lit tree surroundings, than the more traditional blueish grey tinge to the fur that is the image that comes to most people when they think of Raccoons, If I can stretch out the stumpy limbs just enough so that they can comply with all the actions needed, I will then use this hopefully to produce a newer/better turnaround. Plus it's really different to anything else style wise than i've ever drawn before.... Pat inspired me today to push this one forth
A futher colour test, I am using corel to blend the colours then these will be taken into maya and used as a texture the the ' 3D fur ' Will grow from and collect it's colour maps and infomation, I like the ginger bits on the tail I don't know whether to use that and a base colour or use it very sparingly to accent certain features...
Turn arounds standing and sitting
The 'Nice wee design,' even though the width of his head is the height of his body
(I this was inspired my a design I saw on a t'shirt printing website, either wordans or cafe press i believe)
I like the idea of a brown and tawny colour scheme as it will blend much better in with the warmly lit tree surroundings, than the more traditional blueish grey tinge to the fur that is the image that comes to most people when they think of Raccoons, If I can stretch out the stumpy limbs just enough so that they can comply with all the actions needed, I will then use this hopefully to produce a newer/better turnaround. Plus it's really different to anything else style wise than i've ever drawn before.... Pat inspired me today to push this one forth
A futher colour test, I am using corel to blend the colours then these will be taken into maya and used as a texture the the ' 3D fur ' Will grow from and collect it's colour maps and infomation, I like the ginger bits on the tail I don't know whether to use that and a base colour or use it very sparingly to accent certain features...
Subscribe to:
Posts (Atom)