This week I had a 1 to 1 with my lecture and he suggested that I blended more the darker parts of the skin to the brighter ones. So I have imported the model in Procreate, an app which recently offers the option, once imported, to paint 3D models using a UV map.
I then added the IK handles for the legs one to make the “knee” and one for the upper part bending the opposite way both for the forelegs and rear legs
For the body rig I have done a research for some videos and I followed the following one as a starting point since I have never rigged a human body
I have used the mixiamo website to rig the model by exporting the fbx file of the model into the website and assigning to the rig the chin position the wrist the elbows the knees and groin of the character to start build the structure from
The model did not many problem with the mesh after it was binded except for the arms joints which had an influence on the head and the ears as well so I skin weighted this part to correct it.
In this week workshop we composited the box rendered video with some sounds from Freesound website using Adobe Premiere Pro
I have imported the rendered images and the sound in premiere pro, and synced them to the actions of the animation such as the box opening and reversed the sound when it closed. and the switch been turned on and off.
Arbitrary output variables (AOVs) allow data from a shader or renderer to be output during render calculations to provide additional options during compositing.
Render layers: create collections (different folders within the layers); The primary visibility attribute in the Render Stats allows an object to reflect and refract, but the object itself does not render. To do so, both the visible objects and the hidden objects (the objects for which you wish to show reflection and refraction) must belong to the same layer.
This week I modeled the Cat for the “cat’s secret life” project, I feel that that over the last term my modeling skills got better since that I had to create several for these two projects and collaborative project as well and I have now a set of tools in maya that help me model the props and characters.
These are some pictures showing the process of the cat model: I always start from a simple geometry a circle in this case smith it and select the vertices using the smooth selection tool most of the time to create the main shapes: for its head I have used a sphere, for the body a sphere as well and extrude the faces creating proportioned faces following the polymodeling technique for the body I extrude the faces to create the tale, the four legs and the neck too.
From the head shape I extruded the faces for the ears and extruded and moved the vertices to get to the final look. I also deleted some faces after having created them with the multi-cut tool to create a hole for the two eyes that I have created starting from two spheres and selecting the faces to make the pupils assigning them different colours.
I have assigned different colours materials to the body to make the cat similar to a Siamese cat
Which other props will I need for this project?
Based on my storyboards I have created a list of props that I will need to create my short animation “Cat’s Secret life”:person (owner) legs, door, cat’s bed, table with vases and lamp, sausage chain, small sofa.
Since that the perspective of the camera is going to be the one of the cat and therefor in would develop at a lower level following its view, I won’t need a whole body to be modeled but just the legs which I have created with a smoothed sphere polygon and extruding two faces for the legs, and from the legs I consequently extruded other two faces to create the feet. I added few details manipulating the vertices and assigned different textures to differentiate the different parts.
For the cat’s bed I opted for a classic design (just like the one that my own cat has) creating the pillow where he would sit and the side pads I even added a label to allude that that it’s his property.
One of the scenes depicts the owner living the house an d one the owner coming back home: I have designed a door with a wall for that scene starting form a cube polygon
This is the door knob I have created starting from a cylinder and extruding its faces.
In one of the scenes the cat breaks a vase by pushing it down form a table. I have decided to design a chinese vase to imply the fragility and value of it.
After I had created the main shape I have assigned a texture to it but it was spreader evenly on the surface that’s why I have UV mapped the vase surface
I then extruded the faces to created the drawers, I also UV mapped the table after using a planar UV Mapping since I have assigned a wood texture and also added a bump map to give it texture too
I after assembled the scene after creating a lamp as well: I have added some attributes in the emission of the lamp texture to make it glow, I also put two area lights inside to simulate light coming out of it.
I also modelled the sofa that the cat is going to scratch his nails onto, for this specific model the bevel top was particularly useful to create the pillows of the sofa
For the pillows I had done a research to see which is the best way to model one and I have found this video which was very useful since it show how to use the cloth simulation to quickly create one.
Camera shots are essentially what do you see in in the frames or what the director wants the audience to see, having the control over what is going to be shown in the frames and the motivation behind those choices. Camera position is important for deciding which perspective the camera is going to show
We can consider what is framed in the camera as the perspective of someone: A point of view shot (also known as POV shot, first-person shot or a subjective camera) is a short film scene that shows what a character (the subject) is looking at (represented through the camera).
Each shot in a film expresses a point of view, which often changes—sometimes with each new shot. The point of view, or narrative stance, mostly goes unnoticed by the audience. However, altering the point of view can profoundly affect how the audience interprets any scene and character.
First-person point of view restricts what the audience sees to the viewpoint of a single character. Extensive use of this subjective viewpoint can be problematic because we can never see our point-of-view character’s reactions. Films that use first-person POV usually focus on the characters that we can see rather than the character who sees them. However, it’s tough to connect with a character without seeing their face.
The third-person limited point of view presents the action from the perspective of an ideal observer. It’s the style of narrative most common in TV and film. The term “limited” refers to the idea that we only know a few characters’ feelings and thought processes, rather than the entire ensemble. When we start to understand more about supporting characters because of a narrator, the film moves into omniscient point of view.
An omniscient narrator or POV will tell the story without attaching it to a single character or group of characters.
I thought about all of the possible points of view in a scene and how they can affect a story. (Determining the point of view is one of the director‘s most significant contributions to a film). I created the scene and after animated variations on camera path following an animation I previously animated showcasing an angry walk.
This week I have started model the assets for the fisherman project:
I have started from the focus of the short movie which is the fisherman character.
I have imported the model sheet first to use as a reference for modeling
I have created a cube and from the side and front view I have adapted it to the reference design
Once the face shape was ready I have deleted two faces for the eyes and extrude one for the nose
I after started working on the body by extruding some faces at the bottom of the face to create a neck and extruded them again to create the body
after I created new polygons and shape them to use as eyebrows and moustache which made him more expressive
I then created an hexagon shape to model the hat he would wear extruding the faces to create the main shape
I have extruded the faces at the side of his head to create some hear and added few strings of hear at the top
later I thought it would have been better to remodel the body since I was not happy with the first vesting of it. I have also added few details such a s hands and clothes which i have modeled starting from the body shape duplicating it and deleting the faces that I did not need. For the hand I used the cut tool to create new edges to then stitch together to simulate the fingers.
Boat model
I have also modelled the fishing boat where I have used the create edge loops, the cut and the extrude tool mostly to create it. I have assigned it a simple standard surface for the moment I will after export the uv map to add a bit of moss and scratches to make it more old and used.
Fishing rod
Another essential prop for the story is the fishing rod that the fisherman will use: I have created a very simple and rural one that may fit better with the character
After I have also used two reference pictures to model the fish and the corncob pipe, for this props I have used the soft selection tool to easily adapt the geometry to the picture without ruining the topology of the mesh. The extruding tool was also very helpful in this process especially to create external parts of the model without using different geometries.
This week’s task was to design, create and animate a useless machine. A useless machine or useless box is a device which has a function but its direct purpose is deliberately unknown.
I first created a basic Useless Machine: When the switch on the top of the box is flipped “on”, a finger comes out of the box, turns the switch “off”, and then retracts into the box.
I after created a Useless Machine Variation using a model of the character Wall-e from the university library, since he is a robot and I thought it could work well with the mechanical movement of the box, moreover wall-e himself has box-like features. I tried to recreate some of his characteristic animation from the film.
The first aspect I should consider in order to plan my work is what is going to be framed in the scenes so that I will be working on assets based on that. I should focus on essential assets and the main character would be the most important one. As long as I have the main props for the scene to make the narrative work and the scenario recognisable for the audience I could even use some infinity backgrounds for the overall environment.
this is the link for the whiteboard on Miro I have created where I will update my development:
I have created a moodboard which may help me in the development phase to visualise better the character, the environment and the overall tone I want to create for this project. I have included some designs that I could take inspiration from for the props, and the character design and also a couple of films, “Joy” and “Luca”, the former is a short animated showcasing the tale of the lovable small dog (Joy) and a pesky Heron. Even though the story is not centred on fishing the main character is out with his owner on a fishing trip. The latter is Luca the latest Pixar animation film and is set in a beautiful seaside town on the Italian Riviera where fishing is one of the main focus and can be very inspirational for me for the overall tone and fishing tools they use as well.
I have added a description to the Fisherman project storyboards both regarding the narration and the sound
Character design
I have started by designing the main focus of the animation: the fisherman. I tried to experiment with his age, his look and attitude. Since that he is inexpert I thought that a younger look would fit more, however even a more aged man would be very funny as well since he might have been better when he was younger and stronger, but now that he is old he has lost his skills. The aspect I am more sure about is his clothes: I researched into fisherman looks and generally they are all wearing a cap with overshoes and a jackets with many pockets, probably to put baits.
How to Convey Character’s Personality Through Shape, Variance and Size?
The impression of the physical appearance of a character affects the impression of personality traits. The main tools to refer to are shape, variance and size, which should be all used when designing a character.
Shape: facial expression is really secondary when reading a character; first thing to notice is the face shape, posture and body language, and shapes have more universal meaning across the globe compared to colour. We often subconsciously assign qualities to a person or a character by only perceiving him/her as a combination of shapes. Square shapes are assigned to characters to project his solid, stable and may be stubborn personality as well as its dependability and confidence. On the other hand, the perception of oval shapes that safe, soft, friendly, safe and harmless, on the contrary, angular shapes has always projected danger and often designers use triangles and pointy shapes in their villain character’s personality. artists also use them to show a hero’s determination, drive and opportunism.
Variance: characters should be divided into 3 parts: head, torso and legs. Since contrast creates interest they should have different proportions of these elements described above. This is also used in the proportions for the face on a smaller scale. For instance, babies have large, round heads and small bodies, which is what makes them so adorable.
Size: using the size relationships in your character can make their design more appealing. A good design is often characterised by different in size shapes, combined in an interesting and unpredictable way.
First identify its personality: He is going to have stubborn personality since he is a fisherman who is determined to catch a fish so I started out his design from square shapes, However I wanted him to have also created contrast in his body legs and torso proportions to make it more interesting: his head is bigger compared to the rest of the body which may resemble “babies” proportions so to make it look sweeter and less intimidating. he is going to wear a large dungarees and a big head to stress even more his short size; moreover I though I could add a corncob pipe which would characterise him even more. Having so defined body features will help when I will have my model ready to animate to first focus on body expressions rather that facial ones.
Work on the scene set up, which model will I need:
Following the storyboard I have created I will be producing the following props – boat, fishing stick, fish, corncob pipe, water
corncob pipe reference
“Cat’s secret life” Project
(focus on the fisherman project first)
I have added a description to the “Cat’s secret life” project storyboards both regarding the narration and the sound as well:
Moadboard
In this moodboard I wanted to recreate the tone, attitude and feel of the animation I intend to create especially the personality of the cat who is the protagonist. I have added few picture from different animation films which pictured cats in it: from “the secret life of pets” in particular regarding Chloe, one of the main protagonists. Chloe has an eating disorder. She’s shown to be apathetic, indifferent, and slothful – she doesn’t care much. The only things she does really love are food and herself; I plan to use the other film references of films I have include more as an inspiration for the cats animation they use: “the aristocats”; the cat from “shrek” and the cat from”Oliver and company”.
Character Design
I tried to draw some cats using several reverence and styles and colours to see which one would fit better to the story
Cat personality: mischievous, active, cunning and a bit clumsy too.
The shapes I have used for the final design are circles for the eyes to make them active and “alive”, triangles for the ears and the mouth to project danger and also use them to show determination, drive and opportunism. The squared face shape shows its stubborn personality as well as its dependability and confidence.
Difference between humanoid animation and animals animation (emotions, movements)
Considering these two project ideas I have come up with, I have identified the main difference between them which I can research into: the main characters are very different since one is a human and the other is a cat. So, how can I, as an animator, differentiate the way I convey their emotions and movements?
As for the fisherman he is a man, and acting videos are easier to find or make myself. Moreover, a great deal of human brain is dedicated to deciphering the emotional state of other humans so it might be easier to animate them rather than animate animals.
Regarding the way to animate animals, just like it happens for humans, is through observation; and also since us as animators and audience are used to apply and communicate throughout our emotional intelligence, in animation there is a process frequently used which is “anthropomorphism of movements of the animals character animation”: the attribution of human form or other human characteristics to any nonhuman object. So, their species features and design can impact the storytelling and characterisation of an animal character. Moreover, attributing human traits and qualities allows for us as an audience to empathise with the characters.
So how does anthropomorphism add to characterisation and storytelling?
“Kung Fu Panda“, for instance, is the story of a bipedal, lazy and overweight panda becoming a martial arts master. The process which helped to develop a charming and well executed story was taking the apparent traits of a real panda and creating a narrative that surrounds those characteristics. Real world problems become animalistic versions of problems, letting us feel for the protagonists. This is the idea behind my project on cats’ secrets life: being myself an owner of a cat I have noticed throughout the time that he has certain behaviours and habits which are notoriously acknowledged when referring and thinking of cats in general which are for example being mischievous, witty or even lazy.
I think that the most human like feature though would not be attributed its physical features but the way the cat will convey its emotions: we attribute those human feeling to cats as humans since those specific feelings are the only one we can express, we can understand and, most of all, are mostly used to.
The use of arms and legs would also different in quadruped (animals, cats in this case) and biped (human, fisherman): the quadruped have their upper limbs as active as their lower limbs which would not only affect its animation but also its rig structure and hierarchy.
After downloading a video of a person acting in front a green screen and a picture to use as a background, I imported them into nuke and merged them with a merge node. I after used a Primate node to remove the green screen. Basically, Primatte segments all the colors in the foreground image into one of four separate categories. The result is a spill suppressed foreground image and a matte which is used to apply the modified foreground to a suitable background. Primatte works in 3D RGB color space.
This is the result video:
Basic Maya lighting tips
The integration of an object into a real life environment requires the virtual camera to be matched to the “real-world” camera that takes the original video.
Maya light match for shots
Basic lighting set up
First create a grey ball and put it in the middle of the scene
Create a skydome: edit the intensity of the skydome light: the grey ball darker colours should mack the darker colour of the scene and the lighter colours should match the lighter colour in the scene.
Turn camera for the skydome to 0 otherwise the render would be white
I first edited the lighting drastically to after turn it down
I then assigned a standard surface material to the ball
I also brought another light in the scene depending on the environment
Add a metal sphere to see where the source of lights are and the intensity of them
I added a ground plane to catch the shadows by assigning a shadow matte material
Anything white in the alpha channel in the render view is going to be rendered and the shadow matte plane is not rendered.
The primary visibility attribute in the Render Stats allows an object to reflect and refract, but the object itself does not render. To do so, both the visible objects and the hidden objects (the objects for which you wish to show reflection and refraction) must belong to the same layer.
Space is an important element when considering animation. The position of a form is relative to how it is being seen within the environment and when designing a space it brings consideration of its function.
Comparing Gme with Moving image (animation)
The common points between them are that they both amuse, they follow rules, they can be used in animation, they can be a form of expression. Their differences rely in how they involve the people or players, their level of interaction and the boundaries.
Game is an activity that engages to play while moving image are director vision.
Narrative, act and events and stage and environment are three related design elements of games which have a particular relationship in this media:
Narrative determines theme and/or style
Stage and environment: a successful stage can be determining in how well are the environment supporting the story, making it convincing and enjoyable. it includes the level, route of the game; the aesthetic; theme and style that drives with the narrative; and the environment that can put into part of the “play” (the action to use for engaging a game, which is the player’s unique behaviour)
Act and Event which defines the major act, communicates the narrative, helps with the choice of pose, sets up the scenario and help express the emotions.
The narrative for architecture is particularly enhances in game and anime: games and animes often demonstrate a better way of resolving architectural ideas, because the foundation of their narrative often require spatial referencing, so the narrative can be integrated just within a context. Moreover the advantage of these media can express the form of narrative, the idea of affecting our thinking on architecture with entertainment. There is also a potential in exploring almost unlimited restriction in architecture still containing logic.
Digital space for game design (breaking the boundary)
The user is a determining figure when designing a digital space: game space goal is serving well its rule of play and narrative. The boundary of the space is determined by the game genre. Inputting the configuration and function of architectural thinking in virtual space can strengthen this relationship and deepen the degree of immersion. Directors have the opportunity to control the vision with a unique perspective.
Passive animation in environment
The following is an example how how an object even if is being subjected to an action without producing a reaction can be important to create the narrative and staging of a scenario.
3D artists were challenged with the Alternate Realities CG challange. A basic animation was provided for everyone to work from, and the results were stunning. 2,400 artists delivered, the top 100 were chosen for this montage.
The whole animation revolves around the main act, the background and the animated background element which helps supporting the scenario, these elements bring the whole scene to life.
Collaborative Project
Narrative, act and events and stage and environment for our VR game where elements I had to reinterpret as the project developed since I always worked with a moving image perspective following a director vision. For VR we can still visualise a scene, but instead of objects being defined relative to the frame, we define them relative to the audience. This was an aspect I had to deal with especially when I have created the storyboards.
