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CIU - Week 2

This week we got two new members to the group, Vanja and Jacob. Within about five minutes our original plan for a run of the mill combat game was out of the window. 

We’re not entirely sure what we’re going to be doing just yet but at the moment we seem to be heading down the road of a 2D puzzle game.

Stylistically we all seem to be thinking something along the lines of a medieval/fantasy theme, the game being set in a forrest-y type of area that gets spookier as the game goes on more and more. 

I’ve done up a few concept for environments that’s I’ll add below. I’ve taken a lot of inspiration from the upcoming game, Ori and the Blind Forest (that Vanya recommended in class). Also I was inspired by Rayman and Child of Light. 

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Week 1 - Wrap Up

It’s a bit late but I’m going to try and do one of these every week.

So, as of last week:

  • I joined a group with Tyler Watts from Games Design for the final project. We were going to do a Super Mario style beat-em-up game, doing it in 2D using Unity. For that I came up with Numerous concept works, as you can see below. 
  • Studio 3 has really rocketed off this tri. We’ve signed up for our group projects which definitely sounds pretty interesting. Looking forward to that. 
  • For independent study this term I think I’d like to focus a little bit on 2D animation (partly inpreperation for the final project next tri.) I’d also like to learn a bit more about Maya and Spine, which I’ll document on here. I’m going to try and do a fair few test animations and some illustrations maybe to give myself some material for this showreel we’ve got to come up with at the end of the tri. I wasn’t entirely happy with my work last tri so I’m definitely going to try and top that. I’m also thinking of trying my hand at a small graphic novel to see if I can pick up a thing or two in After Effects. So in summary I’m going to try and brush up a bit on the programs that I’ve not used or not used much of yet and improve a little bit on old skills. 

That’s it for now I think, I’ll definitely be updating more as the weeks go on :)

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Start of Trimester 5!

Like everyone else by the looks of it I’m going to be splitting using this blog for both ANM230 and CIU212 with tags (I’ll put links into the sidebar)

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Complete Reflection of Trimester

Creature Design

  •   Started turn with a rather fixed concept for my design. It was a bit of a rip off of a Opee Sea Killer from Star Wars/Crocodile/Shark Had trouble moving away from that.
  • Started thumbnail after strong encouragement in class and inspiration from Azam’s lessons. Came up with a good deal many ideas that I liked a lot better than my original one.
  • Ended up going with a design modelled loosely on a Moray Eel and Crocodile with a bit of a Kaiju feel mixed in.
  • Made Model Sheet
  • Did first model soon after.
  • Rigged first model, found there wasn’t enough looks in the tail for it to move as fluidly as it had to. Forgot to model sockets and eyeballs for the creature.
  • Selected sound for creature (Alligator hiss)
  • Did second model. Added more loops in the tail (forgot, again, to model eyes.)
  • Rigged Second Model. Tail moved much better than before.
  • Altered Second Model to have eyes.
  • Unwrapped Second model. Forgot to use symmetry from this but utilised that for the last half of the process.
  • Re-rigged Second model.
  • Skinned Second Model.
  • Animated model. This took a long time thanks to my not animating for a long time before this part of the process, but I eventually got two animations.
  • Touched up the model a bit more with Steve’s help in class.
  • Textured Models.
  • Submitted FBX files to Google Docs.
  • Inserted FBX file into Unreal Engine (not a problem at all there, thank goodness. Although I got a lot of help from Steve when it came to playing with the materials and such)

  Assets

  •   Modelled assets. Didn’t have much of a problem with this at all.
  • Unwrapped. Again, no problems.
  • Textured.
  • Exported as an FBX file into unreal. All worked well.
  • Uploaded onto Google Docs.

Independent Study (Showreel)

  •   Made model sheet for Showreel character
  • Modelled Kid character body.
  • Modelled Teen character body.
  • Modelled first kid head. The topology was all off. Had to redo.
  • Went through several models of kid head.
  • Eventually modelled a head I was happy with.
  • Made hair using the Poly Hair method.
  • Found the Hair and Fur plug in. Researched it some more and decided against using it due to the increased render times.
  • Modelled teen head.
  • Failed to connect teen head to body because of the substantially different number of polys.
  • Decided to just go with Kid model in an effort to save time.
  • Started animating kid model.
  • Refreshed my memory for animating by watching several tutorials. Learned pose to pose animating during this process.
  • Came up with a rough scene list.
  • Animated majority of scenes of list.
  • Rendered scenes.
  • Compiled in After Effects and Premier.
  • Found background music on Youtube.
  • Rendered and posted on Tumblr.

PROBLEMS

  •   Poor time management. I went into the term rather determined and got a fair bit of work done early but quickly lost momentum. This lead to a lack of productivity throughout the rest of the term and a bit of a rush job in regards to my independent study.
  • Very poor upkeep of blog.
  • Didn’t utilise resources such as digital tutors as much as I should have and certainly not as early as I should have.
  • Didn’t do enough planning for my independent study. I had a lot of ideas but I never really put most of them down so not all of them were in the final piece.

GOALS FOR FUTURE:

  •   Learn more about 3Ds Max and maybe try and learn a bit about Maya. From my research it seems to be the primary software used by film and games companies so learning it should definitely be worth my while.
  • Develop better time management and organisational skills. Perhaps setting a comprehensive schedule at the beginning of the term to stick to will keep the old laziness in check.
  • Stick to the schedule.
  • Develop 2D art and photoshopping skills some more.
  • Practice animating, both in 2D and 3D.
  • Generally just be a better, more motivated student.
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History and Development of Storyboarding

Storyboarding as we know it today was originally developed in the Disney studios during the 1930’s. Disney himself credited Animator Webb Smith with the idea. Smith had been sketching out a series of images of a scene that he was animating, doing each sketch on a separate piece of paper and then pinning them up on a bulletin board. In doing this, he is said to have created the first storyboard, a practice that Disney studios and, before long, the animation and film industry at large, would later adopt.

The first complete storyboards were made for Disney's 1933 film, The Three Pigs.

The process that they had used before Smith’s decision to pin up his sketches on a bulletin board was referred to as ‘story sketches’, which essentially were comic like strips of drawings used to conceptualize a scene. They were as clear as storyboards, but it can’t be denied that they pathed the way for this practice.

Like I said before long live action film caught onto the trend as well. The first to be completely storyboarded was the 1939 film Gone With The Wind.

During the 1940s the practice became more and more popular until eventually becoming a standard medium for pre-production of films, either live action or animation.

This can be clearly linked to the obvious effectiveness it allowed studios in testing out whether a scene worked or not before putting in the time and money to film or animate it and find that out in the cutting room.

Over the years the practice of storyboarding has been kept well and alive, so much so that it’s begin to develop a new pre-production stage, that is, the animatic.

For many years the animatic has merely been a filmed version of a storyboard but in the last 10 years they have become more advanced thanks to the development of animation software.

Animatics are able to enhance the effectiveness of storyboards in the pre-production stages as it gives the animators an even clearer idea of what works and what doesn’t. It also allows for a trial run of sorts for aspects of production such as timing and visual effects that storyboarding may not have been able to completely convey.

So in the span of just over half a century we’ve gone to a series of scribbled down comics, referred to a ‘story sketches’ as an animator’s only additional guidance apart from the script and the direction of superiors, to the technique that we now know as storyboarding, thanks to animator Webb Smith, which has been adopted throughout the film and Animation industries as a standard practice. This in turn has sophisticated to the point where animators and filmmakers now typically have the additional resource of an animatic, that is a storyboard that has been roughly animated in a way that makes it as close to the final product as it’s possible to be in the pre-production stage.

Their importance and effectiveness in the pre-production stages of a film is incontrovertible and the long life of this practice says that for itself.

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Comprehensive History of 2D Animation

50,000 - 10,000 BC - Cave paintings from the paleolithic age depicting animals in motion. Debatably humanity’s first attempts at capturing motion with art and our first step towards animation as we know it today.

  4,000 BC - In the tomb of Knhumotep, an Egypitian mural depicting a wrestling match piece by piece, resembling a modern day storyboard.

  3,000 BC - An Iranian bowl sports images of a goat jumping to eat leaves from a tree in a manner similar to modern day keyframing.

  180 AD - Chinese inventor, Ting Haun, is said to have created the Chao Hua Chich Kuan, or the pipe which makes fantasies appear, believed to be the first conception of what would later become the Zoetrope.

  1824 AD -  The Thaumatrope, a disk with two pictures on either side of it and connected to a piece of string which, when turned, flipped the disk quickly enough that the two images looks like they combine into one moving image, is invented. The invention is somewhat debatable but is often credited to  John Ayrton Paris or Peter Mark Roget.

This replicates in a very simple manner the concept of a flip book animation.

(note: In 2012 it was reported that a prehistoric version of the Thaumatrope had

been found in the Chauvet Caves in France).

  1839 AD - Belgian physisist, Joseph Plateu, takes a concept that had been noted and experimented with by the likes of Ancient Greek Mathematician Euclid and Newton and popularised it in the form of the phenakistoscope. The phenakistoscope consists of a disk with a series of drawing depicting an action around the edge of it, equal distance away from one another.  Between the drawings were slots. When held up to the mirror and spun, a person could look through the slots and watch as the glimpses of each image in quick succession gave the illusion of movement.

This process is beginning to get closer to the concept of film.

1833 AD -  British Mathematician, William George Horner, recreates the Chao Hua Chich Kuan and renames it the daedalum, although it’s popularly referred to as the ‘Wheel of the devil’.

The device consisted of a cylinder with a strip of images placed along the edge inside it. Like the phenakistoscope, it had slits cut into the side of it so when viewed through these slits a person would see a succession of glimpses of each frame and be given the illusion of movement from it.

In the 1860’s it was marketed by William F. Lincoln as the Zoetrope and gained popularity.

  1868 - John Barnes Linnet is credited with the creation of the first flip book, which he named the kineograph.

While earlier inventions limited the animator in regards to the length of their animation the flip book provided them with much more freedom. It was also more easily accessible to the masses as the only tools one absolutely needed was a book and their hands.

Many early film animators cited the flipbook as their primary source of inspiration to get into the field.

  1877 - French science teacher,  Charles-Émile Reynaud created the Praxinoscope and in 1892, projected the first animation in public. He painted his animation directly onto strips of celluloid.

  1889 - The Kinetoscope invented by Edisson to allow one person to view a film by looking through a peephole whilst a long loop of film ran inside.This was the most common way of viewing film at the time.

  1895 - Louis and Augistine Lumiere create the cinematograph, created to rectify what they saw as shortcomings of Edisson's Kinetoscope. The cinematograph was able to be projected so unlike the Kinetoscope, could be viewed by a greater number of people at one time, opening film and animation up to a much larger audience.

  1899 - Stop Motion animation is invented by Albert.E.Smith and Stuart Blackton.

  1900 - Enchanted Drawing becomes the first film recorded on standard picture film to include animation. It’s a combination of silent film and stop motion animation.

  1906 - The Humourous Stages of Funny Faces becomes the first entirely animated films and cements its creator, J. Stuart Blackton as the Father of American Animation.

  1908 - French artist, Émile Cohl creates the first animated film, Fantasmagorie, in what will today be referred to as traditional animation methods.

  1911 - Winsor McCay start directing more detailed animation requiring teams of animators to draw each frame, coming out with productions such as Little Nemo and Gertie the Dinosaur.

  1910s - Animations take on the name of Cartoons, becomes an industry of its own and starts being shown in movie theatres. The cel animation process becomes the dominant method of animation throughout the decade.

  1914 - Cel Animation is patented by Earl Hurd and J.R. Bray

  1915    - Rotoscoping invented by Max Fliescher.

-  The first feature length animation, called Creation, is created by Pinto Colvig. This film is now feared lost

  1917 - The second feature length animation, called El Apóstol, is released in Argentina.

  1923 - Walt and Roy Disney found Disney Brothers Cartoon Studio.

(note: Walt Disney is credited with the popularisation of Storyboarding in the  

pre-production stage of animation which is said to have revolutionised the art)

  1928 - The first cartoon synchronised with sound, Steam Boat Willy,  is created by the Disney Brothers.

  1933 - Warner Brother’s Cartoons are founded. They acted as a second pioneer of synched animation and audio productions, or as they were called at the time, Talkies.

(note: Harry Warner opposed the idea of talkies as he didn’t think anybody would want

to hear actors talk)

  1934 - Urb Iwrek invented a multiplane camera that allowed more possibilities for cell artists as it gave their art an almost 3 dimensional feel.

  1937 - Disney makes their first feature length animation, Snow White. Snow White was made using cell animation and consisted over over 1.5 million frames. Cell animation would go on to be Disney’s signature style for decades to come.

  1957 - Hannah Barberra is formed towards the end of the Golden Age of animation and begin developing short cartoon series that go on to be immensely popular with children.

  1960’s - Golden age of animation ends as theatrical releases began to lose popularity in favour of television animation.

Rotoscoping (the animation technique of taking film footage and drawing over it to make it appear wholly animated) gains popularity, particularly after the Beatles’ film ‘Yellow Submarine’.

  1961 - Sketchpad, a computer drawing program becomes the first computerised tool for animation. It’s created by MIT Student, Ivan Sutherland.

General Motors invents a program that allows them to look at 3D models of their cars from every angle called Design Augmented from Computers (DAC)

  1970s -  Computer Generated Imagery starts to progress into an effective tool to use to bolster animation.

  1982 - Tron becomes the first feature film to include CGI effects. From here CGI becomes increasingly more common and has so up until today.

  1995 - Pixar’s Toy Story becomes the first wholly CGI animation film. 3D animation starts to take of 2D in popularity from here.

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Character Creation Pipeline

The character pipeline that I used both for my Creature and for the main character of my independent study went as follows:

  Creature:

Thumbnails - concept - model sheet - model - unwrap - texture - rig - skin - animate - export to UE4

  Independent Character:

Concept - model sheet - model - rig - skin - animate - render

Thumbnails/Concept:

  Thumbnails, I found, really helped me come up with a lot of different ideas for my character. I enjoyed doing them a lot and after a while it started to get a bit difficult to pick which one I’d end up going with.

I didn’t initially start with this as the first step. I already had a solid idea on what I wanted the creature to look like and because of that I had a lot of trouble developing that idea beyond a poorly drawn crocodile with a shark’s tail.

I’m really glad that we were strongly encouraged to do the thumbnails otherwise I’d not have come up with the design that I ended up going with.

  I definitely credit Azam’s tutorial as inspiration and direction to get me designing these little ideas.

I also looked up a fair few videos on the subject as well:

  I didn’t actually do any concept thumbnails for my independent character, Toby, as he was a character that I have already established for a while now and wanted to bring into 3D so not much designing was necessary by that point. I have included some earlier sketches in lieu of that though.

  Modelling

  I got into modelling the Sea Monster really quickly. I did it a few times over. The first model I didn’t put enough loops in his tail so there wasn’t much fluidly to it at all. I made sure to remedy that in the next model.

I also took advantage of the symmetry modifier (why I didn’t the first time I don’t know. Brief absence of common sense I suppose).

I then updated that model because I’d forgotten to give him eyes and sockets for them, as all my previous models they’d been textures on (that would not have looked good on this guy I expect).

That said though the modelling process for the Sea monster wasn’t that difficult at all.

I did try to get it into mudbox over the break but never really got around to working out how all of that works unfortunately. I’d have liked to do that but unfortunately I was a bit lazy. I am still happy with what I managed to make in 3Ds Max all the same.

The only problem that I really have with my Sea Monster design was that (as El pointed out a few weeks ago) I did the loops around the shoulders and elbows way too close together and that resulted in a considerable amount of warping. That’s definitely something I’ll have to be more mindful of in future.

  I had the same problem topology-wise with the Toby model but ended up cheating a bit towards the end with it by making the model a bit more stylised and deleting the loops around the joints all together.

I’d, of course, would have rather had done it right the first time by I think this was a rather happy compromise.

  The only other problem that I had with the Toby model was the head, which I struggled with for a long while. I box modeled it first but didn’t end up getting the loops right.

I tried that several times over (following countless tutorials for it) before eventually watching the Realistic Game model Tutorial from digital tutors and made headway ( ;) ). I also watched another ‘head modeling’ tutorial on youtube that was really helpful that I’ve listed below.

Model sheet.

  The model sheets were really simple for me to make. I made them both in photoshop. Drew one side, duplicated it and flipped it over to make the other side so they were both symmetrical and it was as balanced as possible.

I didn’t really reference anything for making those.

Modeling

  For modeling I mostly used the box modelling technique that we used to make the mage character last term (and that I used to make my king piece for the final assessment last term).

I referenced El’s videos for the mage a few times when I got a bit lost (not enough in regards to the loops it seems) but for the most part felt that I had a more or less firm grasp on the concept.

Unwrap:

THe unwrap was fairly simple to do although I did inadvertently do it the long way by neglecting to use a symmetry modifier for the sea monster. I’d tried but I’d had it under my unwrap layer instead of on top of it which seems to be the trick, so I’ll definitely be keeping that in mind.

El managed to set me right soon enough though.

  Texturing it was, likewise, not that much of a problem. I’m fairly familiar with photoshop so at least where that was concerned I didn’t need any direction. Although again Azam’s tutorials on thumbnailing and photo-bashing earlier in the term really came in handy and inspired me to add a little more texture to the piece than I may have earlier.

  Rigging

I used the Cat Rig system for both of my models so it wasn’t much of a struggle for me to work out. It also helped that my sea monster has a really simple design (in regards to a rig at least) so it wasn’t that difficult to accommodate for.

  The skinning process though was a bit of a pain but I managed to get the tail flowing well enough for my liking after a little while.

It’s definitely something that I need to develop some more patience and knowledge with though.

Animating

Animating the Sea Monster, as it turned out, was a lot harder than I thought it was going to be. That could have very well been down to my lengthy hiatus from animating as a whole but getting it to flow as if it were swimming ended up taking me much, much longer than I thought it was going to.

I ended up watching several tutorials on animating fish and snakes as well and watching some reference footage of snakes and eels in the water to try and set me straight, which I’ve referenced below:

Reference:

For the Toby character I’ve written a separate post about the research that I did for that animation (pose to pose animation).

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Pose To Pose Animation

Pose to Pose Animating

I’ve not animated a walk cycle for a while now and even then I think there was definitely some room for improvement so I hit youtube and found a few very useful videos that helped me get back up to scratch and even improve upon my skills on the subject.

  First is Anand Hurkadli’s tutorial on how to pose to pose animate a biped rig. I honestly found this tute incredibly simple and easy to follow (always a plus). I’ve actually referred back to Anand's series on biped’s a lot throughout this trimester as this is a quality that seems to run through all his videos.

I also found his way of animating (from pose to pose) much cleaner and easier to animate than my moving and keying everything myself. I would definitely like to utilize it more in the future.

  The only problem I have with this tutorial is that it is a bit brief and covers basics that have already been covered in previous videos (such as how to make a biped and such). It also doesn’t cover any tricks on how to make the walk seem a bit more natural.

  But for a quick refresher and an introduction into pose to pose animating in 3Ds Max I highly recommend this tutorial.

  The other video I watched for this purpose was Clint DiClementi’s tutorial on pose to pose animating (this time for a run cycle).

This one, being twice as long as Anand’s, went into a lot more detail and I picked up a few really helpful tricks.

I’ve watched a few of Clint’s videos and found them all very in depth and easy to follow, if not perhaps a little bit basic. But as I am still trying to master the basics that definitely serves my purposes rather well.

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Sorry for the crappy quality of the gif, I had to bring down the size a little so it would actually play *head!desk*

As planned I rigged and animated my second model of the sea monster. I'm much happier with this one although the shoulders still need a bit more work. But the tail moves much better this way and I really like the longer claws on this one. 

I think next on the agenda will be to try and get this into Mudbox tomorrow and see what I can do for him there 

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Had another go at modelling my sea monster. I paid more attention to the joints this time around so hopefully they work a bit better. I also put a few more loops in the tail area so hopefully he'll not look like his spine's broken in several different areas when I animate him this time. 

I also lengthened the claws a bit and his tail, which I think is getting me close to what I'm imagining. 

I think I might try rigging him up and see how everything works this time around and then maybe take him over to mud box. 

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So I decided to try rigging my little Monster up and see how he animates and I'm really glad that I did it this early on (and definitely before unwrapping)

I need to put a few more loops into his tail so I can get the fluid motion I'm trying to get, I'm actually pretty happy wit his mouth and his hands as well. I need to look at his shoulder though I think.

That's what I can see know but I'm going to keep on playing around with it and see if I can find any other problems. 

In other news, I think I'm really starting to get the hang of skinning. I mean I hate it, but it's not so much of a struggle anymore :D

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I've been modelling most of today. I'm fairly happy with what I've got so far. I'm not sure if everything's going to work out mind you, seeing as I can't use the Mage tutorials as a crutch this time XD I guess I'll find out soon enough but this is what I have so far. 

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