Oh man the happiness couldn't be contained when I saw this come out in the first render.
More planes were added and they're still symmetrical. They also all have the same alpha channel -- but they look awesome for a first test.
Looking at the beard and detail on Braveheart's body and beard and face make his jacket and hat look inadequate to me. Another attempt at modeling them will likely be necessary. I also don't enjoy the bandolier and holster any more -- they're seriously just a pipe primitive with some extra edge loops. Something will need to be done to add interest.
Right now I'm thining of basing the holster on John Marsten's holster from Red Dead Redemption... an amazing game for anyone who's not played it. I'm about 3 years behind but right now I'm about half way through the undead nightmare expansion -- cowboys and zombies -- do we really need anything else?
Up until now I've been box modeling the jacket -- that may not be the best option -- I thought I'd use Mudbox to put in all the detail I was looking for, but I think a more solid foundation in the actual poly flow is called for. It's supposed to be an old jacket -- I picture it with lots of folds and tears...
By the time I'm done he'll be totally impractical for anything other than stills though -- so I may need to start over anyway and try not to go crazy with the polys. He will look awesome though:)
Work continues... Not a lot time this week... and who knew poly hair is such a pain to model. The beard is still painfully symmetrical, but that will give us a successful overall shape, and then by going in afterwards we'll tweak some details to bring it to life. The textures can also be varied randomly to help with the individual planes' shape.
Not a lot of time this week to refine the changes, so it's easy to notice where the new pieces intersect with each other. Nonetheless please enjoy the new:
bandolier
jacket folds
first attempt at beard
The beard was more of a test really. -- each bit is just a flat plane -- extra edge loops will be added to give them a greater sense of gravity effecting the hair -- right now they just stick straight out. I did some experiments with wrap deformers to try and rig the beard. I think it'll work to maintain the bear's postion on the face as the face deforms. I think I'd prefer to have the geometry smooth bound to some joints--I'd just have to make sure that the wrap deform comes higher on the order of operations for the influences. Clusters may work too--It'll just be a matter of seeing what works better.
I have to admit -- I'm not looking forward to uving this bad boy... it's tedious work at the best of times... maybe I should try some experiment with the new Ptex material in Vray.
In addition to the beard we also have some whiskers. This geometry will hopefully work with some actual short hairs on Braveheart's head.
Looking at the close up -- Braveheart clearly needs some detail in his collar. I think I'll do that in Maya rather than Mudbox.
Braveheart's current model with the actual head geometry.
-Remodeled his jacket.
-Construction on his arms has begun in earnest.
-holster belt added
Wednesday, 20 March 2013
I never intended for daily updates... It's just so handy to be able to access the image whenever I have an internet connection...
Not a great deal of time last night -- Some folds were modeled on the back of the jacket -- they're awesome believe me. Those will be included in Sunday's post.
Another render to view at the studio. Every couple of days a passer-by takes interest in what I'm looking at and I get to explain the concept, and all the work I've been doing. Most are children of the 80s and have fond memories of the Care Bears--not they recognize them from the render.
Well -- what's different? Subdivision has been activated for most of the geo. Details have been added to the chest plate, hat and chaps. The jacket got a makeover thanks to average vertices and sculpt geometry tool, and construction has begun on the arm frame.
Two of the torso plates are hidden in the render. They will likely be redone. Some sculpting was done on the body/torso and the top two plates didn't line up well enough with the body anymore.
While viewing the render as I type I think some more structure in the shoulders would help. Looking back at the concept---Braveheart's shoulders were much more angular. I'll have to see about what can be done about that. Perhaps pointy shoulders and some folds... thinking...
Well -- it's out first official render test of Braveheart. He's looking good--settling in to a kick @$$ place somewhere between Van Helsing and Rooster Cogburn... if Rooster Cogburn were a cyborg... and a lion.
For anyone who's curious -- this was rendered using VRay. Technically Mental Ray can do everything VRay can, but VRay is just so painless to use--and consistently produces great results. I'll just have to remember to go back in and turn on the rendering subdivision on all the geometry -- so far that's my one complaint about VRay -- I haven't found a way to turn on that attribute on multiple pieces at once.
Braveheart's not as far along as originally planned, but as you can see his jacket is blocked in -- I don't think I'll do much more with the geo -- I'll see what can be done with displacement maps. I've done leather jacket before and the folds were done exclusively with displacement maps. (See Below)
A leather jacket -- the geometry is smooth the folds are all displacement maps.
So what remains with Braveheart:
arms/hands
some beveling on armor plates
bandolier
gun/holster
details -- shoe treads -- more detail in armor plates, chaps and collar.
We'll see how it goes this week. I'd be happy if Braveheart's arms were done for next week.
Braveheart's model is well under way. He looks a little silly and skinny without his beard. Due to the complexity of the rig that his arms will have they'll be in their own separate files and then referenced in to the rest of the body's rig.
It's all still pretty rough -- no beveling or anything yet on his armor. The importance of beveling has been drilled in to me many times -- in the physical world there is no such thing as the perfect edge like those created in the polygon primitives, so you're always better off putting at least one segment of beveling to catch light appropriately.
I've been watching ZBrush tutorials in hopes of using it to help with the modeling process. But I haven't gotten far enough in it to create something in ZBrush that will actually have to deform, and be used as something other than digital sculpture. So for the time being it will be a combination of Maya and Mudbox. Perhaps as the tutorials continue I'll be able to use ZBrush in a more practical way.
The model is still painfully symmetrical. The details of the folds and scratches and things will come later. In the mean time here is an image of the work in progress.
Next week: Braveheart's main body should be bevelled and mostly finished. I should have the frames of both arms modeled too. If I'm really lucky I'll have the jacket roughed out too.
Well -- the design package has finally reached a comfortable place from which to jump off in to 3d. The irony of having a blog with "3d" in the title is not completely lost on me. To date there has been no 3d entry.
But that all ends right after the Design Package.
So please enjoy -- the Final Animatic again.
And these concepts/illustrations.
Clearly when looking at Shrieky's Mirror I wasn't able to get away from the lightsaber look, so I decided to embrace it. She won't be using it like a lightsaber -- and I couldn't really think of a more practical shape to get the desired effect.
Braveheart will be my first model for two reasons. One: he'll be one of the more demanding modeling challenges. Two: since the animation will largely revolve around Braveheart -- once he's modeled the rough layout can be started.
Not much more to say except the assets phase is beginning. It's going to be great getting to delve in to the third dimension once again.
Hey -- week three of the design package includes Beastly and Darkheart, and some updates to Shrieky and Sour Sam.
I had a hard time fighting the urge to bring the red track suit in to the Aftermath, but it wouldn't really fit with my idea for the character. His garb is supposed to have a bit of a motley look to it -- the idea being that when he shapeshifts back in to human form he has to get clothes from wherever he can.
Beastly now lives up to his namesake. This is still more of a work in progress -- he's slimmed down considerably from my original sketches, but still has plenty of muscle left over.
Next week: Environments and props. Likely a reposting of work of all the work done so far, so we can have one post labelled "Design Package".
Week two of the design package published. We'll definitely be moving in to week three for the rest of the design package -- Still to come: Darkheart and Beastly, props and environments. It is taking longer than expected, but once again it's best to get these things settled as much as possible before moving on.
Shrieky and Sour Sam have turned out well. After much debate during the week Shrieky's hoodie will be included. In the cartoon Shrieky had a magic mirror. Powerful as it was, I don't recall her using it directly on the Care Bears -- just to spy on them -- and to torment Beastly. Her mirror will be making an appearance as one of the last vestiges of magic in the world -- but it's been broken. Shrieky has taken the shards and uses them to power a weapon that I am struggling to keep from looking like a light sabre... But it will use the mirror shards' energy to manifest different blades, beams, whips, whatever Shrieky might need at the time, and a basic handle-type design will best serve that purpose.
Sour Sam -- you may or may not recall from a Thanksgiving episode of the Care Bears. He sets out to ruin Thanksgiving by serving everyone "Crabby Apple Pies". Pies that make you stop caring after just one bite. Well... as you can see Sam's pies are making another appearance, but in this case we've set him up like a drug dealer. His pies are extremely addictive and he has turned them in to a multi-billion dollar industry -- making him one of the most powerful men on Earth. Once a person's addiction has reached a certain point they become red-stained, zombie like servants of Sour Sam. I've had a great deal of fun coming up with names for his pastry-fueled army. My top three choices are:
pie fiends (like crack fiends)
crab heads (like pot heads)
cappers (in reference to the initials of Crabby Apple Pie)
I'm not done with Darkheart's design. He's proving to be a little difficult. In the second Care Bears movie Darkheart was a shapeshifting entity they never really explained. He seemed like the 'bad boy' sort that all the girls had a crush on-- and I want to bring some of that appeal in to the Aftermath.
I have two options for Beastly -- a giant, brutish version of the character from the cartoons -- complete with German soldier helmet and flight goggles... or .... more in keeping with the cartoon -- a skinny weasle-esque creature that has only the desire to do evil... none of the power. Right now I'm leaning more towards the brute... I think I'd have more fun with that.
The thought occurred almost as soon as the post from Sunday was up -- this was not what was supposed to be posted. Not that there's anything wrong with what went up, but the word "underwhelming" came to mind. These procedural steps are always a good idea, but can sometimes be a little lackluster. Just wait until the weeks where a cloth sim test is the only post -- or a few UV maps. A lot of what's done in 3d is testing and problem solving. Every week can't be exciting I suppose --
In order to fix that -- here are some WIPs that are meant to tantalize your appetite for what's to come.
I'm not entirely convinced by Shrieky's hoodie -- I may try a version without it. But my trepidation surrounding the article of clothing is likely amplified by the degree of difficulty required to make a functioning hoodie -- what if I want her to wear the hood? What if I want her to not wear the hood? What if (god forbid) I want her to take off the hood as part of a shot... A few cleverly placed PSDs, clusters or blend shapes would likely take care of it -- or possibly cloth sim -- But I have visions in my head of three different fully modeled, rigged and textured hoodies -- one up, one down and one that can move in between.
It could be fun to try -- I am trying to learn things here. But my past experience with 3d has taught me it's better to go with a simple idea and really nail it, rather than to go for something really complex and just get it done.
Oh Braveheart... your long, billowy, awesome jacket is going to be so much work...
Depending on time/progress I may post some more WIPs this week -- We'll see what the Valentine's Day schedule allows for -- frankly I'm already behind.
Anyone paying attention this week will notice a slight adjustment to the production schedule. It all stemmed from my discovery of what an ambitious combination of words this is:
LION, CYBORG, COWBOY
While working on Braveheart's design the intricacies of modeling and rigging a cyborg character began to present themselves. We already mentioned what a significant contribution an animatic can make to animation work later on, and the same principle applies here. A solid concept/design package help greatly with the modeling and texturing of the character.
Braveheart's clothing went through a few iterations over the time spent working on the Aftermath. First he was going to be wearing clothing reminiscent of a 19th century sherrif (picture Wyatt Earp) with a vest, sherrif's badge sporting the heart and crown (Braveheart's symbol from the cartoons), and duster jacket. Contemplation of the 3d implications of working with a big open flowing jacket led to the next version (see the animatic) where Braveheart's jacket is closed, but the bottom could still stir in the wind. It wasn't quite what I had in mind, but it would be much easier to deal with from a technical standpoint. This however, ended up too priestly in silhouette for me, so after a few deep breaths Braveheart opened his jacket again to get the original look, and we'll just deal with the technical issues as they arise. Someone may have to remind me later that a big flowy jacket was what I chose for myself in the beginning. This time Braveheart has bare arms that will show off the cybernetic bits of his arms, and he's lost his sherrif's badge in favour of a biker-style decal on his back (the heart and crown of course).
So after attempting a simple illustration to design Braveheart -- the realization that the design of each moving part and articulated joint would be necessary. This led to several illustrations of the various layers of Bravehearts arms, and chest piece. -- The pieces that will not be deforming as part of the smooth bind.
Bottom line -- is that I would like to take care of the design process now -- best to have as little ambiguity as possible when it comes to your designs -- it will lead to a lot fewer wasted hours come the 3d modeling phase. To that end -- each articulated joint and gear in Braveheart's arms has been worked out to be able to provide human-like movement for him. (see below.)
So the design package will now come in 2 (possibly 3) parts. This week -- Braveheart's arms, chest, turnaround, and illustration WIP. Next week I'd like all the characters to the same place as Braveheart -- No more cyborgs after this one, so I don't anticipate any further problems.
Braveheart's arm frame --simple enough, but the joints are all articulated and they should work in 3d space when they all have to move together. I tried to give it a bit of a hydraulic feel to the various pieces. The cords are meant to simulate some of the muscles in the human arm. The ball joint at the top will fit in a socket in Braveheart's chest.
Braveheart's arm chassis. The shape around the wrist is meant to give the wrist a silhouette similar to what the cuff of a long duster jacket would have. The other pieces are meant to emulate structures in the human arm. One could say the two parts in the forearm are like the radius and ulna, and the piece on the upper arm like the bicep. Please note the space left above the elbow, so the parts of the forearm chassis won't intersect with the upper arm chassis when the elbow is bent.
Braveheart's arm. Well -- it seems most of my careful design on the framework has been covered up. There will be an opening on the other side (another view I'll have to do) where the inner workings will be visible for a few shots. Plus I'll sleep better knowing the framework is there.
For anyone who uses After Effects -- If you haven't heard of a site called Video Copilot, I highly recommend you check it out. After browsing a few of Mr. Andrew Kramer's tutorials, I came up with this variation of the intro. I like the idea of the clouds -- The texture is nice enough, but since Carealot is mentioned later it might be nice to work on a matte painting and be zooming through the clouds with the text appearing and Carealot's ruins in silhouette in the background. We'll have to see about what works... that may not come until the end. Just documenting the creative process now...
The term "final animatic" suggests a rigidity that doesn't exist for this project. I work as part of the "final layout and character finaling" department at my studio -- who's job it is (amongst other things) to tweak little bits of timing and animation that make each moment as effective as possible. This happens long after the storyboards, animatic, layout and animation are "done". As I mentioned last week the animatic is about laying a foundation in 2d for the overall timing, framing and shot choices for the film. We will often get a note that the client wants to hold on the character's expression for another half a second, or to hold that pose longer, or lose that set piece in the background it's not working. In theory this process could go on indefinitely -- I think it was Leonardo Da Vinci that said, "Art is never finished. It is only abandoned."
So far I'm happy with the results--not abandoning it yet. After a few revisions during the week we've come out the other side successfully. The running time is back up to about 1400 frames -- just shy of one minute. The sound still needs a lot of work, but a scratch track is standard procedure at this point -- something that can be discarded later. I've worked with foley artists before, and it's really hard for them to do what they do with an incomplete visual. So the audio is just a placeholder for now -- again to give us an overall sense of what's happening.
It's really just a matter of watching it over and over again, until you make the changes that feel right. At least that's how I've been working it -- for me timing is really intuitive -- I'll watch a clip over and over again with my finger hovering over the space bar (pause button) and, like a gunslinger on a quick draw, try to catch the correct moment to cut to the next shot -- I like to think it's worked out so far.
As we move past the asset phase and in to layout and animation there's always room for a few more changes to make things flow better.
Enjoy
Next week the Design Package is due -- which will contain character, prop, and set designs. Turn arounds for each character -- and likely another revision of the animatic.
The exodus continues -- and we're getting there. I continued to work with the timing and played with effects on the text.
The idea for the introductory text came about due to the big empty space in the beginning -- and also as a bit of context -- hopefully by mentioning the Care Bears before the visual someone will have an "ah ha" moment and figure out we're watching Braveheart Lion before his name comes up.
24 hours for changes left -- I probably won't be strict with this deadline -- always room for changes, but we'll have something solid to look at tomorrow.
Happy Thursday everyone -- Well -- after watching my rough animatic at work on Monday, I had about two pages of notes filled with timing, shots, framing, backgrounds that I wanted to change. So starting on Monday night when I got home we more or less went back to the drawing board. I decided to work with the pulse sound -- more precisely the new timing is based almost entirely around the pulsing sound. A built in rhythm to the piece--perhaps a bit on the easy side, but it's much stronger overall -- but still ways to go -- I'll still be posting my final animatic on Sunday. I was shocked today when I colleague at work told me that she'd read my blog -- until that moment I was quite sure I was alone out here in the digital ether. It's fun to think that people can actually stumble upon my random corner of the internet. There's a lot more play with the text -- I'm eager to see which transitions I still like by the end of the weekend. Rough Animatic -- Revised:
The importance of these initial stages cannot be overstated. It is easy to get caught up in wanting to dive right in to the 3d steps but without thorough knowledge of where you're going, how can you possibly know when you get there?
Occasionally happy accidents can work in 2d -- sometimes I'll just start painting with no idea of what I want to paint and just see what shapes start to form. The process has a cathartic element to it, but seldom does it ever result in something that would be shared with anyone. This could apply to 3d applications as well, but only when you're working for yourself, and even then--it will likely be a waste of any time you care to put in to it.
That being said -- the process of the animatic is to capture the overall timing of the piece in 2d--if the majority of the timing can be settled now it becomes exceptionally less painful once reaching the layout/animation phase.
We're laying the foundation for the film -- if the film doesn't work with these big parts in place then it will never work no matter how much detail you flop on top of it. I find myself longing for the details though -- blowing grass and subtle eye darts, or the way Braveheart's coat will flow in the wind. But when you're building a house you don't start with the stucco finish do you?
This is the process I used to set up the timing for the animatic:
Determine the total running length you want for your film (approximately). I find it's also helpful to give a few hundred extra frames (4-6 seconds) because it's easier/faster to remove frames than it is to add them. -- In this case 1 minute. (1440 frames @ 24fps)
Divide each shot equally in the run time -- 1440f/23 shots = 62.6 -- I rounded down to 60f each.
Just preview the film and get a sense of the timing -- WRITE STUFF DOWN AS YOU WATCH -- I guarantee you'll save yourself time and effort-- even if you don't agree with your notes when you come back to them...
As a general rule for the first go around -- For shots that need to be shorter cut the time in half, and for shots that need to be longer, double them. Keep going until you find a "whoa that's too short/long" moment and then you'll have found your range to work in. Timing is a funny thing -- a couple extra frames here or there and all of a sudden the timing of your whole piece can be off. Take the time now to get it right... it's much better in the long run.
Some changes occurred again -- you'll notice that Braveheart's turn after the second text has been removed. The timing was much stronger without it. I may play around with putting it back in before the text for the final animatic -- it helps make Braveheart's shot in the countdown make more sense.
Admittedly the sound is not great -- After Effects is a potent program, but I find it somewhat lacking in audio editing compared to other software I've used, but don't have access too.
And it seems I've removed myself from the Dark Ages and discovered embedded code for videos.
Please forgive my lack of experience--which has somehow allowed my introductory post to be deleted. It gave a basic outline of who I am and what I would like to accomplish with this blog.
I am a professional 3d artist who wants to expand my skills/knowledge/experience through what will (hopefully) become a kick @$$ personal project.
My studies include Computer Animation at Sheridan College, Visual Art at York University, and classical drawing and painting at The Academy of Realist Art.
One might ask "why create a blog at all about these experiences/processes, and just post the final film on You Tube at the end?" The answer is three fold:
1.) Motivation - to hold myself accountable to the production schedule outlined here -- and therefore the potential audience on the internet. Anyone who has ever worked on a personal project like this has likely encountered the difficulties surrounding how nice it is to sleep in, or how much good tv there is on tonight--versus actually sitting down and doing some work on your film.
2.) Sharing - It is a constant pleasure to witness how willing 3d artists/technicians professionals and enthusiasts alike are willing to share their knowledge. I hope to join that proud tradition by sharing and asking what works and doesn't work as I explore the various challenges of 3d production.
3.) Subject Matter - please don't misunderstand -- I really enjoy the studio and project I'm currently working on, but it is somewhat more pink and sparkly than I would ordinarily choose for myself.
So this project gives me a change to work with my darker side -- while at the same time having some fun. It'll help me get through the days of staring at bubbly perky cartoons.
Now on to the darker side. Most people are aware of how trendy it's become to revamp cartoons from the 80s. Just look at Ninja Turtles, Thundercats, Rainbow Brite, He-man (a few years ago). Well hopping on that band wagon I thought I would work with the Care Bears. It was an idea I had a couple of years ago... to take the Care Bears' world to a dark place in the future where No Heart has destroyed Carealot, all but wiped out the Care Bears and Care Bear Cousins, and the people of Earth have to struggle for survival in a world without caring. So it's not really about the Care Bears -- it's about how humanity (should that be capitalized?) runs amok without the Care Bear's vigilance.
The film will be structured like a theatrical trailer in order to showcase what I'm hoping to showcase...
Some kick @$$ modeling (detailed characters and set) A variety of rigs Some basic dynamics (likely fur, fluid and cloth) Some animation A great overall sense of timing, and what makes a great visual experience.
We're going for a little substance and a lot of style -- I am excited -- I think it'll be a lot of fun, and hopefully there'll be a few interested parties along the way.
I have tentatively titled the project -- Care Bears: the Aftermath
Please note -- I am using this blog and project as an educational experience. I am not making money off of any part of my 2d/3d work for this film. I want to share my experiences openlyvia this blog, but I am aware that I am using the names of licensed characters to which I do not own the rights. I am also aware there are individuals out there in the digital ether that take ideas from other people and call them their own.
A quick google will tell you that the rights to the Care Bears are owned by Jay Foreman -- who purchased them (likely from American Greeting Cards) in 1999.
That being said -- while making no claims to the actual names of the characters, their likenesses and story have been changed sufficiently to become new intellectual property.
Without laying claim to the name "Braveheart Lion" (for example) the images, and story are all entirely my creation, and therefore copyrighted to James Austin.
This is supposed to be fun and I'm hoping to learn/practice a few things along the way. Hopefully we can keep things in this spirit throughout the whole process.
Here are the final boards. Some stuff has been changed around. I ended up condensing the three text shots to two -- an old rule I had for myself when writing essays and things: don't use seven words when four will do. It seemed to make statements more impactful.
I had the opportunity to see some of the boards/animatics in progress at the studio earlier this week. It made me realize that I was getting way too wrapped up indetails and colour of the background. That the storyboards are about getting a sense of the action and shot composition. So -- the boards became less and less detailed as time went on, but I still think they do the job they're intended for.
I've got to remind myself that concept art is what determining the overall look of the film is for... that comes later.
Overall I like how it's shaping up. Something I may play with for next week will be a small bit after the last frame -- maybe a reveal on which villain Braveheart is actually turning around to face.
In case it isn't self evident - blue arrows are for camera moves and red arrows are for action within the shot.
For anyone who's curious -- that's a Tenderheart doll that Braveheart picks up off the road.
Next week: Rough Animatic -- It was first described to me as "basically storyboards set to time." I may try posting the file directly on the blog, but I've had bad luck in the past with having to compress the file so much -- the quality tends to be very poor, so it may be a link to Vimeo or YouTube.
Hey All -- A late post this week -- it seems a six month old baby doesn't respect anyone's schedule but their own -- no matter how much you try to explain to them. As promised in the production schedule, and as the title suggests we have rough storyboards this week. I'm reasonably happy with how they've turned out. I've tried to contemplate just how much time this will fill, but haven't come up with anything definitive as there may be some shots added/removed. The beginning feels a little slow -- so there may be flashes to some more of the villains -- close ups of a smile or weapon, or something else -- we'll see in the finals next week. For any children of the 80s out there who may notice a conspicuous absence -- I have deliberately left out No Heart in the countdown of villains for story reasons.
I hope the sound effects and actions are legible.
The modeling of Shrieky has begun -- truth be told I've never modeled a female character before, and was the modeling I was most looking forward to. I've been contemplating how to deal with a few key issues -- namely whether or not I'll include dynamics. I have worked with cloth and fur before, but my computational power at home is somewhat limited, so it may be some elaborate rigs and polygonal hair that's all keyframed -- dunno -- cloth and hair would be more impressive if I could pull it off, but take more time with caching... but keyframed hair/cloth will be more time in the animation stage... just gotta find the right balance...
