ANI210 – Wk06

This week we had the second presentation for our project which provided the team with valuable feedback from all the professors. During the presentation, we showed the turntables for all our models, the textures which have been completed so far as well as the rigging reel. Another event involving our cinematic which took place this week was SAE’s Halloween party during which our team promoted project RED. All our team members were dressed up as either Red Riding Hood or the Wolf and we all took photos with other students and gave out goodie bags with our hashtag in order to promote the project.

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ANI210 – Wk05

Last week the texturing team has been dedicated to texturing the main assets, with myself being committed to continuing texturing the werewolf character. It proved to be an engaging, and at times frustrating, activity, which I feel really pushed my texturing skills to a new level. Although I am currently still in the process of texturing, there have been many changes and improvements made which allowed me to learn from my mistakes and improve on them.

Among nailing the anatomy and mimicking the fur in a stylized way, one of the main challenges for me was getting rid of visible seams. After imprecise attempts to mask them by estimating and copying the parts of the textures from different sides of the seam, I researched and found an article with a promising title of eliminating texture seams. With hope in my heart, I proceeded to educate myself on the suggested method and after a few frustrations and crashes, I successfully eliminated the seam and will describe the process in the following paragraph.

An Edit mesh modifier is applied to the stack to choose the faces around the required seam. The next step is to add two UVW Unwrap modifiers; one set to Channel 1 and the other to 2 (Abandon) , which will be used for the seam unwrap. I then applied a UV map modifier and applied a planar map set to View Align and fit and set to Channel 2. Once again, an unwrap modifier is added to the stack. I also relaxed the seam UVs after which I opened the ‘render to texture’ dialogue box.

Using the ‘render to texture’, I rendered out a Targa Diffuse map set to channel 2 (shortcut 0), then took it into Photoshop and painted over the seams. The result is on the right.

After getting rid of the seams on the rendered UV map, the next step is to import the Targa file back into 3DS Max as a texture set to the Channel 2. After applying the texture to the model, I rendered to texture once again, this time set to Channel 1. Finally, this rendered UV map is pasted over the existing texture. I used a layer mask to hide the unnecessary black parts of the new map.

References

Kojesta, P. (no date) Completely eliminate texture seams with 3dsMax. Available at: http://www.gamasutra.com/view/feature/130217/completely_eliminate_texture_seams_.php?print=1 (Accessed: 26 October 2016).

ANI210-Wk04

With the werewolf model finalized this week, I am currently in the process of unwrapping its UVs using the pelt technique. In this week’s blog I will be talking about color scripts and the importance of creating correct color combinations.

First introduced by Ralph Eggleston in Pixar while working on Toy Story, the color script has since become widely used in animation. The purpose of a color script is to illustrate the lighting, color and emotion of the film and portray the way the mood shifts throughout the film with the help of color (Pixar, no date). The first color scripts were drawn using pastel due to its efficiency but they are now often created digitally.

toy-story-color-script

Toy Story color script (Gurney,2012)

The importance of the color script is that color is used to convey various emotions and the atmosphere of the scene and has the ability to make the audience subconsciously experience these emotions. Some simple examples of this would be the color yellow representing a happy mood, while red may signify danger. Complimentary color is almost always used in scenes as it renders the scene more visually appealing, creates contrasts between elements in the frame and communicated emotion. Warm colors such as red and orange compliments cool colors such as green and blue (Bowes, 2012.)

The color script helps visualize the change of mood or even location in an animation. For example, Sony Pictures Animation production designer Michael Kurinsky, recalls how different colors were used to contrast the human world and monster world in Hotel Transylvania, where the latter is very saturated in color while the human world consists of duller, desaturated colors. This shift helps represents how the main characters experience these places, with the human world being boring compared to the monster world (Failes, 2015).

Color can be used to represent a myriad of emotions, from love and tenderness, to fear, concern and loneliness.  Red is the color most strongly perceived by humans and is most commonly associated with power, rage and passion. Many Disney villains wear red or a very reddish hue of purple(a color for extravagance and dignity) such as the evil stepmother in Cinderella. (Iten, 2008) In Disney’s Peter Pan, the protagonist and antagonist feature complimentary colors which highlight the complete contrast between the characters.

Pixar ROYGBIV.jpg

(Renee, 2014)

A color mood can be achieved not only through the color of characters’ clothes or surrounding environment but also the scene’s lighting which is a strong way to communicate a certain emotion and atmosphere. Warm lighting indicates a safe and cosy environment while cool lighting or shadows signify danger or mystery (Botkin, 2009). Sometimes, however, color rules may be broken to create a deeper meaning in an animation or film. An example of the symbolism of light and shadows being flipped is Spielberg’s E.T.

Color is an extremely powerful tool of storytelling and for that reason it is a very good idea to use a color script when working on an animation. Although we have not created a color script for our cinematic due to time constraints, I feel like we would be able to achieve a much better visualization of each scene’s mood if we have and I plan to incorporate it in any future production.

References

Pixar (no date) Colour script. Available at: http://pixar-animation.weebly.com/colour-script.html (Accessed: 13 October 2016)

Bowes, B. (2012) Hacking the color script; A visual color guide for your next painting. Available at: http://brianbowesillustration.com/2012/12/03/hacking-the-color-script/ (Accessed: 13 October 2016

Failes, I. (2015) Inside the colorscript process: Day 1 at VIEW. Available at: https://www.fxguide.com/quicktakes/inside-the-colorscript-process-day-1-at-view/ (Accessed: 13 October 2016

Iten, O. and profile, V. my complete (2008) Captain hook’s red coat (part 1/3). Available at: http://colorfulanimationexpressions.blogspot.ae/2014/02/captain-hooks-red-coat-part-1.html (Accessed: 13 October 2016

Botkin, I. (2009) Color theory for Cinematographers. Available at: http://isaacbotkin.com/2009/03/color-theory-for-cinematographers/ (Accessed: 13 October 2016

Gurney, J. (2012) The color blue in toy story 3. Available at: http://gurneyjourney.blogspot.ae/2012/01/color-blue-in-toy-story-3.html (Accessed: 13 October 2016
Renée, V. (2014) This Pixar Supercut will remind you just how important color is in storytelling. Available at: http://nofilmschool.com/2014/09/pixar-supercut-will-remind-you-how-important-color-storytelling (Accessed: 13 October 2016

ANI210-Wk03

We are three weeks into out project and the intensity of the work of the production stage is as high as ever, and I feel that I am gaining a lot of essential skills as well as invaluable practice every time I work to improve my model. This week’s focus and main challenge for me was improving the anatomy of the werewolf model. This particular character presents quite a challenge, as I have to consider not one but two types of anatomical structures: human and canine. The fact that the character’s build is very muscular means that every muscle has to be well defined and the only way to accurately portray that is to have a good understanding of where every muscle is located.

This led me to gauge just how much I lack in anatomy knowledge and really prompted me to seriously begin to educate myself on the subject of anatomy, when the time allowed it. So I finally opened the art books on anatomy that have been stacked on my desk, seldom touched due to procrastination, and made a deal with myself to dedicate a good portion of the free time that I have from modeling to learning and understanding human and animal anatomy. For this reason, I also decided for the content of this week’s blog to be a research of anatomy and its relation to 3D modeling.

 

The following are three of the main points to pay attention to when modeling an anatomically accurate character that I gathered:

Silhouettes

Observing a 3D model’s silhouette from various angles is extremely important, even at a low poly stage. A good method to check a model’s silhouette is to apply a flat color to it and zoom out which allows you to evaluate and focus on the proportions and gesture of the model and not be distracted by the detail even if the model is not complete.

 

Skeleton

The internal framework of the body, or the skeleton, creates the surface form of a body and can either strongly influence it, which will give a very prominent form, or be hidden deep in muscle. Proportions are created and measured from the bony landmarks that are the key positions that define the entire skeleton. These bony points should move rigidly with the joint and not deform when rigging. One can picture the skeleton as a combination of volumes and axes, for instance the surface form is greatly influenced by the skull and ribcage, which are three-dimensional volumes (Goldfinger, 2004). The skeleton also serves as the start and end points for all skeletal muscles and therefore understanding the skeletal structure is vital for 3D character modeling.

8_11

(Lelite, 2016)

Muscle

In order to function, muscles must span at least one joint and this is a key structural aspect to keep in mind when modeling or drawing. This means that the muscles interlock with each other and implementing this in a model will make them much more defined. Another detail to keep in mind is that the amount of bulge of the muscle will vary depending on whether it is contracted or relaxed. One of the toughest parts in shaping out the muscles on a 3D model is the forearm due to the number of muscles located there. It is essential to understand the correct flow of the flexors that travel on the inside of the arm and the extensors traveling on the outside.

forearm-muscles

(Staff,2015)

References

Goldfinger, E. (2004) Animal anatomy for artists: The elements of form. Oxford: Oxford University Press, USA.

Eaton, S. (2005) 3dWorld anatomy tips Eaton. Available at: http://www.scott-eaton.com/outgoing/3dWorld-Anatomy-Tips-Eaton.pdf (Accessed: 6 October 2016).

Medlej, J. (2014) Human anatomy fundamentals: Muscles and other body mass. Available at: https://design.tutsplus.com/articles/human-anatomy-fundamentals-muscles-and-other-body-mass–vector-22756 (Accessed: 6 October 2016).

Staff, C.B. (2015) 10 anatomy tips for 3D artists. Available at: http://www.creativebloq.com/3d/10-anatomy-tips-3d-artists-121518144 (Accessed: 6 October 2016).

Leite, I.L. (2016) Fatos Curiosos – Acredite se Quiser! Available at: http://actamundi.com.br/fatos-curiosos/ (Accessed: 6 October 2016).