Editing

I've been working on putting the final touches my thesis.  You might think that in animation there's nothing to edit because, unlike live action, you only animate exactly what you need but that's not the case.  I find that I'm still tweaking frames here and there to make sure every cute plays right.  I've spent most of my time working with the sound to make sure the sound design works well with the score and everything is balanced properly.  I would have shared some photos from the scoring session but we recorded remotely in Budapest which my composer skyped into.  I have my final mix session coming up and I can't wait to see all the pieces finally come together.

ADR and Foley

Just wanted to share a quick post that I did some ADR and foley for the film this week.  It was a lot of fun to work with the sound and I think it's shaping up into a very interesting piece.

NPR Rendering

Now that I'm attempting an entirely new rendering style for the film, I've had to switch to a rapid fire r&d mode to get the film looking halfway decent.  I started with exploring a ramp node tied to the facing ratio of a sampler info node to achieve some of the bold rendering effects.  I pushed it even further by creating multiple levels in the ramp to give a little more definition and then overlay a normal pass in after effects to differentiate the color on each individual polygon face.  Here's a look at a sample shading network with a texture where I plugged the ramp into the color offset channel of the file texture.

Change of Plans

I spent the better part of last week rendering my first full shot from the film and the realization I came to was that I was not going to be able to render the film in time for graduation.  I had to come to a compromise on the rendering style that would economize the time and resources I have left to complete the film.. I've decided to achieve a low-poly, geometric non-photoreal style which renders quickly and allows me to focus the remainder of my time on the animation.  Below is a test render of the new direction I'm heading in.

IK Lock

This is post is really from last semester but I thought it would be fun to share here.  Inevitably when working on any long form project in CG, particularly in Maya, things like to break.  I haven't done a good job cataloging all of my  digital fumbles thus far but this is certainly the worst I've encountered.  We've discovered that something got changed between Maya 2014 which the character was rigged in and 2015 which I'm animating in causing certain rigging nodes to behave in strange ways.  So for some reason, my poor girl's leg IK locks up and won't bend at the knee.  Fortunately I found a work around but it does create some funky walks.

Creating Grass

This week has been dedicated to working out my pipeline for creating the complex environments for my film.  It takes place in a fantasy forest clearing with involves lots of plants, which in turn involves lots and lots of polygons.  Millions of polygons -- dare I say, Billions of polygons!!!

Muah-ha-ha

This process involves using a particle emitter to generate particles on my ground plane and then using a geometry instancer to replace each particle with a grass clump allowing the scene to render with a relatively small RAM foot print.

A similar process is used on the trees which are Mental Ray proxies to allow me to render a whole forest with little to no extra impact on my working scene.

This process involves some clever coding, of which I can take no credit for.  I simply found the right pieces of expressions I needed and copied them into my workflow.

After a long two days of this I'm coming to the realization that it may not be feasible to use this approach for the entire film and get it rendered in time.  I'm going to do a test on a radically different non-photoreal approach as a quick alternative.  I'll report back soon with my findings.

Blocking Animation

I've been working on the blocking animation this week.  This process has been slow because I'm starting to lay down all the ideas I want to convey in a shot but the bodies aren't moving properly yet so it's not pleasing to look at this stage.  Angie describes this process as the "heavy lifting" of the shot -- once I have the general motion and timing worked out, I'll do another pass where I address the body mechanics to ensure that the weight and balance are correct.  Then I can move onto the fun part of adding details and polish to make the motion smooth.

Here is one of the more difficult shot in the film that involves to two characters interacting.  I feel confident it is headed in the right direction.