Compositing

The rendering of the shoes took a lot of time. I hit batch render several times but except the Beauty Pass of all the render layers, all the other passes were pitch black. Two days of trying any permutation and combination that Maya or my peers could offer, I was contemplating of just submitting the file with the Master Beauty only.

Then,Rebecca helped me out in this. She said that she was having the same problem and when she changed her file format from Open Exr to Tiff,it worked. On the first try,my laptop gave up. I had been overworking it for quite some days. Then,even after several tries it just wouldn't render the files. I transferred all the files to our Studio's Computer and then tried rendering again. This time the light settings had some problem. Maya couldn't detect the spotlights that I had set up in the scene. I set up the light again.

Finally,it rendered,this afternoon! Here are some of the passes and final compositing in Photoshop.

Ambient Occlusion

 

Direct Light

Diffuse

Specular 

Master Beauty

Final Compositing

The Shoe

Since,there was little time it was easier and faster to composite how Kieran had showed in one of his compositing class.I am still unfamiliar to Nuke keys and nodes. So, as Kieran said Photoshop can still do the trick, I used it.

Polygon_Lighting and Render

Using raytrace shadows, mental ray and ambient occlusion I created the shoe below.It does not look realistic at the moment. Some tweaking of attributes here and there will hopefully bring about the desired effect.

A Basic Render

Ambient Occlusion

Merged the two images in photoshop. 

Polygon _texturing

Texturing just in Maya became quite difficult and time consuming. Jin had adviced to use a different software called UV Layout. At first,it seemed confusing but after a little help from here and there, things started to fall in place. Some of the UV maps that I used to complete my shoe.

Side-portion of the shoe

Pocket

Whenever I tried the photo-shopped texture on the mesh, the brand name would always be its mirror image. So,I had to flip it on the texture map so that it appeared the right way.

Sole

The sole of the shoe was done using Maya UV Texture only. It took a lot of time but I got there at the end.

Research Poster

When Jeanette mentioned a Research Poster in the class, instantly, I had the thought of a Hollywood style film poster announcing the release of our short animation film. However, even after much thinking and group meetings we were unable to decide on a story until very recently. It was impossible to make a film poster without any character that might have been in the story. The theme of the film had not been decided either.

Finally,I planned, to make a kind of 3D Poster. As I have mostly been associated with 3D Animation,I thought why not stick a cut out from a second print on top of the first with a thick double sided tape which will elevate some parts of it giving it a 3D look. Then, I researched for related articles and approaches of the psychological theory. I came across quite some interesting facts that I have mentioned in the poster. I even found some excellent photos that portray the evolution of story-telling and even its structure. At last, came the time to assemble all this material.

After a class with Phil,I thought Indesign is not all that difficult. However,it was the unfamiliarity with Mac machines that made the whole experience difficult. After using Mac for a whole day my hands got used to its shift,control and command keys and then in the evening while texturing on my laptop,I kept trying to find the command key. The situation was quite hilarious until I noticed how little time I had till the submissions deadline. 

Posters are ready for printing. All might go according to my plans if I have enough time on my hands.

Polygon Project_Modelling

 The Polygon Project consists of modelling,texturing,lighting and compositing a shoe as realistically as possible. I chose the shoe below. When I was clicking the images I thought I was being lazy(as Jin had warned us not to be)by choosing a very simple shoe. Modelling this did not turn out to be simple at all. It is taking more time than I had expected. 

I started with the sole as Jin had showed us in the class. However, when I reached the side portion of the shoe I could fine many flaws with the sole. It did not look like its reference image. I made it again. After being in the 'NURBS Mode' for days it was quite difficult to suddenly shift to polygon. I kept searching for the tools that belonged to NURBS Shelf  instead of reminding myself of the polygon tools.

With a lot of 'trial and error' and 'modelling and remodelling', I have near about finished modelling the shoe. However,when I reopened the file today, the entire shoe can be rendered except the lace.It exists in wireframe but its mesh is not visible. If it takes a lot of time to ascertain how I can get it back,I will have little choice but to remodel it again. 

 

Something that I really liked when I was clicking the images of the shoe was the shape it had on its back profile. Though, I had imported the 'front' profile on the image plane, I went back and forth to see how it looked from the back.

I enjoyed making it a little bent. When Jin had asked us not to get 'new and blingy' shoes for modelling, it did not make any sense to me. Now,I think its more fun and creative to make things not 'normal' or in their perfect state.

Topology

NURBS Project_ Ends

“There is an end to everything, to good things as well.”

- Geoffrey Chaucer

Ambient Occlusion Pass

The NURBS Project demanded a lot of patience but it would be dishonest to say that I did not enjoy the process. I have always enjoyed background modelling more than character modelling. At first, some parts of the scene seemed more appropriate for Polygon Modelling but it came as a challenge to complete them in NURBS.

As the scene required so many NURBS surfaces, it was becoming quite difficult to even rotate about the perspective window to check how it looked from different angles. Then,came the problem of making the foliage on an already heavy scene. Nonetheless, I thought that it added to the beauty of the scene selected, so I started making them. My Maya software stopped responding thrice!

Topology

The first time it stopped, I had not saved the other surfaces that I had made just before the first portion of foliage. I had to remodel them again. Carefully saving them this time, I made a second attempt at making the grass. Then,after the third time,I thought of submitting the project without them. However, I thought why not use paint effects and convert them to NURBS. This did not hinder the mobility of the scene and helped retain the beauty of the scene too. However, to show that NURBS grass can be made, I made a very small portion and hid it in the scene in a layer.

With Physical Sky and Sun

As lighting was not an essential component of this project(and I had to get on with my Polygon Project), I simply used the Physical Sky and Sun Node in the Indirect Lighting of the Mental Ray Menu.

Video file at:

http://www.youtube.com/watch?v=Jj-ObHye4x4&feature=youtu.be

Programme of Study Update

It has been a couple of months since I last updated my Programme of Study. So much has changed since then. I have come quite far but I feel like some factors are still being elusive.

My research is based on effective story-telling techniques and animating stories based on Human Behavioural Psychology to generate a response from the audience. According to the theory 'The Strategic Use of Gain- and Loss-Framed Messages to Promote Healthy Behaviour : How Theory Can Inform Practice’, the result whether a particular individual responds to it is dependent on how the message is presented.

The gain-framed or the loss-framed messages as I have come to understand is result-driven. If people can know what the consequences of their choices might lead to, their behavioural response towards certain aspects might/might not change. Thus,my intention was to test this theory by creating two stories on both the tenets of this theory and do a primary research on which of the two tenets was more capable of getting across to the audience and whether a change was possible in them.

Mark's Script-writing classes turned out to quite helpful as that's the basis of my research-story telling. One of the key thoughts that might play an important role in my research,Mark pointed out is the 'tone' of the story. The way a message is projected and how much of it is retained in the audiences mind,not only depends on what the message is about but also how it is said. The tone of, 'you must' to 'you should' to 'you might' or to 'you could' sets how much will be accepted by an audience. Keeping this in mind,I had planned to make two stories with a variation in not only the tone but also colour hues in the environment setting of my stories.

A meeting with my Supervisor made me think again. Sharon,said that as I was using this psychological theory to research,it would be a waste if the tone and environment settings were different in both the stories as I would already be manipulating with the audiences perception of what they see. She adviced that it would be better if the tones and environment be the same in both the stories.Instead how the two different characters respond to the same environment differently would bring about better material for my research.

My team members George,Sheng, Lilly and I stated coming up with stories on different themes like environmentalism, pacifism,co-operative behaviour, etc. based on our discussion with Sharon but we still couldn't come to a decision as to which story would suit our purpose.

It was time for some peer review. A meeting with our peers made us think about the patronising aspect that each of our stories carried. What we needed was an abstract story with the message hidden in it that the audiences needed to work out themselves. Thus, we came back to square one- effective story-telling. Fraser's advice of not dealing with bigger issues like environment and wars and making stories on smaller but still relevant issues, was something to think about. 

Last week,we were scheduled a lecture with Donna which turned out to be a peer review again. I told her of what variables I was thinking of and how difficult it was becoming to make two stories with all the permutations and combinations. As Mark had said story-making is so much like cooking. You might have a cupboard full of ingredients but you still use what is in the recipe. You don't use all of them. 

Then,there is also the mammoth task of making two animated versions instead of one within the given time and then showcasing it to an audience for primary research. Donna was very kind in pointing out that what I intend to pull off is in itself is a research and I might not need to test it on an audience. Now that I am in the process of this research I think what she said is absolutely true. This has somehow taken the time-constraint burden off me.

However,all said and theory discussed, writing a story is becoming a big bone of contention. When any of us does come up with a story it doesn't suits with everybody's set course aims. So,we still need a story! 

Mudbox_Basics

Basic Head Model

I had a little experience of Z-Brush and as Phil,mentioned in the class unlike Mudbox the interface of Z-Brush is actually quiet intimidating. A little knowledge of Maya also helped me understand Mudbox faster than Z-Brush. One gets warmed up to Mudbox instantly as the interface and basic controls are similar to that of Maya.

Phil asked us to use the basic tools of Mudbox and character a model. We were given the basic head model(above). I used the tools and created her.

Remodeled- Old Lady

Dundee Literary Festival

My ticket to new knowledge

Growing up in India, I had little idea what Doctor Who meant to its sci-fi fans in this part of  the world. I felt it was just like the Harry Potter Fan frenzy or maybe much bigger than that. Doctor Who is about to complete its 50th year, having changed the male protagonist,the doctor, over 12 times, the show is still running strong. I was amazed to see the enthusiasm of  its fan following at the event. There were children who were probably six years and even less but were following all Doctor Who Episodes religiously.

Dr Who Comic strip at the event

There was a Comics Workshop where children drew their favourite character or villain from the Doctor Who Series with zeal.The children were eager to participate at the presentation at the auditorium too.Funnily, one of them even corrected the story-boarding artist,Andrew Wildman at the presentation about a minor detail!

Simon Furman and Andrew Wildman:Transformers

Simon and Andrew told us how Transformers as a Comics came in to being. It was quite fascinating to hear how Japanese toys that did not have proper names were given names and developed as we know them now.

Furman sounded like a father talking about his children when he referred to his work on Transformers. He called them 'metal beings with human feelings'.

Robbie Morrison and Simon Fraser : Nikolai Dante

Robbie and Simon introduced us to Nikolai Dante. They told us how Dante's character was sketched as a thief,ladies man and the illegitimate son of a scion.

Dante's Pirate Mother

A set they made that had to be destroyed in the war in the series

Kev Hopgood: Iron Man,Dr Who,Lawless

Kev talked about his journey through various comics and children's books and how he used different techniques like marker airbrush and Photoshop as the patterns changed.

NURBS Project_continued

This is how it is supposed to look!

Work-in-Progress

At first,I thought NURBS Modelling looked tedious and difficult. However,when I started modelling the details in the scene,I found that it was really understanding the silhouette that was most important. I,now, find the tools easier with each practice.

As of right now

'Perception is Reality'- Ian Callum

Ian Callum

Director for Design,Jaguar Cars

As we settled down to hear Ian Callum, the Director for Design at Jaguar Cars, I could sense the anticipation and thrill of the crowd. There were parents with their children who probably wanted to enter the car designing industry and were hoping to get some tips. There were people who just wanted to see the maker of XJ and hear him speak. The gentleman next to me looked in his 40's but he sat like a kid waiting for his hero to take the dais.I, as an animation student wanted to see the artist and how brilliantly he uses the digital technology to his own purpose. No one was disappointed.

What is Design?

He started his lecture with explaining,'what is design?' He said that it was immensely important to take some factors into consideration when they make a design. Maintaining the brand image,keeping the design cost effective,believing in their own vision,their creativity should be like story telling and collaboration are some of the basic tenets that he has been following through the years as a car designer.

Working his career through Ford,Volvo,Nissan,Aston Martin and now at Jaquar he enlightened us with his experience and delighted us with his sense of humour.

Digital Cave

He showed us how designs are first hand sketched and then digitally made. Then they are further modeled in clay and then perfected in aluminium to give their premium customers the delight and comfort of buying their concept cars.I was astounded to see the image of the Digital Cave where wearing 'some' glasses they could see and move digital image by their hands to change the design of the cars.

Iam Callum showing his Designs

As he took us through his journey of working at multiple Car Making Organisations he kept telling us what he learnt at each and I could not help but pen them down. He said that it was important to learn the culture and the background of a region before making a design. As an artist,he told us to be brave and say what we have to say when there is still time because after the final output is produced there is nothing left but regret. He adviced us to carry statistics and facts with us before telling our superior about 'being intuitive' about some design and to never over promise. Finally,he told us that being a good communicator is as important as being as artist.If one is not able to communicate what he wants to project in his art,he might not be able to execute as much.

Ian Callum explaining the Car-Designing Process and its Execution 

He told us about steps that Jaquar was currently taking to make its cars as Eco-friendly as possible(which was one of my concerns). He showed statistics that about a reduction of 25% had been achieved in their CO2 Emission and about 17% in water usage.The designs of the cars that Jaquar intends to make in future were incredible. Ian Callum,by the looks of it, was not wrong in calling it our man-servant. From weather reporting,to making reservation at your favourite restaurant,to analysing your mood and even automatic driving,Jaquar is intend on making the next generation cars.

As,we were filing out at the end of the seminar,I saw a kid of 12 showing Callum his car design. It was humbling to watch him discuss the design with the kid and then give him his visiting card and shaking hands.He left us with a quote hanging on top of us on the big screen which shows his point of inspiration and for aspiring artists like me.

“Imagination is more important than knowledge. For knowledge is limited to all we now know and understand, while imagination embraces the entire world, and all there ever will be to know and understand.” -Albert Einstein

'Scotland Loves Animation' and I Love Both!

At the Edinburgh College of Art

My first trip out of Dundee was exciting. It was to Edinburgh! The capital city of Scotland!!

We were supposed to assemble at DJCAD at 8:20 AM so that we could board the bus to 'Scotland Love Animation'-Education Day at the ECA. I met Sheng at the Roseangle Crossing and then we proceeded towards DJCAD. We boarded the bus and signed against our names.

 As we headed towards our destination, I could not help but look out of the window at the vast and beautiful expanse of greenery around. My God, it was so beautiful.

Sheng soon fell asleep and I tried not to even blink my eyes! It was like I was trying to soak in and memorise each detail of the mesmerising landscape.

As we entered Edinburgh, the little cottages looked so simple but just so homely. We soon reached ECA and were asked to assemble again at 4:30 PM at the entrance for our journey back to Dundee.

Makoto Shinkai,an award winning Anime director was the guest lecturer. I thought we might just watch some of his movies but it was much more than that. He gave us a detailed insight into what it takes to make an Anime film of his class.

Traditional Anime Story boarding

He showed us the traditional method of Anime Story boarding. The image above shows the girl listening at the railways tracks. He showed us how detailed and precise the storyboard should be so that at the production level there are no hiccups. Even as little as a detail of how many strands of hair falling over the girls eyes are sketched so that the entire shot is clear from the start.The next column has all the camera details. The last column shows the time duration for each shot.

Through the pipeline

Then he showed us how artists at different levels have different colours as their symbol that shows who has worked on the shot and what changes they have made on it. For example,the director of the film uses red colour and another artist uses yellow. So,as they work on the shot they change the colour of the paper in Photoshop. 

Highlighting a certain area

He showed us how by using lighter or darker tones of different shades, the lighting  in a scene could be changed or a certain area could be highlighted. It was awe-inspiring when we saw him highlight the area in the above image with such clarity and ease. It looked like child's play when he did it. I know it was not.

Different hues used to create the effect of lighting

He also showed us how, now, Anime is using video story boarding with as much detail and as much precision as the traditional story boarding. We had a look at one of his video story boards and it looked as complete as a movie. However,the final output was brilliant. He told us how the clothing of the characters in his film were now being clothed by stylist who would dress them according to their profession or need of the scene. The colour of the clothing was determined after the background was inserted in the frame so that the shadow and highlight created on the silhouette of the clothing could have their tone.

It was such an amazing experience to see a man of such stature work on such aspects of Animation with such ease and still be so humble.

Script-Writing 1

                                                                          What a day!!

The class with Mark was supposed to start at 9:30 AM. As always,I had set my alarm for 7:30 AM. I missed it!! I got up at 9:15 AM. Having never missed a class,I was close to tears! I will just have to miss it.

My friend Jaime saw me at the corridor of the flat and told me to just change and leave. She told me I would be miserable if i did not attend it. So,I changed and went running for the class. Thank God,i did not miss it. It was a very enlightening class.

Making sense of the environment is the most basic principle of story telling. We started with the story of how might the earth would have come into being. Mark started and then we chipped in with what could be the possible situation that might have necessitated its commencement. We started with darkness and then proceeded to a sudden spark that might have initiated life on earth.Thus, for reaching from Condition A to Condition C,a catalyst (B) is required. This B helps in making sense of the environment.

Most films follow the 3 fold structure of a movie that is the Beginning,the Middle and the End. It is still principally being followed by the Hollywood Studios.

The beginning introduces the characters and their environment.The middle is usually the problem or the challenge that the protagonist needs to overcome while the end discloses whether the protagonist will be successful or not. The start of the film usually sets the tone and the direction where the story will head.

Drawing a chart Mark explained the 'Destiny' of the characters- where are they going to end.

Comedy would be when the characters overcame their problems and get what they want in the end.

Tragedy would we when they do not get what they want in the end,or even worse they die.

Drama would be when they want something but get something else and still they are happy in the end.

He advised Aristotle's Poetics as the book to read to develop our sense of story telling.

He then elaborated on the themes that are mostly seen in films. He divided them in to the following categories:-

1) Desire for Love

2) Desire to belong/validation

3)Desire for justice

4)Desire for morality

5)Fear of death

6)Desire for the unknown/ to know

The aim of the characters in the story is usually search for pleasure and the avoidance of pain.

NURBS Project- Begins

The Art of Maya

An Introduction to 3D Computer Graphics( 4th Edition)

Autodesk

A book loaned from the library by my friend,Sheng, came in handy as I sat to decide on which reference image should I chose for my NURBS Project. I had mostly been associated with polygon modelling with a little bit of help from NURBS curve tools. However, recreating an entire scene using just NURBS Surfaces seems quite a challenge. 

NURBS Surfaces

p.82-83

Trims and Booleans

p.84-85

After attending a Maya NURBS Modelling class I was quite confident of being able to use the tools and create a scene successfully. I selected an image that had the maximum potential of being recreated by NURBS tools.

NURBS Modelling Reference Image

As adviced by Jin,I tried to look at the silhouette of each of the surfaces and find the best possible way of making them without taking too much time.As I am new to the tools,it is just trial and error method at the moment for me. 

Work-in-Progress

Its taking a lot of time than anticipated at getting ahead with this project.Let's see how the rest of the scene comes up.