Let the Penguines Walk: Setting for Animation

In this project decision was to first do the animation and only then go to detailed set building.

So I started looking at substances to prepare myself for animating. Also it really helped to go into the mindset for animating. So first of all , I want to share what I found .

Animation tips and tricks is a blog where animators answer common questions and share their own techniques of animating, whether it would be the pipeline, trickery or a "checklist". Also they've published 2 free e-books for downloading .

These resources inform my practice.

Other than that I'm now looking for video references to inform the animation scenarios.

For example,in the beginning, while the Bird is unaware of himself in his infancy stage, he walks much like a penguin. So to test animate the walk cycle I first looked at penguins walking.




and here is very first animation test. As I decided to spend some time and get acquainted with Bird's controls ( and there were some problems to solve as well...)




I spent.. well, a bout 8 hours there... I did few of the animations but didn't hesitate to start all over when it was clear that there wasn't anything substantial..

This test was one of more...something. But still.. It so clear that I need to work on animating skills... I think I'll go back to bouncing ball :D start from there perhaps. Get the weighting sorted.

Ready to Go

Finaly, after week and a half Bird's rig is solved!

I have to admit, the rig now is really comfortable to use with lots of freedom for Ivan's changing way of movement (especially concerning walk cycles)
Also, I'm happy that it was possible to have both Bird and Bird-lantern working under single rig so it is all unified and simplier for that reason. 

Ivan's rig was constructed differently from typical character's one as he has some unique constructions. For example, to make his legs work, which are much like a contracting/expanding telescope, a  piston's rig was combined withthe usual leg IK rig . In general, reach was for effective yet simple way of controlling Ivan in his animation. 

Next in the pipeline is test animating the bird to get use to controls and to solve his basic walk cycle together with getting dope sheets for animation ready.

Plan and the Block out of Ivan's World

Initially I started with rough plan of the world.

Then working in maya I made changes to scaling. Because now having story set and clear idea  it also became clear  how much of each environment is needed.

For pre-viz and animation purposes I figured to do initial environment modeling which will be developed through the entire project time simultaneously to other tasks. Again, I bothered myself enough to solve problems in concept art stage, so that when I'm building it serves as a reference.

Trees at the moment are only basic representations. To give an idea how many of them I need and what actually can be achieved with matt paintings.

As I mentioned before, I try to keep the translation from 2d to 3d as close as possible, however, particularly in Dream Island's case, there are lots of things that don't translate as successfully and fail to create the intended feel of the environment ... A Yellow sticker  there...

For now this is pretty much enough to inform animating, so apart from rigging problem there is no reason to wait with animating.

Modeling for games: Body

Dynamics: Emitting from Surfaces and Particles

This lesson showed that surface amission can bring some pretty sophisticated effects, such as the disolve of a coce can. Similarly by using particles as main emiter  other particle emisions can be controled and so interesting effects created.

Ivan's Rigging problems

No exception this time: rigging = problems.

The geometry falls of the joins as well as when bird is moved, neck moves  twice the speed of entire body.
I do suspect where those problems are coming from ( perhaps because of the constraints and negative values somewhere, also  double parenting) . But frankly, I'm not that well acquainted with rigging and can't seem to fix these problems. The system, though much clearer, is still too confusing to me :/ very sad, but true.

Hopes are these are relevantly easy problems and I wouldn't have to rework body rig, as it is all pretty much finished and would be ready for animating this week...

Model's Adaptation to the Story

Having the story set, it was time to go back to the Bird and make adjustments . Initial model looked more as a statue-figure. Relatively expressionless facial features, no "gadget" inside.


For the eye mechanizm idea was to keep what was  already built (ship wheel on top of the eye) and  add few layers on top.

I personally enjoy how the ship wheel detail is uncovered as the eye is moving around . It looks like the texture of iris or highlights.

(texturing still needs to be solved)

Lastly, the bird now has a lantern.

I think I'm in a very advantaged position,as the character was pretty much done during the summer. Now he is ready to be rigged.

The Outside World

This is a concept of the environment which Ivan first explores and where he becomes a sky-lantern.
In this picture there is a house, a stripe-like field, also woods with "bushes" and at the last layer of composition a mountain.

 Stylization:  

The colour palette is suited to compliment Ivan, make him stand out. Both blues and creamy colours play as a background colour for Ivan's bright greens and browns.

All the elements are slightly off-scale and appear  2d  and illustrational. I was aiming to create a very fairy-tale-like environments.  This was inspired by fairy-tale books which have pop-up illustrations when you open the page. For example:

Also, I seem to forgot to upload the texture sheets I've drawn a while ago. I use them  for concepts and in future texturing. They are created using  water colours, pastels and water pencils

Human Modeling for Games; Week 2

The head is finished. I found the approach of softening edges instead of smoothing the mesh very interesting and useful for the near future. Especially that It gives similar effect ( especially if object is viewed from a distance) and you still have control over the level of detaill which is relatively quick and easy, just by adding normal angle values to selected edges, its crispness was controlled. For example, the lip line has a tight edge, whereas ears have mainly very soft edges.

The Workshop

This is Ivan's birth place. The workshop is a quite and a still place, where models seem to sleep or wait for their moment.

Cold, and dark but still enough cosy, from one respect, because I imagined that it is still a place where those models first got made, so it has to be "a good" place after all.

You should find  all sorts of stuff here . Tools, paper rolls, half built models, blueprints etc. 

Performance Animatic

It was en exercise in visualizing  entire performance of the bird and answering   questions what would he do  at each point.  Hopefully these 216 panels give a  clear  flavor of the animation heading for.

(I posted here the second animatic with a fix at 2:39)

Dynamics in Maya

Exploring further the possibilities with effects in maya. It is slowly getting to the point where you can think creatively in maya,  what parameters need to be combined when trying to reach the desired looks in the effect.


Sorry for the video quality, I seem to have lost it somewhere .. :/



For better viewing,  I upload stills as well.

Fireworks

Foam effect

Shock Wave

Flow effects

Animation Analysis

Recently I desicded to take Alan's and Phil's advice to analyse the story and find out exactly what each scene is about. That is  what is the feel and mood of each scene. As well as what  exactly Ivan is doing.

Before going into production I'm trying now to answer these questions.

So far this is the breakdown of animation into chunks. Judgement on time intervals was made  listening more to soundtrack's suggested pacing, not as mush as animatic's  ( and I found  animatic's pacing is  off sometimes,  so that will need to be corrected. ).

Atm I'm acting and drawing a  lot. So hhopefully  I'll have a clear  performance animatic in near time.

Animation Analysis pdf

Week 2/10 : Defining Animation in Detail

This week I took some time to revisit and define the character better. In our discussions with Alan, we agreed that bird's model needs to be revisited to make adjustments for animation. Add more expressive body parts ( eyelids, eyebrows, jaw etc.) . as well as the story asks to add other details, such as a lantern in between his hips and chest, a lock and so on.

And the next follows experiments with his jaw :

Then we go underneath the surface. I've gathered Ivan's character profile. This was a note made during this weeks tutorial with Alan. To have a clear map of personality (then go and analyse the animation itself, what is being done atm) which would then drive the animation.

Here you'll find a brief description, main characteristics progression and body language.

As written in my previous posts, story is taking it's better and more defined shape. The idea here  was to present other mish-mash models. They would be presented in the opening sequence, at Ivan's 'birth place'. Suggesting this is a workshop where models like Ivan are made.

My only note is.... maybe these models shouldn't be fully built, but only half way there. Suggesting this is now Ivan's time.
But there you go, a sheet of mish-mash model thumbnails,  meet Buckaloon, Shiball and Spyrer.

As supposed to be done in preproduction, I merged myself with concepts of the animation's world.
Here is the outer environment concept start:

But I somehow didn't feel for this drawing... There were (are) problems. SO I went back to my original drawing, pixie which I'm using as an artwork-inspiration for the environments . The work also defined the colour pallet of use. It was surprising to discover the true tonality and colours withing this work, event to me, the author

So at the moment, I'm drawing a new concept of the shore. It will build on this composition:

Currently I'm solving Ivan's performance issues, and looking in to ways to enshure the animation will be in its fullest potential.
As well as I'm thinking of ways to merge 2d and 3d techniques to make the animation an experience of illustration brought to life.

Story development: solving Act 3 problems

Few days ago I got some very constructive feedback from both Aland and Phil regarding the story and how the animated short is read by the audience. Essentially, act 3 wasn't clearly resolved and failed to convey the ideas intended. As well as soundtrack's tonality contradicted imagery. To solve it decision was made to change the ending.  Plot hasn't changed at all, and  themes remain the same only now the music is transcribed better.

Animations to reference for transcription project

For my influence map here I present the animations which have what I aim to reach  in transcription project.

Main reference for Editing and the logics of character portrayal.

To start with is the animated Short Reach.

The animation is newly discovered to me, so it was surprising to find how many similar it has as well.

But the note on this example is how a character is presented: similarly to Ivan, the little robot “wakes up” and soon discovers more things about the environment (explores the surrounding, interacts with it) and finds more about himself ( for example he is tied up to a wire, he has claw-like hands etc.) . Consequently  robot’s behavior progresses : from  self-unconscious clumsy gadget to a determined, energetic dream-reacher.

Other details also added up to expressing the little robot’s experience and point of view. Such would be , when ever something is shown through his eyes it has a vignette and the sound is dimmed as if passing a glass jar.

I noticed the rhythm of the animation, that what I need to solve in my animation. There were parts where the action was played in a theatrical manner – letting all happen in one long take , camera facing straight. But it didn’t feel tedious as it was then contrasted by a well paced editing.  This was achieved by using intercuts ( for example,  pigeon looks to the robot), reaction shots  and the action itself is  presented in a variety of angles. 

Reference for Video style: Camera lens and Painterlyness:

Second in line is the animation , thanks to our group blog, I came to cross , is Nokta (Dot) By Onur Senturk.






A very enchanting piece of animation. Watching it couple of time I took a note of techniques used to create one or another effect (the following list serves as a future reference, because it is very comfortable to keep all the notes in one place)

Flashes of colour, as if created by a sudden brush stroke and lens flares, can be seen when the tempo ( the pace within the scene) is high or when a dynamic action takes place .

Dusts and particles suggest a substantial air, atmosphere. As if it has the thickness to it and is fluid ( to my mind it gives dreamy, feel , the one you get just when woken up)

The animation is vignetted and posterized , my interpretation of that was, it feels as if the air itself is animated . That adds to fluidity and painterlyness.

Short depth of field.

Distanced ( in relationship to the object) glow. Creates, so to express, furry and fuzzy feel of environment.

combination of some ofthese elements in specific scenes would help to convey the feeling of the shot and the overall animation.

Use of film language and mice-en-scene:
Lastly, Après la pluie (After the rain) an animation created by Gobelins University students,




Is just beautiful, and is my choice for simply getting back to and referencing. As in one interview Laseter named Miyazaki‘s animations as Pixar studio‘s most referenced ones when they cross a problem. I guess if the studio uses this technique, a student should also :D

Suggesting Ivan's Goals: Revisited Animatic

As previously discussed it was unclear what is the true goal and a driving point for the bird: is it to forfill his nature and become a true bird which can fly, or is it to keep on exploring new things as well as getting to discover more about yourself ? All of those things are true, but one more thing plays an important role: the Island's likenes to Ivan and the suggestion it is his true place to stay and  is his true home.

To convey this idea the Island and more particularly the nesting-box, is brought more as the main focus point.

Dynamics and Game Modeling

Maya classes introduced some new tutorials. Up till now there wasn't much experience  with dynamics in maya. The approach to creating effects like smoke, clouds, explosions etc. is of different to creating..say, a character or environment.The looks, volumes and behaviour is achieved by manipulating physical setings (including forces etc.) Not by modeling the object and conectin it to blendshapes to give an example.

I enjoyed to discover that almost any desired looks of effects can be created from scratch and that there is so much control over it giving the chance to create both unique and highly stylized effects if needed. Also the looks can be pushed even further in aftereffects when it i rendered separately and composited on top.
So yes, nice to see that the part which makes the audiences wow is relatively easily managed :)




As for the second part of tutorials, the human body modeling for games, I found it much clearer and faster to do after having done two full characters before.

Revisited ending

I think problems with the ending are solved. Hopefully even more clarity will be brought in pre-viz where the actual camera moves and angles will be seen.

Roughing out the Animation

I find this animatic closest to 'film' which constantly played in my head.

 At some points I've approached it in experimental ways ( especially at the very end) in order to portray personal vision. It might look to be working and at the same time the opposite.

The Animation so far seem to reach 3 minutes. I couldn't seem to make it shorter from any angle. when it was 2 minutes I failed to convey anything at all.
There are changes from original storyboards as well.

The animatic :

Solving problems with The Mascot (1933)

The first animated short  in a row I looked more into and will use as a reference for problem solving, and solutions for approach towards my own animation, is The Mascot, by Vladislav Starevich (1993)




Mice-en-scene
Acting.

The animation is highly stylized with limited range of expressions. Nonetheless it appears, the puppets are acted in a very expressive manner, in order to balance out the lack of it because of the way puppets operate.
I noticed also the economy of animation: all seems to move in their turns (apart from crowd scenes where everyone/everything moves) . That also helps to direct the eye to constantly shifting center of attention. 

Editing.

Majority of shots appear to be long takes using a steady camera which  faces the action directly from front: this creates the theatrical feeling, as if the audience is watching a play, a puppet show happening in front of them .  Though for contemporary audience it may bring boredom if overused. 

Also almost every action is followed by a reaction shot of main characters, I‘d interpret, this helps to achieve audiences connection with main character. As if we are thoroughly engaging with the puppy and at the end audience is well familiar with the main character, so feels happy for his successes.  

Sound Track
The Animation uses both a diagetic and non-diagetic sounds, where the music plays as a “voice over” – defines each action, change of mood, new elements  (characters or objects which entered the shot in a notable manner ) with  likewise a defined sound effect.  
I found that even if the action wasn’t followed as thoroughly, the music plays as a prompter, making the intended idea also obvious to the audience.

To recap and make links for my transcription project:

1.      The animation could be stylized and in a way overly expressive in order to convey ideas using a model (the constructed bird) which seemingly has a limit to its expressiveness

2.      Animating “in turns” ( avoiding to “move everything)  both is economical and helps direct viewers eyes as desired

3.      It is best to use long takes modestly as it generates the feeling of actually seeing everything happen live in a play ( what helps to reach better engagement) though can be found unentertainingly too long  if overused .

4.      The risks of using solely diagetic sound is that it might be unclear what the story is about as it takes greater engagement to understand the turns in the story solely from what is shown, whereas  with the use of additional sound effect the action and mood can also be suggested.

Project's Pipeline for Transcription Unit

To start a project the brief asked to establish a profession pipeline.
It brakes the entire project into steps, which, if followed and put into consideration should lead to successful project conclusion.

This exercise was an eye-opener. To see what is still waiting ahead made think about how well organized the project time has to be. I'm going to refer to it as a check list in future.
Pipeline for Animated Short