Will To Fly Process Presentation
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Transcript of Will To Fly Process Presentation
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Presented byFall 2013 Collab Class
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Welcome!IntroductionsAccomplishments
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OverviewStory Challenges
◦From mockumentary to family drama◦Starting over with story
Aesthetic Challenges◦Tessellations - creating a unified look◦Lighting
Character Design Challenges◦Integrating the aesthetic into the
character model◦Rigging and deformation
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STORY DEVELOPMENT
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Initial Concept: PitchesOriginal ideas
◦Family of bats – proposed by Linda Multiple characters for multiple animators
◦Documentary – proposed by Lucas
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Initial Concept: StoryMockumentary about a bat that wants
to fly◦Wilbur makes crazy flying inventions
because he was born without wings◦How the family deals with this
Five Characters◦Wilbur◦Chuck◦Grandmother◦Twin Siblings
Lots of dialogue
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Initial Character Designs
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Initial Character Modeling
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Original Concept: Storyboards
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Checkpoint 1After presenting the initial
animatic, we realized the story would not work…◦Too many characters◦Complicated hand held camera
movements◦Concerns about quality of voice
acting Major revisions had to be made
in◦Story◦Design◦Overall concept
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New Concept: StoryNew Story Direction
◦Simpler genre◦Father-Son story
Two Characters◦Wilbur – son, eager inventor who yearns to fly
◦Chuck – father, grounded, concerned about son’s carelessness
◦Absent mother – deceased
No dialogue
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New Storyboards
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Editing Storyboards
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PREVISUALIZATION
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Previsualization Substitute Rigs
Billy Barker as Wilbur (son)from CreativeCrash
Bboy as Chuck (father)from AnimationBuffet
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3D Animatic
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Issues Broken workflow Communication Do not make assumptions!
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Team ChallengesWhat happened at Midterm…
◦Story team fell through◦Sound turned in 30 minutes before
showing◦Building community
Team building Daily meetings Personalized schedule
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After MidtermAgain, major changes needed to be
made to the story and charactersWhat wasn’t working…
◦Relationship between the characters isn’t strong enough to support later actions Father acting as guard instead of parent Unclear that Wil is trying to fly
◦Confusion about species of the characters◦Who’s story is this? The son’s or the
father’s?
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After MidtermHow we fixed it…
◦Changed the opening sequence◦Changed everything except the final
scene◦Strengthened father/son relationship ◦Emphasized disconnect between the
two characters◦Changed the design
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New Storyboards
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AESTHETICS
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Aesthetics: Early InspirationOur story was relatively simple,
so we wanted to push the aesthetics
The story became something reminiscent of children’s story◦Wanted an aesthetic that would
complement
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Aesthetics: Early InspirationPaper texture aestheticWanted a high quality, low poly
look
Timothy J Reynolds
Jeremy Kool
Yum Yum Digital Paper Crafts
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CHARACTER DESIGNS
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Character References
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Character Sketches
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Final Design: Wilbur
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Final Design: Chuck
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Crew TransitionWorkflow
◦Modeling◦Tessellating◦UVing◦Texturing
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CHARACTER MODELING
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Evolution of Character ModelsInitial five characters (four
designs)◦Divided modeling between David
and RiyadAfter story change
◦Realized this was too many characters
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Character Modeling: Final
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ENVIRONMENT DESIGN
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Initial Environment ConceptOriginally housed in caves
◦Mockumentary◦Bats living in cave colony◦Apartments◦Almost all interior
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Final Environment ConceptAfter story change, moved to tree setting
◦More organic◦Material readily available for Wil’s inventions◦Brighter color palette◦Softer appearance matching aesthetic◦Wanted to keep the feeling of a cave◦Characters lived inside a hollowed tree
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Environment Design Sketches
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Environment Design ModelInitial sculpt in Zbrush
◦Organic feel◦David worked along side Katie
Making sure model met the needs of the story
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Environment Model: Early
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Environment Model: Final
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Environment Model: FinalExterior Design
◦ Landscape made from displacement map◦ Filled in landscape with 2 types of trees
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PROP DESIGN
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Inspiration For Wil’s Inventions
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Prop Concepts
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Prop Concepts
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Prop Concepts
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Prop Concepts
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Dividing the WorkModels split among modelers
◦Making low-poly un-tessellated props◦Based on designs
Made more props than we used◦Due to continual story changes
Scale chart◦Didn’t adopt until after almost
everything was modeled◦Should have come before modeling
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Prop Modeling
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Prop Modeling
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TESSELLATIONS
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General Inspiration
Artist: Timothy J Reynolds Artist: Jeremy Kool
Artist: Timothy J Reynolds
Artist: Timothy J Reynolds
Yum Yum studio
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PROP & ENVIRONMENT TESSELLATIONS
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Early Tessellation Tests Props
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Early Tessellation Tests
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Tessellating: The ProcessStarted with smoothed modelsReduced the number of polygons
TriangulatedPush and pull vertices until
desired effect was achieved
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Prop & Environment Tessellations
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Prop & Environment Tessellations
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IssuesLack of edge flow (no face loops)Triangulating entire model
◦Resulted in extra faces◦More geometry◦Difficult to select
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CHARACTER TESSELLATIONS
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Character Inspirations
Yum Yum studio Artist: Mateusz Szulik
Artist: Mateusz Szulik Artist: Jeremy Kool
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Characters VS PropsDidn’t use Carolina’s technique
for the characters’ tessellationsCharacters had different needs
◦Necessary to have symmetry◦Maintain specific edge flow◦Deformations in the face
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Modeling Process
Step 1 Step 2 Step 3
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Tessellation test
Cinema 4D Zbrush Decimation Master
Zbrush Remesher
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Retopology
Cinema 4D Zbrush RemesherFinal Retopo in 3DS
Max
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Final Solution for TessellationsUsed smoothed characters
◦Aided in deformationsApplied a bump map
◦Gives the impression of a tessellated model
◦Considered displacement map but… Animators wouldn’t know the final
appearance until after the scene was rendered
Wouldn’t be able to see penetration issues
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TEXTURES
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Color Script
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Color References
Artist: Timothy J Reynolds
Ink Studio
Artist: Dadu Shin
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Initial Color Script
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Color Script
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Texture Reference
Artist: Paul McMahon
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Prop Textures: 1st PassProps textured in Photoshop (UV
issues)Keeping with aestheticsMultiple iterations of the same
texture
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Prop Texturing: 2nd Pass
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Environment Texturing
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Character Texturing
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RIGGING
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Character RiggingRigging Demo
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Character RiggingRigging Demo
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Prop Rigging
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Painting Weights
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ANIMATION
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Animation ReferencesActing choicesStyle of animationProcess of animationActing challenges
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Character Traits & Motivation
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ChallengesAnimating without completed rigs
◦Not used to working with unfinished rigs
◦Didn't get the completed face rigs until very late in the animation process.
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Challenges with character design◦Chuck and Wilbur's short legs;
Chuck's long torso and Wilbur's big head
◦Character design affects the animation style
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LIGHTING
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Lighting Test Environment
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Blinn for contrast with tessellated planes
Lighting Test Props
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Lighting & ShadersShaders and Surface Textures
◦Blinn vs. MIA shaders
Mia_material_x Render time: 1:12min
Blinn shader Render time: 1:26min
Blend color original texture
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Interior LightingInterior Lighting
◦Color changes
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Exterior LightingExterior Lighting
◦Lighting Rig
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PostproductionEnd of the Quarter looming
aheadFile problems
◦Rendering◦Old assets that wouldn’t go away◦But camera and object positions that
willContinually running out of
memory in collab spaceWhole crew working together to
fix render problems seen using FCheck
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CompositingDepth of Field Process
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Sound DesignContracted two sound designers
◦Recorded our sound effects ◦Recorded voice foley with voice actor
Music◦Could not manage to find a
composer◦Had to resort to scratch music◦Music became very important for the
communication of emotion in the film
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Lessons learned…CommunicationOrganizationFollowing nomenclatureAsking questionsStory is never final
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To view the film…Please email your request to
[email protected] go to http://
vimeo.com/79741438 and enter the password to view the film!
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Thank you for flying with us!