First Shot

While searching for videos of blinking eyes, I found this pretty cool product called a KinetiCard Eye Think. Obviously I could have just recorded by own eye blinking as reference, but I didn't want any eye, I wanted quite a simple illustrated looking eye. Where it was realistic but also not at the same time and this KinetiCard was perfect. I really like how the eye was drawn and it blinks in quite a creepy way. 

And below was my own version of the KinetiCard Blinking Eye. But to put an E4 twist to it, I put the E4 as the pupil and added some purple dripping out as the eye closes. I did this because I wanted the blinking to cause an effect, then after it'll zoom out to the next scene. I kept the colour scheme to black, white, grey and purple to make the E4's signature purple colour to stand out more. 

Group Roles

With a quick animatic done, Amelie and I have split up the tasks at hand. I will be drawing all the 2D scenes, which include the backgrounds and simple animations. And then Amelie will take care of the 3D aspects and the compositing. We assigned the roles according to our strengths and skills we already possess, as I am a much more 2D based and confident in drawing where as Amelie prefers 3D and wants to experiment with particles. 

Intial Storyboard

Above are the initial storyboards I drew. The idea was to have random environments, zooming out to the next, revealing worlds within worlds. We decided to have random unrelated scenes as E4 is known to have quite a quirky and strange stings. 

And here is a rough animatic to help illustrate the storyboard clearer. Problems I found so far, was that it was quite tricky to align all the shots together and make them zoom out at the same speed. And because the sting has to be 10seconds, it doesn't give us much room to let the audience see much. The last shot is also the most difficult, where it zooms far out from the ipod to the E4 logo. Because we're trying to portray the ipod as a tiny pixel in the E4 logo, it means the camera has to zoom really far, therefore the camera has to either, increase it's speed a lot more or I need to give the camera more time to zoom out. However, because the sting is only 10secs, I'll have to increase the camera speed but if its too fast it'll look very strange.

E Stings

For the final project of this year Amelie and I have paired up to create a 10second animation for the E Stings competition.

When we went to Stuttgart we saw a very inspiring animation by Andreas Hykade. 

I like how the animation progresses in time with the music, getting more elaborate and colorful each time.

Below Amelie found this piece online but the artist is unknown. We really like the idea of an image within an image within another, almost endless. 

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It starts off with a toilet, then a man steps in to the toilet which shows the toilet as a small part of a set. Then it zooms out of that showing the previous shot in a book, with a man reading it. Then it zooms out further showing that he's in a tunnel, and from that, it shows the tunnel as a picture in a frame of the wall in the toilet of the first shot. It's cool how the images keep zooming out in a continuous loop.

Compositing and Music

A while back, I came across this song and loved it immediately. The odd array of instruments create an unusual but wonderful sound. I like the gradual increase of more instruments being used, where it starts of with a simple but up-beat piece giving it quite a playful aspect and then the string instruments add a sense of mystery and dream-like feel. I think it's a flawless match and I knew I wanted to use it before we even begun the 3D work. I feel it resembles what we were trying to achieve of an imaginary, playful and abstract city. We ignored the rules of physics and let the plane fly freely and using any pieces of paper textures with patterns and doodles and used packaging reminds me of a child going wild playing with old scraps.

The final job I had was to composite all the rendered scenes out into one movie file. I tried to time each shot as close to the music as I could, however some scenes were very difficult to do so as I needed to extended the shot duration. But I discovered that it was difficult to do this without affecting the rest of the shot's animation aswel, so the only solution was to go back into Maya and change it from there. However, if the shot needed to be shortened down then it was very simple to do this. So a lesson learned; it's better to render out scenes for longer than needed incase of compositing issues.

A useful and very effective tool I found was the opacity transform tool, which I used to fade out a scene into another scene. This worked well when the previous shot directly relates to the next. An improvement I would make whilst looking back at this stage is to perfect the music and timing of the shots. So the scenes would transition exactly when the tempo or note changes. Unfortunately to do that now would require either re-animating or re-timing the scenes in Maya again, which would be extremely time consuming and unwise at this stage.

Animating

One of my main roles within the group was to animate. A recurring theme in our scenes was to have a paper plane fly through most of the shots, almost like narrating the movie clip where we follow it's journey around the city as it introduces the audience to new environments. Below are screenshots of some examples of scenes I animated.

scene 1

A problem in scene 1 was that although the first shot is quite nice and frames the pyramid and city well, when the camera zooms in to follow the paper plane, the edge of the city is revealed which spoils the whole idea of tricking the audience into thinking our small city was large. And although I could have rotated the camera angle down, that then spoiled the whole composition of the shot.

scene 3

Although I do like this shot with the paper plane exploring the city from a birds eye view, the animation of the plane itself is quite static and unrealistic. If we had time I would have liked to rig the plane allowing me to animate it's wings. Gently letting them flap and sway would've been a nice effect.

scene 4

scene 5

scene 6

scene 7

Scene 7 is one of my favourite shots as I like the angle of the camera and the way the paper plane flies towards it. We get to see different angles on the plane in one shot. The scene is simple, focusing on just the plane. But here is also another example of where a rig would be useful, so I could add little flaps as it flies.

scene 11

scene 13

This scene of an intersection was quite complicated, as there were a lot of vehicles to animate as well as the plane. An idea was to let the paper plane have an effect on the environment as it flies through the city. For example in this scene, when the plane flies pass the cars come to a halt at the traffic lights and won't move until the plane is out of shot. This lets the audience focus on the plane for a little while and so that the scene isn't too busy at one time.

At first, this shot was too long as I wanted a couple of seconds before and after the plane arrives to animate traffic in a standard city. But I had to shorten it down enough to show a little traffic and for the plane to soar past. I was satisfied with the end result but I would have still liked it to be a little longer.

Pocahontas!

After a long an stressful term of knowing nothing about character modelling I've finally finished and actually produced something that you could call a character!

And here she is in an odd gorilla-style mid walk. I discovered that because of her weird body shape and possibly incorrect rigging, it was difficult to leave her arms in a natural pose. Especially as the arm controls would only allow me to rotate the joints as the translate tools were locked. And because her shoulders are small and her belly is large, the armpits would starting deforming when the arm rotated too much.

But overall I am quite satisfied with my final product. I like her hair and the way the belly is textured, however if I were to re-do my character I would work more on the rig and skin weights for better posing flexibility. I would also work more on the overall texturing on the model. 

Textured!

I'm quite pleased with the final outcome, especially the way the patterned belly turned out. However, I would have liked to work on the texture of the rest of the model more, and have time to research more into ways to make her closer resemble plasticine. I did look into any techniques previous modellers might have used, but nothing solid came up and majority of people used other packages such as 3ds Max.

UV Mapping

UV mapping was definitely a difficult one. After several attempts of cutting seams, sewing them back, mapping, relaxing and unfolding UVs I eventually got there.

And below is a somewhat decent effort of my first attempt at ever UV mapping. The checkered pattern allowed me to determine any distortion and I discovered that UV mapping was basically trying to get as many squares straight, levelled and evenly distributed as possible.

Rigging and Skinning

Using the Rapid Rig : Basic script downloaded from Creative Crash I was able to quickly generate a simple rig for my character. After placing the joints in the correct place the more difficult part came of painting the skin weights.

I was able to find several tutorials to guide me through how to paint the skin weights, and after a while it was quite simple. The only annoying part was when I thought I removed all the unwanted weights but it'll still move to the wrong joint as sometimes a faint unnoticeable skin weight is still left, so it became a lengthy process of going back and forth fixing each part.