Friday, December 31, 2010
I used a script called CurveDistribute which is meant to duplicate one object around a curve, and I used it on the small blocks around the curve(figure 1).It works but when I move the time line they disappear (Figure 2), I don't know if this is because my laptop's graphic card is low or it is a problem with the script that I am using.
If anyone knows the problem please help out, and this is also to Alan as well.
Here's the normal texture for the UV layout, but as soon as i select it, the grid changes, as shown below...
Then whenever i go to look at the model in smoothed view, the grid and model goes like this (Image below) and i can't seem to figure out why...
I'm stuck on one of the camera rig tutorials and was wondering if you can help?
Here's a screenshot of my problem, I've created a nurbs plane and assigned a lambert material to it and loaded the HD_1080_Thirds.tif file into the colour channel with the alpha baked in. For some reason the hardware texturing isn't showing it as a grid? I checked the "alpha is luminance" box in the file node but that had no affect.
I did get an error message when creating the lambert stating : // Error:Object 'lambert_qualityMenu' not found. Is that the problem?
Any advice is greatly appreciated!
starting to panic a little now as texturing is a huge part of unit 3 and I really don't want this to affect my environment. I made a transparency map as suggested and loaded it into the transparency channel but it still has no affect... here's another screen shot....
- The .ACO file is used in Photoshop as a swatch.
- In Photoshop, you can add, remove and edit swatches by going to the preset manager (File->Edit->Preset Manager), or open up the "Color Window", by pressing F6, and select the "Swatches" tab.
- On the top right of the color window there is a small arrow, which will display a menu when clicking on it.
- Go to "Replace Swatches", open the color scheme, or click on "Load Swatches" to add the color scheme to the current color set.
- You should now be able to use the colors from the color scheme.
Thursday, December 30, 2010
Wednesday, December 29, 2010
I used to hate it when people told me ‘ohhh yes mate, your 3 years at uni will go so quickly’. I didn’t believe it at the time but now I’m one of those people: ‘ohhhhh, yes my friends. Your 3 years at uni will go so bloody quick. You’ll be sitting on your sofa with pint and a packet of Rowntrees Randoms, writing a little something for the CGAA blog, thinking…..what the hell just happened?!
You’ve got to make it as enjoyable and challenging as possible, so you can collect your scroll at the end, and not care you’re dressed like a plonker in a Harry Potteresque outfit because you’ve only gone and smashed it!
I’ve got a few bits of advice I think you can all benefit from. This course is a really tough one but at the same time, it’s really rewarding.
Having a working method that suits you is really important - whether you choose a 9am-5pm working day and the rest of the night to do whatever - or working solidly all week, but with the weekends to drown yourself in Snake Bite. You need to find a method that works for you because everyone is different. For the hardcore students, tell your flatmates and parents you’re going on a 15 week trip to Asia, buy lots of ready meals from Asda (it’s the cheapest - usually £1 or 3 for 2), stock up on some Rooster, a few packs of sweets, then lock your door.
In all seriousness, make sure you have time to enjoy yourself - and get out the house, well away from computers. Get your heart pumping, otherwise you’ll end up a corpse. Go for a jog, play some footy, go swimming or something. Give your brain a break from Maya and use your legs.
Coming up with ideas can be really difficult so choose a subject that interests you. Working on a 15 week project which you hate is pointless. You’ll go mental. Having an emotional connection with your work will give you the incentive and inspiration to create something immense.
Don’t forget that this is your gig. You won’t get many opportunities after uni where you play every role, the director, art director, production manager, concept artist, cg Artist, tea lady - even the cleaner. Give yourself a raise: for every 30 seconds of animation you complete, eat a whole trifle.
Keep your ideas simple. Don’t try pulling an ‘Inception’ plotline out the bag because you’ve only got 3 minutes max. Don’t bite off more than you can chew. I came very close when doing my final two projects. It’s like trying to force too much turkey down your neck at Christmas; very tempting with a bit of cranberry sauce, but lay off the turkey, and save room for pudding. It’s about knowing your limits. Spend the time getting your films perfect instead of producing something long and fragmented that loses its punch.
Becoming a master of problem solving is really helpful, especially in the 3rd year. Unfortunately, I don’t think we can clone Alan - I’m still working on that. If you can find other ways around problems it will make life a lot easier; google it, ask a mate or do what I did and cleverly conceal the problems so nobody sees them. If it’s out of shot, forget it. It looks like you new guys and girls have a quality community spirit - which is great - utilize it as much as you can.
Be consistently brilliant in all your projects - obviously because of the grades, but also because it gives your tutors a better picture of how you think, your style and what you can achieve. When you come to pitch your ideas, having them 100% behind your project and ability is a massive confidence boost. Earn your stripes and you’ll have no problems.
Since I finished uni, a fair few opportunities have come my way. There’s a lot of freelance work out there if your portfolio looks good - and if you do a good job then they’ll come crawling back with more gold. Because this course isn’t just 3d based, I’ve found myself doing hand drawn illustrations for a fella in Holland alongside the 3d stuff, which is great – a bit of a variety - like Revels.
I’ve done a few jobs for the sculptor and art film maker, Hilary Koob-Sassen. Somebody recommended my work to him. I went for a quick interview with a few other CG guys, who turned up with briefcases and pale Maya faces. It’s important to remember a client is not just after someone who can work, but someone who isn’t a gray, wet flannel. They want someone with spark and personality - so don’t let computers turn you into wet flannel. (There is nothing more boring than a flannel; if there is, I’d really like to know. Even an ironing board is more exciting).
That’s all from me. I hope you all have a great start to 2011. If anyone has problems with work or anything, you can give me an email. Maybe it’s a personal problem - in that case, just use the cream.
Tuesday, December 28, 2010
Monday, December 27, 2010
Unfortunately I couldn't find the complete stop-motion animation on Youtube, so the second and the third part will have to do. I don't think you need to like Frank Zappa to enjoy this, in fact like Zappa's own music and most super weird stop-motion animation I don't believe you have to 'enjoy' it full stop. Just sit back and take it in. The following animation is part of a concert film Zappa produced called 'Baby Snakes', Bruce Bickford animated a number of peculiar sequences and I believe went on to win awards for this.
Friday, December 24, 2010
Thursday, December 23, 2010
Watch more cool animation and creative cartoons at Aniboom
Wednesday, December 22, 2010
Or is it best to animate each box/pipe/tire in the dumpster?
...It features a short interview with Dan Hibon who is the creator or the three minute animated segment "The Tale of Three Brothers" in Harry Potter and the Deathly Hallows Part 1. Dan Hibon has now started work with Nexus Studios. Nexus regularly give talks on the CG Arts course and took Tod (Year 3) for work experience last year. And for all you year one people out there take a look at "Lotte Reiniger's" work too. Enjoy!
Shadow Play with Potter's Tale of Three Brothers
Ben Hibon discusses his acclaimed animated sequence in the Deathly Hallows: Part 1. By Bill Desowitz
In a daring move, we momentarily leave the tense world of Harry Potter in Deathly Hallows: Part 1, and enter a stylized animated one, when Hermione (Emma Watson) narrates The Tale of Three Brothers. Conveyed imaginatively in silhouettes and shadows and sepia tones, she describes how three wizard brothers try to outwit Death: a metaphor for the eventual battle with Voldermort.
Ben Hibon (Heavenly Sword), the director of the nearly three-minute sequence, tells us what it was like collaborating with Potter helmer David Yates and Framestore (led by Dale Newton) on this fascinating six-month project. Hibon recently joined Nexus for commercials and other short-form projects, and will also direct a new live-action re-imagining of Pan.
Bill Desowitz: Congratulations: It's quite a feat to pull off such an imaginative sequence without drawing us out of the movie.
Ben Hibon: Yeah, absolutely. These were always the two things, really. It was the look and feel of it because interpretation has never really been done fully animated before in the Harry Potter franchise. This was a big question mark when I first met with David Yates, the director. We tried to define the look. What does the Harry Potter world look like when it's animated? And, as you said, not breaking the flow of the movie was important. And not having seen the movie, it was important to have a back and forth with David about the expectation at that moment in the film when it happens. I think also at that point in the franchise, there is a feeling that when you try new things, there is a greater purpose behind what you're doing because there's a worry of self-indulgence. It was not like that at all. The meaning behind the animation and why it is animated -- the need to break the storytelling formula at that stage of the movie -- was very much on everybody's mind for the very start. It was not about creating artifice but throwing the audience into a narration. I was always felt that you need that break and that Harry, Ron and Hermoine need the refuge. It's a warm and comforting and familiar magical tale that Hermoine reads.
BD: How did you arrive at the shadow puppet style?
BH: That happened in stages. I had preliminary meetings with David and Stuart Craig, the production designer. I dug up a couple of images and one of the early references that we responded to was from Lotte Reiniger for her scissor cut out, silhouette style of animation. And there was something naïve and very graphical that David responded to. So I came away with that and was already fascinated with Asian shadow plays and puppetry -- very crudely articulated puppets on sticks. I thought that merging the two things would look wonderful. But there was always something that bugged me a little bit about all of these references. They were heavily 2D in their craft and I was very aware of breaking the flow of the movie, and so it was very important that we keep the language of cameras and not lose the motion of the cinematic experience as a Potter movie. I tried to devise a way to think of that visual style but in 3D. So we worked on some concepts and once the look was locked, Framestore came on board to produce the piece and we refined the look with their illustrators and made it work with the tools we needed to use because obviously the floating camera through layers of paper and transposing shadows and having 360-degree cameras became quite a challenge.
BD: So, how did you then pull this off with Framestore?
BH: We had to create a number of things, but most importantly the feel of the shadow puppetry and the pulsing light, the quality and texture of the canvas, if you like. Those things are obviously 2D physical things which we could not use because of our ever-moving cameras, so we devised some 3D grain with the camera flying through. It was important to have an eerie feel of something that looks like it's unfolding: you're very much a voyeur of this tale. Dale Newton and the team at Framestore did an amazing job and embraced it with such freedom.
BD: So, technically, I understand that creating a Nuke workflow in 3D space was crucial?
BH: Yeah, it was because of the grain and because of the continuous nature of the cameras. We were able to import the cameras and really integrate all of that and being able to modify that and having great control as long as we could. It allowed us to focus on shadows and shadow passes and things like that. We were not completely sure until we almost had a final image what would be seen and not seen of the characters and of the textures.
BD: Modeling and animation were done in ZBrush and Maya. Pretty straightforward?
BH: Yeah, in terms of the animation it was a pretty standard affair. I think the creative take on the animation style, again, was to keep that slightly older feel to the puppets. At some point we talked about animating on 2s but that didn't work because of all the camera moves. But we ventured in those areas where it is about expressing everything we can with the hands and the heads and body positions, as opposed to facial expressions, because, again, it was all about silhouettes.
BD: And what about the lighting and rendering done in mental ray?
BH: The lighting came about later in the process, which can be tricky for an animator, but we had quite a bit of back and forth. How should the cloth look? You have to go back in there and recode the stuff [for such a stylized look]. It's very exciting because you're misusing the tools, but you might have some surprises along the way. If you have time, you test and experiment -- it's a great thing to have on your side.
BD: Tell me about your new feature project, Pan.
BH: We just finished redoing the script with Ben Magid and it's a re-imagining of it borrowing loose concepts -- not a retelling. And it's simply the story of Captain Hook, who is an ex-detective following the case of kids disappearing and chasing Peter Pan, who appears to be the villain. It's very much a ghost story. He's not a monster or anything, but it's very much going back to this very basic, universal fear of the dark.
BD: And what part will visual effects play?
BH: Funnily enough, there is a great element of light and shadow.
BD: We're back to shadows again, appropriately enough.
BH: We are -- that is an obsession of mine. But shadows have a great role in the story. But we're using it in a way to disrupt reality, if you see what I mean. There's going to be a great amount of very subtle effect that will twist that real world and throw things around in odd ways. There will be some really cool effects, and, obviously, we have quite a crazy Neverland.
BD: Well, I'm sure your friends at Framestore will be thrilled at the opportunity.
BH: Yeah, sure, I have to talk to them about it.
Tuesday, December 21, 2010
If ever you get this error, simply do the following;
Windows - Settings & Preferences > Preferences.
The find the 'Undo' tab on the left hand side, there you can find the On and Off settings.
(Tip: You can also set how big the queue can get, I think some how, it's useful to set it to unlimited, but be wary of your memory usage and file sizes. :) )
Apparently Maya randomly decides to shut down the "Undo" script if memory gets to scarce or something, another quick fix is to go into the mel window, and type; flushUndo; and place that shortcut onto your Shelf.
Monday, December 20, 2010
Sunday, December 19, 2010
You'll want to already be familiar with these books before Unit 5 begins and you commence your workshops with Meg. Do yourself a favour and get stuck into this stuff nice and early.
A Charlie Brown Christmas (1965), was produced by Lee Mendelson Film Productions, Bill Melendez Productions, and United Feature Syndicate. Based upon the successful comic strip 'Peanuts' (1950-2000) by Charles M. Schulz the 25 minute long special sees Snoopy and the gang’s first outing as animated characters.
The animation successfully transfers the 'semi-adult neurosis' humour of the comic strip as we see Charlie Brown struggle with his depression during the Christmas holidays. We then follow his attempts to direct a neighbourhood Nativity play before he finds the true meaning of Christmas. On the way the story touches upon views about the over-commercialisation and secularism of Christmas in the U.S.
The special first aired on the ABC network Christmas 1965 and has played annually since. Its popularity with a younger audiences proved that children could understand the adult world via animation and its continuing popularity with adults has seen it shown more times on American television than the Wizard of Oz...
..and would you believe that 'A Charlie Brown Christmas' is now 45 years old?
Christmas Time is Here - Opening
Schroeder & Lucy - Jingle Bells
Schroeder, Lucy, & Snoopy - The famous Snoopy Dance
Saturday, December 18, 2010
Friday, December 17, 2010
I tried to go into image plane nodes and relode the image,
reset settings and preferences
delete any old image planes
The thing is it still shows images loaded weeks ago, but not the ones just being loaded ..
Such a simple but frustrating problem :/
Thursday, December 16, 2010
This is his latest film,which i found beautiful and felt the need to share with all of you.
Wednesday, December 15, 2010
The Tale of How from Shy the Sun on Vimeo.
"Nine months of part time work gave birth to The Blackheart Gang’s acclaimed short film,The Tale of How. The Tale of How is the second part of a trilogy of works called The Dodo Trilogy. It is later to be flanked by The Tale of Then and The Tale of When. The Dodo Trilogy, in turn, fits into a much greater work called The Household. In The Tale of How we meet a giant octopus with a tree growing in his head, the terror of the Indian Ocean, OTTO THE MONSTER! His lonely pass-time is to devour the innocent dodo’s who lived on his head. We then see the dodos unite and with the help of a little white mouse, we see them escape the clutches of the terrible be-tentacled tyrant and sail off into the sunset on their mother the tree."
I did previously post this on my blog but I really wanted to share it with everyone, just in case someone hasn't seen it. This was the first animation I saw that made me know for sure that animation was where I wanted to be. I found it in a book from the library at UCA called 'Animation in Process'. I highly recommend it! 'The Tale of How' is a little grim but I just love the way it looks and I hope that others will too! Plus, it's set to a charmingly unsettling song : )
One in particular is 'MEGA SHARK VS CROCOSAURUS' which looks amazingly funny, I cant embed the video but heres the page its on: http://www.theasylum.cc/product.php?id=180
Tuesday, December 14, 2010
One of many amazing works from Gobelins university. It's a good example of what is posible to create during our third years. It is hard for me to post only one of those short animation, but I tried my best to find my most favorites and here it is.
I also highly recomend watching more animations from there for some inspiration and one of those could also be Après la pluie (After the rain) . You can find everything there: intriguing scenarios, absolutely different techniques, increadible creativity with unseen worlds.
Fallen Art is an animated short by self-tought former architecture student, Tomek Baginski, polish director. His previous works include The Cathedral (2002) animated short posted previously.
Everything happens in military base, where soldiers with minds or no longer wanted by army are sent to be expended. There Sergent Al, Photographer Dr. Friedriech and mentaly lost general A atempts to create wholy different art.
The highly stilised world of animation plays as yet another tool to tell the story : anomalous and grotesque style reflects the story being told. But at the same time its soft and rich colour pallete and smoky lighting adds to the appeal. As reviewer of World Wide Cinema Festival notices, it is like director took two illustrators Dave McKean's and Bill Sienkiewicz's styles and brought a new one in this film.
Example of Dave McKean Illustration :
Bill Sienkiewicz's :
But there would be many other aspects to discuss in the animation, for instanse character design, camera motion or the idea behind it.