Thursday, June 22, 2017

CAA@New Designers 2017: Export Settings and Deadline

Attention all New Designers Exhibitors!

For New Designers we're going to be using Media Players to play your films. However, whilst these boxes are very useful and convenient they are also notoriously 'picky' about what they play correctly. So, in order to negate (or limit) any issues can you please make sure you adhere to the following...

Project (Movie) Settings 

Please make sure that your films have the correct settings when you start. Including, 1920x1080 HD, 24 / 25 / or 30fps (whichever frame rate as you rendered out of Maya), Pixel Aspect Ratio of 1 (square), 48000 (Audio), 

Premiere Settings

After Effects Settings

Exporting from Premiere or After Effects

Your export settings should include all of the above alongside being H.264 / Mpeg-4. Set the preset to 'Match Source - High Bitrate'. That will give you a variable bitrate of 10 and 12. You can increase this if necessary to improve the quality of the film, for example 12 and 14. However, the maximum should not exceed 20. If you find you have exported a large file (over a gig) then there is a problem in your settings.

Premiere Settings

If you are exporting using After Effects and can't find H.264 / Mpeg-4 you can use the 'Media Encoder' to share export settings with Premiere. 'Export - Add to Media Encoder Queue'. You can access the settings by clicking under the name (H.264 in the image below) 

Media Encoder Queue. 

Film Post Effects & Audio

Please don't use any 'time remapping' post effects such as 'Time Warp' or Time Stretch' to speed up or slow down your film. It will cause stuttering on playback. On occasion we have noticed that audio clips going into and then out of After Effects or Premiere have caused problems due to the conversion process. Make sure that your audio is not being stretched or re-timed to avoid issues where possible.

Testing Your Film

It is important that you test your film ahead of New Designers (several times in some cases). A media player is going to be setup on the TV in the base room the week before New Designers. Please make sure you test your film and OK it with us. It is a good idea to leave time so that you can fix anything that may need fixing. Don't leave it to the last minute to test your film.

The Deadline

The deadline to submit your films to us (after being tested)  is Friday 30th June by 5pm. That's FRIDAY, not Saturday, Sunday, Monday, or Tuesday. FRIDAY. It is too high risk to be turning up to New Designers with an untested film. There is 'very' limited WIFI at the venue too, so Phil and I won't be able to download any films. 

Good Luck Everyone!

Monday, June 19, 2017

CAA @ New Designers 2017 - The Build-Up #2

Ah! The smell of emulsion, another pair of jeans ruined, intolerably warm working conditions... It must be June and the annual New Designers paint-a-thon!  Today, it was grey undercoat, followed by lashings of yellow and blue - more tomorrow!

Sunday, June 18, 2017

CAA @ New Designers 2017 - The Build-Up #1

So it begins!  On Wednesday 14th July, we collected five MDF 'monoliths' from fabrication wizard, Tim Hall.  This marks the moment when CAA's preparations for New Designers 2017 begin in earnest.  Watch this space!

Tuesday, June 06, 2017

FAO CAA YEAR: Adaptation Professional Practice Feedback is Now Available

Attention Year 2!

Your Adaptation assessment proforma's are now available on MyUCA and in your UCA email inbox.

Note: If anyone has any questions regarding their feedback please contact me and arrange a time to come in. After having written over 26000 words please excuse any typos that may be in your feedback too. Again if you are not understanding something please ask. - Thanks, Alan.

FAO CAA ALL YEARS: Changes to Maya on Computer Animation Arts

OK Everyone. There have been important changes to the way in which we are going to use Maya on Computer Animation Arts... 

As you are all aware, we (as a course) have stayed with Maya 2016 extension 2 this year instead of updating to Maya 2017. The reason for that is due to the change in ‘bundled renderer’ and licensing. However we are going to move a new system as of September. To explain why and what it means for you please read the following.

The Change: Mental Ray has been replaced by Arnold (by Solidangle) as Maya's ‘bundled render’ in version 2017. That change has come after 17 years of Maya and Mental being connected. 

Rendered using Arnold

It has been unclear until recently if Mental Ray would continue to be supported beyond the change and what using Arnold would mean for students learning Maya. Hence our 'hold off' period sticking with 2016 ext2. We didn't want to rob you of knowledge due to a abrupt software change. However, Nvidia, the owners of Mental Ray, have just released new versions for both Maya and 3D Max. That means support will continue for Mental Ray for now even though Arnold is rapidly becoming the standard.

Why the change: The main reason why Autodesk switched renderers is simply to do with what the market wants. That is rendering for 'reality' - Accurately depicting the real world using global illumination and linear work flow. 

You may have noticed over recent years that CG film elements are looking more realistic and accurate (Transformers, Marvel etc).  Even in animation 'reality' has become a viable way to render. Films such as ‘Rango, The Croods, Cloudy with a Chance of Meatballs’ all have a rendering / lighting style which is closer reality than cartoon stylisation. That is because they are being rendered using indirect lighting and light bounce systems (known as global illumination) alongside accurately mimicking how your eyes see the world (known as Linear Work Flow). Both Mental Ray and Arnold have the capacity to render using this technology. However, Arnold is ready to do that straight out of the box where as Mental Ray needs to be set up. Overall, Arnold is easier to use for that kind of rendering and produces better results (a simplification but generally considered to be the case). 

Throughout the course you have actually been using a ‘fake’ global illumination. Each time you have plugged in an Ambient Occlusion node into a shader it has been to fake global lighting. The results are not exactly the same as global illumination but produce a similar (but paired down) feel. In Mental Ray that kind of setup can be used to produce semi-realistic results or stylised renders. That is not the case in Arnold where realism is the ultimate goal.

Licensing Change: ‘Alias Wavefront’ originally owned Maya, before it was bought by Autodesk (via a pension company) back in the mid 2000’s. During that purchase, Mental Ray switched from being something extra that you paid for to something that came free with Maya - Originally you weren’t able to render with Mental Ray until you paid for a license. To a certain degree, this is true again now for both Arnold and Mental Ray after the switch. Arnold comes with Maya (including the student version) but you can’t batch render until you buy a license. Likewise, Mental Ray can be downloaded and installed for free but again you can’t batch render until you pay. Both allow you to render a still image though.

What all this means for the course and you: As of September 2017 we are going to switch to Maya 2017 (or 2018 if it is released in time) to make use of Maya's new features. We are also going to install Arnold and Mental Ray to ensure that you can benefit from both rendering technologies – Allowing you to use what you know (Mental Ray) and gain from new knowledge (Arnold). It will mean you will be able to render 'realistically' in Arnold and stylised / real in Mental Ray. The best of both worlds.

However, the new licensing structure means that any batch rendering will now need to be done through ‘’. There are two reasons for that decision. Firstly, Garagefarm will have full licenses for Mental Ray and Arnold. Secondly, because rendering with Arnold (for realism) increases rendering times to a high degree (one frame can take anywhere from 10 - 45 minutes). A render farm is needed to cope with that. Overall, this will mean that you will find lighting easier (both in Arnold and Mental Ray) due to their new updates, you will get better and more realistic results (where appropriate), and be ready for a changing industry. 

There will of course be a cost to rendering through a render farm. We are working with to hopefully minimise that cost as much as possible but it is a necessary part of the new systems and the way the industry is moving. We will  be installing the ‘upload software’ on all of the computers. I will show how to use both rendering engines when you return and I will go over the options. 

I will keep you updated of any further changes but as it stands, we will be switching to Maya 2017 (or 2018 with Arnold), installing Mental Ray, and software for September. It would be a good idea for you to begin to do the same ready for when you come back. Finally, there is no reason why you can’t keep Maya 2016 ext2 on your computers too, but be mindful that you can’t go back a version once you started in the latest software. You can download Maya and Mental Ray 2017 here:

Autodesk Maya (with Arnold): Link
Mental Ray: Link

Please share / pass on this information on to anyone who you think may not see this post.

Monday, June 05, 2017

Which Computer Shall I Buy?


Q: Which software will I use on Computer Animation Arts?
A: Autodesk Maya 2017 & Arnold, Mental Ray for Maya, Mudbox 2017, and the Adobe Creative Suite (Photoshop, Illustrator, Animate/Flash, After Effects, & Premiere).

Q: What is Autodesk Maya, Arnold, Mental Ray, and Mudbox?
A: Autodesk Maya is virtual studio / workshop that allows you to create 3D films. It is the same software that Disney, Dreamworks, and Pixar use to make animations, and it is the same software used to make VFX work like in the Marvel films. Arnold & Mental Ray are rendering ‘plug-in’s for Maya that transform basic 3D objects into the lit images you see on screen. Finally, Mudbox is a virtual ‘high poly’ sculpting tool, which allows you create detailed models.

Q: Can I get the software at home?
A: Yes. A free student version of Maya (with Arnold) and Mudbox are available to download once you have enrolled onto the course. Mental Ray for Maya can be download for free too. The Adobe Creative Suite can be purchased as a subscription. These can be found here.

Autodesk Maya (with Arnold): Link
Mudbox: Link
Mental Ray: Link
Adobe Creative Cloud for Students: Link

Q: Do I need to buy a computer before I enroll onto Computer Animation Arts?
A: Yes, we would recommend purchasing an appropriate computer if possible. However, there are computers available for student use in the University. They are accessible Monday to Friday between 8am-8pm. Each computer contains the software and hardware necessary to create 3D work. 

Q: Shall I buy a laptop or desktop PC?
A: We would recommend that you buy a desktop PC and not a laptop for 3D work. The hardware required to process 3D software can be more expensive in a laptop. Due to space restrictions and the modifications needed to make it portable. Overall, you will get more for your money when buying a desktop PC. Making is more powerful, last longer, and easier to update in the future. Working on 3D (or concept art) on a laptop is not recommended either due to the reduced size of the screen.

Q: Shall I buy a Windows or Mac PC
A: A Windows PC. A Mac can be problematic / restrictive when using Autodesk Maya. 

Q: What standard of computer shall I buy?
A: You will need to purchase a Windows PC that works well with Autodesk Maya 2017. Autodesk’s minimum requirements for Maya can be found here. However, the basic requirements are;

- CPU: 64-bit Intel® or AMD® multi-core processor with SSE4.2 instruction set. 
- Graphics Hardware: Refer to the following pages for a detailed list of recommended systems and graphics cards - Maya Certified Hardware (English)
- RAM: 8 GB of RAM (16 GB or more recommended)
- Disk Space: 4 GB of free disk space for install
- Pointing Device: Three-button mouse

One of the more expensive (but necessary) requirements on the list is an appropriate graphics card. This will make up most of the cost of your PC. Autodesk have a list of tested graphics cards on their website (link). If possible, buying an Nvida Quadro Card is recommended. A Quadro M2000M is a good intro option costing around £450 (currently, the top of the list of ‘Quadro cards’ is the GP100’ costing £7000.) An Nvidia Geforce card is another option, such as the GTX 680 costing approximately £250. In each case make sure that the card you purchase is on the Autodesk Maya certification list to ensure you don’t encounter any problems. 

Q: How much will a PC cost overall?
A: With a monitor a PC capable of 3D can cost anywhere from £1200 - £2000+.

Q: Where should I buy a computer?
A: Dell or HP (Hewlett Packard). Even though they may be slightly more expensive, both of these companies are experienced builders of ‘3D Workstations’, both for the animation and VFX industry. They also test their computers to ensure the components work together correctly. Staff will work with you over the phone to ensure you are buying the right type of computer and you can ‘spec’ a PC on their website to gauge costs. If you wish to buy from another seller you can use the spec generated by Dell or HP to make sure you are know what you need too. We would suggest not buying PC’s from local seller such as PC World or similar. They will rarely have a PC that works well with 3D and they focus more on selling ‘Games PC’s’. These are different to the ones used to build 3D. 

Q: Which monitor should I buy?
A: A HD 1920x1080 monitor. Again, there are options via Dell and HP. 

Q: Shall I build my own PC / Shall I have a friend build my PC?
A: No. Try not to go down this route. Buying separate untested components can lead to problems. 

Q: I’m still confused?
A: Please feel free to email me (Alan) with any further questions at

You can download this Q&A as a PDF here.

Friday, June 02, 2017

FAO Year 3: Major Project Assessment Proformas & Feedback Now Available

Attention Year 3!

Your Major Project assessment proforma's are now available on MyUCA and in your UCA email inbox.

Wednesday, May 31, 2017

PWTM 31/05/2017

As anyone who teaches will tell you, the process of equipping young people with the skills and attitude by which to accomplish great things and realise their potential is no Hollywood-style montage of quick-cut, quick-fix gratification.  It's an uglier business than that, involving pushing, prodding, coaxing and no small amount of arse-kicking!  It is a battle of wills between past behaviours and future potential, between demons and destinies (which is already sounding a bit too Hollywood for a process that is often indescribably prolonged and frustrating). The rewards, however, can be huge - and this edition of the PWTM, which showcases the end results at the close of the academic year, is always a favourite of mine - not least because it reminds me of why we bother and why we need to go on bothering.

First up, a small sample of completed films devised by first year students in response to their Fantastic Voyage brief, challenging them to pre-produce, produce and post-produce their first animation for a client. Dr Peter Klappa, lecturer in bioscientist at the University of Kent, instructed our students to find new and engaging ways by which to communicate the nuts and bolts of the cell-cycle, and this is what they came up with...

Anastasija Strelcova / Apoptosis

Apoptosis / Art Of / Anastasija Strelcova

Apoptosis / Rendered still #1 / Anastasija Strelcova

Apoptosis / Rendered still #2 / Anastasija Strelcova

Apoptosis / Anastasija Strelcova

Paris Lucke / Mitosis

Mitosis/ Rendered still #1 / Paris Lucke

Mitosis/ Rendered still #2 / Paris Lucke

Mitosis/ Rendered still #3 / Paris Lucke

Mitosis / Paris Lucke

Thanachot Singsamran / Cancer: When The Cell Cycle Goes Wrong

Cancer: When The Cell Cycle Goes Wrong / Rendered still #1 / Thanachot Singsamran

Cancer: When The Cell Cycle Goes Wrong / Thanachot Singsamran

Alex Park / A Cell's Cycle

The year 2 Adaptation brief has prompted a fascinating range of ideas and methodologies, with students generating work in response to a satisfying miscellany of original sources and approaching their respective adaptations with imagination, experimentation and a dab of cross-pollination.  I'm featuring two of their projects because they help me celebrate the course philosophy, the first of which exemplifies the traditional character design pipeline as embodied by CAA's core curriculum, and the second showcasing the more speculative and interdisciplinary potential of CGI as a creative media in its own right.

Mark Bridgland's Devil's Elixir is a loose adaptation of Neal Thompson's Driving With Devil, transposing Thompson's tale of illicit hooch and fast cars to a George Miller-esque milieu of road-runners and stick-up kids.

Mark Bridgland / Devil's Elixir

Devil's Elixir / Art Of  / Mark Bridgland

Devil's Elixir / Redrum final character #1 / Mark Bridgland

Devil's Elixir / Redrum final character #2 / Mark Bridgland

Devil's Elixir / Redrum turnaround  / Mark Bridgland

Deanna Crisbacher's 'text' for Adaptation is something more personal - her own formative experiences of Anorexia Nervosa and estrangement from the corporeal reality of her own physicality. Be sure to take a moment to familiarise yourself with the ways in which Dee developed her final piece and what it tells us about the potential for CGI to be its own clay, and how students of CGI can use its technology to create non-commercial, non-narrative and more interdisciplinary outcomes.  In a universe where cost is no barrier, Dee's work might just as easily be encountered physically in a gallery, her melancholy deformations made 'flesh' through the technologies of 3D printing.

Deanna Crisbacher / Dysmorphia

Dysmorphia / Art Of / Deanna Crisbacher

Dysmorphia / Rendered still #1 / Deanna Crisbacher

Dysmorphia / Rendered still #2 / Deanna Crisbacher

Dysmorphia / Deanna Crisbacher

You might think the final hand-in of our year threes is a day of fanfare and celebration, but counter-intuitively, it's often a bit of a lacklustre affair, not least because everyone is so pop-eyed with sleep-deprivation and weary in the marrow of their bones they can barely find their way back out of the building.

Another reason why this 'day-of-days' is most often a little muted is because our students know they're not quite finished.  Tweaks and glitches haunt their submissions, often invisible to the uninitiated, but lurking there all the same.  There are always things they want to finish, scenes they want to improve, renders they want replacing - and the truth is we want these things too.

I'm sharing a selection of final work here - in the knowledge that 'final' is a misrepresentation of these students' films.  There are also films I'm not sharing in this edition of the PWTM because their makers aren't prepared to let them go just yet. Our next edition is our New Designers special, which gives our soon-to-be-graduates a few more weeks to wrangle with their renders one last time...

Jack White / The Sound Collector

The Sound Collector / Art Of / Jack White

The Sound Collector / Rendered still #1 / Jack White

The Sound Collector / Rendered still #2 / Jack White

The Sound Collector / Jack White

Ryan Brand / Hem

Hem / Art Of / Ryan Brand

Eva Pinnington / Bloom

Bloom / Art Of / Eva Pinnington

Bloom / Sawa final render #1 / Eva Pinnington

Bloom / Sawa final render #2 / Eva Pinnington

Bloom / Sawa final render #3 / Eva Pinnington

Bloom / Sawa turnaround  / Eva Pinnington

Jamie Wathen / Trimia

Trimia / Molphosse 'wheel' / Jamie Wathen

Max Ashby / Genghis

Charlie Serafini / Bedtime Story

Bedtime Story / Art Of / Charlie Serafini

Bedtime Story / Rendered still  / Charlie Serafini

Bedtime Story / Charlie Serafini

As mentioned previously, the next edition of the PWTM is our annual showcase accompanying our graduate exhibition at New Designers at the Business Design Centre, Islington, London.  There's been a lot going on behind the scenes in readiness for this year's show, not least the design and sourcing of a two metre helium-filled brain!  The concept for this year's stand is part-inspired by 1950s medical textbooks plus a generous dash of sci-fi hokum: behold the cg artist's brain with its many creative regions clearly labelled! See how how the cg artist's brain powers the five mighty monoliths of ravishing animation excitement! (Or something like that).  Thanks must go once again to the mighty Ethan Shilling, who has the patience and latent telepathy to work with me every year, as we hatch our cunning plans for our no-so-little 6m x 6m patch of graduate gloriousness at Islington's BDC.  We'll be exhibiting there from July 5th - July 8th, so get it down in your diaries and come pay our Class of 2017 a visit.

CAA @ New Designers 2017 / Visualisation by Ethan Shilling

CAA New Designers 2017 / Visualisation by Ethan Shilling

I can tell you exactly where I was when I wrote the script for Red & The Kingdom Of Sound, an animated adaptation of Benjamin Britten's The Young Person's Guide To The Orchestra - or YPGTTO as it's come to be known in on Computer Animation Arts.  I was sitting in a large empty room with thick stone walls and a stone floor in a very old house in France.  It was August 2016, it was hot, and I was seated by the aptly named French doors looking up across the meadow at an old stone bakery and a flowering albizia tree covered in soft pink bristles.  Lovely though this view was, I I wasn't seeing the stone bakery or the albizia tree. Neither was I fully alert to the drone of bees or the clucking of the chickens in the neighbouring farmyard. No - I was listening instead to Britten's musical tour of the orchestra on repeat and seeing only extraordinary visions of fantastical cities, their architecture derived from the valves, strings, reeds and bells of musical instruments...

It's one thing to dream up such a grandiose vision in the gauzy day-dream heat of a long Summer holiday - and quite another to bring that vision from script to screen.  Fortunately, the YPGTTO production team are a supremely talented bunch and I do not exaggerate when I say my excitement levels increase with every bit of progress we make together.  There's loads going on, and loads left to do, but enjoy this round-up of recent 'jobs-jobbed' from the clever people at Geek Boutique - CAA's very own creative agency...

"The camera is now on Red’s left, as if on the outside edge of Lane 2. It’s a little bit behind him and looking across at Lane 4 – which is temporarily empty of runners. What you hear/see at about 1 minute 27 seconds is the Kingdom of Sound’s King drawing level Red in the 4th Lane and pushing forwards. The King is being carried aloft on a palanquin by unfortunate lesser beings, who are running as fast as their legs can carry them! Subsequent shots include some comedy close-ups of the King being bounced about on his seat etc., his crown slipping over his eyes etc. At 1 minute 31 secs, the King glances across at Red – (they’re still neck and neck) – and his expression hardens. At 1 minute 33 secs, Red looks across at the king, and his determination intensifies too. At 1 minute 35 seconds, you hear a kind of musical ‘swerve’ or ‘skid’ – this is the sound/action of the King’s palanquin lurching across into Red’s lane to try and slow him down or trip him up. At about 1 minute 37 seconds you hear the King try it again. What ensues is a quick-fire montage of good old-fashioned car chase argy-bargy. At 1 minute 40 seconds, the camera (tracking backwards along the running track) is looking at Red, just as we see the King and his palanquin take a tumble and fall back into the distance. You can even hear the crash itself at 1 minute 42 seconds. Hah! That’ll teach you not to play fair!"  from Episode 16: Behold The Kingdom Of Sound – Reunion & Finale

YPGTTO / The Tuba King's Palanquin developmental designs / Emily Clarkson

YPGTTO / The Tuba King's Palanquin orthographs / Emily Clarkson

YPGTTO / The Tuba King's Palanquin scale chart  / Emily Clarkson & Julien Van Wallandael

YPGTTO / The Tuba King's Palanquin modelled  / Simon Holland

Samantha Niemczyk has been busy again this month turning more of Emily Clarkson's fabulous YPGTTO production art into 3D assets, ready to be assembled into immersive digital sets...

"Red now turns and looks at the view, the Harp District laid out before him in all its celestial glitter and lightness-of-touch. It’s all rather heavenly. Perhaps that’s why at 36 secs to 38 secs we actually see two bird-like musical notation characters flutter into shot holding a Welcome To The Harp District scroll between their beaks before fluttering out of shot again. Any resemblance to cherubs and seraphims is purely intentional! It’s late afternoon in the Kingdom of Sound; the Harp District is golden in this magic hour!"

YPGTTO / The Harp District concept painting / Emily Clarkson

YPGTTO / The Harp District models #1 / Samantha Niemczyk / Design by Emily Clarkson

YPGTTO / The Harp District models #2 / Samantha Niemczyk / Design by Emily Clarkson

YPGTTO / The Harp District models #3 / Samantha Niemczyk / Design by Emily Clarkson

YPGTTO / The Harp District models #4 / Samantha Niemczyk / Design by Emily Clarkson

YPGTTO / The Harp District models #5 / Samantha Niemczyk / Design by Emily Clarkson

YPGTTO / The Harp District models #6 / Samantha Niemczyk / Design by Emily Clarkson

CAA lecturer, Simon Holland, has a penchant for modelling vehicles - how fortunate then the YPGTTO script calls for speeding trains traversing the Violin District - or rather how fortunate we are to have Simon on the team!

"The train now speeds into the Violin District proper, and the camera continues to track it, but it ascends simultaneously, so we’re treated to an expanding aerial view of the district. As the camera moves upwards, we’re travelling past other railway lines on higher bridges, trains rushing past. The camera likewise moves past and through vibrating networks of power-lines and the suspension cables of bridges. Everywhere there are tensioned cables and wires and more railway tracks with locomotives sawing backwards and forwards..."

YPGTTO / The Violin District train / Design by Emily Clarkson, modelled (and rigged!) by Simon Holland

Another district to which Simon has turned his attention recently is the Percussion District, a location imagined as closer to a construction site than a completed metropolis and characterised by the crashing and banging of the instruments from which its structures originate.

"This next sequence, which starts with a wide shot – shows Red being winched up very high, past cranes, scaffolding and industrial machines. At about 8 seconds, a distinct volley of drum beats can be heard; these beats align exactly with the rhythm of massive hammers hammering and pile-drivers driving etc. At about 12 seconds, the drums return for a second volley, which again relates to on-screen action of machines and apparatus. It goes without saying that the machines and apparatus should bear close and apparent resemblance to instruments and components of instruments we recognize from the percussion section of an orchestra."

YPGTTO / The Percussion District models #1 / Simon Holland, designs by Emily Clarkson

YPGTTO / The Percussion District models #2 / Simon Holland, designs by Emily Clarkson

YPGTTO / The Percussion District models #3 / Simon Holland, designs by Emily Clarkson

Oh, and did I mention there's a a bit with a horse... or rather a musical note that gallops like a horse?

YPGTTO / The Horse / Model by Ethan Shilling, design by Julien Van Wallandael & Emily Clarkson

Elsewhere, CAA's senior lecturer, Alan Postings, continues to develop and refine the 3D workflow for ensuring we can emulate the look and feel of the YPGTTO production art.  Alan's experiments continue, and with each iteration, we move closer to clinching the desired aesthetic!

YPGTTO / Texturing tests (no outline) / Alan Postings

YPGTTO / Texturing tests (with outline) / Alan Postings

The YPGTTO production team welcomes another recruit into its ranks - current Yr 2 student, Deanna Crisbacher, who is currently devising the workflow for one of the necessary quirks of the animation, where any text element within a particular scene needs translating into various different languages to reflect the European countries in which the animation is ultimately to be screened. We're looking for 'quick wins' that don't necessitate lots and lots of re-rendering of scenes, and thus far Dee is coming up with some very promising results.

YPGTTO / Signage tracking tests #1 / Deanna Crisbacher

YPGTTO / Signage tracking tests #2 / Deanna Crisbacher

CAA animation tutor, Nat Urwin, is once again putting YPGTTO's hero through his paces. In this short sequence, we see Red at the very beginning of the film, as he first arrives at the entrance to the mighty Kingdom Of Sound and tries to see over the heads of the gathering crowd...

YPGTTO / Red run and jump (wip) / Nat Urwin

The Final Word...

“No one can whistle a symphony. It takes a whole orchestra to play it.”  H.E. Luccock