I had never seen that video before. Some interesting informations here that weren’t publicly available before.
I like how they split head rotations in orbit/side/nod and twist instead of xyz. This makes communication easier.
I was already using the bend/side/twist terminology myself as xyz might not always be relevant. In some rigs xyz might represent xzy on others so discussing rotation order with junior staff usually comes as a challenge and the information doesn’t come across clearly if you don’t use a less abstract or vernacular terminology.
My guess would be that the order in Premo and Apollo, is the rotations order like in Maya, with twist as the main driver, and orbit as an additional global rotation to feather in some additional layered rotation maybe?
I will make the most of the fresh Movies Insider video article to finally plug Chris Brejon’s almost biblical lighting article which I started reading this summer while I was rendering some shots. The 10 chapter series is so in-depth that I never found the time to finish it. One day!
Now if you just want an introduction to lighting, here is good appetizer for lighting from Insider again, with some little behind the scenes from Netflix’s “Over the moon” and other studio’s movies. Like other commentators I will mention that Lighters do the lighting work, not the Animators though, it would takes decades for a movie to come out otherwise ;-)
Insider has some really talented journalists I must say. I should repost their cinematography documentaries one day.
Bastien Dubois‘ latest shortfilm finally aired on French/German TV channel “Arte”.
With its unique animated visuals inspired by Argentinian illustrator Jorge Gonzalez and uneasy theme, I feel really privileged to have been part of this outstanding short film beautifully mixing 2d and 3d techniques.
The short film successfully relates Bastien’s unsuccessful multiple attempts at tackling the atrocities committed by French army during Algerian War of Independence. Not an easy theme to be treated in animation that’s for sure!
French and German viewers can hit the following link to access the short film in full.
For other territories, the short film is currently running in animation festivals so here is a trailer below in the meantime. The trailer’s music is not reflective of the final soundtrack ;-)
Come back to this post in the next weeks as I will add some behind the scenes if I get the all clear from the production.
Great CTN Pixar roundtable during showing diversity at Pixar. Hosted by none other that Luis Gonzalez, the talks centers around how Pixar artists Paul Abadilla, MontaQue Ruffin and Mike Yates got into animation, and they kindly share their journey up to joining Pixar.
Have you seen “The box assassin”, this great new shortfilm coming out of Ringling?
Amazing work from a one man team.
Jeremy Schaefer is not shy of behind the scenes and shares a lot of infos on his website https://jeremyschaef.com/
He also participated to several interviews on Raf Grassetti and Harvey Newman Youtube channel:
It is not surprise to hear that after interning at both Blue Sky and Disney, Jeremy eventually found work at Dreamworks over the summer.
While watching that fun video, I thought about the “Breaking the fourth wall” concept.
As noted on the AnimC Pro Tips few month ago, you always want to avoid the character looking straight at the camera.
To me the most believable characters in that video are the ones that just, “live their life”.
The “hot grip” was okay as it was just the introduction to the skit but as soon as the “Crafty” looked at the camera, this took me away from my “voyeuristic” experience and I immediately became aware I was watching an actor performing for the camera rather than actual characters evolving in their natural habitat.
Related post :
Yes animators can switch 3d software after a bit of training but there is no way an animator can be proficient in Maya, 3dsmax, AND Blender, when I would highly recommend to gain software specific knowledge, especially if you work in a small production or at a studio with no animation production experience.
Back in 2014, I joined Doodle Productions for the production of “Messy the Monster” season 01.
The company came from Architecture 3d visualisation so we had to use 3dsmax when most animators were Maya users. It didn’t take too long for the animators to get acquainted with 3dsmax as we used regular Euler based rigs and not 3dsmax’s proprietary “Character studio” (“biped”).
One issue we faced though, was the fact that we only had one rigger so it was close to impossible to get additional features and after all, there is no way a character TD can anticipate all the needs of the animators. Most of the time, I wouldn’t even bother and added the missing features myself.
In the following shot, the prop had absolutely no rig. I went ahead and added a bend deformer to make the motion of the trumpet look a bit more smooth, and a “lattice” deformer to visually convey the sound of the trumpet.
On that show, “Messy”, the main character, had two fluffy ears and a massive tail with no dynamics. At a quota of 6 to 8 seconds a day in 3dsmax, most animators gave up on animating those appendages which looked very jarring. Instead, the most technically inclined animators started using a script to simulate dynamics as we felt it was a good compromise to soften the stiff pose to pose look.
The script helped massively but like most simulations, the result needed some additional work to art direct the result and get the tail to resolve in Messy’s question mark trademark posing.
6 years later, I am still mesmerized by the tail animation and if you are curious enough and browse other animators showreels, you will quickly see the difference with shots where no simulation was used.
Don’t forget to read this article about David Gibson’s fantastic use of deformers on the first opus of Sony’s “Cloudy with a chance of Meatballs”.
Thanks for reading.
Being my professional workhose since 2007, I have been naturally promoting Autodesk Maya on this blog, with some occasional foreays into Blender when enraged at the price of Maya’s license/subscriptions, then back to Maya when Autodesk introduced the free “Maya and Autodesk softwares for Displaced professionals” back in 2012. to support professionals during challenging times.
That scheme gradually disappeared without much noise and recently Autodesk introduced various options on top of the classic educational subscriptions.
Currently, you can get Maya LT, a 300 dollars a year cut down version of Maya that unfortunately doesn’t allow you to run most of the free animation rigs available on the market so for animators who want to focus on character performance this is a no-go. Python is not available either when everybody in the industry uses Python and scripts like AnimBot or any Phython scripts won’t run on it. Rendering is not possible, dynamics are not available, referencing is missing….
Then in some selected countries, you might have access to Maya Indy which is the full feature Maya, for “artists earning under $100,000/year in revenue.” This would perfectly cover hobbyist living in those 5 countries if only there wasn’t a catch! So what is the catch? The catch is, that this scheme is only valid for … one year .. then your subscriptions automatically gets renewed at 250 a month ;-)
With my inclination for education and support for struggling populations in the light of the murder of George Floyd, I just can’t continue predominantly posting articles related to Maya.
“Learning 3d at home is a way for modest populations and kids, to potentially gain access to employment and revenue streams”
Learning 3d at home is a way for modest populations and kids, to potentially gain access to employment and revenue streams, outside of expensive institutions and without incurring lifetime debts or adopting piracy habits.
Sorry, that’s a long winded introduction to finally explain that I will start covering Blender more and more on this blog ;-)
This first Blender post is a two years old video but a major one as Blender founder Ton Roosendaal, will cover the history of Blender, its philosophy, and its challenges with some interesting comparison with Autodesk and Zbrush.
I never dug too deep into Blender in the past as the interface and the Right Mouse Button (RMB) slection really annoyed me. Unlike some other software creators (TV Paint, Zbrush…), they realised that they shouldn’t force users to their philosophy and accept that some user interaction have now become standard, the left mouse click (LMB) for selection for example.
There are plenty of interesting bits in that video and 1 hour into it, Ton reckons there are just below 20/35k paying Maya customers and less that 20 developers working on it. This could explain why we get so many half baked features every releases and makes me wonder how many companies might be using pirate copies.
If you are in a hurry, Andrew Price was nice enough to include timecodes in the video description.
Being mostly interested in Animated Features and Animated TV series, I don’t visit FX Guide much but I just found a series of interesting interview I will be posting in the next few days.
Here is a very interesting one with Disney “Feast” director Patrick Osborne where he goes into a bit more details about the unique visuals of his short film.
Via : FX Guide
Once in a while in your career or just even at the start of your studies you will meet some unique individuals that will feed your self-doubts.
Whilst studying at Animation Mentor back in 2006, I was marveling at the work of several students that eventually became CG animation superstars, then later during my animation career, I came across few profiles that could animate three times better and three times faster than I could, so I just kept at it, with the belief that it might take me longer, before eventually succeeding.
If it is not just procrastination stirring us away from our goals, some of us just need to work harder to succeed.
Pretty close but Nik Ranieri kept pushing and like Baxter, he ended up also, writing his name on Disney’s history books!
Listen to this fun Nik Ranieri’s recollection of that encounter in the third part of an other memorable Animation Podcast interview.
I am posting a direct link to the interview as the libsyn link in the interview page is now broken, the main page works though or click below.
Direct link to the podcast: