Shotlist
Going into this week, my primary aims were to start the animation process and keep a clean and structured plan about how and when each shot will be completed. This was very important to me as I did not have a large period of time to complete my entire film, and I thought it essential to keep on schedule.
Shot 1
Beginning the process of animation, since I had already established how to use X-gen to create grass and worked on some additional environmental assets, I started straight away with shot 1. Initially, I added the X-gen descriptions so that the grass would generate, and I could add some dynamic constraints that would create the ” wind-blown” effect.
While I initially tried to import the original X-Gen file I created to see if it would work referenced, there were issues as I scaled it in centimetres rather than Metres which is what the environment scenes. So following the prior method, I recreated the X-Gen grass by creating a new description, changing the taper, coding bend displacement and applying an Ai toon shader.
A key cinematic element I want to achieve is having all of the characters (for the most part) sitting centrally on the screen so that the transitions between the differing shots are smooth. For this idea, I took some inspiration from Director Wes Anderson, who always used very symmetrically wide shots with little to no camera movement for a stylistic approach.
When starting the animation process, I first referred to the source interview material to look at of the facial expression, such as eye darts and jaw bounces, as these are the key elements that will successfully transfer onto my rig. Due to the inherent simplicity of my Rig, the animation process, while shorter than prior works I have done, felt the most free-ing and open to exploration and interpretation. Since it was not possible, or my intention, to copy the footage as animated mimesis, I felt free to see how I best think the movement would be adapted onto an unrealistic character rig.
Using the graph editor to smooth out the initial facial blocking, I was able to create smooth eye motions that feel reminiscent of the original video. Expanding on this within Maya’s dope sheet, I was able to slightly offset the eyebrow motions to add a level of realism. As stated by Kenny Roy, Eyebrow movements are generally times with the motions of blinking (2014); however, my character rigs do not have this ability, making it quite difficult to know when to time them.
Character Animation
Since this is the official first shot of the film, I have animated the introduction and title sequence of the film, as the starting camera position is dependent on its location. When beginning this process, I wanted to create the same feel as the opening of ‘the Simpson’s as it provides an iconic establishing shot that brings attention to the subject before introducing heavier environments.
X-Gen Simulation
Due to the inclusion of simulation within this shot, the render time will likely extend into next week, especially as I foresee issues surrounding the overall render in terms of noise reduction and simulation caching.
Asset Modelling
Plane
Since one of the shots In my animations is a plane model flying overhead, I started looking into different types of planes that might fit aesthetically with the visuals of my film. Trying to accentuate this child-like “plastic ” world, I found a tutorial online I’m which I could model a plane very reminiscent of children’s toys. I would like to make the seating big enough to fit the taller, more slender character rig into it so that he can appear to be flying the plane. Given additional time, I could like to add a cloth simulation of a scarf around his next that would blow in the wind as he flies; however, this idea will have to be put on the back burner in order to prioritise animation completion.
Critically reflecting on this model, I feel it works well aesthetically with the piece however, in order to push this to a higher level, I would rig the propellers so that I could animate them in a way that is manipulated when the global control is moved. Going forward, if time allows, I will go back and make this addition.
Car
Trying to keep on theme with this cartoon stylisation, I found an additional tutorial that highlights how to model a car that I feel would fit aesthetically very well with the film. My initial considerations for modelling a car in this world I am creating was to be square and have roofing with tiles and exhausted pipes that make reference to the different characters’ chimneys. However, since I only really have a month to complete the film, and the car is only within a shot for 4 seconds, I thought this would be detrimental in terms of production productivity.
Below showcases the final model, with the ai toon shader applied so that it bends more effectively into the world. Since the car will be primarily used in shot 2, I thought I would colour-match the car with the red shade of the roof tiles to allow for aesthetic consistency. In spite of the car overall may seem a bit small for a world where ‘buildings’ can ‘drive’, I feel that if given the additional time, I would make one of the other characters ‘drive’ past the vehicle to make further world-buidling advancements. Similarly to the plane, If given the time, I will rig the wheels of the car to move in relation to the main controller so that it gives more realistic motion.
Scene 2 Asset Building
Since scene 2 is one of the more detailed environments within the film, I wanted to start the modelling process and get it to look right early on to leave time for the other environments. One of the initial things required for this scene is a street lamp, as, throughout the different cuts back towards this clip, the time of day changes slightly to add some more visual dynamics between shots. This entails that different lighting will be required for different shots.
Starting to compile the scene, I was able to predominantly recycle the character model to start building the ‘town’, so to speak, by changing and adapting the features slightly to give it some individualism. However, I still felt that in order to really progress the environment, I would need an additional building to add depth to the environment.
looking further into Tudor-style buildings, I feel the reference image below gave me a lot to work with in terms of selling a ‘town square’ or a communal building and provides a lot of interesting shapes to adapt and model in 3D space.
In my model, the main thing I was taking inspiration and reference from was the roof and ‘spire’ that feels reminiscent of the bell tower in a church. I think this works well within the general setting of canterbury as it is a very traditional religious English place, hosting the archbishop of Canterbury, who is the principal leader of the Church of England.
Using the same tiling technique applied to my character models, I began to populate my model with additional details, such as wooden beams and uneven tiles, to accentuate the age of the building.
Since the ‘town’ has both modern and old elements, I wanted to create a road that juxtaposes with a cobbled stoned looking street. In order to do this, I added an additional plane and extruded random squares to give a more uneven surface appearance.
Animation
After assembling the environment for shot 2, it was time to start the animation process for this character and their introductory dialogue.
As always, I initially looked at the source video material of the character’s inspiration and the spoken content. Due to Marianna’s expression with hand gestures, and very clear facial expressions, I was looking forward to adapting her speech into animated content.
The main thing I really wanted to encapsulate from this reference is the eyebrow motions and how they affect the timing and expressivity of the eye motions. I feel this works particularly well with this rig due to the use of the wooden beam in place of an eyebrow, which I rigged so that each individual end can be manipulated.
Due to the recorded audio having an interruption of a car horn, I decided to utilise this in the animation. Something I have tried to add to help enhance this animation slightly is the use of secondary animation on the weathervane to sell the distribution of weight. I think in order to improve this shot, I could work and refine the timing of the eyebrows, as they seem ever so slightly off from the eye darts and body motions. I could also go in and adjust the timing of the door opening and closing in time with the words, as there is a very slight delay is some cases.
Rendered Shot
References
- Roy, K. (2014) How to Cheat In Maya 2014. Focal Press