Considering cinematography and camera work in 3D space is imperative to creating effective and well-considered motion pictures. Learning and adapting Ideas for the below video, I intended to create two establishing shots utilising the camera sequencer feature in Maya.
For this first test, I used this mountain terrain environment to consider a larger environmental establishing shot that eventually draws the viewer to a small ‘cabin’ in by the central lake. This goes from a wide shot to a slow pan down, to a zoom shot that focuses on the central point where a potential plot will be developed.
Using Dolly Aim Constraint
The cameras used in this workshop imitate the functions of those in real life, being restricted to a ‘dolly’ track which in real life only allows the camera to go from side to side attached to a track. Using this method in 3D space makes more authentical and life-like camera motions in a ‘fake’ and forcibly intentional space.
Dolly Controlled CameraThe Camera Sequencer
The camera sequencer works in the way multiple separate playblasts from the separate cameras would once be edited in video software but takes away the additional step so it is simple to preview in Maya. This will prove effective for shot planning and production efforts later on in my work so that cinematography can be planned later on without the requirement of additional software.
The Final Shot Compilation Using the Camera Sequencer
Sequence 2
Contrary to the previous shot which was slower and more relaxed in pace, for the next sequence I wanted to test a faster paced and more ‘tense’ environment through shot creation that will help build a story in 4 shots. A fast pan shot to establish the speed of the cars, a pan shot to establish the number of people, hinting towards and city environment, and two close-ups to establish a potential interaction.
We discussed our progression with being inducted and understanding how to use the VR oculus rift. We showed our progress with our Google Tilt Brush development and discussed how we intend to develop the storyboards created in the previous week into VR space. The VR team began implementing and testing the modelled assets and their potential functions in VR
VR Induction and Testing
Following on from last week’s research into storyboard creation in tilt brush for VR, myself and Mariana got inducted into using the virtual reality headsets provided at the university to practice and get used to using the equipment. During this process, we were able to better understand how 3D space works in immersive engagement which can later help us better understand how to create 3D assets and animations utilizing the very personal and up-close experience that is inherently coupled with putting on the headset.
Learning to Draw in 3D Virtual Reality Space
Models
Progressing from last week’s models, this week I created the ice cream cart that the two seagulls will interact with, and the ‘Ice Cream’ Mini game will take place. This means that the model required surface area and interactable ice cream cones that are separated from the original mesh. In order to heighten the level of realism, I learned how to create an N Cloth material so that the roof of the cart would be able to realistically interact with elements such as wind in the unity engine.
Creating N Cloth and Passive Collider
N Cloth/ Cloth Simulation in Unity
Importing this model into unity proved to not effectively retain the baked simulation information, so I researched alternative solutions and there proved to be an efficient Cloth simulation very reminiscent of Mayas, within Unity programming. This can be controlled by both collision and elemental effects such as wind, which may prove useful at later stages of the project.
Following a youtube tutorial, I began to understand that by attaching a Cloth node to a specified object it functions very similarly to the Ncloth function in Maya, and began to translate my understanding of simulation friction, dampness and weight to the cloth in unity.
Cloth Functions in Unity
In this light, I imagined that the use of passive colliders, similarly to Maya, would be required for object collision. However, I came across several issues during this process that differed from Maya. Unity’s colliders seem to be created into specific shapes (Spherical, Cylindrical and Box), none of which accurately made the polygonal structure of the cart, which caused the shape of the cloth to fall in an unnatural and asymmetrical manner.
Colliders and Cloth Components Added
Following on from this, It created the cloth simulation to fall off the object as if it was attached to a cylinder, rather than the shape of the cart and fell off in a very fast and unnatural way that would not work for our game. After looking into several tutorials, I contacted a team member from the VR group to help me analyse exactly what the issue was and engage my learning and understanding of unity to a higher standard.
Cylindrical/ Spherical and Box Colliders Having Non-realistic Effects on Cloth
After consultation and working with our VR team member, Cal, he was able to assist me in further understanding the different functions of colliders. His initial exploration involved shaping the different spherical, cylindrical and box colliders into a shape that appeared reminiscent of the box cart mesh, in order to create the illusion of the cloth falling into the correct place. However, this proved ineffective and only created more issues in the unrealistic cloth formation.
With the both of us looking deeper into cloth simulation, the use of ‘cloth particles, is used to create greater accuracy as you can use a brush tool in order to indicate which aspects of the cloth you want to directly affect and bind to different elements of the mesh. Using this Method, Cal was able to demonstrate how to effectively get the cloth to be stabilised and attached to the mesh, and also have realistic object and simulation reactivity.
Effective Cloth Simulation by Cal
Critically reflecting on this process, I feel that when working in unity it will be extremely beneficial to understand in further depth the controls of cloth simulation as working and exporting in Maya cannot always be fully reliable. Taking this into consideration, however, I feel as a 3D artist predominately using Maya it will be very beneficial to further explore Ncloth’s relationship with different software and how to properly export a simulation for better industry standard practice.
The main project development points discussed at this point involved storyboarding concepts and character/ asset modelling in regards to my and Marianna’s aims on the 3D animation side.
Personal Goals Outlined in Meeting:
.Asset Modelling- Ice Cream, Sand Shovel, and the Ice Cream Cart
. Assist Marianna in storyboard drafts and Story development
VR Story-boarding and Multidimensional Narrative in VR Interaction Storyboarding for animated films in comparison to Storyboarding for virtual reality differs largely due to the potentiality of player possibility. Due to the unpredictable nature of player interactivity, more than one straightforward narrative has to be planned and accounted for in pre-production. Storyboarding in 360 degrees allows for planning and also allows for the environment and spatial awareness planning which helps to gain a better understanding of environmental interaction between players and objects. Taking this into consideration, it is important to consider examples in the industry that really stress the idea of player control. Games such as ‘Detroit: Become Human (Sony, 2018) offer a very clear example of the pre-productive planning involved in creating a narrative in the language of game design.
Expanding on the storyboarding produced last week, the were several issues in the presentation of narrative development that I had not previously considered, such as the 360-degree nature provided by content produced in unity. Enlarging on this idea further, in the following week the intention for narrative planning will be done psychically in 3D space using a VR compatible software called ‘Tilt-Brush’. Looking to the book Storytelling for virtual reality: methods and principles for crafting immersive narratives, Bucher expands on the ‘sense of self-created by virtual reality engagement that is not congenitally restricted by the rules and laws of the natural world (2017). Considering this it brings into a light a further exemplification of what exactly one is a storyboard and how this is applied
Example of Storyboard template used for virtual reality.
An example of Tilt brush being employed as a story planning tool is demonstrated clearly in the example below and offers great reference and understanding of how we will intend to utilise this tool in the next week.
3D Models- In the book Game Character Creation with Blender and Unity, Totten discusses how digital sculpting is used to create a high detail resolution model that can be projected via ‘normal maps’ onto a low poly model to allow for constant rendering to function at the best speed it can 2012). Following on from this, and using my low poly mesh creations in Maya and exporting them into Nomad ( A software recommended by the VR collaborators on this project ), then export these aspects as FBX files which are compatible with unity’s engine.
Adapted Sculpts in Nomad
Utilizing and educating myself on new software, especially in use with unity, I explored the use of a digital sculpting app called ‘Nomad’.
References-
Bucher, J (2017), Storytelling for Virtual Reality: Methods and Principles for Crafting Immersive Narratives, Taylor & Francis Group, Oxford. Available from: ProQuest Ebook Central. [7 Feb 2022].
Chris Totten (2012) Game Character Creation with Blender and Unity. Hoboken, N.J.: Sybex (Sybex Serious Skills). Available at: https://search-ebscohost-com.arts.idm.oclc.org/login.aspx?direct=true&db=nlebk&AN=459449&site=ehost-live&scope=site (Accessed: 11 March 2022).
For the collaboration module, this term I have joined a virtual reality project which will create an experience of comedy comic books into a 3D space. Largely taking inspiration from the comic artist ‘False Knees’ who makes witty, sarcastic and ironic comic cartoons revolving around animals. For this projects adaptation, the aim is to create a VR experience, largely utilizing the software Unity, to create an interactive experience between two seagulls, and shifting environments centred around a beach.
False Knees
Initial Group Meeting and Notes:
During this initial team meeting, we were able to mutually agree on all the group members that would be involved in the project. It was agreed that myself and Marianna would focus on
Character Concept Designs
Upon early discussions and plans made clear in the team ‘Miro Board’ that there are two distinct personalities of the seagull character, very heavily based on particularly comic strips created by ‘False Knees’ the artist. Taking this into account, I designed different seagulls in ways that help characterise their personalities, one being goofy and more primal and basic in their desires more aligned with the ‘stupidity’ we often associate with birds. The second bird is designed to have an element of human intelligence, making often sarcastic and psychological reflections that create comic effects between the two.
Artwork By ‘False Knees’
Miro Character Reference From Group
Seagull B Design
Seagull A Design
After producing the Designs the team collectively designed, It was more clear how to approach the next stage of production which included script and story development.
Story and Interaction Development
Developing Ideas in the Realm of virtual reality is something that I lacked experience in, due to its difference in conventional filmic narrative storytelling. Using direct inspiration from the artist ‘False Knees’, I translated the realistically inspired style into a storyboard panel to try and communicate with the Virtual reality team ideas of interaction between the birds. In Doing so I wanted to translate the material and its comedy to fit into the context of the virtual reality setting to enhance viewer engagement.
Storyboard Idea
Previs
In order to better communicate Ideas with the Virtual reality students, I went through the process of creating a 3D previsualization of how I imagined the player would potentially interact and move around the virtual environment by animating false first-person perspectives with `a camera. This also included producing a test for how the speech bubbles would appear in-game and poses interesting ideas and further thoughts on how this text will be presented and animated in style.
Character Animation Tests
In order to convey a realistic idea of how the seagulls would move, I initially looked at reference Videos of Real Seagulls, as well as animated adaptations. Taking these references, I tried to relate the movements of the two seagulls to that of their initial personality descriptions. Due to only using the one downloaded rig, I tried to make it discernable which seagull was which through movement and expression alone.
The Project I have expressed interest in is a virtual reality immersive experiences adapted from a comic book that centers around comedic and existential conversation of two birds. The Project is titled ‘False Knees’.
Roles and Tasks you could bring to the table
I have 5 years prior experience with Maya and have previously worked as a project coordinator in the third year of my undergraduate course when I managed and supervised team of animators. My undergraduate course emphases the importance of team work so I have some understanding as to how a 3D team will function. I have some knowledge of how rigging works and can adjust and adapt my skills to make rigs compatible with game engine software’s. I have some experience in Unreal, which while not hugely similar to unity, it has the same process of exporting compatible FBX files to be functional. It also has a similar relationship to the advanced skeleton, which may prove handy at a later date. I have some drawing abilities that will also assist in the pre-production stage.
.What you want to achieve and get out of the project, and what career you are heading towards
Idealistically I would like to go into character animation, however I am very open to the idea of going perhaps into character rigging as well as involving myself with more games related projects in the future that will require the experience I can gain from working on this project. I am more than happy to work and engage with all aspects of the pipeline, including assisting where I can within unity itself.
Understanding what makes and effective collaborative piece of work is essential for productive team working for this module.
An essential part of the collaboration process is communication. Without constant effective communication, takes and progress will be unclear and halted. This can also cause misunderstandings and waste a lot of valuable time.
Sharing ideas and offering solutions to issues anyone could encounter will speed up the pipeline of the process. This could involve technical issues or creative and design issues that could be evenly shared out.
Making definitive roles and tasks for each individual so they know what is expected of them each week.
Successful collaboration also requires understanding and utilising everyone’s skill set effectively to creates the highest qualities piece of work possible.
Understanding if someone is unable to produce something and allowing plenty of contingency time in case anything goes wrong during the process.
Having a group space online that everyone can access so everything’s progress can easily be tracked and having a clear grounds for feedback reflection possibilities. (Eg. Google drive, one drive)
Using spreadsheets to track what needs to be completed and who is assigned to each task. Also having an easy access point (discord, Microsoft teams) where everyone can communicate for issues such as covid etc.
With potentials of working with VR and games design students, it is important to understand the relationship between Maya and unity and the pipelines that need to be put in place for an effective team effort. From what a majority of the research below, it is important to export model and animation as FBX files so they are compatible with Unity as a software. As well as Unity, games students may also use Unreal Engine 4/5/6 which is a node based editing games programme, contrasting with the code based software that Unity is. Knowing that these require FBX files and taking into consideration the spatial relationship that will need to occur in communication of scene files and communicating with the teams to ensure these are clear.
