EOYS- Industry and Professional show

I did a variety of tasks for the industry and professional show.

Catering

We thought catering would be a great way to make the show a bit flashier for employees. I ordered from Cafe Carberry.

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Gift Packs

We also thought it would be good token for employers for the industry show to provide packs for them to take home as a tokens. These would include the show logo as stickers and then renders from shorts as postcards.

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I prepped the logo and got the stickers sent to print.

I then sent the postcards to print to a local company, Print Planet.

A1 Sponsor Thanks Prints

I created a poster that we will be printing 3 copies off to display in the room. These will be to thank to the companies that have funded us throughout the years. Below is a copy of this print. Additionally, this print will be adapted for a slide to be show prior to the screening on both the industry and the public screening.

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A1 Poster Displays

We decided for the industry show we would have some A1 prints for the walls as a nice node to the renders- to show off different renders from different shorts. I created a template for these and sent them to Cassie, who would be adding in the renders for me. I did an example, below, to show what the prints would look like.

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Final Portfolio

Renny – character lookdev and modelling

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rennygrey

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Living Room- all assets- lighting, compositing, shading, textures

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Fridge Scene- all assets- lighting, compositing, shading, textures

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Animation – all shots below animation listed. 

 

Dervla Hillan

-cloth shader and body shader creation

-character UV’s

-rig assistance

 

Creative Futures- Showreel

The showreel is the element of creative futures I look forward to, with ability to show off your work in a neat way, but still get personality across in an edit.

I wanted to look at a few reels before delving into my own reel. To see what the general look for a lookdev/modelling reel would be.

The first reel I shamelessly looked at was Michael’s – although there is a lot of projects going on here they feed into each other well. His older reels have nice breakdowns I like- showing off assets by rendering multiple turning in the same turntable. This is something I might include in my own video.

I liked the indepth breakdown of the ratatouille project here showing the turntables of different assets in the short, after the final image, it allowed me to see little details that would be missed in the bigger picture. This is definitely something I would include in my reel- as the smaller assets, and even Renny’s texture which is very in depth.

After looking at a few examples; I managed to write a general order of my showreel, to shot off my lookdev and modeling.

-shot 01 of animation

-asset turntables – living room- sofa, phone, cup

-Renny turntable- greyscale, wireframe, colour

-Fridge shot animation

-Asset render fridge- ketchup, pie

I thought this was a good place to start and began editing the clips together. Below is my first draft of the showreel. When editing, it was suggested to me that I do a grey frame and wire frame pass of each environment to show of the topology. So I added those in too.

Getting feedback from Michael and Jesus was great- they gave a few minor tweaks. They suggested that I slow down the wireframe passes. I was waiting on the rest of the Renny renders coming out too before I edited them in. Jesus recommended the grey scale pass had no displacement turned on too.

Below is the ‘final’ edit of my showreel for now. I have a few changes I want to make to it. The first being that I step shot 01. Also, with the progress of my shaders, I think I might replace the phone render with a new updated shader, along with the pie render after the ketchup bottle.

Self Assessment

As Porky Pig says- That’s All Folks!

This year has been a wild ride in terms of work. Taking and working on a solo project, with an outcome which I was happy of was something I never dreamed of. I have gained a lot of confidence throughout the year, with my love for lookdev and modelling growing, as I became more adverse to how they worked. I looked forward to other areas other than production, which I normally end up saddled with. Additionally, I was able to do my own research and look into areas I knew I lacked in, including cinematography and filming. There are areas I wish I had time to delve into more, such as creating a more stop motion esque character feel, with the animated finger prints, something I started look into, but never fully did get around to developing. I regret not doing more animation during my placement year and practising more than just walk cycles and basic exercises. In the future, I want to push myself more in these areas, as I walk into the big world of animation/VFX.

Thanks for reading as I sign off my final post as a student-

Rebecca

Artistic – Credits

Credits were the last thing on my mind, however I did definitely want to include them. I looked online at a few films to see if  I could get inspired. I wanted to capture the personality from my short and character right until the end, and wanted to see how the best way to do this would be.

One idea I was inspired by was that of Murphy’s Law. The after credits in this movie are quite cool- each name has its own personalised asset. Although this was nice, I thought it would be a bit wasted her and a bit messy, as I took lead on a lot of roles.

The minions credits are quite nice too. They use the minion characters a lot- in either cut scenes, such as the first movie, or having them interact at the side of the screens while the credits move up.

I love the spiderman credits for Homecoming- made to feel like a kids art project. I really like the personality in this one, with the personality of the main character shining through.

I decided that including the character in the credits would be a nice ode to the short, it also would be nice to show off the characters shading, as the behind is nice and doesn’t get shown on TV that much.

I wrote a list of possible credit scenarios

-clicking remote with credits playing

-shot of rendered environment, camera over shoulder watching TV

-Render of the TV remote, credits playing beside it

-character standing looking (shot 07 animation recycled) above credits

I liked the idea of the character standing and clicking the remote, the titles changing as they played. I decided to do a rough animation of this below, adding the credits as an example.

I sent this video to Michael Cauchi, who shared it with a few people for feedback. They suggested a change to the actual text and not the animation, loving the character it added.

They suggested that I record the name first, with the roles of each person underneath to make it neater, and easier for the audience to identify who created the short. I did this, while the character animation rendered.

Sound wise, I rendered it originally I was intending on one sound playing throughout, however I decided to recycle the idea from shot 05 were the audio changes with each cut.

I really like these credits, I think they capture a bit of my shorts personality while showing off the names who helped this project.

Creative Futures- EOYS- Wrap Party

Dervla was originally in charge of organising the wrap party, however due to a fallen through event, we needed a place fast.

I emailed around a few venues until we heard back from Pug Uglys. The venue was perfect- with space for 150 people, had a stage, own sound system and a projector for the awards.

The room rental was free- we ordered food, counting to cover costs. This would then be the cover of the costs. I paid the cost upfront- with Robert taking care of the awards, and Dervla in charge of organising the DJ.

The wrap party is booked for the Tuesday 28th May from 7.30pm onwards. 

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Artistic- Flickering Light Revisited

I was having a problem with shot 06 and shot 07. Shot 07 was a lot brighter than the other shots. However, instead of having to rerender the shot entirely, I thought trying to grade it would be a lot better use of my time.

Too bright render.

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The just right render

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I was struggling with the brightness and contrast in after effects, trying to get it to match my original still. The image was turning too washed out. Instead, I decided to use Nuke. I was advised that you could hook up the read nodes, with different image sequences to different numbers. This mean that I could switch between two sequences by pressing 1 and 2 to see if how close my grade was getting.

The grade node in Nuke has a multiple function, basically what this node does is preserves the black points of the image, allowing the brightness to be altered without washing out the photo, which I was finding in After Effects.

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60340256_2370263823206667_2585898086916161536_n.pngThe switching between the two nodes and using the multiple node allowed me to get a pretty solid match between the two frames.

Below is the graded scene, this turned out great- now to get it into the scene with the final grade.

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Artistic- Titles for Film

One of the more final stages I needed to approach for my film was the title credits. I had always had the idea of them turning on like a channel. Or having the titles as a separate TV programme and then it changes channel or cuts to the animation playing.

I really liked the opening in Mark Spoke’s Spaghettify,  The font and the movement on the noise on the text really fit in with the shorts genre.

Spaghettify (2016).

I also liked the look in the older silent movie plaquards. I thought that one of these might also be an interesting mix to bring to the movie, given my heavy inspiration throughout from silent movie stars, including Buster Keaton.

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I decided to go with this sort of feeling and test a few different looks. The first I tried the general overlaying of the title over the noise. However to make the text stand out more, I decided to layer it over the top of the noise, using the drop shadow on the texture to feel more like a tv show.

Megan additionally suggested I look at the cup head intro screen for the game, as it would definitely match up with the style I was looking for.

I watched the following tutorial to create the noise in After Effects. I tweaked the values a bit, however, to make it feel less noisy (ironically) and to be less migraine inducing.

How to create the TV Noise look in After Effects (Youtube, 2019).

I really like how this title sequence is looking, however I would like to maybe try and age it more. Maybe I could flicker the title with the noise to give a bit more personality to it?

The next step for me now is to look at the old timey credit- making them look like a silent film. The below test was the title, with a film grain overlaying the top of the title.

I again wasn’t too set on this title and added a flicker to the text itself, which you can see below.

I thought that this was starting to get somewhere but the old timey look wasn’t greatly suiting to my film. I decided to go back to the original title idea and at the flicker to the name. I do like how this is coming together, however I think I will need to add more of a subtleness to the flicker strength.

 

 

 

 

Artistic/Compositing- Making The Final Edit

Working at Flickerpix had taught me a lot to when it came to clean editing, naming files and having a generally streamline workflow for when putting files together.

I used After Effects to put my edit together, sticking to my guns and using a software I was familiar with, I didn’t want to be shooting myself in the foot when using a different unfamiliar editing tool.

The Main Comp 

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The shots themselves didn’t really need any crazy compositing, some need some masking. I thought I would break down a shot to show the general setup for the short, and the general folder heirachy. I learnt from Flickerpix that naming conventions and sticking to a folder structure was the best think, which I did here. I had the following main folders, with folders in each for the different shot numbers

-SFX

-Untreated Jpegs

-Treated EXRs

-Music

-Stills

Shot 05

Shot 05 was a shot that required a few masks in different areas, one was planned the other was not.

You can see the general layout for the shot below. Due to the timing, the shot was rendering as one through render. I then cut the render into different snippets, using the time hold to adjust the timing for the increased pacing as the shots move.

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The first mask I needed was to fix a small error- the door handle on the unit rendered unsmoothed, so I had to go back and quickly adjust it. I took a previous render, with the knob in the correct place and then used the shape mask around this. You can see the final result below.

Shot 05 without masks seen below and then the masks added below that.

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Adding the masks.

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The next mask was that of the sofa itself. Renny’s orange beak was visible through the main cushion gaps.

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The render looked grand as a whole shot once I got these fixes through. You can shot five in completion below. Keeping each of the shots in a separate composition really helped with the edit of my film, as I could identify were problems were arising easily and quickly work through my filing structure to correct them.

I did, however, make a general checklist for each shot, to keep myself right when regarding what treatment each bit needed. You can see this in full here.

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This will definitely help me when getting the edit together and making sure I have no continuity errors or crazy compositing mishaps.

 

 

Artistic- Revisiting the flicker again

One of the biggest setbacks so far for me has been the animated TV flicker on the screen, and how much I need to push the flicker.

I decided to animate the light this time in After Effects, over the top of my already edited footage. Animating the brightness was the same as before- I just made the values greater, so that they were more obvious.

The next area of feedback I had received was that the colour should also change on screen- as if the background on screen is changing constantly.

I used a colour node to alter this- adding keyframes at different intervals, but at the same time as the brightness keyframes, so the difference wouldn’t be so sharp.

Below, you can see the flicker applied to shot 01. I think this works a lot better, the flicker is more obvious, but still subtle enough not to be distracting.

 

 

Artistic and Technical- Helping Dervla

As I had wanted to develop my lookdev skills for this project, I decided to offer my help to the rest of the year. One of the projects I had a hand with was that of Dervla Hillans  project.

Rig

The first area I helped with was setting up the rig. Dervla had used Mixumo for the base rig. I assisted by attaching eyes back into the rig, constraining them to the neck joint.

Uv’s 

I did the UV’s for the character here, as the automatic wasn’t going to cut it, especially with Dervla’s intricate look she’s going for, including the gold and marble- as there would be a lot of ugly seams destroying this intricate look. I used a few references from online to UV the character- I found when UV’ing the character I had to fix some areas- such as the feet- as the dynamesh had created holes in the low resolution version.

Marble/Gold Texture

The texture maps for this Dervla did herself, however she wanted some help with getting the materials to work.

Putting in the metal maps was the biggest concern here- I originally had selected the ‘metal + tint’ selection in the Fresnel Type of the reflection. However, the metal was coming out with a pink tinge (seen below).

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I changed the Fresnel type then to metalness, and it corrected itself to the images below.

Dervla wasn’t as in love with the gold material she had originally used, and in fact really liked the preset Redshift gold, which I have added onto the halo. To prevent Derv having to go back to substance painter to alter this gold, I took the gold material and isolated it to the areas Dervla had chosen.

Below is the end result for the character. Dervla is happy with how it’s looking and I am happy I could have helped!

Material for Gown

Working with Dervla’s gown, based the material of my sofa, adding the new diffuse in and adjusting the size of the cloth thread. One alteration I did, was that with the ramp on the sample info node (used to generate the cheats look of fuzz on the fabric). With the ramp, it was inverted, this gave more of the look of satin.

56498692_2060153834097336_5238804050266292224_nReversing the ramp.

Below is the render of the cloth.

 

Animation Progress- Shot 05b

This was an added shot that I had to animate, although it was a relatively simple one. This shot involved the spinning of the hands on the clock, symbolizing the passage of time. I looked at a few shots for inspiration for this, including the clock hands for Peter Pan.

I decided to do a full rotation of the hands per second, this seemed to be like the standard in most films. This would allow extra frames if I wanted to speed up or slow down the animation. Additionally, I opted to move the hour hands too, adding the realism of time changing. Currently the camera is static, however I was wondering if turning the camera while zooming would add to the feeling of intensity.

Playblast of steady camera

Camera animation

Camera animation with Focal Length

 

 

 

Although I liked this camera move, I was afraid of it looking too like shot 03. I decided to render the camera as a steady cam, and thought that I could try editing a montage over the footage of the clock, showing Renny moving or him looking in different parts of the living room, very much like the scene in Home Alone (1990).

Scene at the 4.19 mins mark in this video (YouTube, 2019).

This is something I will test at a later stage in editing.