Here is where I am. I haven’t worked on the feet yet. Two days into it, I just need to adjust some edge loops, get rid of triangles then it will be done. Next is Vitaly then some Brave characters, just because modeling characters is fun!
Ah and some wireframes. The arms are still pretty low polygon.
I went to see Madagascar 3 in 3d few days ago and I was struck by how efficiently they used the 3d.
Like most purist I don’t usually care about 3d and would usually go for the cheaper and flatter 2d version when/if available but this made me realize that we are living in a very exciting time.
As soon as I got out of the cinema I wanted to do some modeling and animation. Not because the movie was so good (you can swim from Tanzania to Monaco in 5 minutes, but can’t reach New York in 10? right….) but I am guessing because I had been sharing 90 minutes with CG puppets made alive, and, thanks to the use of 3d, those puppets were simply made real.
For the past few years we have merely tried to replicate in CG what had been done for 100 years with traditional 2d animation when we actually have the tools to take storytelling and cinematography to greater heights.
Let’s have a look at what video game company, Valve, just presented in a very compelling video today.
Non other than Gollum’s creator, Bay Raitt, is introducing Valve’s “Source filmmaker” (SFM).
From what I understand, they basically give you the best tool to create your own Machinimas.
We will be able to to use Valve’s realtime VFX, lighting, animation engine to create our own realtime shortfilms… for free? 😉
On top of that, we can already imagine that animation, props, VFX creators could sell the fruits of their labour on the Valve marketplace or Steam, for everyone to enjoy. Got some crazy walk/run cycles? Sell them! You missed out on the Iphone App market? This is your chance!
Those guys are definitely thinking outside the box and created a really fresh ecosystem and business model. I look forward to hearing more about it and seeing how the wider audience will react to it.
There is no messing around with such tool, you got to be have a clear idea where you are going as each line counts.
If you are wondering, we are in delayed pre-production at work which means no work … or income. It sucks so I’d better make the most of it and keep myself busy.
[update] Well well well… I was reading James Robertson’s blog this evening and said to myself. What about if I added some colours in Photoshop?! Learning watercolours is a big struggle for me and once you put the paints on the paper, it is too late for corrections.
Crazy I never thought about using digital paints! I was probably in the mindset that retouching sketches afterwards is cheating. At the end of the day, it is only about the final product isn’t it? And the learning obviously 😉
And here is something I am working on if you are not following me on Vimeo
Well well well…. no farting or burping jokes, no pop culture references, fairly realistic look …. this definitely seems different! The trailer reminds us a bit of “Arthur and the invisibles” but it is obviously too early to know what this is about.
At a time where most Animated Features look alike, it is nice to see Blue Sky is trying something different. Let’s hope it works out.
Ever wondered how dense those Pixar meshes are? I have!
You are in luck, Pixar just released some video footage where we can see the wireframe mesh of both Queen Elinor and King Fergus!
Except the helmet, hair and moustache the mesh is pretty dense. I wonder whether they add one more pass of smoothing at render time though.
Those are probably not the low poly meshes anyway but we can already notice an E pole on the cheeks. This could possibly means Pixar doesn’t use Nurbs surfaces anymore.
Click to zoom in.
And here is the Behind the Scenes video with, 2 minutes into it, Animation Collaborative‘s Michal Makarewicz. (a great school to attend if you are in the San Francisco area or crazy enough to relocate for three month 😉 )