Just to expend a bit more for creature texture painting Color Maps, which also expends from
Color maps - Do a quick and dirty maps and set the render up b4 tweaking. Just to see how the lights are interacting with the maps. Balance out your shaders, define you color space Then Paint. Do not go back and forth, render, re-render, paint, etc... very time consuming.
1.) Have your approved reference. Remove specular highlights either by Replace Color in photoshop or clone tool or just paint over.
2.) Pick out some color values from the images and build a rough color map. Just the very rough version. You can even just slap on the color corrected reference images. It doesn't matter. We just want the color and tonal values.
3.) Run your turntable and your subsurface scattering shader if you have one. Use the color that is around the softest part of the creature for the color.
4.) Color correct your color maps and reference images to compensate for the sub surface color.
You will be extracting stuff from the reference images, so that is why you must also color correct them.
5.) Overlay your converted 8 bit extracted displacement maps over and build your color maps with brushes and stuff. Use the extracted displacement as guides. Extract low and high freq maps and overlay them if needed.
6.) PAINT.
Next up interpreting Call out sheets.
hilscreate.blogspot.com
September 15, 2010
September 13, 2010
My views on the local state of affairs
This is probably a bit of old news and I wrote this in early Sept but I let it simmer for a while and and reflect on it. Its not often for me to rant, but I do tihnk things need to be put out there for some perspective.
Cynicism. But I have been reading a lot of the negative posts online about the YOG. The empty seats, the wayang show that the gahmen is putting on, that they are more interested in promoting singapore rather then letting the games take place. And of course with it, the chest beating by the local media.
I was truely agitated for a few weeks. What a waste of tax payers money... etc.. What a wayang govt we have. How hao lian we are . And the more i read, the angrier I get. But the thing that came over me was the cynism that I had. And also the bitterness that I see in some of the local websites which aggrieved the situation. What is the point. These blogs criticising the govt... what do they hope accomplish? And how am I suppose to feel. What alternative solution is there? We voted the govt in, we are also conditioned by the environment to be what we are. So why do we complain:? I feel that we are a cowardly lot. We are. It is easy, satisfying to complain. It feels like we are deferring blame on the govt. We complain about the salary that they get. The perks that comes with the job. The grass is always greener. Time to show you the mirror and ask you to look into it.
What is the best use of my time and waking life? I think that is being happy. Do you think these nay-sayers lie a happy life ? Expending so much energy complaining takes a lot of time and effort.
The old uncles and aunties pushing the clean up cart. Collecting coke cans and selling tissue papers. I feel for them.These naysayers say the govt should do something for them. Welfare etc..... Do you think they don't know, they can't see?
It can be viewed they are warning signs for the rest of society. That if we dun work hard, we will end up like that. The thought is if they help one, they need to help the next, then where do the helping stop?
I have tremendous respect for what MM Lee have done to turn singapore into what it was.
There is a juncture that you face. What do you want singapore to be like. Do we really want foreigers workers serving us, cooking our food ? Cleaning the streets ?
What kind of society do you want to be?
I tell you if you give the locals 1 million dollars they will still find something to complain. Emotional Satisfaction. That is the 2 words that I am is looking for. And I am aiming towards that.
Cynicism. But I have been reading a lot of the negative posts online about the YOG. The empty seats, the wayang show that the gahmen is putting on, that they are more interested in promoting singapore rather then letting the games take place. And of course with it, the chest beating by the local media.
I was truely agitated for a few weeks. What a waste of tax payers money... etc.. What a wayang govt we have. How hao lian we are . And the more i read, the angrier I get. But the thing that came over me was the cynism that I had. And also the bitterness that I see in some of the local websites which aggrieved the situation. What is the point. These blogs criticising the govt... what do they hope accomplish? And how am I suppose to feel. What alternative solution is there? We voted the govt in, we are also conditioned by the environment to be what we are. So why do we complain:? I feel that we are a cowardly lot. We are. It is easy, satisfying to complain. It feels like we are deferring blame on the govt. We complain about the salary that they get. The perks that comes with the job. The grass is always greener. Time to show you the mirror and ask you to look into it.
What is the best use of my time and waking life? I think that is being happy. Do you think these nay-sayers lie a happy life ? Expending so much energy complaining takes a lot of time and effort.
The old uncles and aunties pushing the clean up cart. Collecting coke cans and selling tissue papers. I feel for them.These naysayers say the govt should do something for them. Welfare etc..... Do you think they don't know, they can't see?
It can be viewed they are warning signs for the rest of society. That if we dun work hard, we will end up like that. The thought is if they help one, they need to help the next, then where do the helping stop?
I have tremendous respect for what MM Lee have done to turn singapore into what it was.
There is a juncture that you face. What do you want singapore to be like. Do we really want foreigers workers serving us, cooking our food ? Cleaning the streets ?
What kind of society do you want to be?
I tell you if you give the locals 1 million dollars they will still find something to complain. Emotional Satisfaction. That is the 2 words that I am is looking for. And I am aiming towards that.
Do you really want to step into the animation industry? Part 1.
I am typing this isn't really as a guide for anyone. This is me thinking out loud and formulating my own thoughts or ideas.But any input is helpful. I will probably be re-structuring the paragraphs as I go along.
Students told me that after knowing me their morale become low. And that I am being cynical. But am I really? I think its more of knowing what the situation is out there so that you are prepared for it.
Students told me that after knowing me their morale become low. And that I am being cynical. But am I really? I think its more of knowing what the situation is out there so that you are prepared for it.
September 2, 2010
Texture Painting Notes Level Up.
Some texture painting notes off the top of my head.
1.) Look at natural occuring patterns. See the rhythm and shape of dirt, stains. Leaves. For a painter, you need to see a lot. This is most crucial when painting skin and organics surfaces. A lot of painters face this difficulty because they have not look and study at patterns long enough. See the recurring patterns and commit to memory. When you do that, things will fall into place when u look at shapes and patterns during painting.
http://www.miqel.com/fractals_math_patterns/visual-math-natural-fractals.html
http://web.mac.com/camazine/Camazine/Self-organization_files/Patterns%20in%20Nature.pdf
When designing fantasy floral and fauna surfaces, the key is believability. Not realism.
2.) Low and high frequency levels. Near and Far. Details needs to oread both from near and far.
3.) Spot the Hardness and Softness in transaction. Both in color and in tone. And how to apply them in painting.
4.) Clearly be able to dissect from a reference image, what can be created as specular, color and displacement maps.
5.) Color maps - Do a quick and dirty maps and set the render up b4 tweaking. Just to see how the lights are interacting with the maps. Balance out your shaders, define you color space Then Paint. Do not go back and forth, render, re-render, paint, etc... very time consuming.
6.) Color grading of references. Before u do this, u need to define the color space. Is it gamma 2.2 or 1.8 or whatever. Then again u can color correct and use curves to a photo to match the lighting in the turntable or shot so this is really a moot point. Just make sure that it stays between around 15%-85% brightness.
7.) Letting Go. Dun go into a detail on a particular area and focus on it. Remember you got to do the same for the rest of the model. UNless that area is in the money shots. Get a overall look 1st. U might get away with more then you know. Different people look at Different shapes, different details. That area that u been busting ur balls over, people might not even care or notice.
8.) Layers, Keep it low, keep it simple. Easy to fix. Too many overlays/softlight confuses you. Once you like a look, flatten it. UNLESS its a decal or something that needs to fix. Dun be too depend on it. You are a texture painter. Paint.
9.) Brushes and Channels are your friend. Learn them well and you will prosper.
10.) Color Picker. USE IT.
11.) Reference. Do not just use a few. For color, preferably ones that are well lit with little or no specular. For specular reference the object in different lighting conditions and with flash/no lfash helps.
12.) Reference. There is such a thing as too much reference. Pick the good ones and stick with it.
13.) See how the light hits the object. How it breaks up the surface. And also if there is any white balance used in the photo.
14.) Specular maps are ur most important weapons.
15.) Paint the full range of values for scalar maps. i.e displacement, bump and specular. no use painting only 60%-40% gray for bump. Use the full amount and then u can adjust in shader. If the shader permits, use low and high freq maps separately for greater control. Else, have them in photoshop layers and combine them as 1 map like the old days. Of a more civilized time.
Thats it for now.
1.) Look at natural occuring patterns. See the rhythm and shape of dirt, stains. Leaves. For a painter, you need to see a lot. This is most crucial when painting skin and organics surfaces. A lot of painters face this difficulty because they have not look and study at patterns long enough. See the recurring patterns and commit to memory. When you do that, things will fall into place when u look at shapes and patterns during painting.
http://www.miqel.com/fractals_math_patterns/visual-math-natural-fractals.html
http://web.mac.com/camazine/Camazine/Self-organization_files/Patterns%20in%20Nature.pdf
When designing fantasy floral and fauna surfaces, the key is believability. Not realism.
2.) Low and high frequency levels. Near and Far. Details needs to oread both from near and far.
3.) Spot the Hardness and Softness in transaction. Both in color and in tone. And how to apply them in painting.
4.) Clearly be able to dissect from a reference image, what can be created as specular, color and displacement maps.
5.) Color maps - Do a quick and dirty maps and set the render up b4 tweaking. Just to see how the lights are interacting with the maps. Balance out your shaders, define you color space Then Paint. Do not go back and forth, render, re-render, paint, etc... very time consuming.
6.) Color grading of references. Before u do this, u need to define the color space. Is it gamma 2.2 or 1.8 or whatever. Then again u can color correct and use curves to a photo to match the lighting in the turntable or shot so this is really a moot point. Just make sure that it stays between around 15%-85% brightness.
7.) Letting Go. Dun go into a detail on a particular area and focus on it. Remember you got to do the same for the rest of the model. UNless that area is in the money shots. Get a overall look 1st. U might get away with more then you know. Different people look at Different shapes, different details. That area that u been busting ur balls over, people might not even care or notice.
8.) Layers, Keep it low, keep it simple. Easy to fix. Too many overlays/softlight confuses you. Once you like a look, flatten it. UNLESS its a decal or something that needs to fix. Dun be too depend on it. You are a texture painter. Paint.
9.) Brushes and Channels are your friend. Learn them well and you will prosper.
10.) Color Picker. USE IT.
11.) Reference. Do not just use a few. For color, preferably ones that are well lit with little or no specular. For specular reference the object in different lighting conditions and with flash/no lfash helps.
12.) Reference. There is such a thing as too much reference. Pick the good ones and stick with it.
13.) See how the light hits the object. How it breaks up the surface. And also if there is any white balance used in the photo.
14.) Specular maps are ur most important weapons.
15.) Paint the full range of values for scalar maps. i.e displacement, bump and specular. no use painting only 60%-40% gray for bump. Use the full amount and then u can adjust in shader. If the shader permits, use low and high freq maps separately for greater control. Else, have them in photoshop layers and combine them as 1 map like the old days. Of a more civilized time.
Thats it for now.
June 16, 2010
Carlos Baena Educational Posts.
A compilation of Carlos Baena's previous posts on his thoughts of animation. Very very useful Stuff.
- Acting & Non-Acting
- On Feedback
- Status & Comedy
- Combining multiple ideas into shots
- Editing
- On Film Acting
- Dramatic Choices
- Motivation
- Career Advice
- On Schools
- Priorities & Organization
- Timing & Comedy
- Eyes: Part 2
- Eyes: Part 1
- Texture
- Simplicity in Planning
- Details
- Acting vs. Reality
- Internal: Emotion vs. Expressions
- Topic: Storytelling as animators
- Track/Dolly/Steady shots
- Snappy Animation
- Topic: Life as a professional animator
- After the Gag
- Topic: Overcoming Shot Challenges
- Internal vs. External Dialogue
- Topic: Making it / Dream Jobs
- Snapshots in animation
- Weight & Materials
- Composition is Composition
- Storytellers
- Film & Photography
- Gesture Choices
- On submitting Demo Reels
- Expectations
- Facial Expressions
- Tex Avery & Gags
- Simplicity in Animation
June 6, 2010
Primary, secondary and teritary shapes.
From Neil Blevin's website.
This lesson is all about Primary, Secondary and Tertiary shapes, what they are and how to use them. This concept is also sometimes referred to as "Big, Medium, Small", as in, if your image has a nice distribution of big (primary), medium (secondary) and small (tertiary) shapes, the resulting image will tend to be more pleasing to the eye.
This lesson is all about Primary, Secondary and Tertiary shapes, what they are and how to use them. This concept is also sometimes referred to as "Big, Medium, Small", as in, if your image has a nice distribution of big (primary), medium (secondary) and small (tertiary) shapes, the resulting image will tend to be more pleasing to the eye.
First, a definition. Primary shapes are your big shapes. If you squint at an image, the details tend to disappear and you're left with only your big shapes.
Secondary shapes are the smaller shapes that either sit ontop of, or help make up the primary shapes.
Tertiary shapes are again smaller than the secondary shapes.
First off, what should the size of these details be? Well, that depends on personal taste. I like having the primary details being huge, almost the size of the image itself. And I like Tertiary details being really small, sometimes the size of a pixel or two. From there you can decide the appropriate size for the Secondary Details. Of course, not all details should be the same size, it's more like a range of sizes, so not all secondary details should be the same size, but should be in a similar range.
So these could be primary, secondary and tertiary shapes....
May 21, 2010
Animation : Strive for Simplicity
AGAIN FROM ASTERISK ANIMATION'S BLOG.
notes from Tissa David's lecture on 11/16/89.
Camera moves shouldn't be visible and obvious, they should be felt.
When zooming go in a straight line [important note for motion graphics]
EXCEPTION: unless you are following an action.
Jump cut should have a visible difference in size.
Timing: correct way of saying something you feel. Leading into something
Timing will show emotions by the pacing.
VERY LOUD beat can be two frames ahead of the beat.
Gestures 6 frames ahead can help a loud beat (impact)
lead ball falling down, the effect comes after it is bouncing off.
Gestures before or after the statement are more effective.
using joint movement gives smoother, looser animation otherwise it would be stiff.
cycle: should be simple (it would be less obvious)
strive for simplicity
You need 6 frames to see anything.
[illustrated example of lifting a heavy rock]
1) anticipation of weight
2) lifting of the weight
3) actual weight
Animation is acting
Light scarf will move very slowly and flows.
leaf [illustrated example]
drop of water [illustrated example]
Fast actions will overlap.
Its not necessary to overlap action generally.
[illustrated examples: finger pushing, ball, ball bounce]
notes from Tissa David's lecture on 11/16/89.
Camera moves shouldn't be visible and obvious, they should be felt.
When zooming go in a straight line [important note for motion graphics]
EXCEPTION: unless you are following an action.
Jump cut should have a visible difference in size.
Timing: correct way of saying something you feel. Leading into something
Timing will show emotions by the pacing.
VERY LOUD beat can be two frames ahead of the beat.
Gestures 6 frames ahead can help a loud beat (impact)
lead ball falling down, the effect comes after it is bouncing off.
Gestures before or after the statement are more effective.
using joint movement gives smoother, looser animation otherwise it would be stiff.
cycle: should be simple (it would be less obvious)
strive for simplicity
You need 6 frames to see anything.
[illustrated example of lifting a heavy rock]
1) anticipation of weight
2) lifting of the weight
3) actual weight
Animation is acting
Light scarf will move very slowly and flows.
leaf [illustrated example]
drop of water [illustrated example]
Fast actions will overlap.
Its not necessary to overlap action generally.
[illustrated examples: finger pushing, ball, ball bounce]
Budgeting for animation Part 1 From Asterisk Animation
FROM ASTERISK ANIMATION - PART 1
Here's how the SUMMARY OF PRODUCTION COSTS works.
This budget is a variation on the AICP budget form. That is designed for live action. That budget form contains (literally) one line for "animation". Each of the production categories are culled from there.
We figure there are 5 phases of production as far a budgeting is concerned. Future posts will explain these in detail.
In general, it's best if "animation" covers about 30% of production costs. When we get into categories, you'll see this means labor/production costs of animators, assistant animators, inbetweeners, etc.
In this model, lines A-E total $90k. All of that should be detailed in the body of the budget.
Now for the next lines.
In work-for-hire, the producer isn't supposed to mark up director/creative fees. When we get into line items, we'll describe what this does and doesn't include. It's customary for a director to be budgeted somewhere around 10% of A-E. This is listed as "Creative" under "Subtotal A-E".
"Production Fee" is "mark up". This includes a lot of things. One thing is profit. Another is contingency. Another is operating expenses (like tax preparation, water, and daily costs of running a company). This is not entirely overhead, a lot of your overhead should be covered as line items.
In the good old days of advertising, it was common to mark a 28% production fee. These days it seems like 15% is closer to the norm. Some clients will insist on it being even lower. In those cases -since the Production Fee represents many real costs -those numbers just get shifted to line items.
Insurance is another figure which doesn't figure into the Production Fee. This is figured at 1.5% of A-E.
Here's how the SUMMARY OF PRODUCTION COSTS works.
This budget is a variation on the AICP budget form. That is designed for live action. That budget form contains (literally) one line for "animation". Each of the production categories are culled from there.
We figure there are 5 phases of production as far a budgeting is concerned. Future posts will explain these in detail.
In general, it's best if "animation" covers about 30% of production costs. When we get into categories, you'll see this means labor/production costs of animators, assistant animators, inbetweeners, etc.
In this model, lines A-E total $90k. All of that should be detailed in the body of the budget.
Now for the next lines.
In work-for-hire, the producer isn't supposed to mark up director/creative fees. When we get into line items, we'll describe what this does and doesn't include. It's customary for a director to be budgeted somewhere around 10% of A-E. This is listed as "Creative" under "Subtotal A-E".
"Production Fee" is "mark up". This includes a lot of things. One thing is profit. Another is contingency. Another is operating expenses (like tax preparation, water, and daily costs of running a company). This is not entirely overhead, a lot of your overhead should be covered as line items.
In the good old days of advertising, it was common to mark a 28% production fee. These days it seems like 15% is closer to the norm. Some clients will insist on it being even lower. In those cases -since the Production Fee represents many real costs -those numbers just get shifted to line items.
Insurance is another figure which doesn't figure into the Production Fee. This is figured at 1.5% of A-E.
Eyjafjallajökull Time Lapse Animation.
Awesome video of Eyjafjallajökull Volcano Time Lapse Animation.
Iceland, Eyjafjallajökull - May 1st and 2nd, 2010 from Sean Stiegemeier on Vimeo.
April 2, 2010
STORY
Synchrolux had quite a few awesome posts about Story
http://www.synchrolux.com/?p=40
http://www.synchrolux.com/?p=277
http://www.synchrolux.com/?p=284
http://www.synchrolux.com/?p=289
Very very good read.
I will break them down later,
http://www.synchrolux.com/?p=40
http://www.synchrolux.com/?p=277
http://www.synchrolux.com/?p=284
http://www.synchrolux.com/?p=289
Very very good read.
I will break them down later,
Subscribe to:
Posts (Atom)