Photoshop Digital Tutors and the Christmas holidays

Enjoying a quiet moment here and there throughout the Christmas holidays to run through the Photoshop course on DigitalTutors...
lesson 11 of 88 (!) completed haha...

So worthwhile....crop and rotate shortcuts and the ruler tool!!

Digital Tutors - photoshop layers to create a 'render' on a 3D model

So yesterday I got to use the machines in the 3D make lab....top secret Christmas stuff...more pics to follow!

And today, ahhh Digital Tutors!
Just starting an 11 hour photoshop tutorial....starting at the beginning. Oh wow. Shortcut heaven...

This is using the layer settings, hard light, multiply, colour to apply a simple 'render' look to an existing 3D model...

love the colour of her hair...needs some more work on her eyes though haha

Toon shader and Ramp shader effects in Maya

So our presentations were today - for the finale of Semester 1.

Wow, what a few weeks....I've found my way around the university and the Maya interface....both a huge labyrinth of creative exploration.

Very exciting!!

Here's some of the ideas I have been playing around with in Maya...

Toon and Ramp shader effects in Maya, and some of the results have been a lot of fun...

Here's some images, using an ambient occlusion node, which is applied to a plane in hypershade...

Hypershade - now there's an interface that's a labyrinth all on it's own....

Render images of Toon Shader and Ramp Shader experiments in Maya !

Render passes and Image Based Lighting....

Eyes in Maya

The first time I tried to insert a spherical eyeball into my model I ended up inside the eye!

Success this time!!

Face modelling in Maya

Starting to get to grips with Maya !

And have noticed that I am looking at everything and how it would be constructed in Maya and thinking.... "hmm, ok, so that would be a polygon cube, sphere, plan, Nurb curve, extruded, rotated, scaled down, extruded again etc etc." haha !

Face modelling today, using a Polygon Plane....

Modelling a female torso using cylinders and spheres...

Maya - Paint skin weights, blend shapes and FK IK rigging

Maya skin weights....

Each joint has an influence on the surrounding geometry, and this influence is represented in black and white; white = lots of influence, black = none. A colour scale can also be used, as it's easier to see than black and white. (colour range shown below, both in the paint skin weights dialogue box and the model in the viewport.

After the character is rigged and the rig is then bound to the geometry, we tested moving the model. If any distortions were apparent, then we used the paint skin tool to correct the influence, by adding or replacing.

Good link here to Autodesk and more about Paint Skin Weights !

https://knowledge.autodesk.com/support/maya/learn-explore/caas/CloudHelp/cloudhelp/2015/ENU/Maya/files/CST-Paint-Skin-Weights-Tool-htm.html

Maya Rigging

Creating IK handles -

I learnt a valuable lesson...

I omitted to delete history and freeze transformations, before contraining my IK handle (green box highlighted on the wrist of the character below). Therefore the axis values were not set to zero; meaning that it's pretty impossible to get back to a 'T' pose.

I am going to practice and create the right hand side of the arm rig - and remember to delete history and freeze transformations!!!

What are IK handles and solvers?

"Maya provides inverse kinematics tools called "IK handles". The effect of an IK handle on a joint chain is determined by the type of IK solver that you choose.
There are three types of IK handles with corresponding solvers: Single Chain (SC) Handle, Rotate Plane (RP) Handle, and Spline Handle.

• Single Chain (SC) Handle and Rotate Plane (RP) Handle can be used to animate the motion of an articulated figure's limbs, and similar objects.
• Spline Handle can be used to animate the motion of curvy or twisty shapes, such as tails, necks, spines, tentacles, bull-whips, and snakes." http://accad.osu.edu/~midori/Materials/IK_solvers.html

Maya interface whilst rigging.

Hypershade (on the left) for creating blend switches between FK and IK and Outliner on the right, showing the hierarchy.

Research Poster

Assignment:

"You are required to produce a poster which communicates your research interests in visual and/or text based formats and demonstrates your understanding of academic research relevant to animation/ creative practice and your own academic investigation/ research."

Modelling a Cowgirl Hat in Maya

Modelling a Cowgirl hat in Maya...

So far, one torso, two legs, two arms, one boot and one hat brim!

After Effects

First time using After Effects

Using the interface.

Alpha paints to block out keys.

Keying

Masks

Grids.

Camera tracking

And basic animation. Looking forward to practicing with some tutorials !

Maya Rigging

Basic Maya Rigging today...

Using the joint tool and gaining more understanding of the 'outliner' box and the importance of labeling and hierarchy....and choosing the 'baby' in the hierarchy first and then the 'parent'.

Spine joints illuminated in green. 

Creating nurbs in 'green' for the ankle and toe controllers (CTR)

 Basic skeleton with the controllers ( blue and green ovals/circles) on the foot

Basic skeleton showing the left (blue) and right (red) knee controllers (K) - positioned away from the skeleton. The white diamond shape is the spine root controller.

Skeleton without the wireframe of the character

Adjusting the X,Y,Z rotation orientation for the thumb joints

Quads in Maya

Topology using quads 

Vertex faces and 'duplicate special' command in Maya

Double checking that I have clean vertex faces....any random lines or boundaries will cause a problem down the line.

I've been playing with the 'duplicate special' command, which works similarly to the 'symmetry' tool.

Next step tomorrow is modelling under the arms and then connecting the leg...then I can duplicate one half and mirror it exactly.... and then combine and merge the body together....

Using cylinders to model torsos, arms and legs

Using cylinders to create a torso, arms and legs

https://www.youtube.com/watch?v=jZekghp78x8&list=PLR6NkeqscAx1G47ES3keltSaZi4DNOpXk&index=40

Autodesk proving useful for tool tips and hot key short cuts....

2D character front view to 3D Maya modelling

Great links for anatomy and modelling...

I'm using an overlay of anatomically correct arms, as reference for my image plane, when modelling in Maya. I can then adjust the model for more accentuation once it's in place

These anatomically correct arms are found on http://melsrefs.tumblr.com/

Giving her a shout out link, as they're great and readily available on line for animators...

Great youtube tutorial for Maya female modelling

https://www.youtube.com/watch?v=jZekghp78x8&list=PLR6NkeqscAx1G47ES3keltSaZi4DNOpXk&index=40

3D character modelling in Maya

Ok, so I have a new computer that I believe could easily run NASA...
and I now have Maya loaded...at home.
Feel like I've just passed my driving test and I am now out driving on my own!

Beginnings of modelling a neon cowgirl. Must remember no triangles, no n-gons, symmetry command on....save in layers.
So far, I've lost the model completely and re-started twice.
Increment save activated!
Just the beginning....will be interesting to see how the legs and pelvis area move, and whether this is a good way to create them.
Learning curve!

Writing an Abstract

The Task Write an abstract which describes your proposed work for Masters. If possible, include a statement about the context in which you are working or the background to your proposal, key artists/ designers that may influence you and the problem or perspective that you propose to explore within your own work. You should also explain the methods that you intend to use. The abstract should be referenced using an appropriate system (e.g. Harvard method or Oxford method). The abstract should be between 450 to 550 words in length. 

DJ51019: Research Skills & Methods

Task 2: Writing an Abstract. 20 October 2015

Andrea McSwan

Title:

Using photographic dark room processes to tell a metaphorical story of a 2D protagonists fight to become 3D.

Set within a 3D computer generated dark room, the narrative, for my proposed animation for my Masters work, is metaphorically told through the mechanics of film negative processing. When a woman is taken hostage in the 2D world of a camera negative, she must overpower her captor and break free into the 3D world.

Both in terms of visual representation and progression of the story structure, the

Perspective of this animation will aim to present metaphors found within dark room photographic processes such as agitation to development; transformation of negative to positive; darkness and shadows to light and invisibility to exposure.  

The aesthetic style of the film will initially take the form of a dark limited world of 2D confinement, of hand-drawn flattened characters, scratched negatives, photographic manipulation and stop frame sequences.

As the emotional tension and drama builds, more metaphorical processes including magnifying, enlarging, agitating and developing will be incorporated.

Ultimately at the point of the transformative change for the protagonist, the aesthetics of the film will immediately change from claustrophobic dark monotone into the hyper real world of three dimensional realism, incorporating vivid Technicolor and 3D computer generated animation.

To inform the visual metaphors of the film, the methodology within the

pre-production process will include a framework of practical research, including film negative development processing; study of the mechanics of the Camera Obscura in Edinburgh; basic research into Ultraviolet/Infrared light and heat imaging and further study and experimentation into 3D computer simulation and modelling.

Creation of the characters, script, animatic and final film will evolve from a broad range of art and design methods including Concept mapping, Concept boards, Visualisation, Storyboards, Visual narratives, Sketchbooks/ notebooks, content analysis of documents, films, animations and websites. Further 3D research and study will include motion capture and computer modelling/simulations through the application and utilisation of software such as Maya and Mudbox.

In addition to the practical and mechanical findings contained within the methodology, active research methods will be engaged to explore the emotional issues pertinent to the narrative.

Analysis and observation of documentaries, websites, organisations that deal with issues such as domestic and emotional violence and The Stockholm Syndrome, will be analysed to inform and bring depth to the subtleties within the set, characters and storyline.

Visually influenced by key artists and film makers such as the painter Edward Hopper for his dramatic and simplistic use of light and Ralph Steadman for his disturbing erratic line drawings, the character and set design will be informed by a variety of visual styles and techniques. Taking inspiration from the animation, Ryan (Landreth 2005), and his characters which are both partially fragmented and transparent and yet have hyper real facial features, the designs for the 2D protagonist will present a blend of stark realism, striking use of light and shadow, plus animated erratic neon outlines. The disturbing emotional undertone of the animated short, Please Say Something (O’Reilly 2011) will also inform the set in terms of the atmospheric isolation found clinical world, in which traumatic and dark events take place.

And with a desire for justice theme and a dramatic tone, the film will endeavour to bring hope and encouragement to those who are facing a dilemma that requires courage to change.

References

 O'Reilly, D. (2011) Please Say Something 2011. Available at: URL

https://www.youtube.com/watch?v=Q2YdJy0w66Y&index=2&list=PLR6NkeqscAx1G47ES3keltSaZi4DNOpXk (Accessed: 27 October 2015)

NFB (2013) Ryan 2005. Available at: URL

https://www.youtube.com/watch?v=nbkBjZKBLHQ&list=PLR6NkeqscAx1G47ES3keltSaZi4DNOpXk&index=3 (Accessed: 27 October 2015)

Keywords

Animation. Dark Room. Film Negatives. 2D. 3D. Hostage.

Photographic process. Developing Transformation.

Head and Ear modelling in Maya

Maya modelling, creating an ear and merging it into the head.

I learnt today that merging and combining are two different things...

Combining is the equivalent to 'grouped layers' in Photoshop...and Merging is the equivalent of 'merging layers' in Photoshop

Using the 'draw quad' command in the modelling kit...

Character Modelling in Maya

Maya viewports below... plan, front and perspective view.

Modelling hands today - at one point I was inside the hand joining up webbing between the fingers!

Learning Maya is like learning to drive....

And AutoCAD is beginning to seem like 'echasketch' in comparison !

The Five C's of Cinematography

Great lecture this week on the Five C's of Cinematography..

1. Camera Angles

2. Continuity

3. Cutting

4. Close Ups

5. Composition....

Lots of ideas and food for thought for storyboarding!

2D character design

2D character design using generic female animation turnaround characters found on line - both outline and 3D.
I've placed them as a layer in photoshop and then added a neon paint effect outline over the top.

My 2D character will be a 'neon cowgirl'...here's the completed neon outlines....

New layers added, each with a new neon effect to build up glow. Legs, arms, head, hat, torso etc all on individual layers.....

The beginnings of the costume design....including stylised hair which should be good for 3D modelling!

Gun holster and lasso next!