Wednesday 24 June 2020

Toolkit 2: Reflective Statement


Toolkit 2, while I didn’t finish everything, was a relatively decent experience for me. While I found that some parts of it were particularly stressful, I learned from these situations and I know that it will make me better prepared and understanding of important processes that I will be using as I move on into the third year.

Maya has always been one of my weaker points as I had no experience whatsoever with the program at the start of the course and I have continually felt intimidated by it, but I feel like I made a lot of progress this year and understand a lot more than I did by the end of the previous year.
Jetpack Jones was possibly the most difficult part of Toolkit 2, as I ended up going through the tutorials and spending hours tidying up the vertices to make sure that my model was as smooth as possible. Even though I had only started the skinning by the time that the deadline rolled around, I am still satisfied that I learned a huge amount just through the modelling tutorials and hope to learn even more about the rigging, skinning, and texturing processes in the summer as I continue to finish the outstanding tutorials.

I feel like much of the problem with the Jetpack Jones tutorials and the reason I didn’t get them all finished besides external issues I’d encountered was the fact that I don’t think I paced myself very well and the fact that I started working on the tutorials a little bit later than most people, and, again, I spent large chunks of time making extremely tiny tweaks and trying to perfect the model as I was following along with the tutorials instead of using them as a brief guide and spending a designated amount of time cleaning up what I’d done at the end of each tutorial.

The lighting and rendering tutorials, I think, were simple and easy to complete, though I had a couple of difficulties here and there in regard to rendering (for example, the Arnold logo appearing on my motion blur render and the renders of the model of the old man not quite working and overinflating), but for the most part, I think that it went well and that what I’ve learned will prove useful next year.
Animation was the second most difficult part of Toolkit 2 for me as I find that 3D animation is another one of my weaker points; I want to refine my work over the summer alongside finishing Jetpack Jones so that I can improve my animation skills for when I come back. I do think that I have made a lot of progress with 3D animation this year, even if I’ve still got a long way to go and a lot more to learn.

My favourite part of Toolkit, as was the case last year, was the Drawing segment. I find the drawing sessions very enjoyable and I think that it’s nice to go back to basics and focus on improving skills relating to getting something down on the paper quickly, practicing with different materials, and working on how anatomy looks when it is drawn.

Mudbox work was a change of pace and I found that I really enjoyed it as well. While I still have a lot of improvement to do in this area as well, I liked learning about the new program and even though I found it frustrating at times and I couldn’t get certain things to work (specifically the ‘posing’ segment), I thought it to be a good experience and may return to the program in the future.

Overall, I think that while Toolkit 2 could’ve gone a lot better, I’m still somewhat proud of what I have managed to achieve thus far and hope to improve even more over the course of the summer by finishing outstanding work and doing other Maya and drawing work.

Thursday 11 June 2020

Toolkit 2: Submission

Animation






Character Design



Jetpack Jones Pipeline





Life Drawing


Lighting and Rendering


Mudbox Tutorials


Wednesday 10 June 2020

Toolkit 2: Mudbox Tutorials: Custom Model



For my custom model, I wanted to make an item of food. I took inspiration from the above image (as I did not completely adhere to the strawberry pattern on the cake; I chose to replace it with a heart pattern instead). The image was found on this website.

I started out by making the very basics of my model in Maya and sorting out its UVs by cutting and sewing where necessary as I wasn't happy with how the software had done it and by rearranging them into a single square. 



I imported the file into Mudbox and started to add basic textures to each of the objects in turn by isolating them and using the stamp and stencil tools. 



I also edited the actual mudbox materials so that different objects had different levels of specular and gloss to them; the strawberries and knife are glossier and shinier than the rest of the objects, for example, while the cutting board and the piece of parchment paper on top of it are the least glossy and shiny objects in the scene.


I then started to colour each of the objects individually and add different sculpted pieces onto them. For example, I sculpted the icing on the cake and its slices, as well as the heart pattern on the outside. The knife had a bump applied to it so the screw in its handle was visible in comparison, and the paper had some distortion applied to its edges to make it look slightly curled.


I added a light into the scene and changed its colour to be slightly amber-tinted. 




Toolkit 2: Autodesk Maya: Jetpack Jones: Skinning (Part 2)

Creating a new locator and putting it into position in the hip area.


Adding other locators for the clavicle, arm, elbow, wrist, knee, ankle, and foot in preparation for building the rest of the skeleton.


Beginning to create the joints in the leg.


Snapping the joints to the locator so that they are in place, before rotating them using the attribute editor for more accuracy.


Adjusting the leg further and then testing it using an IK handle to make sure that it bends correctly.


Making joints for the ball of the foot and the toe, and then parenting them to the ankle before deleting the locators that were in place.


Creating the pelvis joint and parenting the leg joint to it before mirroring it. 


Creating the arm joints and orienting them using the attribute editor. The clavicle and chest joints are then created so that the clavicle can be parented to the chest and then the arm can be parented to the clavicle. 


All of the hand joints completed (the smaller joint sizes were achieved by scaling down the radius). Jetpack Jones' torso colour was also changed so that the joints were more visible when adjusting them and moving them around.


Creating neck joints and a head joint and then parenting them to the chest.


Parenting the pelvis and chest to the spine.


Deleting the arm and leg joints on the right of the skeleton so that extra forearm and shin joints can be inserted into the arm and leg respectively. The arms and legs are then re-mirrored to accommodate the changes.


Inserting cubes into the scene and parenting them to the forearm and shin joints so that when a script is written to create the correct movement when the wrist is turned, the results can be visible in the viewport.


Result of the script on the left forearm.


Completed skeleton.


Sunday 7 June 2020

Premise: Reflective Statement


The Premise project has perhaps been one of the most difficult for me in many ways, and I feel like, of all of the projects that I have completed thus far, it is the one that I think I have the most negative perception of. To begin with, when starting the project, I had very little idea on what I actually wanted to make a film about; even though I had thought about it a lot beforehand, I had struggled on coming up with anything that I was enthusiastic enough about to create a short from. This set me up to have little confidence from the get-go as I found this to be very intimidating, and thus, I feel like it caused me to get off on a fairly rocky start with the project.

I did end up spending quite a while (at least longer than I’d have liked) figuring out what direction I would like to have taken my story and working out a running theme among all of the supporting cast. One of my main concerns about the story was that it wasn’t quite ‘personal’ or ‘deep’ enough, and therefore I think I ended up devaluing my project a little bit. I think that this stemmed from the mistake that I made of comparing myself to everybody else - not realising at the time that obviously everyone’s going to have different tones to their project – mine just happens to be considerably more light-hearted and it wasn’t necessarily a bad thing.

I believe I fared much better in situations where I had been given a prompt that I had to work with (as was the case with all of the previous projects from both first year and second year); this time, I had to figure out something by myself with no prompts or anything else to rely on. I feel like this is another contributing factor as to why I fleshed out my story very late on in the project – writing stories is one of my weaker points, but after speaking to Alan about it, I managed to come to something that I think is fairly decent.

My opinion of my film also changed over time, as well; at some points, I actually ended up hating it and wondered that if perhaps I could switch it out for something else for the Minor project! These feelings did subside once I’d worked out my story proper, and in the final stretch, I found that I was actually very fond of the characters I’d made, their world, and the story that I was making. I do not think that, looking back from where I am now, that I would even want to switch out this story anymore because of how much it’s grown on me over the last few weeks.

Time management is another thing that I struggled with; I had become slower when working, which made it difficult to get everything done (which I didn't). This meant that my storyboard and animatic both suffered, and I am deeply disappointed in myself about the outcome of both. I ended up rushing bits of what I did manage to get done, and I think my struggle with correct pacing and camera angles possibly worsens this issue a little bit. I do also wish that I’d gotten around to colouring my environment designs and making some concept paintings or illustrations of the characters as well as reaching the orthograph stage, but I think that, given what has happened this year, I’m at least somewhat satisfied that I made it as far as I did.

I believe that many of my issues with this project were caused by medical issues and the subsequent knockback on my mental health, as it has ultimately set me extremely far back in terms of my confidence and has worsened my imposter syndrome. I found that this got worse throughout the project to the point that towards the final month or so, while I have always struggled with confidence issues anyway, I noticed that my already fairly negative perception of my art had progressed into becoming incredibly embarrassed to share what I’d been working on out of fear that it was not good enough and therefore I became extremely avoidant in regard to the course. Coupled with the physical symptoms that I have been experiencing, it ended up having a sort of domino effect on the rest of my work, as not only did I start posting less frequently, but it became harder for me to finish the work as fast as I used to be able to (especially compared to first year!) and I didn’t realise until much later as well that I’d been missing out on tutorial time because I had forgotten to sign up to them.

I feel like, perhaps, my biggest achievement of the project was the character and prop design aspects. And, although it’s rather negative to say so, I am actually somewhat disappointed in myself for this. I worry that I am relying too much on drawing, and I feel like it’s rather typical of me to have focused very heavily on the characters. In terms of something that I am completely proud of, though, I am happy with the way my environment designs and colouring work for the props and characters turned out. I also enjoyed working on the Careers part of the project (mostly the parts that required me to use graphic design skills such as the careers and studio research tasks).

I’m aware that the standards I hold myself to most of the time are essentially perfectionist in nature and that it’s damaging for me, so I’m going to work on rebuilding my confidence to the best of my ability. I want to figure out how to enjoy what it is that I’m doing again, and to actually be proud of things that I create.

I know that there was little I could do to control the outside influences that made this project much more difficult for me. Luckily, the COVID-19 outbreak didn’t particularly affect me a great deal as I had the necessary software and resources at home to complete the project, but the medical issues that I had to deal with were unprecedented. Part of the solution to this problem, I think, will mostly be to do with taking time to process the mental effects it’s had on me and working on how I can deal with these so it affects my work to a hugely lesser degree, and as it’s an ongoing situation, that if anything else comes up, I ask for help as soon as possible instead of letting myself become avoidant and fearful of asking for help.

If I could revisit the project, I would definitely work on the story first and make sure that it was one of the first things that I’d had completed and laid out for me. I would’ve also spent less time on character design (or at least moved on after figuring out the main two characters and worked on the supporting cast later) and prop design so that I could have moved onto the storyboard and animatic much sooner.

Over the summer, as well as focusing on freelance work, I’m going to put time and effort into personal projects and challenges to try to pick up the pace again when it comes to working and to improve my time management. This is, of course, going to be done alongside finishing my animatic and storyboard, improving my concept art and creating illustrated pieces, finalising all of my character designs for good, and hopefully moving onto 3D work after making orthographs for my characters (I would like to at least have all of my environments modelled by the end of summer). I am very much looking forward to doing all of this and putting my best foot forward in my final year.

Saturday 6 June 2020

Toolkit 2: Autodesk Maya: Jetpack Jones: Skinning (Part 1)

I started the skinning tutorials for Jetpack Jones.

Creating the locators


Snapping the locators to the grid, and putting them on a layer with a colour to make sure that they are more visible in the viewport.


Adding in a nurbs plane, rotating it in the X axis, and scaling it in the Z axis.


Deleting the lower locator, adding more patches to the nurbs plane, and then freezing the transformations and history on it before renaming it


Using the 'Rebuild Surface" function on the nurbs plane


Using the "nHair" function


Cleaning up the outliner by removing unnecessary components from the scene and renaming them


Creating joints and parenting them to the ribbon spine


Creating control joints, scaling them up, and adding them to a layer with colour to distinguish them from the other joints


Using the local scale function on the locator, duplicating it, and changing the names


Creating the upper, lower, and middle locator sets and then creating the additional offset locator in the middle group. 


Putting the control joints into the locator groups


Adding a point constrain to the locators


Creating aim constrains for the lower aim locator


Creating another point constrain on all of the aim up locators for rotation


Using the connection editor to connect the rotates in the X and Z axes.


Using the "Bind Skin" function to attach the nurbs plane to the joints


Using the component editor to adjust the way that the plane bends.


Cleaning up the outliner again and organising the objects in the scene into groups.


Creating a curve by selecting the isoparm option on the nurbs plane, selecting one of its edges, and duplicating the surface curve, before renaming the curve and snapping it to the centre of the spine.


Binding the curve to the joints in the same way that the nurbs plane was binded.


Repeating the process of editing the bend of the curve using the component editor.


Making Jetpack Jones' torso and legs visible again before placing the spine into the body.