1 / 40

Garth the Gargoyle: Success in CG Animation and Compositing Through Innovative Techniques

Explore the journey of animating Garth the Gargoyle as he rides through the Uncanny Valley. This project highlights the essential requirements for successful CG implementation, focusing on the challenges of animation and compositing with a winged character. Dive into advanced modeling techniques, rigging systems, and shader creation for realistic effects, including subsurface scattering and glitter. Learn about the complexities faced in blending CG elements with filmed materials, the importance of referencing actors for movements, and the powerful tools available in Nuke and Maya.

tana
Télécharger la présentation

Garth the Gargoyle: Success in CG Animation and Compositing Through Innovative Techniques

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Garththe Gargoyle A ridethrough the uncannyvalley.

  2. Goal • Requirements for successfulCG-implementation

  3. Goal • Requirements for successful CG-implamentation • Focus on animation and compositing

  4. Concept • Challenging design • Hind legs • Wings • Tail

  5. Concept • Challenging design • Hind legs • Wings • Tail • Challengingscene and light • Daylight. Cannothidemistakes. • Ice and snow. Sparkleeffect, subsurfacescattering and bouncelight.

  6. Concept Earlyconcepts

  7. Concept • Addedfilmed clip to storyboard • Increased animation and compositingchallenge

  8. Modeling • Three models

  9. Modeling • Three models • Basemesh. Evenedgeflow for optimal sculpting

  10. Modeling • Three models • High poly. 9 million triangles. Used for bakingdisplacement and normal maps.

  11. Modeling • Three models • Low poly. Topologydesigned for animation and gooddisplacementmap subdivision.

  12. Rigging

  13. Rigging • Intuitive • Less hands on animation

  14. Rigging • Intuitive • Less hands on animation • Muscle system • As part of an intuitive rigg.

  15. Rigging • Intuitive • Less hands on animation • Muscle system • As part off an intuitive rigg. • Free deformation animations

  16. Rigging • Intuitive • Less hands on animation • Muscle system • As part off an intuitive rigg. • Free deformation animations • Keepsvolume on bending regions ofmesh

  17. Rigging • Intuitive • Less hands on animation • Muscle system • As part off an intuitive rigg. • Free deformation animations • Keepsvolume on bending regions ofmesh • Muscle and wingjiggle

  18. Rigging

  19. Rigging • Issues: • Muscle deformation on displacementmapdefinedmesh. • Havetorendertosee the true deformation on mesh.

  20. Rigging • Issues: • Muscle deformation on displacementmapdefinedmesh. • Havetorendertosee the true deformation on mesh. • Tail rigg too intuitive • Easytouse, hard to master.

  21. Animation • Winged predator withtail • Different center ofweight. • Canlean forward more • Strong and agile motion scheme • Aggressive behaviour • Like other predators, movesinto position for attack

  22. Animation

  23. Animation

  24. Animation • Issueswithfilmed material • Time the animation withothercharacters • Hecticflowofplanned poses, • Loss of CG-charactersweight and momentum.

  25. Animation • Issueswithfilmed material • Time the animation withothercharacters • Hecticflowofplanned poses, • Loss of CG-charactersweight and momentum. • Wings collideswithitself. • Better skin weighting and addededges.

  26. Shaders

  27. Shaders • Mental raymia_material

  28. Shaders • Mental raymia_material • Final Gather and IBL lighting

  29. Shaders • Mental raymia_material • Final Gather and IBL lighting • Mib_flakes for frost glitter effect

  30. Shaders • Mental raymia_material • Final Gather and IBL lighting • Mib_flakes for frost glitter effect • SSS shader for snow/icesubsurfacescattering

  31. Shaders • Mental raymia_material • Final Gather and IBL lighting • Mib_flakes for frost glitter effect • SSS shader for snow/icesubsurfacescattering • Renderpasses

  32. Shaders • Don’toverdo the mib_flakes.

  33. Render and Comp • Renderpasses • 32-bit .EXR • Material Color • Directlighting • Indirectlighting • RawShadow • Specular • Reflection • Matte

  34. Render and Comp • Nuke setup • 3D-projection scene • Backgroundsare still photos • Importedcamerawithbaked animation • Grade and color correction • Light wrap • Motion blur • Film noise

  35. Render and Comp

  36. Render and Comp

  37. Render and Comp

  38. Render and Comp

  39. Conclusion • Muscle system not necessary • A Pose Space Deformation solution hadbeenequallyeffective • The useofactors as animation reference vital • Shouldhaveused an extra actor for gargoylemovementreference • Displacementmapsaretimeconsuming • Nuke is a powerfultool. Prepare for it! • Maya 2012 is another kind of ”tool”…

  40. Thanksto: My mentor, Mattias Bergbom – VFX consultant for DD Erik Öhman – awesomeactor and post-master My awesomeclassmates! And togscept for givingmethisopportunity! jimbo.sahlin@gmail.comgscept logga :P

More Related