Week 6: Rigging Problems

This week was a frustrating one as almost all my concentration went into finalising the Molly rig. The main problem was the arms, switching between IK and FK.

 

Problem 1: The first problem I came across was in the shoulders. When the switch occurred between IK/FK, the whole topography of the shoulders changed (refer to images). After asking the teacher, Wei, then redoing a few times, it seemed that I solved the problem. This problem was in relation to the orientation or angle of the joints used within Molly.

 

 

 

To solve the problem I reconstructed the arms on Wednesday with success, I thought. However, when I started to test the rig again, I incurred another problem.  

 

Problem 2: This entailed not a change in the model but the rotation of the shoulders and elbows when doing the switch. At first I thought it was just a painting weights issue, but on closer inspection I realised that when doing the switch between IK and FK, the skin joint was rotating between the two. Back to the drawing board.

 

Success: Upon doing it for the third time (on Thursday) after a handful of attempts, redoing the entire joint structure and just duplicating the joints over the others without touching them, the switch worked successfully.

 

As of now, I have been fixing up the weights and ensuring there is no deformation. This has of course taken a few days, and I believe Molly is now ready to start blocking with all scenes. At this stage, texture hasn’t occurred but this will happen on Monday.  

 

Despite the hard ache, pain and frustration, making all these mistakes have made me realise that it’s ok to make mistakes and that every time I do a rig for my characters I am learning. I also know that with every new character I may make as many mistakes as the last, but that is all part of the learning process.

 

To ensure mistakes will be lowered next time, I am using the Molly rig (without Molly’s model) and just modifying the structure where necessary.   I hope this will help reduce practice time and will ensure that animation can begin as soon as possible.

Schedules

 

Shot by Shot

 

 

 

Tasks

 



Update Week 5

This week has been very productive. Sally Anne rigging and weight painting has been finished, and animation blocking has begun with some success. I did have some problems with some of the face, however after solving the problem, blocking continued. At this stage it is very basic movements, any changes will occur in the next day or two, however these changes will not be dramatic as Sally Anne is hidden for most of her appearance, apart from one line.

 

Moving on from Sally Anne, rigging and weight paint work as just started on Molly. This weight painting has been so much easier as many of the mistakes I discovered while working on Sally Anne, I avoided and improved during Molly Campbell rigging. These mistakes mostly concerned weight distribution and joint selection. Weight painting is a challenging aspect of rigging (not a particular favourite of mine) and if you select or don’t select the right joints, things will go astray and headaches will occur. With Sally Anne, I didn’t select any of the internal joints and therefore there were too many weights on the skin. This was taken into consideration with Molly and only minor weight issues have occurred this time around. With the weights working on Saturday I developed the GUI for Molly, with only a couple of small changes to the weights that needed to be conducted for the face to work at a reasonable level. 

 

 

 

The biggest problem I am having with Molly is the right arm for weight painting, it is to do with the IK/FK switching. At the moment, the modeling is turning its self-inside out, without explanation. I have checked a number of times, and spent time redoing it, with the same results. The left arm works great, but for whatever reason, the right arm always seems to fail.

 

The main task this week was the exterior of Bradford’s house. This went through a number of changes and modifications. As you can see in the first image, it was flat, lacked any style or character, general a boring looking home, not a true representation of a 19^th century mansion. This design and style was based on a home I found online earlier this year and Sean the teacher indicated it didn’t portray the right century. Having looked at it from Sean’s point of view, I agreed and went back to the drawing board.

 

Finding a good example online was a tad difficult as many were either 19^th century American or Australian. After a while searching, Sean picked a perfect frontage, and indicated I should use this for Bradford home. Upon building and redesigning the front, I become somewhat attached to this new design, constructing and modeling pillars to a style of British Victorian 19^th century.

 

Texturing also changed a lot especially the bricks. I wanted to go for a slight rough and old style brick; however a clean brick was suggested. At the time, I believed a clean brick looked to modern and not that of the 19^th century. Trying a more modern looking brick has worked within reason, but this current texture for the bricks may change. However, a more clay traditional looking brick works far better than a white stone-like brick I had originally.

 

The toughest component so far was getting the red-like clay colour for the pillars. A number of colours and styles were tried and failed. It just didn’t suit the brick behind. After Google search I came across a render like texture, and in Photoshop I played around with the colour balance to get a red clay colour. This new texture, placed against the bricks works, it looks like it has been cement rendered and coordinates well with the bricks. Previously I had a flat colour and it stood out like a core thumb. It was also decided that having a clay like cap within the brick stood out and has (for the moment) been replaced by bricks only.

 

When looking back at the front, many alterations have occurred, each improving on the last. I can be assured that changes will likely occur and this will only improve the look of the place, and transport the viewer to 1895.

 

I found the hardest to model over the last few weeks was the ballustrates which should have been the most simplistic. I found a great image from the Victorian era. Only problem that was it had a swirl spiral ballustrates. I looked for a while online and came across a tutorial of something that resembles what I was looking for. After testing and retesting, I produced what looks close to the image (without a heavy amount of detail at the moment). However as it’s in the background (which will be dark), and on an angle, this high detail may not be required until I do light test and test renders. 

 

Next week, my main aim is to complete all the rigging for Molly, start basic blocking for Molly and finish main model building for 1895.

Assignment 1 Part 2. Revision: SCG Productions of Suffragette Molly

Roles and detailed delivery items

Since the start of the production, Suffragette Molly is progressing as a reasonable pace, where all models and rigging are currently on pace. Seon has at this stage modeled up Sally Anne and Molly Campbell and is about to begin on Bradford. On the other hand I have taken these models and have finished the rigging of Sally Anne and Molly. Currently I am in the process of painting weights for Molly Campbell and as by the schedule will have this completed by week seven. Upon completion, animation blocking will begin for Molly in scenes 1 and 5, progressing to full animation and the blocking within scene 3 starting in week seven.

 

During this time Seon will continue up until week 9/10, modeling the characters starting with the second main character, Bradford, moving to the secondary characters of Dr John and the Butler. As per Sally Anne and Molly, upon completion Seon passes these characters to myself usually in person so I can continue rigging, using the standard rig created during the session break. This rig has been modified according to the character and this will continue. Allowances of about two to three weeks to finalise rig, weight painting and testing will continue as per the previous five weeks.

 

Once all character models have been completed, Seon will join me in all animation, both blocking and final animation. At this stage allowing for time, most animation should begin around week six and finish around week 13, allowing an average of around four to five weeks of animation per scene. Despite the large number of camera shots with various camera angles and styles, I believe all the animation within these camera angles can be conducted at the same time as much of the action takes place in one area. As most of the action is focusing on Molly and Bradford with various mid shots and close ups reducing animation time, allowing the majority of the time to focus on facial expressions and upper body language. As scheduled, many of the animation passes will be conducted at the same time in order to work at a faster rate.

As per the schedule, lighting test will begin from week seven and will be ongoing. However, as per the script, most scenes will be dark using the fireplace as the only light source.  As soon as animation and light test have been completed, rendering will begin and ongoing starting in week nine or ten, however, being in the style of a classic film with the colours saturated out, a high end render will unlikely be necessary, therefore saving time.

 

For external help, at this stage, reference filming for animation is planned for week six, and is to be precisely filmed according to the 3D layout pass with all voice actors (depending on availability). It is also hoped that we can work alongside the audio students, recording of voices and sound. I will organise it with Adrian the audio teacher as soon as possible.

 

In terms of music, I have organised a composer to work on the music. We had a meeting about two weeks ago. He has sent me an email with a sample, but due to time constraints, I haven’t had the chance to listen to it, but will do so by mid-week six.

 

Upon redoing the scheduling, time was a big factor, in particular to do the animation. As it is a group of two, Seon is working on the Character Modeling and I am working with the rigging, weighting and animation blocking, it may be necessary to acquire assistance with the animation. I will design a poster asking for animation assistance as I did last semester while working alone; however help may or may not be provided. If help doesn’t come, I will work twice as hard in order to get life in all the characters within Suffragette Molly. 

 

Finally, as per required the schedule will be monitored and modified regularly. If time runs out or we are running behind this schedule, changes may be required either big or small to complete the story on time and on budget.  

 

Review of resolution of changes and disagreements

Currently at week five, disagreements haven’t occurred as Seon’s work on the characters has been exceptional. I believe the main reason for this is because I have given Seon full control of the character design, providing her the freedom to develop these characters close to a style in Toby’s original designs with a taste and hint of her ideas and flavour.  This allows Seon to be part of the project making her contribution 50% allowing me to continue with set modeling and character rigging. The only changes I have made in her design were adding some edge loops into the face for greater facial expressions.

 

However, while I believe future disagreements are unlikely to happen, if any disagreements do occur, this will be looked at according to the circumstance that may arise. As stated above, I have allowed Seon to be her own boss and take full control of any component she is involved with. I will go to Sean for help and advice, but letting Seon make decisions will reduce disagreements.

 

In terms of changes, a number have occurred, mostly minor but significant none the less. These changes have been to Molly’s face and dress which she originally modeled in a princess style dress. Seon wonderfully took advice from Sean and created a dress like that of the reference material provided. 

 

The biggest change so far has been with the externals of Bradford house. Originally looking flat and lacking appeal, changes have been made to the brick and entrance adding character and a style close to 19^th century mansions.

 

Team communication

At this stage, most of the communication has been face to face on Tuesdays and Thursdays with the odd updated email to transfer any files. Currently, this seems to be working nicely as we can discuss any such problems or enquires together.

 

However, I have indicated to Seon about Trello and so far we haven’t used it to pass on any files. This may well change in the future when both are undertaking the animation and require files to be transferred or exchanged on a regular basis.

 

Technical issues

Some technical issues have arisen since week two mostly in the rigging of the face, arms and legs. Most, so far, have been resolved either by viewing YouTube tutorials or Wei’s help. The other thing that has helped enormously has been the situation where I tried and failed on a number of occasions, especially in rigging and weight painting for Sally and Molly. I have taken these errors on board and the weight painting of Molly has taken half the time and I hope these errors or mistakes will be looked at and considered with every rig or weight paint I do with every character. I consider that I have learnt more from making mistakes then any tutorial I have watched online. These tutorials are guides and I while I have taken them on board, I have rarely looked at them more than twice.

 

Final Word

Currently, even though I believe we are going well, I understand that the pace will need to be picked up when the animation begins. While I am not worried or concerned at the moment, this may change if the animation, rigs or rendering fails. However, I have allowed time for each scene to be animated with all scenes to be animated at the same time. It may mean additional help may be required and if so, my attitude will be the same as Seon. It will be their project and they can have their own style and flavor. Generally I am happy with progress; however I understand problems will occur and I believe I have allowed enough time in the schedule for such problems to occur.

Task, Schedule, Role

‘Suffragette Molly’ will be a two and half minute 3D animated film modeled and animated similar in style to the great 3D animated films of recent times. One difference is however the overall look will be influenced by the movie ‘Wizard of Oz’, the inspiration similar to Dorothy in Kansas then the future will come across like Oz. In Suffragette Molly 1895 will be have a film grain and the colour slightly de-saturated, however in 2113 the colour will be bright and blossom.  

Currently overall, the production is on track. Sally Anne has been rigged with controls/GUI’s finished. Simple blocking animation has begun and will be finished in the next day or two. I am hoping to start rigging Molly next week so she can be finished in time for animation and animation blocking to begin in week 5, no later than early week 6.  

My role in SCG productions of ‘Suffragette Molly’ is an extensive one. As creator and director, I am involved in almost the entire look of the film, with help from Sean and Wei, however, Seon will also be heavily involved in the overall look too.  

Principally my main role will be:

·         Rigging

·         Set/Environment modeling

·         3D layout (complete)

·         Texturing (environment and some characters)

·         Animation and Animation blocking (for Sally, Molly and Bradford)

·         Finalizing Prop modeling

·         Lighting 

However many of the above roles may be shared amongst Seon and myself.

WK4 – Update (Weight painting, rigging, UV mapping)

·         Sally- Anne modeling: Seon

·         Texturing: Craig

·         Set modeling and texturing: Craig

A couple of smaller things have happened this week. While Molly is still being modeled up, I have decided to focus my effects on Sally Anne’s weight painting and texturing as well as texturing the building. 

Painting weights on Sally Anne has been an up and down affair. Generally painting the weights on the body and arms has been relatively straight forward, with only a couple of minor changes around the armpits and neck area. The main challenge has been the face, in particular the eyebrows and lips.  

Even though Sally Anne has only one line I am using her as a starting point for the other characters. The eyebrows while it may seem simple has been challenging because the weights move all over the place. I am trying to achieve movements for various facial expressions and after many attempts I got there in the end and her one line can now be very expressive in the eyebrows.  

The lips on the other hand have at times been a nightmare. The main reason is trying to get the weights in roughly the right positions for lip synching, so when the mouth opens and closes along with a slight forward movement for the o’s, it looks close as possible to human movements. A lot of testing has occurred and I have many times started over again. At this stage, I believe I have it close, but more testing will be required to fully test this. A GUI system will be made so when animation begins, it will become easier. 

In terms of the rest of the facial rigging, I believe I am close to completion. I have learnt a few things and will employ them in the next lot of facial riggings. I believe I will continue to learn new things every time I do this and I hope every new one will be better than the last.

As well as the rigging, UV mapping and texturing has also been conducted. This was a fairly easy process. Unwrapping the face was easier than expected as it is to be one colour, and the body took roughly 2 hours without a lot of hassles. Painting them was simple as I used a basic brush within Photoshop (See below)

 

 

Finally, the hardest was the exterior. I had difficulty getting the correct texture for the ground so it can look somewhat recognisable, without any blurriness and flatness. This was solved eventually, within Photoshop and it now has a look I am looking for (see below).

Work on texturing the building has begun. UV mapping has also easy, as it has all flat edges, however, I only unwrapped the areas I see through the camera, as it will be pointless to do areas you cannot see and therefore will not need to be textured.  These results will be posted in the next day or so.

Rigging Sally Anne

Once I received the Sally model form Seon, I started the rigging. I already had a rig I made over the holidays for Sally, so I took this rig (this same procedure will occur for the other characters) and I re-tweaked it.

Having saying this, it was easier said than done. After looking over a number of videos I downloaded earlier this year, I followed them, but was incurring problems, especially in painting weights and the deformation when moving the arms.  After attempting a number of various methods, one seemed to work. But once I showed the teacher (Wei) he notified me this was incorrect and showed me the right method.

In fact, I had the right method earlier, however it was when I was binding and weighting the weights that I experienced problems. The problem was when I selected all three joint structures (IK, FK and Skin Bind) the skin went all crazy. Upon following the teachers instructions and only selecting the skin bind joint (as IK and FK were linked to this joint structure), the rig and weighting worked like a charm.

Currently now, I am working on clean up the weights.

P.S – Update. Saturday 10^th August. Started work on Molly’s rig. A few problems occurred, mostly in regards to all the fingers following the wrist in either IK or FK modes. But after about an hour trying to work it out, I discovered the solution (set driven keys, just like the rest of the arm) and from that moment, I flew through with no dramas.

From now on, I may have some problems, but generally the rest I should easily overcome. It’s better to solve all these problems now than in a week’s time when time will be short.

Craig

Blog post – 3D layout + Animatic

Animatic

 

 3D layout

Above is the latest my animatic and the latest stage of Suffragette Molly, this time it’s the 3D layout. It graphically demonstrates the entire films layout, look, timing and all of the camera angles of the finished film.

As you can see, all my characters are quite blocky, representing the overall shape and outline with its representatives height to the real characters. I have chosen this simply so I could get a feel and understand of the overall look of the film.

As you can see, the final outcome is completely different to that of the animatic; this is the result of many camera and timing tests with class discussions and the teacher. My first version of the 3D layout was very close to the finished 2D animatic. When viewing this first version, the timing was completely wrong, many camera angles felt uneasy with the overall look completely wrong.  However, finding this out now was great, discovering what works and what didn’t, and this first version a lot just didn’t work.

After going back to the drawing board courtesy of receiving notes from Sean, I played around with many camera angles, camera lenses and tracking styles. Many camera angles needed to have a more realistic to create a threatening atmosphere. This was achieved mostly through the timing, with quick cuts and the use of close-ups for the confrontations.

At first many of these confrontations had a combination of some mid shots and close ups, but many of these shots were long and tiresome. For example, one shot showed Molly talking three lines of dialogue. It felt slow, boring and uninteresting, not allowing or portraying any excitement, with the pacing of many camera shots very similar in terms of pacing.

Sean and Wei suggested quickening up the pace by having quicker and faster camera shots to create a more dramatic conflict. This decision to have multiple camera angles (not crossing a particular line i.e left to right) cutting from one camera to another after each line of dialogue was easy to decide, but its success only occurred after a lot of testing and retesting. When reviewing these cuts, it added an excitement and interest to the viewer that it previously didn’t.  I believe this not only works and it can now be viewed more theatrically, it now doesn’t come off boring and too long.  

As you can see I decided to use a lot of tracking and zoom pull shots. While this can be observed in the animatic, it wasn’t until I worked on the 3D layout by testing and playing around with the cameras that I discovered how many different styles of tracking will be. At the start, most of the tracking was very mechanical and linear, which I felt sort of worked, but Sean as always brilliantly suggested I should have more of a naturally hand-held look to the track. Upon trying a number of times in with the Maya cameras where I had too many wobbles, but upon fixing this, having a more natural movement create a wonderful, brilliant, strong and naturalistic atmosphere of the scene. It generates an atmosphere as though you are there, on this journey, side by side with Molly as she is about to confront Bradford and Doctor John.

With the 2113 scenes, many of my camera angles were inspired by the ‘Wizard of Oz’ (1939) [with some slight variations] where Dorothy arrives in Oz, where she opens up the door and you see her first impressions. Originally I planned to have a long track where Molly goes from Bradford’s room to the front door. This worked great in the animatic, but within the 3D layout, it was way too lengthy, dull and tedious to the eyes. We want to know where Molly is, so the pacing needs to be quick. After testing the timing, I decided to place a cut close to the front door and this worked overwhelmingly enhancing the entire pacing.

The opening of the door changed, with my first version closely resembling this famous Wizard of Oz scene, but a suggestion linking the close-up of the doorbell in 1895 and door handle in 2113 was taken on board and now it feels this has improved the mystery of where she is.

The exteriors of 2113 were also transformed; original with a single tracking shot going from the house to the exterior revealing 2113 London straight away. At first I loved this shot as it was close to or exactly like the Wizard of OZ< I was hoping to match, but the teachers suggestion was far better. Both suggested I shouldn’t reveal London too early. Get her reaction and surprise straight away, and make the audience curious to why she is shocked and surprised. While I had always planned to include this shot (after the reveal of London 2113), but the editing and pacing of this shot located there worked abysmally.

The reason why moving this shot to after she opens the door works, is the curiosity to the audience. Why is her reaction like this, and then bang we cut to her amazement (a la Oz). A zoom pull was always planned; it works wonders by helping the audience to see all of her reactions.

As suggested in class, I showed the film to mum, as her reactions were…………

In terms of sound and speeches of the characters, they also changed. Many of the voices were quite spaced out, with many of the camera angles placed on the talking characters. At first I did enjoy this and felt it had worked, however, with some slight movements of them on the timeline, such as closer together and overlapping them with different camera angles, despite being only a matter of half to a second, it quickened the pace significantly with the intensity of the scenes, overwhelmingly improves the quality and enjoyment of the entire story.

Suffragette Molly 3D layout went through many camera, and voice test, with so many changes from the original animatic, but these changes are well worth it. It went from a slow, linear paced and uninteresting story, to a fast paced, modern looking and far more interesting storyline, all because of slight changes in camera and pacing with expertise help by both production teachers. These changes allow the viewers to be intrigued by its characters and where each character will go next. It has changed from a slight enjoyment to one of sheer and utter delight.

Craig