Deer painting

Working on something for Uni and it involved painting a stylised deer fully rendered... Which I really enjoyed. Quite proud of it too so I'll just leave it here.

See you soon,
Claire

PMF - Producer Dialogue

So much for those sketches the other day right? Sorry, I had a couple of deadlines to attend to, but most of its out of the way now, so I get to host more stuff for you guys now! Including this:

My current version of the Pigs may fly lipsync... I'm a bit worried because I am only meant to be doing 20 seconds for each topic.... HMMMM... Oh well!
Hope you guys enjoy,
Any feedback would be appreciated!
See you soon,
Claire

Industry Indents: MPC

MPC is another amazing VFX company based in London, Vancouver, Montréal, Los Angeles, New York, Amsterdam, Bangalore and Mexico City. With these many facilities it will come as no surprise that they produce such a great volume of fantastic visuals.

MPC has worked on Advertisements and film, made possible by a team of talented and enthusiastic artists. Examples of their amazing hard work can be see below:

So.. why does this inspire me? Well, how can such awe creating team work not inspire a person in this medium?

More importantly when did this company become inspiring to me? On Feb 27th this year, I attended a VFX masterclass  presented by MPC's Adam Davis, on the VFX and crowd simulation in World War-Z. Davis described to us the difficult use of motion capture data, caused by the awkward twists a half dead zombie makes while grasping for the next host; well... the guy mimicking the zombie at any rate. The studio brought in people who could twist their extremities in such ways, the motion capture data was getting confused and glitched. Davis also described the hero animation system MPC made up for both World war-Z and Lone Ranger. Their VFX breakdowns for world war-Z can be seen below:

MPC has a great diversity in the realistic animation they produce, with many different subjects, in both advertising and feature films, has made me aspire to produce such diversity in my work. They have character, creature and object animation in their commercial reel alone, and I should aim to have the same in mine! Hopefully I will have a diverse, realistic, and dynamic showreel for VFX by the end of summer...

Thanks again,

See you soon,

Claire

Sketches and things

Production of those rendered scenes is now well under way, about a week or so in infact!

Made more props than I thought I should... But has been fun rigging them to the characters!

Also been working on a concept for a bird thing...

Which I can only show you sneak peeks of... As this is a group project I'm concepting on!

Despite being an animator, I've been given the role of storyboard artist, concept artist, and matte painter! It is always fun to learn more stuff!

I will update tonight with more thumbs!

Industry Indent: TRIXTER

Established in 1998, TRIXTER has worked towards creating stunning character animation and visual effects for television, commercials and feature films. In its early days, TRIXTER specialized in creating CG characters with powerful and emotive character animation. Recently though TRIXTER has become know for its visual effects pieces, which includes, but is not limited to, Captain America: Winter Soldier, X-men: First Class and Iron Man 3.

As I'm keeping an open mind with regards to the style of animation I want to head into, cartoony, realistic, etc, (I find it important to learn all of them if I am honest), animation used in visual effects certainly holds a bewitching quality. The best kind of visual effects will go unnoticed to most viewers, and I will be honest in scenes, such as the iron man fight scene above, its becoming increasingly difficult to tell the difference between real props and digital ones. I would love to one day help making these illusions, especially object animations, despite having only bouncing balls as object animations so far.

 TRIXTER is based in Berlin, Munich & Los Angeles, and as I am based in Europe and know enough conversational German, I would like to think I could adapt to the whereabouts...

TRIXTER creates stunning animation that matches live-action footage, for instance the shield in Captain America, as well as its own key-framed animation for realistic creatures,  such as the wolves in wolf's blood. Studying the animation produced by TRIXTER will help my understanding of  how to create realistic footage of animals, the acceleration and weight on objects. Take a look at more of their recent work in this showreel below:

Now to go and study!

See you later,
Claire

Lecture notes

More lecture notes

Need to clean this photo...

Industry Indent: Blue Zoo

Blue zoo is a multi-BAFTA winning animation company, who produce:

• Commercials
• series
• Idents
• Development trailers
• and many other types of animation (Check out their styles here)

I first became interested in Blue Zoo when they visited the USW in 2013, however my interest spiked with the Blue Zoo Christmas short, Xmas 2013.

Their use of warm-cool colour contrast and arcs for character movement fascinated me; especially the squirrel character (who I do believe is a Jackalope?!?!), who floated believably. More on this short in a bit... Blue Zoo has won 2 British Animation awards for their series 'Those Scurvy Rascals' and won a BAFTA in 2012 for 'Best independent Production Company'. The different style used within the studio is what makes Blue Zoo so appealing to me, from 'Lessons in the force' to their animal planet stings, their range of styles shows their adaptability in their work. I personally love their pieces for stings and commercials the most, mainly because of this diversity. Most of these feature a hand made look, rather like the Xmas 2013 short, in which you can feel the artist's influence and hand in the pieces. Even shiny pieces like the Rugby League World Cup 2013, stings, you can see the thought behind the style used, and the simplistic shapes used for the characters only highlights their animation teams' ability.

Their diversity in animation styles, not just textual, is my main pull to this company. As a student now working to diversify my showreel for multiple styles, studying Blue Zoo's studio pieces is proving integral for my studies.

Looking forward to seeing way more from them soon!
See you later,
Claire

Background textures and scene setup - Office

So you guys do not know about my projects for university as of yet, however I want to show you some of my render tests I have been making for my personal project... As well as texutres... Turns out I'm going down a generalist route, I only need to add modelling to the CV!

Following images copyright details:

Morpheus rig, suit,

Following came with no textures: Darts and Dart board, Clock, Chair, Desk, iMac, Desk Caddy.

Room Texture

City texture

Textures made in photoshop for this project include the 2D textures on the walls (inspired by 101 dalmatians backgrounds), and the background cityscape. The city was deliberately coloured to contrast the blue cool colours inside the office. Blue being the character's colour scheme, as he is a very calm, collected character.

Glass test render

Final room render

I also installed large areas of glass into the walls of the room to allow better lighting of the character.

CG assets, like the dart board, originally came in untextured, texturing selected faces of the object quickly rectified this problem. Tacks and paper were made and textured by myself as well.

Final Desk render, came out better than I thought, the 2D city image being reflected nicely in the table surface added to the texture of the background I think!

Now to progress to animation!!!

See you soon,

Claire

Lecture notes v01

Most of my lectures are taken by creatives... They strike fun poses... Here's today's!

Production Pipeline : Pre-Production

A third year university collaboration project, working with Modeller Beks Rootes (link for her work to come), we were tasked to make a short sting for a TV studio. This involved making the characters, background, story, basically the whole sha-bang of production from scratch.

As the animator/TD (technical director) of this project, for preproduction I created character concepts, ideas for poses, but most importantly the story itself. 

We originally looked towards an E4 sting, as most projects worked to the E4 criteria, but as the look evolved we aimed for a company where we could explore cute more. We kept in mind the modeller's sculpting criteria for her brief, so the simplistic designs were scrapped.

 If I am honest here, maybe one of these poses originated from a deer? Most came from pouncing cats and dogs, hence why in some pictures I am struggling with proportions... although back flexibility (or lack of) was kept in mind while making anatomy adaptations.

However thumbnails above did come from deers...

This sequence was turned into an animatic.

As a TD I was in charge of creating a rig for this project as well. This was a basic rig diagram I created for reference in production.

Soon to come - The sting itself!
The process of production as well....