With me back in the saddle full time I should be able to pick up the slack in a few areas and pick up the pace of production across the board. I have to say a huge thank you to the team members that stuck with us through the last couple of months while things have gotten a bit quieter than usual. It's a sign of the dedication on show here that we're still going strong. But a project like this lives on the support of it's members and supporters so take a moment to 'Like' our Facebook page: [url][link][/url] ... and then invite your friends. [IMG][link][/IMG]
Seasons greetings! It's been an exciting year for us, as we've transitioned into full animation and started putting a lot more colour into the film. I anticipate us completing the animation within the next six months and putting out a polished looking trailer.
YouAnimator.com did a feature on the film here: [link]
We put out a new animatic a few days ago and it's exciting to see we're starting to get more and more renders into the timeline. If you haven't seen the film for a while you'll notice a lot of changes to the edit, shortening the overall screen length and a new ending. [link]
I've also taken the plunge to work on the film full time. You can read more about it here: [link]
We've had a lot of different types of activity over the last month surrounding Siggraph including getting the first few decent rendered shots out, and they look great... even without being quite finished. Check out the shots in the teaser trailer: [link]
We have a new Animatic with lots of new content: [link]
I'll be working on the remaining 31% of the Layout that needs to be done soon in order to prepare for a push in the animation department. Part of that push is to re-assign some flagging shots and we've already been contacting animators to check on their progress.
The color panels have really been making progress and we have samples of the color palettes for most of the time-line now. A big thanks to Danielle and Alex for their hard work on those. We'll try to bring them into a consistent colour script soon.
I'll try to make some sort of lighting guide, either written or possibly a video tutorial. We are close to being able to distribute lighting tasks to other team mates but there's a lot of notes to communicate in order to make the process easy and consistent for everyone. This may not happen until I'm done with Layout though, and...
... we have a number of remaining assets that need their final shaders refined. It's become a bit of a bottleneck so we need Shader Artists with experience that can help us out. Let us know you know anyone that would be interested. The list of assets is at the bottom of this tracker table: [link]
If anyone is looking for a task to work on we maintain a list of available tasks here: [link]
Just a quick update. We're in pretty good shape for animation with over 20% in the can.
We're on the lookout for strong animators to join the team. Check out the Animator's Handbook for a guide to what you need, and come prepared with some idea of what types of shots you'd like. [link]
Shane Davis has recently started as a Production Coordinator. He'll be helping me to sort through the progress of all the tasks and keeping everything moving forward.
If you're interested in doing any shader or rigging work please get in touch as we've got a couple of assets to finish off and any help would be greatly appreciated. We have some colour script images done, as you can see by the edit, but if anyone else would like to lend a hand and do some I'd really love to get some more done to flesh out the timeline.
I'd just like to say the team is doing amazing things and it's incredible to see it coming together like this. I think we're well on track for completing the teaser trailer animation in the next few months and the rest of the film by early 2011, if not sooner.
We've had an exciting year with most of the asset creation out of the way we're currently in the early stages of animation, debugging rigs and looking for any other issues that we might trip us up going forward. I'm currently planning to roll out Animation on a larger scale early in 2010, so that we can have our 30 second teaser trailer ready in the first few months. I'm going to start working on a poster which should also be a good test case to get a 'close to final' look for our characters.
While Devil and Death are having some more advanced functionality added to their rigs, Cupid is nearing an animation ready state. Devil and Death are already being animated in their first shots with only a few challenges, that our team members have gallantly concurred.
We've had some support from Keith Lango, and Digicel's Flipbook which has been a nice touch. We have over 240 videos and 540 images to look through, with over 140 members on the website. All very exciting but I just want to say a huge thank you to our regulars who have made the project what it is today. Have a wonderful holiday period.
In the mean time here's a few recent highlights: Render tests: [link] Holograms and Peeps: [link] Animation in progress: [link] Colour Script in progress: [link] Animatic: [link]
Don't forget you can follow our progress on Facebook: [link] And you can subscribe to most of our videos on YouTube as well: [link]
It's ok as a testbed, but you've too much bobbing and weaving going on with camera movement. My advice would be to keep it simple. Complex motions of the camera are rarely worth it. You're usually best off sticking to simple panning and zooming, then cutting to a new angle if you need a drammatic change of viewpoint.
Also it's kinda obvious where the blobs (particles / volumetrics) for the cloud are situated in some parts. Are you using all the same size of particle there? You might to better to vary it up a bit, and perhaps introduce a very slow wind component and/or animated texture to make it stir and boil like the vapours in a real cloud.
I'm not really loving the characters you're using either to be honest either. They're pretty enough but they've no real... well, character to them. It's hard to associate with abstracted beings that portray no anthropomorphic expressions of emotion. This can to some extent be done using only gesture and body language, but even then you're starting at a loss since they don't really have what we'd call arms or legs.
Welcome CSS can be
you're unfamiliar to
it. So that's why
we're writing these
articles! If you
have any suggestions
or would like to
write a section in
future CSS Did You
are like Ogres by
Magepresented by the
these are simply my
opinions and are not
meant to imply that
you should agree or
disagree nor should
these prove to be
offensive in any
way; if I do come
then you have my
This article came
about after a
requested that we
write ten clear,
simple tips for
information can be
very useful, but
it down into
chunks is so much
easier. So without
further ado plea...
See the light and
in photography is a
art. One of the most
of a photographer is
to see light and to
remember it. Light
is the most changing
element in our daily
life. We move among
solid objects and
among people who do
`anmari has been spreading her infectious positivity throughout our community for over 6 years. Throughout this time Ana has been at the core of all things devious, passionately developing an eclectic gallery, helping organise devmeets, participating in chat events and also recently completed dedicating her time as a Community Volunteer. We are absolutely delighted to bestow the Deviousness Award for May 2013 to `anmari, congratulations! Read More