ANC230 - Post Mortem Report
https://drive.google.com/open?id=1-V42FQ6LQE58_RlHN7igD_R40BD1yDXcdBzh2xdLluA The post mortem report was completed on Google Docs, and the link above leads to that.
wallacepolsom
Mike Driver
Sade Olutola
Aqua Utopia|海の底で記憶を紡ぐ
PUT YOUR BEARD IN MY MOUTH

roma★

titsay

oozey mess
NASA
let's talk about Bridgerton tea, my ask is open
Misplaced Lens Cap
tumblr dot com
Xuebing Du
Sweet Seals For You, Always
Jules of Nature

⁂
DEAR READER
almost home

if i look back, i am lost

izzy's playlists!
seen from United States
seen from France

seen from Australia
seen from Singapore

seen from Singapore

seen from Malaysia

seen from United Kingdom

seen from Singapore
seen from United States
seen from United Kingdom
seen from United States
seen from United States
seen from Singapore

seen from United States

seen from Malaysia
seen from United States
seen from France

seen from Brazil
seen from United States
seen from Nepal
@jmayoranimations
ANC230 - Post Mortem Report
https://drive.google.com/open?id=1-V42FQ6LQE58_RlHN7igD_R40BD1yDXcdBzh2xdLluA The post mortem report was completed on Google Docs, and the link above leads to that.
ANC230 - Blog Post 3
The animation industry, despite being vast and encompassing dozens of different disciplines and specialisations, often relies heavily on cooperation and collaboration with other industries. Animation becomes very limited without sound, so its almost always necessary to get in contact with the audio and music industries to help produce the assets that animators can’t create. Likewise, the video game industry practically always needs animation for their productions, and so companies often reach out to animators to produce assets and clips for them. The audio industry is filled with creative individuals producing a variety of different types of audio in a wide array of forms. For animators, the key things that are produced in this field are music and sound effects. Adding music to your animation can elicit a greater emotional response in the audience, giving an addition level of depth to your creations and tying all your moments together in a neat package. A good example of music enhancing the animation experience is one of the opening scenes of the film Up (Docter, 2018), as shown in the following video.
In addition to music, sound effects are also a vital part of any animation process. Without the correct sound effect, actions can seem weird and unrealistic, ruining the believability of a scene. For example, image swinging a punch and hitting someone, but instead of a smacking noise, it makes a duck sound. Doesn’t sound right, does it? Creating sound effects is known as ‘foley’, named after a famous sound producer Jack Foley (Almo, 2016), and it often involves a specialised set of skills in creating unrelated or fantastical sounds from everyday objects. The following video is a great example of the sound creation process, and the unexpected ways they’re made.
The audio industry isn’t the only field that often cooperates with animators, and one of the other key fields that does so is the games industry. Ever since the dawn of video games, animation has been a major element, from sprite work to modelling, it all comes back to animators. In fact, the only video game genre that doesn’t feature at least some level of animation is text based games which, as the name implies, only feature text. Animating for a game requires a different level of focus than animating for a film, as the assets and scenes you create are often interactable and viewble from custom angles, so it needs to be flawless from all angles and viewports. Games, with the advent of the CD-Rom, also began using pre-rendered scenes, fully animated videos that appeared during or before the game to fully immerse the player in the world. An example of one such scene from the video game Final Fantasy X (Square, 2001) is featured below.
These scenes are usually of much higher quality than the animation and models used in the game itself, as they’re designed to be viewed only from their set angles and can be rendered without taking the game’s mechanics into consideration. These scenes are where animators can really flourish, creating high quality scenes for these worlds, and adding their flair to the project and overall enhancing the production quality. In addition to these scenes, it’s an animators job to create every motion and action that the game includes. Swinging a sword, casting magic or even walking animations are all the handy work of animators, and are vital to creating a believable and immersive world. In conclusion, the creative industries are always working together, assisting and cooperating to create vivid worlds and experiences for their audiences. From musical to the interactable, animators are everywhere, working in tandem with other fields to bring their dreams to life, and share them with the world. It takes more than one style of creativity to make something truly wonderful, and working together with other disciplines and creators is the one sure-fire way to achieve that.
ANC230 - Blog Post 2
When organizing a team to produce a creative product, its vital to divide the skill precisely between the various roles required to produce a quality product. Each role in a production team is important, as they contribute their talents and skills towards the end product, so attributing team members with affinities for particular processes is necessary, otherwise a team risks wasting resources and producing a lower quality product. There are many different roles in the production pipeline, divided into the various stages of the process, including pre-production, production and post-production, and even including things such as marketing and sales, so knowing the strengths of your team members is very important. In the pre-production phase, the team is mainly focused on organizing and planning what the product they will be creating will be, and any details surrounding that. Before any production can begin, the team needs to decide on a great many things, and those decisions are usually made by the directors. Directors choose and manage the direction of the project, giving the other members of the team orders and guidance for their development. A director has high authority in this setting, since they can veto and change ideas bought forth by other members of the team. They need to be careful when doing this however, as a too controlling stance can damage relationships within the team and lower group morale. One of the major members of the production process, particularly in a creative endeavor, are the artists. Artists are the ones responsible for creating the assets, characters and environments for a production, and are the ones physically producing the final creation. They’re split up into many different sub categories, including concept artists, character artists, modelers, texturers and environment artists, but broadly they’re all considered artists in the grand scheme of things. Each of the artists contributes physical products to the pipeline, building the foundation on which the end product is built. After the art is created, its handed off to the animators. Animators manipulate the assets and designs created by the artists to create movement. While they don’t actually create the designs themselves, its their work that brings the project to life and mold it into the form that was outlined in the original plan. Their use of timing and weight makes the designs seem alive and interesting, and form a large portion of the production process. Lastly is the post production team. This usually contains roles such as lighting specialists, renderers and special effects developers. It’s their job to round out the final product, polishing it and refining it so that it is presented in the best possible way for the final pass. The work that this team does is what really makes a project look beautiful, with the correct lighting and effects making a project truly worth looking at. All the team members of the production pipeline contribute vital pieces of work to the grand scheme of the project, with each one being irreplaceable in the the full scope of production. Knowing this, its important for a team lead to direct their team structure in such a way that the team members work most efficiently and effectively, otherwise the project may begin to crumble form the inside out. When a team is proportioned and managed effectively, it works like a well oiled machine, with each team complementing and co-operating smoothly, and their end product is executed perfectly.
ANC230 - Blog Post 1
In the field of creative production, it’s important to be aware of what you’re selling, and who you’re selling it to. This detail is commonly referred to as the ‘Target Audience’, and is vital to understanding how to market a product, and without a deep comprehension of it, any product is doomed to failure. In our society, mankind is divided amongst many demographics and subcultures, splitting the market up into countless niches and groups, making it impossible for a product to be marketed to everyone at once. Some of these demographics include age, wealth, interests, hobbies, nationality, culture and race, and each one is vastly different from one another. It’s an important task of any marketing team to understand the intricasies of these subcatagories, as providing a product to them requires specific methods and techniques. For example, marketing a restaurant to an elderly grandmother would require a very different set of techniques than marketing a restaurant to a teenager. Marketing specialists often perform what is known as ‘market research’. This involves taking a sample group of a target demographic (eg college students), and conducting polls and surveys to determine what they are interested in and what appeals to them. Since demographics are highly fluid and are constantly changing with time, its important for these specialists to keep a finger on the pulse of ‘what’s hot’ in order to utilise and exploit it. A good example of that is looking back on the marketing for products aimed towards kids and teenagers in the mid to late 90s. It all had a very distinct feel to it, loud, bright colours, with a big focus on rock and roll jingles and special effects.
Compared to advertisements in the modern day, the commercials seem strange and obsurd, but that’s because the demographic has changed. Kids are learning new information at a much faster rate with the popularity and spread of the internet, and new things are becoming more and more frequent. Its events like these that are the reason why marketing specialists are needed. Products would fail without sufficient marketing in order to sell them, and with the market being in a constant state of flux, its important to sell the right thing to the right people. It’s not just the type of advertising that needs attention when it comes to the target audience, its also the product itself. When designing a product, its important to understand that certain things sell better to certain demographics. Products such as furniture and kitchen appliances sell better to adults, while things like sugary cereal and toys sell better to children. Trying to market something like Fruit Loops to rich, elderly folk is a bad business proposition, since that kind of product is not something they would be interested in, regardless of how much effort you put into the ad campaign. In conclusion, marketing specialists are vital to understanding and controlling the various markets established in human society, and sufficient mastery of this art form will allow a company to out perform even their wildest expectations. A well placed ad and a well themed product can make or break a company’s success, so anyone who want’s to enter a market needs to consider the demographics that they’re planning on selling to.
Post Mortem Report
https://docs.google.com/a/student.sae.edu.au/document/d/1-V42FQ6LQE58_RlHN7igD_R40BD1yDXcdBzh2xdLluA/edit?usp=sharing A link to my post-mortem report.
My 2017 Showreel, post-ANC220. Youtube Link: https://www.youtube.com/watch?v=HoUX_2SkP7I&feature=youtu.be
ANC220 - TSM Reflection
Roughly halfway through the trimester, my lecturers and I met to discuss my performance in regards to the project production process. Beforehand, I had completed a sheet giving my point of view on the topics that we were to be discussing. Naturally, I gave very negative and self-deprecating opinions on all of my qualities, making myself out to be in a far worse position than I actually was at the time. The lecturers called me out on this, explaining that I had been doing a far better job than I had assumed, and that the criticisms I applied to myself were unjust and biased. Now that the trimester has progressed further and the project has developed, I have been drawing closer and closer to the negative opinions that I created in the meeting earlier. My work ethic decayed further and further to the point of stagnating entirely, until the point where I was overcome by guilt and desperation as the deadline drew nearer and was forced to actually work on the project. I still cannot converse with the class itself and find severe difficulty in asking for help, but I’ve gotten to the point where I don’t have a choice but to speak to the lecturer’s to get assistance. If I hadn’t, chances are the project would have completely stagnated and never been finished. One of the big things the lecturers mentioned during the meetings was that I needed to stop being so hard on myself, and have more confidence in the quality of my work. My combination of perfectionism, anxiety and self-loathing always results in me hating my own creations to the point where I don’t even want to work on them, because they’ll never live up to my astronomical expectations for myself. Through the help and advice of the lecturers, I managed to put that all aside for this project, and while I know my project could be miles better than it ended up being and I don’t really like how badly I made it look, I am content with how it finally turned out, and I’m confident that it exists as a ‘good enough’ product. While for the longest time, I had been ashamed of the fact that I can only work well when the pressure of a looming deadline is so close that it forces me to complete a project, the lecturers assured me that that’s a normal work ethic, and is extremely common. While it’s definitely not an ideal setup, they said that its not something to be ashamed of if it ends up getting the work done in the end. And as such, by falling into this work pattern once again, I managed to scramble together a completed project. Overall, the TSM meeting really helped put my own internal processes and failings into perspective, making me realise that most of my difficulties in production came from within, with most of them being completely fabricated in my mind and not actually a problem. The lecturers did a great job of arranging my chaotic thought processes and negative self-worth into a non-biased review of my performance thus far into the trimester, and it really helped my adjust my behaviour and outlook for the remainder of the term.
ANC220 - Blog Post 3
In an animation, there’s one feature that is usually overlooked in importance, despite being vital to any animation’s success, and that’s lighting. A correctly lit scene brings a sense of realism and brilliance that cannot be achieved by an unlit one. The atmosphere of an animation relies heavily on the lighting, with it enhancing the emotions brought out in the audience. While there are many different forms of lighting, the most commonly relied upon is referred to as ‘Three-Point Lighting’. Three-point lighting involves placing three separate sources of light in a scene, the key, fill and rim lights. The key light is normally placed to the right of the camera, typically at a forty-five degree angle. It’s the primary source of light in a scene, being both the highest strength and the focal point of the setting. The fill light is next, normally placed on the opposite side of the camera to the key light, or directed at wherever the shadows are strongest. The fill light is typically half the strength of the key light, and exists to ‘fill in’ the gaps in the lighting, keeping the darkened area visible while still allowing the key light to keep the focus. Lastly, the rim light. The rim light is placed behind the object in view, facing the camera but obscured by the scene itself. The rim light is also 50% the strength of the key light, and is placed to create an lit outline of the object in the scene. It allows the object to pop out from the background, allowing it to be viewed separately from the rest of the scene.
[ image source: 'http://d2r5da613aq50s.cloudfront.net/wp-content/uploads/321891.image0.jpg' - ‘How to Use Three-Point Lighting in Your Marketing Video’ by Kevin Daum, Bettina Hein, Matt Scott and Andreas Goeldi ] Another type of lighting that’s becoming more popular in recent years, particularly in studios such as Pixar, is Global Illumination. Global illumination creates a simulated environment, allowing light to bounce and spread much like it does in real life. The light is applied to the scene from above, illuminating the scene similar to the way the sun does, and lights the whole scene in a natural smooth way. Every object in a scene absorbs a certain amount of the light created by the global illumination simulation, appearing dull or bright depending on the objects applied properties. The more objects that absorb high levels of light, the darker the scene becomes as there is less light bouncing around the setting. The method of lighting is much less precise than the previous one, and is far more taxing on the machine rendering the scene. It does, however, have the potential to create an incredibly realistic animation, with lighting that mimics real life almost perfectly.
[ image source: 'https://i.imgur.com/fngTf8F.png' - 'Global Illumination in Minecraft’ by JakBB ]
ANC220 - Blog Post 2
Animating a character in a three dimensional art style is considerably more complicated and in depth than creating one in two dimensions, and is presented with a whole new set of problems and challenges that the artist must overcome. With the increasing prevalence of 3D animation in media, it’s vital for animators to learn this craft in order to stay relevant in a changing market. The first stage of 3D animation is the modelling. Before anything can be animated, there must be something to animate, and modelling is the step that provides the canvas that the animator can perform upon. By aligning concept art along the Z and X axis's, the animator can shape their creation from both the front and side angles. Then, once both are complete, they can adjust the other angles to suit the creation, rounding out and smoothing the sculpture into a three-dimensional version of their two-dimensional concept. With the model completed, the next step is to unmake it. What I mean by that, of course, is the UV unwrapping stage of production. In order to apply colour and texture to a model, the model must be converted into a two-dimensional plane. This is achieved by unfurling it like a cardboard box, applying seams along key points in the object so that it can be flattened out while retaining its general form and shape. This flattened model is the moved into a painting program, usually Adobe Photoshop, and has it’s colours applied to it. However, it’s not enough to just add colour, it also needs texture. Texture is applied by creating special versions of the coloured unwrap, that are read by the modelling program to create an illusion of depth and feel to the colours, allowing a flat plane to appear rough and gritty, or smooth and shiny. Lastly, with the model visually complete, the animator must begin creating the inner workings of the model itself in order for it to be animated. Inside the model, much like a living organism, there must be ‘bones’. These bones are various invisible polygons that are arranged to correspond with the different moving parts of the model itself. And if these are the bones of the structure, then the next part is to assign the ‘muscles’. Each of these bones need to be assigned areas of the model that they will affect, in a process called ‘skinning’. Different parts of the model can be given different strengths of affection to the bones, so moving one might move one area a lot, and another area a little. For example, if you move your foot, your calf moves a bit, but your shoulders don’t move at all. A functioning and high quality rig can allow an animator realistically and effectively recreate the motion of a real life creature, or to even create the movement of a fantasy beast while still having a realistic movement structure.
ANC220 - Blog Post 1
Before any successful project, a series of lengthy pre-production phases must be undertaken, to outline the scope, content and direction of the piece. Each stage in this process is vital to understanding what exactly must be done in the production stages, otherwise the creator my lose sight of what they have set out to accomplish. One such stage in the process, is writing up a treatment. The treatment is a summary of the plot that will feature in the piece. It exists to make sure the actions in the production take place in the right order, and with the appropriate amount of detail. Treatments are usually fairly short compared to things like script, but it’s far more dense, containing the entire plot and sequence of events that will be made for the final production. In addition to the treatment, there’s also moodboards to consider. Moodboards are collages of images that establish the colour scheme, art style and overall mood of the image. They can come from a variety of sources, real life photographs, screenshots from other media, anything that can tie into the colour and moods of the piece in production. These moodboards can give people working on the production a much better sense of what the piece needs to look like than just communicating it with words.
Final Render of the Tank Project
MDU115 - 3D Asset Production - Internals
I had already finished most of the steps before being reminded that my tank needed to have an internal section. So to compensate, I hollowed out the inside of the tank, and proceeded to try and create an internal section. Fitting the cockpit inside while maintaining the animation of the barrel moving was harder than I thought, but I eventually got the spacing just right so that it doesnt clip through. The section then needed it’s own texture map, since adjusting the existing ones to accommodate the new geometry would be far more difficult. What made matters worse was that I accidentally saved the Green UV Template on top of the photoshop file, and then I couldn’t open the source to remove the layer once I got home. I needed to open the TGA file and edit on top of the texture to cover the lines themselves.
MDU115 - 3D Asset Production - Texturing
Texturing was a pretty long and annoying process, mainly because of the variance between photoshop versions. When I created a file on campus, I couldnt transfer it over to home, since my home version of photoshop was much older than the one on campus. The incompatibility issue was a real problem, but I managed to work around it by keeping the textures relatively simple.
We were informed of the occular occlusion method, which was new information. I employed this on my texture, and it added a decent shadow effect to the externals of my tank.
The treads required special treatment when it came to textures. They needed to be animated. Animating the texture is considerably easier than animating the mesh for this sort of thing, so I took this route over the latter. This meant that I needed to develop a second texture for the tracks, seperate from the main tank texture. Then, all I needed to do was adjust the UV offset value to make it scroll past as the frames went by.
MDU115 - 3D Asset Production - Sculpting
The first part of any 3D production is creating the mesh itself, shaping and reshaping the basic polys into the desired shape and form. To start with, I built two boxes, one for the top, and the other for the base. Once they were in the correct shape, I did a similar thing for the treads, creating a cylinder, hollowing it out, and segmenting the outside to create a rigid appearance.
MDU115 - 3D Asset Production - Concept
For our final assignment we were given the task of developing a 3D Asset from a 2D concept. The catch was that it had to be either a tank, bomber or cruiser, three varieties of military vehicle reflecting land, air and sea respectively. For mine, I chose to develop a tank, and for the 2D inspiration I chose the designs from the Game Boy Advance game, “Advance Wars” (released 10th September 2001 by Intelligent Systems). Their brightly coloured cartoon-y weapon designs had always been a favourite of mine, so I decided to turn the 2D sprite of a “Medium Tank” into a 3D model.
[Sourced from http://doormatindeed.deviantart.com/art/Md-Tank-86434785 ]
I took this original sprite and remade the design in a basic blueprint, giving me a guide for recreating it in three dimensions. The blueprint is below:
From here, I was roughly prepared to develop the model itself.
This is the final result of the Chest Project.
MDU115 - Chest Development Blog - Setting the Scene
Now that the chest itself was finished, it was time to add the scenery and render the project. All of the elements of the background were already provided, so all I really had to do was import them into my chest’s file. But before doing that, I needed to make sure the shaders and materials on the scene elements were correct. I went through the Material Editor and set all of the self-illumination to 100 instead of the base 0. This will allow the items in the scene to appear clearly without any weird shading or shadows.
Afterwards, I imported the pieces into the scene, and arranged them into the ideal layout. Primarily, this was just moving the palm tree and crab out of the way, because respectively the were floating and clipping through other objects. Now that everything was in place and ready for rendering, I began adjusting the settings so that the result would be optimal. Gamma was turned off, and the file was set to render in H264 MOV format, at 24 frames per second. Once that was complete, I rendered the scene and viola, the project is finished.