Dji Death fails. A prequel to the cartoon Gypsies (Making off )
This is our 4th in a row work. We've been doing it for about six months. It's a decent time, and during that time we have accumulated enough stuff that we wanted to share.
Of course, with an idea. In General, to describe the process of creating ideas is difficult, so we assume that it came by itself. And, inspired, we started work.
The whole stage of working on the cartoon production can be divided into several stages:
Let's start with pre-production.
At this stage, we structure the subsequent work, write the script, develop the characters, draw the storyboard and make an animatic. In that order.
A script is a scattered pile of crumpled paper. It is the tobacco smoke. It's red from eyestrain. It's a broken computer. And another one. Approximately in such an atmosphere were to write the script for this episode. Read it and you can, he lies, hides from no one, that here.
It is up to the Persians. According to our idea in the cartoon had three of them:
How to create g, we have already mentioned in our blog, I would like to draw attention to the other two characters.
In General, work on the character begins with drawing black-and-white sketches. Them drawn as much as needed to the Director said: "Here! I like it!" In the case of Doc, the situation was similar. And the words "All! I like it!" flew out here with this.
But how many options were offered to the Director.
It is necessary to study not only the figures, but the faces of the characters. You have to draw two or three options, and much more (Director finicky). A lot of stuff remains behind the scenes.
As a result, when you select the appropriate character, he sketches are drawn in color. Why do it if it is not samodelnyj? 2D colored character need to understand which character will be the result. In pencil drawings it's not clear, and there is volume.
The main criteria for choosing a character is not a technique of its execution, and emotion. Ie is not always important HOW the character is drawn, it is important whether he conveys the vision and idea of the Director.
Moving on. Bob.
Bob is a hard working truck driver. He got so exhausted that he even fell asleep at the wheel. As a result, and met JI. This character is harder to Doc. His complexity lies in the fact that it is a few, so to speak, States:
By the way, Bob in the car we did at the end of the production of the cartoon, literally a couple of days before the delivery of the project, as considered that we need to strengthen the beginning of the movie.
But the kind brought before us the characters, when we get acquainted with them, i.e. the characters selected by the Director.
Those who could become our truck driver.
In General, all of this need to invent, draw and bring to life, and to draw the emotions of the character
And here is the result of our work
But if with the usual state of Bob, in principle, of course, the Ghost. How it or he should look for us at the time was unclear.
I tried to draw on paper. Happened, to put it mildly, strange. Maybe for 2D cartoon going to fly, but for 3D cartoon — absolutely nothing. Began to think what to do next, and to be honest, I decided to do so, as it turns out. After a number of experiments we came to an acceptable result.
Nothing super special, the Ghost was going in 2 packages. The body and fluids in Maya. Of refraction for the character and color — Nuke.
It is an interesting result.
All! With the characters done. Next we need a storyboard, the next stage of pre-production.
Initially, the storyboard is drawn black and white and then added color. At this stage we can understand in what range is the whole movie, what will be the atmosphere in the frame and approximately what kind of lighting there should be.
Of course, ideally, having once a storyboard no need to worry about the future of creativity on the visual, but it is not our way. We are in any way something to alter, change, improve. In the end, the result may be not what we initially expected.
Original ideas may be "original ideas", but the cartoon appears something else changed. So we went with this cartoon, and that colored storyboard, you see, does not quite match the final result.
Computer graphics is a combination of creativity and technology.
Before you start animating any character, you must do the setup to set all controls and verify that the character will be able to do everything you need with our esteemed Director. WE do not use any ready-made solutions and create all rigs themselves.
After preparing the character for animation, it's time to think about where it will be all action. Ie you need to make the environment.
In our previous cartoons we tried to save time and did all the backgrounds. The artist painted a picture and were laid on it 3D characters, different effects and other things. The result is an interesting symbiosis between 2D and 3D graphics. All great, but this technology implies some limitations: besides being a 3D character difficult to interact with the drawn 2D objects, we are not able much to move the camera, so about the stairs and turns of the camera can be forgotten.
In this cartoon, we decided not to limit ourselves and to make everything in 3D. It absolutely does not mean that we don't have to draw 2D pictures for backgrounds. Pictures are used as references for lighting, location and color of objects. Based on these references, we can begin texturing our backgrounds.
When are the characters, setups and environments, you can start the animation.
On this cartoon worked 4 and a half animators.
Good animation is obtained when the animator assumes the role of his character, i.e. we can assume that the animator is the actor or movie.
Why was there such a thing? To build a common representation of the movements of our characters. By the way, is in our Studio, the Director or Supervisor of the animation. And knowingly gets paid, he ensures that everything was done clearly.
The animation is approximately in the middle of production of the cartoon. For it we have to visualize everything.
Because the author of the article, i.e. I do visualization, I can say that this is the most interesting period of production. At this stage everything gets colored. As is done in the world:
1. The artist paints a 3D picture.
2. A Visualizer reproduces the scheme of lighting and atmosphere as in the picture.
This is how we do:
1. The artist paints a 3D picture.
2. A Visualizer reproduces the scheme of lighting and atmosphere as in the picture... and it did not work. Ie it turns out, but in the animation it looks not so cool as the one shot: the school of some sort of additional light sources will come out, the artist did not calculate the correct lighting scheme, so in the next scene, when the camera turns the entire thing is unpredictable.
Something like that.
But in fact it is absolutely no problem. Because in the end both the artist and the Visualizer sit together and make a product that suits everyone.
Visualization is one of the most resource-intensive stages of production. And when we started to count shots, then I realized that without a render farm we can not do. Thus, we have acquired with the help of Kaspersky lab render farm. Small, for 10 computers, but, despite this, she helped us a great deal. Without it, we would probably still rendering the cartoon.)))
In addition iron is also important software that visualizes. For some time we were thinking what to use for this, and decided to render everything with V-Ray. It miraculously fit into our pipeline and helped save a lot of time.
Visualization is not the last stage of production. It goes hand in hand with composol. At the stage of compositing all comes together. Given that the rendering is done at the very end of production, the following thing happens. The first 70% of the time working on a project people are working more or less relaxed. I see that there is still plenty of time to engage in creative search, you can make several versions of the same animations and so on. This leads to the fact that at the final rendering stage, there is less time than planned, and there is no possibility to make any mistakes.
The composers and especially the Visualizers work in very hard mode. Often occurs such a thing, we just can't make any changes to the lighting, the atmosphere of the picture. It is necessary to modify the existing material. Now, at the stage of the composite we do – we modify what we received at the stage of rendering (the color of the fabric of the sweater at the doctor, it turned out dark green, but the idea of the Director it was supposed to be a different shade, I do not remember what. Instead prerendering all shots with my 3D package we just changed the color in every shot).
In fact, the editing of the cartoon is not a separate process. It stretches over the whole production period. Only at the end you can Polish some rough edges.
That's all.
Congratulations, you finished it.
the And now a little bonus. what are unable to say in the post – small chips.
In the process of development of characters we spent a lot of time designing and drawing of the following objects:
2. Braid – if you noticed, the scythe's blade connected with the shaft is not a simple "heel". We have this bony hand, which follows the hand of JI.
The same attention to detail present in the shot with Doc in the office. He has some very rare books. They released a small edition — only one copy. So he takes care of them and never sell. One of his books is "Forgotten recipes of sandwiches".
Also in the cartoon is an allusion TO the SECOND CARTOON. Well, as a hint? One of the main characters of the second series appears in the first episode. And that's where it is – we won't tell.
now you can see what we've got...
PS: Thank Kaspersky Lab for assistance in acquiring RenderFarm for animation.
Our other cartoons can watch on our Youtube channel.
Article based on information from habrahabr.ru
so, where did it all begin?
Of course, with an idea. In General, to describe the process of creating ideas is difficult, so we assume that it came by itself. And, inspired, we started work.
The whole stage of working on the cartoon production can be divided into several stages:
-
the
- pre-production the
- Production the
- Post-production
Let's start with pre-production.
pre-production
At this stage, we structure the subsequent work, write the script, develop the characters, draw the storyboard and make an animatic. In that order.
Scenario
A script is a scattered pile of crumpled paper. It is the tobacco smoke. It's red from eyestrain. It's a broken computer. And another one. Approximately in such an atmosphere were to write the script for this episode. Read it and you can, he lies, hides from no one, that here.
It is up to the Persians. According to our idea in the cartoon had three of them:
How to create g, we have already mentioned in our blog, I would like to draw attention to the other two characters.
In General, work on the character begins with drawing black-and-white sketches. Them drawn as much as needed to the Director said: "Here! I like it!" In the case of Doc, the situation was similar. And the words "All! I like it!" flew out here with this.
IPod in pencil
But how many options were offered to the Director.
It is necessary to study not only the figures, but the faces of the characters. You have to draw two or three options, and much more (Director finicky). A lot of stuff remains behind the scenes.
As a result, when you select the appropriate character, he sketches are drawn in color. Why do it if it is not samodelnyj? 2D colored character need to understand which character will be the result. In pencil drawings it's not clear, and there is volume.
The main criteria for choosing a character is not a technique of its execution, and emotion. Ie is not always important HOW the character is drawn, it is important whether he conveys the vision and idea of the Director.
Moving on. Bob.
Bob is a hard working truck driver. He got so exhausted that he even fell asleep at the wheel. As a result, and met JI. This character is harder to Doc. His complexity lies in the fact that it is a few, so to speak, States:
-
the
- Live in the car the
- half-dead In the intensive care unit the
- And finally, a Ghost.
By the way, Bob in the car we did at the end of the production of the cartoon, literally a couple of days before the delivery of the project, as considered that we need to strengthen the beginning of the movie.
But the kind brought before us the characters, when we get acquainted with them, i.e. the characters selected by the Director.
Those who could become our truck driver.
In General, all of this need to invent, draw and bring to life, and to draw the emotions of the character
And here is the result of our work
But if with the usual state of Bob, in principle, of course, the Ghost. How it or he should look for us at the time was unclear.
I tried to draw on paper. Happened, to put it mildly, strange. Maybe for 2D cartoon going to fly, but for 3D cartoon — absolutely nothing. Began to think what to do next, and to be honest, I decided to do so, as it turns out. After a number of experiments we came to an acceptable result.
Nothing super special, the Ghost was going in 2 packages. The body and fluids in Maya. Of refraction for the character and color — Nuke.
It is an interesting result.
All! With the characters done. Next we need a storyboard, the next stage of pre-production.
Initially, the storyboard is drawn black and white and then added color. At this stage we can understand in what range is the whole movie, what will be the atmosphere in the frame and approximately what kind of lighting there should be.
Of course, ideally, having once a storyboard no need to worry about the future of creativity on the visual, but it is not our way. We are in any way something to alter, change, improve. In the end, the result may be not what we initially expected.
Original ideas may be "original ideas", but the cartoon appears something else changed. So we went with this cartoon, and that colored storyboard, you see, does not quite match the final result.
character Setup
Computer graphics is a combination of creativity and technology.
Before you start animating any character, you must do the setup to set all controls and verify that the character will be able to do everything you need with our esteemed Director. WE do not use any ready-made solutions and create all rigs themselves.
environment
After preparing the character for animation, it's time to think about where it will be all action. Ie you need to make the environment.
In our previous cartoons we tried to save time and did all the backgrounds. The artist painted a picture and were laid on it 3D characters, different effects and other things. The result is an interesting symbiosis between 2D and 3D graphics. All great, but this technology implies some limitations: besides being a 3D character difficult to interact with the drawn 2D objects, we are not able much to move the camera, so about the stairs and turns of the camera can be forgotten.
In this cartoon, we decided not to limit ourselves and to make everything in 3D. It absolutely does not mean that we don't have to draw 2D pictures for backgrounds. Pictures are used as references for lighting, location and color of objects. Based on these references, we can begin texturing our backgrounds.
When are the characters, setups and environments, you can start the animation.
Animation
On this cartoon worked 4 and a half animators.
Good animation is obtained when the animator assumes the role of his character, i.e. we can assume that the animator is the actor or movie.
Why was there such a thing? To build a common representation of the movements of our characters. By the way, is in our Studio, the Director or Supervisor of the animation. And knowingly gets paid, he ensures that everything was done clearly.
The animation is approximately in the middle of production of the cartoon. For it we have to visualize everything.
Rendering
Because the author of the article, i.e. I do visualization, I can say that this is the most interesting period of production. At this stage everything gets colored. As is done in the world:
1. The artist paints a 3D picture.
2. A Visualizer reproduces the scheme of lighting and atmosphere as in the picture.
This is how we do:
1. The artist paints a 3D picture.
2. A Visualizer reproduces the scheme of lighting and atmosphere as in the picture... and it did not work. Ie it turns out, but in the animation it looks not so cool as the one shot: the school of some sort of additional light sources will come out, the artist did not calculate the correct lighting scheme, so in the next scene, when the camera turns the entire thing is unpredictable.
Something like that.
But in fact it is absolutely no problem. Because in the end both the artist and the Visualizer sit together and make a product that suits everyone.
Visualization is one of the most resource-intensive stages of production. And when we started to count shots, then I realized that without a render farm we can not do. Thus, we have acquired with the help of Kaspersky lab render farm. Small, for 10 computers, but, despite this, she helped us a great deal. Without it, we would probably still rendering the cartoon.)))
In addition iron is also important software that visualizes. For some time we were thinking what to use for this, and decided to render everything with V-Ray. It miraculously fit into our pipeline and helped save a lot of time.
Compositing
Visualization is not the last stage of production. It goes hand in hand with composol. At the stage of compositing all comes together. Given that the rendering is done at the very end of production, the following thing happens. The first 70% of the time working on a project people are working more or less relaxed. I see that there is still plenty of time to engage in creative search, you can make several versions of the same animations and so on. This leads to the fact that at the final rendering stage, there is less time than planned, and there is no possibility to make any mistakes.
The composers and especially the Visualizers work in very hard mode. Often occurs such a thing, we just can't make any changes to the lighting, the atmosphere of the picture. It is necessary to modify the existing material. Now, at the stage of the composite we do – we modify what we received at the stage of rendering (the color of the fabric of the sweater at the doctor, it turned out dark green, but the idea of the Director it was supposed to be a different shade, I do not remember what. Instead prerendering all shots with my 3D package we just changed the color in every shot).
Item the tenth – installation
In fact, the editing of the cartoon is not a separate process. It stretches over the whole production period. Only at the end you can Polish some rough edges.
That's all.
Congratulations, you finished it.
the And now a little bonus. what are unable to say in the post – small chips.
In the process of development of characters we spent a lot of time designing and drawing of the following objects:
2. Braid – if you noticed, the scythe's blade connected with the shaft is not a simple "heel". We have this bony hand, which follows the hand of JI.
The same attention to detail present in the shot with Doc in the office. He has some very rare books. They released a small edition — only one copy. So he takes care of them and never sell. One of his books is "Forgotten recipes of sandwiches".
Also in the cartoon is an allusion TO the SECOND CARTOON. Well, as a hint? One of the main characters of the second series appears in the first episode. And that's where it is – we won't tell.
now you can see what we've got...
PS: Thank Kaspersky Lab for assistance in acquiring RenderFarm for animation.
Our other cartoons can watch on our Youtube channel.
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