Hunger: Final Video

 

Reflection

This semester has taught me a lot. the massive workload of juggling my own project, which i tried to push as far as possible rig wise, working for two other teams on challenging rigs, juggling a steadily increasing working hours outside of uni and working freelance for outside clients all while maintaining a sport has defiantly taught me the meaning of hard work.

I am glad of how far i have come in this semester skill set wise, undergoing courses in python and scripting alongside my uni work has benefited my when it comes to rigging. I am glad to have worked within a strong team that were keen to help each other improve. Feedback from the team was great throughout the project, every member was happy to listen and look at what i was doing in order to give me whatever input they could. I  now feel confident enough to step out into the industry and work along side professionals and learn from them.

Im glad i got the chance to work with the team i did this semester. i dont think i would of been given the room to develop as i have with a different group of people.

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Teamwork

Matt McDyre – Director – Animation – Modeler-

 https://mattmcdyre.wordpress.com/2017/05/18/branding/

Hannah Turkington – Rendering – Modelling – Comp

https://hannahturkingtonblog.wordpress.com/2017/05/13/rendering-and-compositing/

https://hannahturkingtonblog.wordpress.com/2017/04/18/scene-render-tests-renderman/

Hannah Loughridge – Animation – Modelling – 

https://houghridgeblog.wordpress.com/2017/05/19/animation/

Daniel Boyle – Animation – 

https://dboyle93.wordpress.com/2017/05/19/working-on-final-animations/

 

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Design Presentation & Report

For Gregs module we were tasked to look out into the industry and try and make contacts that would increase are likelihood of getting on with are career within the industry as soon as we leave uni. We were also tasked with designing and creating are end of year show and bringing in guests. The final part of are module was to create are website, showreel and Cv.

Industry Engagement

Dingle International Film Festival

Myself and a few classmates decided to drive down and stay in Dingle during the international film festival. My team all went as our film Life in the 21st Century was selected for the festival. (handy for starting up conversations with people down there)

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During are brief time in Dingle we joined in on the nightlife fun and met some interesting people.

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thanks to Greg i was able to get into contact with Adam McAllister, previously of Brown Bag Studios. Adam was great on offering careers advice as well as feedback on my work. Currently i am the only person specializing in rigging in the class so having critique from someone else was a big plus.

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Adam has also been invited to the end of year show.

Another goldmine i stumbled onto by mistake was when i purchased my license to SHAPES, i had a issue regarding the license pop up. When i emailed to get the bug sorted i noticed the person i was emailing was actually the  developer of the plugin itself. I was able to get into a conversation about careers and skills in the industry and was even able to send some rigs over email for critique and help with bugs.

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Finally after having a meeting the Jam Media my lecturer emailed the company and recommended myself as a character technical artist for some of there new shows.

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I have also been chatting on Linkedin with riggers from companies such as BlueZoo

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As a team myself and the rest of the guys had a meeting in NI screen with Andrew Reed about what it takes to get funding from NI screen. we obtained a lot of useful information about possible ways of being able to work on are own short films as well as create a income, by taking on advertising and small commercial gigs on the side.

End of Year Show

For a section of are module we have to organize are end of year show and create a display. I was part of the committee for making decisions, during the meetings is were the major ideas were bashed out for the show and how everything was going to work.

Major credit has to be given to Niamh for the work she put into organizing everything, Matt for his work on getting Us Folk to sponsor and help design the show and Hannah Turkington for helping out with getting display boards sorted.

Sadly during a lot for a lot of the cleaning of the room i was unable to attend due to working. Although i was around for the setting up of the boards and also carrying in the Tvs and tables for everyone. Myself and Hannah Loughridge worked together to get the prints finished for are wall. I worked on getting the cardboard cutout printed for the show as well.

Industry Facing

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CV

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http://www.scottgilltd.com

Reflection

This module has made a great impact into my final year. the collaboration between the year has been great in organizing events and developing creative relationships between are work.

Working alongside my team while having the ability to pass work to individuals within the industry was a amazing bonus in developing my skills while engaging within the industry. Having the meeting with NI screen opened my eyes to the possibility of working on my own IP while working commercially as well to sustain a small project.

For items such as my showreel i wanted to show that i can be versatile with my work while also showing strong technical skills.

All in all making connect to the industry outside of NI was insightful and inspiring and im looking forward to were my career will take me.

Hunger: Girl Character Rig

Once the character sculpt had gotten far enough along i began the rigging process using my proxy rig, which had be previously developed for pre-vis, to create my final character rig for the little girl character. Myself and Hannah Loughtridge had alot of back and forth during this early stage trying to get her shape to move and flow nice in 3D, the most problematic area was the lower jaw and chin area.

Above: shows  the basic setup of the character rig structure

Torso

The character’s torso did not require a lot of  special treatment as it would be a simple biped IK/FK rig with a triple layer system for the hands. One interesting area i was able to develop through my research into a few different spine rigging methods such as a divine spine as the ability to make the FK controls follow the IK spine without applying double transforms, as this was a previous annoyance for some of the animation team when moving a IK control the IK stayed unaffected.

the head and neck were developed the same why i had worked for my early tests allow for both rotation space switching of the entire head from the torso and also rotation switching from the neck and head to allow the head to be pulled forward and side to side will remaining level.

Hands

As mentioned before the hands have a triple layer setup, master finger control > single finger control > single joint FK control. This was implemented after the success i had with it last semester due to its practicality when animating. It is a easy and quick way to block out animations and add fine tweaks

Global

For the global of the rig i decided to create a hierarchy of three controls to allow for maximum freedom for the animator. For example in the animation phase Hannah Loughridge was able to attach the top layer of the global to a curve to have the character follow along a motion path, she is then able to move the second or third layer of control in order to offset the character from the path while it still follows the direction. This effect is useful to have the character walk over bumps or adjust the height.

Above: the global layer system allowing for the character global to be shifted to rotate from the top or bottom or anywhere desired by the animator. Also allowing for motion path ability or parenting

Props/Clothing

As previously thought the main issue would be in developing solutions to issues brought about by her clothes and school bag.

For the bag i developed a system of joints driven by control curves. These joints and curves were placed into a specific hierarchy to allow for the bag to move and appear as if it had something inside it giving it weight. The main issue with the bag was getting it to follow the spine when twisting but then raise up the back, how a real bag shoulder, when she is bending over.

I came up with a solution to the above issue by developing a IK spline which is driven by a series of joints that are rotated around the spine. this information is then fed into the Spline rig to allow for a nice twist while still maintaining the curve of the spine bend.Girl014

Above: the bag and some of the prop rigging involved within the character

For the bag the props that were attached along with it also needed to be rigged to allow for convincing movement. The gun is a simple constraint rig allowing for a mechanical movement whereas the key rig is a IK spline Fk hybrid rig to give the animators complete freedom.  For the gun a dual control had to be made to allow for the gun to be parented to the girls hand which a child control, which actually is the master of the gun geo, to allow for a offset to the girls hand if necessary.

One area i did not anticipate being a issue was the wellie boots. Due to the lose fit around the shin they would twist with the ankle and not have any counter twist like the leg itself. Although they still have to follow the shin bone when rotated in Y and Z so that it does not clip through the mesh. In order to achieve this i have to develop a system of IK handles and constraints in order to get the shoe to move as expected. As a lucky benefit i was able to turn this into a additional controller to allow for the offset of the top of the wellie and in turn allow for a wobble when making contact with the ground.

Above: Examples of the foot/shoe rig

This technique was then developed in order to allow for some overlapping action on the poncho collar. As well as having the offset control for the rim i also added a roll and pull joint around the edge to give more freedom to the animators as well as more believable results.

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Above; Example of the poncho collar roll  

In addition to the collar rig i have also created a dynamic joint rig for the bottom of the poncho which can be turned on and off. This allows the animators to turn the rig into manual and animate in full FK mode to achieve cloth motion or they can have it automated.

A late addition to the character which i had to deal with was the earphones. These were to be used in the credit scene and needed to follow the characters head during animation. This was attached to the character by using a wire deformer skinned to joints that are controlled by the rotation of the head. The joints also have offset controls in order to allow for any corrections required due to the automated rig following but also allow for some movement to be added. I had looked into creating a dynamic joint chain for this setup but it wasn’t practically due to the shape of the head and how it looked while moving.

Facial Rig

my main area of development with this character was in the face. My main problem with previous films made on our course is that characters with more realistic humanoid style there faces are always very lifeless and uncanny valley like.

Due to my research into facial rigging and its impact on the viewer from my dissertation i spent a long time working on developing a system for the eye and brow control as they play a huge part in portraying life in the character.

For most of the facial expression the mesh is deformed by joints which are placed along motion paths these joints are then controlled by a tweak control to allow for small facial twitches and movements for the animation team.

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Above: Showing the position of the facial curves which are used to attach the bind joints to

The motion path curves themselves are blend shaped to create a different range of expressions, these blend shapes are then driven through a expression.

Above: Example of the script used to drive the blend shapes seen on the right

Once the curve blend shapes are created i then create some corrective shapes in order to achieve a higher standard of deformation, these blend shapes also include combo shapes to fix weird shapes from appearing when a series of shapes are fired off together. The mouth shapes are entirely created through blend shapes and combo shapes.

Above: Example of combo shapes in action showing a smile and then a smile/open shape firing at the same time with a corrective Combo shape to fix unwanted deformations.

This section of the rig was made incredibly quick and easy due to my implementation of SHAPES plugin for Maya. This allows for a quick workflow when developing facial rigs and splitting the shape to left and right sides as well as creating combo shapes, sequence shapes and inbetweens. The plugin also allowed me to easily transfer blend shape nodes from model to model as well as transferring sculpts between software such as Zbrush.

Above: Right are examples of the facial shapes before Combos/Correctives. Left is after new shapes have been applied

For the jaw itself it has a double joint setup for both upper jaw and lower jaw to allow for a character to rest there chin and still rotate the head up from the base is required. Additional blend shapes were used to create a squash when the jaw is rotated upward and create nice deformations when the mouth is opened.

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Above: SHAPES plugin user intereface showing my driver shapes and combo shapes.

Eyes

The eyes and eyelids of the rig were a small issue that required a interesting work around. Due to the scale of eyes and there interesting shape i had to develop a system to allow for full control but have the lids slide over the eyeball rather than clip through.

Essentially i had to create a center in the center of the eye ball geo, i then created my joints on the each of the selected vertices. these are than aim constraint to a locator placed on the joint position. this allows for the joints to follow the position of the locator without moving from the eyeball.

From here i draw a curve matching the eye lid shape follow the joint position. this curve is then attached to the locators through a PointOnCurveInfo node to allow for any changed in the curve to affect the locator and in turn the joints follow. This curve is then what is used to create the smart blink. Through a series of blend shapes and wire deformer i was able to develop a nice effect.

I found a tutorial online which taught me some scripts to speed up the process by automating the joint setup and curve PointOnCurveInfoNode.

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As previously stated in the presentations in class i wanted to bring a certain level of realism into the character rigs the pupils needed to have some life and not be so dead pan. This would also allow for some stylized animation. This was created through two blend shapes driven by a attribute on the control curves. the Blend shapes were created using edge slide tool in Maya maintaining the circumference of the sphere at all times.

Face Rig Overview

The final touches to the facial rig were elements such as lip rolls and puckers as well as adding a tongue and tooth rig to create more expression. The lids were also hooked up to the network controlling the ye aim to allow for a realistic lid movement upon eye rotation. These subtle elements are key in bringing life into the character especially during some of are idle animations.

Scripting

throughout the project i have working on developing my python and Mel skills. a lot of the elements i have been working on are use for the rig itself in terms of controlling objects or creating specific setups. Most of the tools i have created which are used outside of the rig itself have been to speed up my own workflow in ways such as creating IK/FK switches and blends automatically or create things such as curves and have them orientated and in the same position as a selected object.

Although one tool i have created for the team is and IK/FK matching tool to allow for space matching between both functions of the arm. The reason i worked on developing this is to allow the animation team to be able to have an IK pose switch to FK without and popping or time consuming pose match up. This sped up scenes and allowed the animation to work a little easier.

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Example of a section of the script

Finish

luckily there has been a rig in motion from quite early on within the project so any hiccups in my pipeline had been ironed out well before i got to the finalization point. The rig has been completed but my service on it has not ended as i have been on constant call to aid any issues regarding its performance. I have also been working on adding specific things that the animator requires through out there scenes.

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Hunger: Research and Development

Throughout the entire project my focus was on developing the character rigs into a higher standard of rig for my team to use. This focus lead me into hours of rig testing and development, constantly creating new quick rigs to test theories and techniques which could be applied to my character rigs.

During the year i also attended talks such as Skype calls from Mario Furmanczyk, a Walt Disney animator, were he talks about the production pipeline for animation. This was not directed at me sue to its heavy focus on animation but it was defiantly beneficial due to it adding to my understanding on what makes a good animation and how animators actually work within a pipeline.

Trees

For trees in the scene we were planning on using Xgen to distrubtute them around the scene randomly. the idea came up about making aniamtion into the geometery so the trees would sway and move in the enviroment. I had developed too systems, A IK/FK control rig for the branches.

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Or a dynamic joint curve when could be anaimated through CV controlers for additonal control.

Divine Spine

For the character spine i had discussed with Dan before the project how annoying it cna be when the FK spine doesn’t follow when you translate the IK controls which can lead to them being lost. I asked if he wanted a solution.

I found the Divine Spine online which a tutorial included in the PDF. through this i made my own version when i then was able to take pieces of in order to create the character spines that we use in the animation. The FK follows the IK without any double transformation.

The divine spine uses a triple layer setup, IK spline, IK handles and a third joint layer for control. It allows for complete freedom of rotation and twist.

The above setup was then tweaked into my own workflow and used to create the following results.

Face Tests

For Hunger i wanted to create the best facial rigs possible to allow the animation team to create the best representation of life.

to begin with i created a series of tests to bring the eye environment to life using a fleshy eye system.

This system uses expressions to control the eyelid movement through the eye rotation.

I also worked on developing a system for sticky lips to allow for a sense of moisture on the characters lips when creating expressions or speaking. This was wanted by myself to just add that extra level of polish to the animation.

This was also time to test the joint setup for the face to create expressions.

These setups were then pushed further and refined to create my facial setup for both characters.

Dynamic Joint Chains

Another key area i looked into while researching was dynamic joint chains for things such as her poncho. This would be useful for the animator to run automatically but they could also tweak the simulation by adding there own animation on top.

This system was later implemented into the base of the poncho and the her earphones.

Elbow Pinning

A piece of development that was later scrapped due to no longer being required was the ability to pin the elbow in place to allow the torso to move without the elbow breaking contact with the pin.

This was created through a series of nodes with the ability to switch it on and off.

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Bag

Another section of reserahc was into rigging the props and the back of the girl.

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I completed a series of tests and eventually the image seen above became what we have now shown below.

 

References used this Semester

http://forums.cgsociety.org/showthread.php?t=451463

http://www.3dfiggins.com/writeups/paintingWeights/

https://www.3dtotal.com/tutorial/1883-maya-rigging-corrective-blendshapes-by-jahirul-amin-animation-blend-shapes?page=4

http://www.braverabbit.com/shapes/

http://www.ngskintools.com/

http://help.autodesk.com/view/MAYAUL/2017/ENU/?guid=GUID-579A6D9F-CB41-4CD9-B9D7-3DB1FD33735D

https://knowledge.autodesk.com/support/maya/learn-explore/caas/CloudHelp/cloudhelp/2016/ENU/Maya/files/GUID-7B04F045-71F2-491D-8C2A-18B3DB1AA1F4-htm.html

https://sites.google.com/site/mayariggingwiki/rigging-notes/facial-rigging/more-face-rigging-systems

http://forums.cgsociety.org/showthread.php?t=1061790

https://www.3dtotal.com/tutorial/1836-maya-rigging-introduction-to-rigging-by-jahirul-amin-animation-character-vehicle

http://www.creativebloq.com/3d-world/maya-tutorial-rig-character-posing-9134476

https://cgi.tutsplus.com/tutorials/building-a-complete-human-character-rig-in-maya–cg-14575

https://eyad.tv/home/rigging-automation/

http://www.chadvernon.com/blog/resources/python-scripting-for-maya-artists/

http://www.chadvernon.com/blog/

https://www.activestate.com/komodo-ide

Maya Python Quadruped Autorig Tutorial

http://download.autodesk.com/global/docs/maya2012/en_us/index.html?url=files/GUID-E151A15C-BA1D-4E60-8DB6-9D92C620217-5072.htm,topicNumber=d28e663528

http://jasonschleifer.com/

http://jasonschleifer.com/afr/animator-friendly-rigging-part-1/

http://jasonschleifer.com/afr/animator-friendly-rigging-part-2/

http://jasonschleifer.com/afr/animator-friendly-rigging-part-3/

http://jasonschleifer.com/afr/animator-friendly-rigging-part-4/

https://www.youtube.com/channel/UCE94N3wj3hZIsoiTD4FwUoQ

https://www.youtube.com/channel/UCUA2vlCdEQxHVJSsPPbZINQ

https://www.youtube.com/channel/UCHmAXsicpLK2EHMZo5_BtDA

https://www.youtube.com/channel/UCtqTcbrF9Yl6LKJ2Mf9V-LQ

https://www.udemy.com/python-for-maya/

https://www.digitaltutors.com/lesson/6053-Learning-MEL-scripting

https://www.learnpython.org/en/String_Formatting

https://learnpythonthehardway.org/book/ex33.html

https://www.youtube.com/channel/UCn_SncP23QP819Y__Ew7VIA