Tuesday, 8 April 2014

Fantastic Voyage: Room(Digital Set) Further Development

I've added the skirting board, adjusted the borders and the colour of the main wall. Though it has been suggested to add a poster to the back wall, I do not want it to be overpowering the educational posters that are already on those walls so I've added a bit of texture to it but it doesn't seem to take effect. Hence, I will try bump mapping it to give a more realistic feel.  Apart from that, I was thinking of adding a couple more poster to the left wall (by the window) as the space there seems a little bit empty. In addition to the further enhance this set, I've done some adjustments in terms of adding folds onto the posters. However, it still looks unrealistic. The lack of shadow might be a contributing factor to this problem. 

In comparison to my previous shot, this looks better but I am not satisfied with the overall look as it still looks too CG. I will further enhance the scene by fiddling with my lighting set up and I have decided that this will take place at evening time where the light from the outside world would not affect the scene as much except giving some rim lighting to the top of the bookshelf and the edge of the table.

Monday, 7 April 2014

Fantastic Voyage: Room(Digital Set) Texturing & Lighting

After taking into the consideration to make my digital set more engaging, I've added texture to the wall and the ground. I've also added an educational quote and posters into my scene.

I still have to unlink the spotlight to the table as the light is passing through it. As for now, this is what I have. I also still adjusting the room's light in general because there is a hotspot created by the area light in my scene. In terms of texturing it, I would refine the wall's texture by moving the border of the room slightly higher.


Fantastic Voyage: Sun Ray

 In my opening scene, I have my center fern in the spotlight to start of the animation. Initially, I have had the sunray as a paper fold out but after analysing my scene and fiddling with the lightings, I thought that having the table lamp would have a better effect. With this, I am thinking of just having the lamp slightly off screen so that you won't see it but you will hear the lamp click, and light will shine on the center fern.

Paper Fold Out SunRay
Table Lamp Sun Ray

Fantastic Voyage: Room's Lighting

For the establishing shot and the closing shot where the room is seen, I've decided to test out with different lightings. I like the outcome of the area light as it mimics a room's light more in comparison to the ambient light. I am, however, still fiddling with the light settings like the colours, raytrace Shadows attributes to produce better results. 

Ambient Light

Area Light

Sunday, 6 April 2014

Visual Effects Deformers: Sculpt Deformers

In this tutorial, a sculpt deformer was used to shape the bicep. In order to do that, a nurb sphere is first created, sculpted to the desired shape, and unparented before an offset group is created to parent it back to the shoulder joint. This is done so that the nurb sphere itself has zero value which makes all the value at zero and tidy.

Parenting The Nurbs Sphere To The Shoulder Joint
A Locator Is Added After The Main Mesh and The Sphere Were Bind Together By Sculpt Deformer
Arrangement Of The Object In The Outliner

This is an illustration of what has been achieved at the end of the tutorial.

Visual Effects Deformers: Wire Deformers

For this tutorial, instead of soft selecting the vertices, a curve with clusters was created to control the movement of the eyebrows.

Creating The Curve 
Before Painting The Weight Around The Eyebrow Area
After Painting The Weight Around The Eyebrow Area
After All The Three Different Shapes of Eyebrow
After The Main Head Mesh Is Connected ToThe Different Eyebrows
Here's a video to illustrate what has been done for this tutorial.

Visual Effects Deformers: Creating Mirrored Blend Shapes

In this tutorial, I've learnt to mirror the blendshapes to affect the eyebrows.
Duplicating The Head And Moving The Vertices Around The Eyebrow Area
Duplicating The Head And Mirroring It To Affect The Eyebrow On The Other Side 
Rearranging The Input For The Blednshape To Work Properly Without Affecting The Skinning

After Blendshaping
Original Placing of Eyebrows
Eyebrows Moved
Though it is not required but I did a short playblast to show the different facial expression by keying the new blend shaped eyebrows and the jaws.

Fantastic Voyage Final Previz

This is my final previz, and I have had the voice over to be in sync with the video. There are some timings that are a bit off but overall, I am happy as this has given me a rough idea of my final animation.


Wednesday, 2 April 2014

Life Drawing Lesson 15

For today's life drawing class, we went back to drawing the basics- Line and movement.





Cutting Edge Film Programme: The Poseidon Adventure (1972)

Figure 1: Movie Poster [Still Image]
The Poseidon Adventure (1972) is an American action- adventure film co-directed by Ronald Neame and Irwin Allen. It is a film based on a novel by Paul Gallico bearing the same name.

The plot revolves around a luxurious ocean liner, SS Poseidon, on its last route of travel, which is from New York City to Athens before making its way to retirement. As the ship was behind schedule, company representative Linarcos ordered the ship’s captain, Captain Harrison, to go on a full speed ahead despite the captain’s persistent objection as he knew that is not a wise decision to make.

Just after everyone on board who are gathered in the huge ballroom to welcome the new year, the ship is hit by a tsunamis that was caused by an underwater earthquake. She is overturned and the lives of most of the ship’s crew, including Captain Harrison and Linarcos, who were on the bridge were lost.

Passengers and remaining crew that survived the overturn are trapped inside and a preacher, Revenant Scott, who believes that God will help those who help themselves, attempts to convince everyone to follow him in search of safety. However, he only managed to convince a small group of survivors. The survivors include Susan Shelby and her younger brother, Robin whose interest lies in how the ship works and paid multiple visits to the engine room during his time on board, retired hardware store owner Manny Rosen and his wife Belle, an introvert, conscious about his health bachelor,James Martin, the singer’s ship Nonnie Parry, Detective Liuetenant Mike Rogo and his ex prostitute wife, Linda.
Figure 2: The Survivors [Still Image]
Survivors such as Detective Rogo and Revenant Scott possesses the dominant role and whereas Nonnie, the singer, represents the weaker link. Mrs Rosen and Linda Rogo are characters who possesses the dominant role in their relationship as in it can be seen in their screenplay. An example that Mrs Rosen has been taking the dominant role would be at one point when Mr Rosen told her “For the past 20 years, I’ve been listening to you. Now, it’s time for you to listen to me.” An example of Linda taking on the dominant role in her relationship with Detective Rogo would be when she said “You son of a bitch. Go help him” and he calmly replies to her  “Okay, Okay”. The characteristics that each survivor possess are relatable to the audience because in every community, there are always people of that sort. A film critic Robert Siegel supports this statement because in his review, he highlights "If audiences achieve empathy with our protagonists, the perils they experience will be more deeply felt, will be more real." (Siegel, 2012)

As this film was made prior to the introduction of Computer Generated Imagery (CGI), everything in this film was built physically and the sets were extensively elaborated. With no advance technology present at the time this film was made, removing safety cables from stunt actors as they plunge to their death in the ballroom scene was impossible but in terms of art directors, the stunt directors wanted to achieve the utmost realism so they improvised. In his review, Richard Luck explains how this was done. He states “Allen’s stunt directors demanded as much realism as possible. So when you see the ballroom roll over, what you’re looking at is a combination of an elaborate set, intricate model work coupled with death-defying stunt performances. The air of authenticity is further accentuated by Allen’s insistence on shooting in sequence and allowing the principals to perform all but the most dangerous feats themselves. “ (Luck, 2014) 
Figure 3: Production Sketches [Still Image]
In conclusion, this is an example of a film that has a solid narrative and does not need CGI to make it believable. The overall look of this film was convincing and not only that made it one of the most successful disaster film of that era but even to date. In an interview carried out by Los Angeles Time, Lynley, who played the role of the ship’s singer, Nonnie, said "The movie has a life of its own. It just gets to people and the fact that it has lived as long as it's lived is extraordinary." (Susan King, 2012)

List of Illustrations:

Figure 1 The Poseidon Adventure (1972) [Poster] at http://www.impawards.com/1972/posters/poseidon_adventure_ver2_xlg.jpg (Accessed on 2 April 2014)

Figure 2 The Survivors (1972) [Still Image] at http://31.media.tumblr.com/fa66cff3f96ce4b5ba4188bfe1102063/tumblr_msrihnumK91se34hmo1_1280.jpg (Accessed on 2 April 2014)


Figure 3 Production Sketches (1972) [Still Image] at http://www.blu-ray.com/news/?id=8479 (Accessed on 2 April 2014)

List of Bibliography:
King, Susan (2012) A Return To 'The Poseidon Adventure' At: http://articles.latimes.com/2012/dec/24/entertainment/la-et-mn-poseidon-adventure-classic-hollywood-20121224 (Accessed on 2 April 2014)

Luck, Richard (2014) The Making Of The Poseidon Adventure At:
http://sabotagetimes.com/reportage/the-making-of-the-poseidon-adventure/#_ (Accessed on 2 April 2014)

Siegel, Robert (2012) Hell Upside Down: The Making of The Poseidon Adventure http://www.blu-ray.com/news/?id=8479 (Accessed on 2 April 2014)