Annie – Hmm! Its taken a while but I think you have finally found the right direction…or at least you have taken your early experiences in this project, your worries around 3D, and transformed them in a more ‘you/personal/less generic’ direction. Your outline is clear and concise too. Obviously, its still in the early stages will need evolving via a script and animatic - In fact, I’d recommend those one of your primary goals over the next few weeks. – but in its basic form your outline is very promising. Overall, I like this new direction and I think it suits your character design aspirations and your sense of humour/storytelling. Hopefully, it will help you understand the 3D process better too.
With that said, there is one piece of thinking I would like you to keep in mind. ‘To play the piano badly on purpose to make people laugh you need to be a concert pianist (take a look at the comedian Dudley Moore for that dynamic)’. What I am getting at is that to use discuss 3D (conceptually) and to use Maya (or a fictional software) interactively with an animated character you will need to be on your technical ‘A-game’. So, even though this idea is for Premise make sure that you don’t let Toolkit 2 slip (Jet Pack Jones) this term because all of the answers you need are in those tutorials. The what, the how, and the why of 3D. Simply put, treat Toolkit 2 (Jetpack Jones) as the R & D for Premise. Hope that makes sense?
Hi Annie - just dropping by to say - yes, this looks fun. I know you're already working on a loose animatic, and as part of that process, I want you to also list the different techniques required by each shot (so 2D animation etc) to also include the number of 3D models you'll need - for example, you will need 'deconstructed Maya models', which appear to be unfinished in visual terms, but are actually 'finished outcomes' in terms of fit-for-purpose animatable models. This echoes Alan's point above about how lightly you'll need to wear your Maya proficiency, so the whole thing looks effortless - even those first clunky models need to be 'special props' that are rigged and lit accordingly to behave in the 'alive' way your story will need to be as appealing and funny as it should be. You'll need to really think about the different iterations of your characters and what they need from you technically. You'll want a wireframe model that can 'back chat' and emote - or a half-finished face that can act similarly; there is a real complexity and art to this that you need to embrace early on.
Annie – Hmm! Its taken a while but I think you have finally found the right direction…or at least you have taken your early experiences in this project, your worries around 3D, and transformed them in a more ‘you/personal/less generic’ direction. Your outline is clear and concise too. Obviously, its still in the early stages will need evolving via a script and animatic - In fact, I’d recommend those one of your primary goals over the next few weeks. – but in its basic form your outline is very promising. Overall, I like this new direction and I think it suits your character design aspirations and your sense of humour/storytelling. Hopefully, it will help you understand the 3D process better too.
ReplyDeleteWith that said, there is one piece of thinking I would like you to keep in mind. ‘To play the piano badly on purpose to make people laugh you need to be a concert pianist (take a look at the comedian Dudley Moore for that dynamic)’. What I am getting at is that to use discuss 3D (conceptually) and to use Maya (or a fictional software) interactively with an animated character you will need to be on your technical ‘A-game’. So, even though this idea is for Premise make sure that you don’t let Toolkit 2 slip (Jet Pack Jones) this term because all of the answers you need are in those tutorials. The what, the how, and the why of 3D. Simply put, treat Toolkit 2 (Jetpack Jones) as the R & D for Premise. Hope that makes sense?
Hi Annie - just dropping by to say - yes, this looks fun. I know you're already working on a loose animatic, and as part of that process, I want you to also list the different techniques required by each shot (so 2D animation etc) to also include the number of 3D models you'll need - for example, you will need 'deconstructed Maya models', which appear to be unfinished in visual terms, but are actually 'finished outcomes' in terms of fit-for-purpose animatable models. This echoes Alan's point above about how lightly you'll need to wear your Maya proficiency, so the whole thing looks effortless - even those first clunky models need to be 'special props' that are rigged and lit accordingly to behave in the 'alive' way your story will need to be as appealing and funny as it should be. You'll need to really think about the different iterations of your characters and what they need from you technically. You'll want a wireframe model that can 'back chat' and emote - or a half-finished face that can act similarly; there is a real complexity and art to this that you need to embrace early on.
ReplyDeleteSorry typo - "those = that as"
ReplyDeleteand... "use/discuss"
ReplyDelete