Friday, 18 May 2018
Toolkit 2 | Submission Post
Drawing:
Life Drawing:
Compilation
1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15
Character Design:
Production Bible
Mudbox:
Fruits and Vegetables Part 1
Bowl
Sculpting:
Weeks 1 and 2
Final Sculpture
Maya:
Jetpack Jones:
Head:
Progress 1 - Part 1 through to Part 4
Progress 2 - Part 5 through to Part 8
Head Complete
Body Complete
Lighting and Rendering 2:
Ray Depth
Sampling and Noise Reduction
Maya Lights
Light Filters
Stylised Internal Lighting
HDR Images and Skydome Light
Toon Shader
Geo Override Sets
Mesh Lights
Stylised External Lighting
Standard Surface Shader
Physical Sky Light
Ambient Occlusion
Photometric Lights
Depth of Field
Fog and Atmosphere
Sub Surface Scattering
AOV's
Stand In's
Motion Blur
Animation:
3D Body Animation:
Poses:
Posing Moom
Acting Poses
Weight Lifting:
Weightlifting Poses | Extremes and Inbetweens
Weightlifting Animation
Info-graphics:
Title Sequence.
Acting:
I have been present for all sessions.
3D Facial Animation:
Suprise Animation
Lipsync
Life Drawing:
Compilation
1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15
Character Design:
Production Bible
Mudbox:
Fruits and Vegetables Part 1
Bowl
Sculpting:
Weeks 1 and 2
Final Sculpture
Maya:
Jetpack Jones:
Head:
Progress 1 - Part 1 through to Part 4
Progress 2 - Part 5 through to Part 8
Head Complete
Body Complete
Lighting and Rendering 2:
Ray Depth
Sampling and Noise Reduction
Maya Lights
Light Filters
Stylised Internal Lighting
HDR Images and Skydome Light
Toon Shader
Geo Override Sets
Mesh Lights
Stylised External Lighting
Standard Surface Shader
Physical Sky Light
Ambient Occlusion
Photometric Lights
Depth of Field
Fog and Atmosphere
Sub Surface Scattering
AOV's
Stand In's
Motion Blur
Animation:
3D Body Animation:
Poses:
Posing Moom
Acting Poses
Weight Lifting:
Weightlifting Poses | Extremes and Inbetweens
Weightlifting Animation
Info-graphics:
Title Sequence.
Acting:
I have been present for all sessions.
3D Facial Animation:
Suprise Animation
Lipsync
Thursday, 17 May 2018
Wednesday, 16 May 2018
Tuesday, 15 May 2018
Monday, 14 May 2018
Sunday, 13 May 2018
Friday, 11 May 2018
Premise | Magazine Article
Bibliography:
https://www.animationcareerreview.com/articles/concept-artist-career-profile
https://www.cgspectrum.edu.au/blog/what-it-is-like-to-be-a-professional-concept-artist
http://creativeskillset.org/job_roles/3072_concept_artist
https://careertrend.com/facts-5618539-job-description-concept-artist.html
Thursday, 10 May 2018
Premise | Reflective Statement
As a project I found premise to be challenging as I initially struggled to figure out what to do for the project. I found that I didn't spend as much time on the project as I should have which led to me not having as much done to a standard I would have wanted. I found that working in the Sumi-e style forced me to be more simplistic in my drawings instead of working in a more realistic way. I found this to be somewhat challenging but enjoyable nonetheless. I think that I need to re-look at the way the second act of the story functions as I need to make the parents role clearer in the overall story. This would then allow for the audience to understand the story better. Another thing I need to go back through and re-work are the camera shots as they could be more interesting through more use of close-ups. Something I am going to work on is how I balance my time as I didn't spend as much on premise as I needed to and this caused more problems that could have been avoided if I had managed my time more efficiently.
Film Review | Ethel and Ernest
Movie poster |
The film carefully preserves the art style of Raymond Brigg's. This 'fidelity to Briggs’ illustrative aesthetic is welcome, as it maintains a homey, appropriately somewhat retro air redolent of pencil sketches and pastels.' (Harvey, 2017). This can be seen even in the movie poster when looked at alongside the book cover as they have managed to capture some of the qualities of Brigg's artsyle without stopping the film from looking 3D. The film was created entirely digitally, unlike previous adaptations of Brigg's work, however the feeling of pencil on paper was kept intact. The effect of this is a sense of nostalgia that runs through the film both due to the art style and the subject of the film.
Book cover |
The film tells the story of an ordinary couple and is ' a tender story about the lost world of what we now call the “white working class”'. (Bradshaw, 2016). Though because of that 'Ethel & Ernest proves to be a quietly moving tribute to a real-life couple who are extraordinary precisely because of their very ordinary life.' (Smith, 2016). The interest in this story lies not in the tale itself but in the way it's told and the viewers ability to relate to the contents and characters within.
Bibliography:
- Bradshaw, P, (2016), Ethel & Ernest review – moving adaptation of Raymond Briggs's graphic novel, https://www.theguardian.com/film/2016/oct/27/ethel-ernest-review-moving-adaptation-of-raymond-briggss-graphic-novel
- Harvey, D, (2017), 'Film Review: Ethel & Ernest', http://variety.com/2017/film/reviews/ethel-and-ernest-review-1202643201/
- Smith, A, (2016), Ethel and Ernest Review, https://www.empireonline.com/movies/ethel-ernest/review/
Image List:
- Image 1, Movie Poster, Found At: https://viewsfromthesofa.com/2017/01/03/ethel-and-ernest-2016-review/
- Image 2, Book Cover, Found At: https://www.penguin.co.uk/authors/raymond-briggs/17111/
Thursday, 3 May 2018
Maya | Jetpack Jones | Complete Body Model
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