Saturday, March 17, 2012

Render Engines








(English) -------------------------------------------------------------------------------------------------------------------------------------------------

In our previous post we showed you a first draft of the look and feeling we are looking to give Alike.
Today's post its rather technical, although the main focus are the artistic considerations that led us to choose cycles as our prefered render engine.
If you are familiar with this render engine, then you probably know its still under development. Then why would we prefer it over an already established renderer? The answer is quite simple really: With blender's internal render we didn't manage to achieve aesthetically satisfactory results.

The general perception from our art director when looking at the renders was the lack of tangibility. Better textures that really show that these characters are made of clay was also lacking. In short the images needed an extra influx of realism.
Different textures were tried along with several shading parameters and all kinds of lighting. But the results weren't nowhere near what we wanted, something was lacking.. Until we found that extra could be provided by a young render engine called Cycles.


Here you have a list of the main reasons why we chose to use Cycles in our production:


1.-Inmediacy: Cycles makes it easier to achieve satisfactory results shading and lighting wise. Even though the avarage render time per image is higher than that of Blender Internal.


2.-Physical Correction: Cycles wasn't designed to be 100% correct in terms of physical accuracy. But the nuances when it comes to lighting (specially indirect lighting) have proven crucial to getting the realism we are looking for. All these nuances of the displacement map work really well in Cycles, such as the light bouncing and lighting and shading small but important details.


3.-Interactivity: Its quite exciting when you think of all the pipeline possibilities a interactive render engine has to offer. Just imagine the animators working with an almost final render-looking-like environment in their viewports. The artistic potential and control it offers are a no brainer. Being given feedback by the art director in real time or knowing right away when a texture works or not are just a few of the advantages.


4.-R&D: What we basically mean by this is the opportunity we have to test this render engine in a real production. Discovering new ways of achieving results and contributing to the development of the blender community are some of the perks of this process.

You can find a high res image next to the videos above that will show the detail better.

Maik

(Español) -------------------------------------------------------------------------------------------------------------------------------------------------

En la entrada anterior de este blog os mostrábamos una primera intención del look y un poco el feeling visual que estamos buscando para “Alike”.
Este es un post de carácter más técnico, aunque lo verdaderamente relevante son las consideraciones artísticas que nos han llevado a escoger Cycles como motor de render.
Si conocéis algo de este motor es bastante probable que os preguntéis por qué vamos a introducir dentro de nuestra producción una herramienta que está todavía en desarrollo, la cuál todavía carece de múltiples funcionalidades. La razón principal es bien sencilla: con el motor interno de Blender no conseguimos resultados estéticos satisfactorios.

El feedback que se obtenía desde la dirección de arte pedía más tangibildad en los personajes, más realismo en los materiales y mejores texturas que representaran la plastilina de la que están hechos los personajes. Hacía falta un extra de realismo.
Se probaron nuevas texturas, diferentes parámetros de shading y todo tipo de luces, pero todavía no dábamos con ese extra...  hasta que descubrimos finalmente que este plus nos lo proporcionaba Cycles.

Estos son los motivos principales por los que hemos escogido Cycles:

1.- Inmediatez: Con Cycles ha resultado ser mucho más sencillo e intuitivo conseguir resultados artísticos muy interesantes, tanto a nivel de iluminación como de shading. A pesar de que los tiempos de render para obtener una imagen limpia van a ser más altos de media que con Blender internal.

2.- Corrección física: Sabiendo que Cycles no ha sido diseñado para ser físicamente correcto al 100%, los matices que nos ofrece a nivel de transmisión de la luz (sobre todo la indirecta) se han revelado imprescindibles para obtener la sensación de realismo que buscábamos. Todos los matices de la textura de desplazamiento funcionan muy bien en Cycles y se aprecia cómo la luz rebota, iluminando y ensombreciendo los pequeños detalles.

3.- Interactividad: Resulta emocionante las posibilidades de pipeline que proporciona un motor iteractivo. Imaginad a los animadores trabajando con los personajes en un entorno de iluminación y shading casi definitivos, o el potencial artístico y el control de iluminar un plano con el director de arte corrigiendo en tiempo real (más azul por allí, rebaja un poco la luz de relleno, mueve un poco hacia arriba la principal…)

4.- I+D: Es complicado describir este concepto, pero testear Blender en producción real es uno de los valores añadidos que tiene este proyecto. Abrir nuevos caminos y colaborar para que Blender y su comunidad evolucionen.

Junto a los videos demostrativos adjuntamos una imagen con buena resolución para que podáis ver con mejor detalle.

Maik

Wednesday, January 18, 2012

Render Test


We are currently about to wrap up the pre-production stage of Alike. 2012 hasn't started as well as we thought it would. But we are certain we will overcome all of the obstacles that come with making an Animated short.

However the actual look of the short is taking shape nicely, with an aesthetic that has the feel of the story we are trying to tell. There is a feeling among us that this phase is a bit of a steep hill we are trying to climb, which makes it all the more important for the team to be able to start getting images like this out there.

We know this is not a finalized image, there is still lots of work to be done! But it does help us imagining the story better and what the world the characters inhabit looks like.

We hope you like the result of the poster so far, and we would love to get feedback from you.

Rafiki

---------------------------------------------------------------------------------------------------------------------------------------------------------------

Nos encontramos cerrando la preproducción de "Alike". 2012 ha empezado con más problemas de los previstos, pero aquí seguimos queriendo superar todos los obstáculos que conlleva hacer un corto de animación.

Una de las cosas que van cogiendo forma es la estética  que buscamos para contar la historia. Como estámos en una fase en la que parece que no avanzamos, este tipo de imágenes dan un golpe positivo al estado anímico del equipo.

Sabemos que esta imagen no es definitiva, que todavía queda mucho en lo que trabajar. Pero ayuda a imaginarnos el mundo en el que se van a mover los personajes y a visualizar la historia.

Esperamos que os guste el resultado del "poster", y nos encantaría recibir feedback.

Rafiki

Friday, November 11, 2011

Drawing Copi

Our director of Animation Rafael Cano"Rafiki" gave the team some lessons on how "Copi" should be drawn.

But wait a second! Did he use the word drawn? Wasn't this supposed to be a 3D short? Well.. yes, you are right, but the origin of Animation has always been 2D.
A common flaw found in 3D is that you only pose a marionette, but you are not actually drawing the pose. A 2D Animator has no other choice but to draw his character facing a blank sheet of paper every time he needs a new pose.
We could say then, that in 2D you have to model and animate at the same time, always trying to find lines of action that will express best what we want to transmit. A 2D Animator can not rotate the character or move the camera trying what works best. And even though that is an advantage 3D offers, often it can lead to a lack of thought from the 3D Animator's part, resulting in a posed marionette and not a "drawn" pose.

Thankfully we have AniSculpt in Blender. That is what we call the process of being able to sculpt in real time on the character's shape, to be able to "draw" the pose better. Which is why Rafiki's drawing session was held in the first place, to be able to understand how Copy is build and how to best draw poses for him.

Daniel

-----------------------------------------------------------------------------------------------------------------------------

Nuestro director de animación Rafael Cano "Rafiki" hizo una sesión de cómo dibujar a "Copi".
Pero... ¡un momento!, ¿dibujar? ¿pero esto no era un corto en 3D? Sí, pero la "madre" de todo es el 2D.
Un error común que tiene el 3D es que solo posas una marioneta, no dibujas la pose. Un animador 2D se ve obligado a dibujar todo el personaje partiendo de un folio en blanco. Podríamos decir que un animador 2D tiene que modelar y animar a la vez y, ya que lo tiene que dibujar entero, un buen animador pondrá cada linea en su sitio buscando con ello la pose que mejor exprese lo que quiere transmitir. Un animador 2D cuando tiene la pose dibujada no puede ni rotar el modelo o mover la cámara buscando que funcione mejor como se puede hacer en 3D, aunque esto es una "ventaja"del 3D, a menudo se convierte en una falta de reflexión previa por parte del animador 3D al posar un personaje, posas la marioneta sin  pensar en "dibujar" la pose.

Afortunadamente en Blender tenemos el AniSculpt, así es como llamamos nosotros a la posibilidad de esculpir de forma animada la estructura del personaje para poder "dibujar" la pose, asi que esta sesión de 2D con Rafiki sirve para entender como esta construido Copi y "dibujar" mejor las poses.

Daniel



                                                        Glen keane Reference Poses  here

Monday, October 10, 2011

Alike Workplace

We have remodelled one of the rooms at the school to accommodate the whole team working on the short for a year or so (about 9-10 people). We are happy with the result! We now have a better place to work and learn :) 

Alike Team.


Friday, September 16, 2011

Alike Team

Hi Guys!
We have finally started production for our upcoming short "Alike". We are currently finsishing up modeling, rigging and working on Layouts. We want to take the opportunity to present you the team involved (everybody seems busy...)

That's all for now folks!

Alike Team

Albert (Animation)
Esteban (Animation)
 Jose (Rigging)
 Rafiki (Character Design/Animation Supervisor)
Daniel M. Lara (Director)

Maik Bellot (Lighting/Render/Post-production)
Pedro/Claudio/Abel (3D Model/Animation)
Pau (Animation)

Sunday, August 7, 2011

"Copi" Concept Art



We are glad to present you the main character from "Alike". This picture is one of the concepts we are working on. It´s based on Daniel M. Lara´s last shortfilm "Changes". But we have done some changes looking for a new version smart and more stylized.

If you have not seen the shortfilm "Changes", You have a good opportunity now :)

We hope you like it!

Rafiki




Sunday, July 31, 2011

Welcome!

Welcome to "Alike Production Notes" blog!

This blog is about the production of our new animation short "Alike" -working title, by the moment:)-
Here you can find news all about the production process, character concepts, animation tests, tips and tricks, tools, rigs and so on.
We hope that you find useful this stuff, more info about the members to come.

Stay tune!

Alike team