I'm here again to show you more about the process of the Affair's short scene.
First of all, I've drawn the model, to make de modeling in the CG, to animate the character. As the two characters was the same, I modeled it just once.
Then, I made the thumbnails, a lot f them, to catch the perfect pose, which could express every character's feelings to the audience, like Milt Kahl used to do, and also Mr. Williams, who is one of the great masters of the thumbnailing.
In the end, I made some color studies to set the light, the material and the balance in the composition. Of course, I was trying it, and one of them could be so bizarre, heeheehee...
thanks for visiting, fellows!
This is the preview that I made to the affair's scene.
As I said, I needed to plan carefully the scene before the 3D animation, to keep the eye texture expression, because during the animation process I didn't watch the eyes and what was happening in that stage of the animation. Like the most part of the animators in the world, mainly the great studio animators, like Pixar for example, the scene's plan was made through drawings, first with the thumbnails. I would want to put the drawings in the exact timing of the scene, so I move the thumbnails to the layout in the sheets, like a 2D animation, and made the keyframes and some breakdowns, to antecipate the 3D character's action and reaction.
One of the most imortant things in this work was to try two oppostite personalities, giving to the two characters different attitudes. Of course, the character design is the most tool to achieve this objective. However, to make it clear that the personalities was the opposite - one character was shy, the other was extrovert - made the same body to them could highlight these differences. Using the animation, and body language could be fancier than sculpt two different characters to this scene, but I just want to use these tools in this work. I love character design and character visual development. I've already made a lots of them. You can see that in this blog. I'm a big fan of Willie Real, Nicholas Marlet, David Colman, Glen Keane, and many-many others. Only in this scene I do want to try opposite behaviors with the gestures, postures and personalities. Besides, the texture as facial expression, and concentrate that in the eyes, could also emphasize the each personality.
I hope you enjoy the process.
This is my texture animation test, after watch again the children serie Pocoyo http://www.pocoyo.com/
For some guys, it can be strange, but not for me. I became a Pocoyo's fan when I watched it in Discovey Kids, with my nephew. The fancy animation and the simplicity in the character design pointed out to me. the timing in Pocoyo is amazing, and many series and movies don't have that sophisticated rhythm. However, the most interest thing is the facial expressions made only through of textures ( I think it's made like that).
Twos years ago, when I saw Pocoyo, I started a research about how those facial expressions could be make. Unfortunately, I had to stop this work, because I needed to graduate, and dedicated myself to that project - which I'll release here, in this blog, when I finish the audio part. The animation and post-production in my graduation movie has ended, so I could back to the facial texture research. For this, I made that very short scene to test these facial expressions with textures, without any eye or mouth made with 3D sculpture, in CG. The first movie built totally in CG in the world, 100% virtual, the Brazilian's Cassiopéia (Cassiopéia, Clóvis Vieira, 1996), used textures to make the character's facial expressions. You can see about this movie in http://www.mci.org.br/historia/cassiopeia/cassiopeia.html
And the making of in http://www.youtube.com/watch?v=WsuDjIQkQ6I&NR=1
First of all, I wanted to put the mouths out, because I thought in a "kiss scene", and the sound expressing the kiss is fancier than show this act to the audience. The ancient russian director Dziga Vertov has written many texts about the sound in the movies. In one of them, he says that step sounds in a image that shows a man walking is a mistake, because the image's already shown the steps; the audience don't need listen to the sound of this. Therefore, show a scared face, while the audience hears the steps is an art, because people can use their imagination to understand the movie's story. So, I decided to make the kiss only with the sound and show the character expression through of his and her eyes. To make that, the animation must be perfectly planned to make no mistakes in the 3D, since I wasn't watch what was happened with the eyes when I was animating.
Nevertheless, I follow the Eric Goldberg's advice, when he says "use the entire body to express what your character is feeling" (GOLDBERG, 2008, p. 24). Then, I put the camera filming the entire characters' body, like the beginning of the cinema, in Méliès movies, for example.
You can also watch this in http://www.youtube.com/watch?v=Vx38OVPoI9Y
The body and the texture facial expression is the result of that short scene, which I hope you enjoy.
That's only the image of Don Quixote for the scene which I made this entire month.
I really liked this scene, the process and the result, the charater and background's colors, the design, and the style "without" lines, the drawing with only colors, like Leo Matsuda's work, or Rad Sechrist's beautiful drawings, or some ones of Shane Progmore. Those guys are good inspiration in design.
Well, that's some part of the Quixote's making of that I shown before.
This first part is the planing in the storyboard scene. I took these images and put in the time with my voice, to feel how it behaviors.
Here, I made the little drawings with the character gestures, called Thumbnails, and I put these drawings in the animation, in the layout scene, knowing where the charater would move. It was made by free lines, but taking care to keep the volume in the Quixote; As Williams said, "Don't confuse a drawing with a map: we're animating masses, not lines". That stage of the animation process allow us to watch the flow and flexibility of the acting, through the moviment, the timing and spacing. We also can call it pencil test, or rough animation, because it's not the final result.
After that, I made the clean up, with other sheets, and I put the character in the final design. As I know what are the kind of movement, the timing and the spacing, I could concentrate my brain in the visual and in the line, don't forgetting the Williams' words about the maps. As Milt Kahl said when Williams ask him if he listen to classical music during the animation process: "I'm not smart enough to think two things at the same time", and Williams conclude that "animation is concentration". This is the biggest knowledge! Furthermore: Eric Goldberg wrote that the pose goes for feeling first, and the anatomy becames after that. That's other bigger taught!
Finally, I made the Background of the scene, and I thought in a color to that, based on the great impressionists painters. Of course, it's not a very pleasure and higher painting, but it got beautiful with the character. Basically, I wanted to eliminate the black and white colors of the palette, and make light and shadows with yellow and blue shades. Yes, I couldn't make that without mention Gustav Doré, one of the best Cervantes' illustrators, and Portinari, who is present in the scene, by a little tribute, in the frame on the wall.
"We have to love our art with all our force, and love it without selfishness", said Stanislavski...