By Keith English – Animation Director, Screaming Pixels and DMA Instructor.
Thought you might be interested in a project we have just delivered to a client which uses a lot of the tools you can learn, or might have already learned at Digital Media Academy. “Red Carpet” will be running before every movie at the upcoming Sonoma International Film Festival April 1-5th 2009. The main purpose of openings is to list sponsors before each movie and our quest is to make that repetitive experience as enjoyable as possible, especially when some of these run over 150 times during a festival.
This spot was produced using Maya, RealFlow and Shake (which could have also been done in After Effects if necessary), plus of course Photoshop to create a lot of the textures we needed. We were first given the poster, which the client had designed in Sonoma and although they gave us a carte blanche, from that point on it was obvious it needed to be styled as an art deco piece.
To give it a poster-like look we rendered using only a 20 degree angle of view camera, so that it was almost orthographic with only a tiny amount of perspective, and then added a paint, cartoon and film grain filters all mixed back into the original so that everything was kept subtle.
The character models were built to be almost comic-like, flat and graphic, and the last thing we did was to take off the specular highlights on their eyes to flatten it a even more. The sets were also designed to be slightly exaggerated, especially the car of course, which is just the front end of a car. We only built just as much as we needed for each shot.
The champagne was created using RealFlow. The bubbles were from Maya’s underwater Paint Effects, painted onto the interior bottom of the animated glass, which had its visibility turned off, and then those bubbles rendered, taken into Shake, color corrected, then warped with a filter to look like they were inside the liquid, rotoscoped out to be seen only in the area of the liquid and finally layered over the glass as a “screen” to combine the lighter areas of both the original image and the bubbles.
The flash bulbs were created by rendering the two finished characters separately (as they were massively different scales), then rendering them again with an all white version of each character with a single spotlight ahead of their faces for the complete sequence. This created a grayscale image of each face front lit and black on the back of their heads, which when applied as a matte to a brightness node in Shake would brighten just the front of their faces.
Their eyes were tracked, again in Shake, and a 2D flare added to the front ofeach eye. So now we had two complete sequences, the first with their normal face renders and the second with the flash on the front of their faces continuously including a continuous flare. Now we just used a “mix” node in Shake to dissolve between the two sequences every time we wanted a flashlight to go off. 3 frames up for the flash and 10 down for the bulb fading.
Only the bottoms of her dress and bottoms of his pants used Maya’s nCloth, with all else being regular polygonal geometry modeling. The hair on both characters was created using Joe Alter’s Shave plugin in Maya, but without any dynamics on it. Everything was rendered using Maya’s software renderer except for the champagne liquid and glass shot for which we used Mental Ray in Maya as it’s much faster with refractions. The project, from conception to delivery, took just three weeks.
Cody Westheimer, a very talented LA composer created the music for the piece. Well actually, that is where we really began, with the music and then everything was animated to that. Hopefully in the end it looks and feels as though it was all created together.
If you have any specific questions I would be happy to answer them. And my advice to all of you who want to work in this business? … really learn the tools and then … BE PROLIFIC.
Watch the video here: