The Gnomon Workshop €? From Previs To Final Animation
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In this tutorial, Senior Animator Elaina Scott shares her workflow for creating a full-cg shot for Visual Effects, from previs to final animation. In the initial chapters she discusses shot language, lenses and how to create dynamic poses for superhero animation. She begins by taking an existing animation and sets up a very rough set and some lights, so that she can illustrate how quickly one can create a narrative using camera lenses, movement and lighting. She then starts the superhero portion of the tutorial using rigs by Truong CG Artist with characters made by Dan Eder and Péter Józsa. Elaina teaches how to find great Superhero reference, and how to use that reference to create appealing and dynamic poses for the shot. In the following chapter, she talks about the differences between animating realistic fighting mechanics and super-heroic fight mechanics. After that, she incorporates the superhero punch animation into a city setting and demonstrates how to capture the moment cinematically through camera work. Lastly, she blocks in the fight in a cityscape and polishes the initial camera moves and final fight animation. For those looking to develop their ability to create dynamic animation within full-cg sets, this title provides valuable lessons that apply to the Television, Film, Game Cinematic and Previs industries.
Did you like modeling the most? Make a robot model similar to the drones or the quadbot featured in the series. Or perhaps animation was your thing. Take one of the models you've rigged from the series or even the example file, and create a short animation. Whatever you do, don't spend a million hours on it; it should be quick and fun, rather than perfect. Maybe set a goal of doing three or four 10-second shots, or model some robots and rig them to interact with the robots in the example scenes.
The Practicum provides the opportunity for students to work with outside companies and designers who assign one or more advanced character animation assignments across the year. Students will learn how to run projects from start to finish.
Pohl is experienced with a number of 3D animation and compositing packages and served as senior previsualization supervisor on a number of films. In his spare time he occasionally teaches classes on previsualization at Gnomon School of Visual Effects in Hollywood.
Alex Parkinson (Visual Effects Supervisor, Cinesite): Often the difference between VFX supervisors in live-action and animation depends on the kind of VFX show you are talking about. Sometimes entire sequences in movies are CG with no live-action aspects at all. In that case, the workflow and the job would be very similar. But mostly the differences between the two jobs reflect the differences between the two mediums. In animation, you tend to have more creative ownership over the final product and way more freedom. Live-action VFX is a more technical and precise process. It is harder in a lot of ways, because you must match existing elements and every shot is put through more scrutiny.
Regarding AR, VR and AI and their relationship to the evolution of VFX/animation, from a visual effects point of view, we have been having lots of conversations. Things that would have taken months of cooking in the animation process can now take seconds. We can switch style sheets instantly, and a machine can re-code entire projects instantly as opposed to hours of hand, frame-by-frame labor. AI is an amazing way to start a conversation or to drive inspiration.
Much of the work that went into last year's sleeper hit District 9 was done in Vancouver, including the massive finale sequence. Embassy Visual Effects were already well known for their work in Iron Man and their famous series of Citroën commercials before they were approached to tackle the alien exosuit. Join Simon, Winston and Marc as they showcase their work from the film. They'll be covering the on-set capture of HDR images and visual effects supervision, the difficult work of rigging such a beast and then animating it, the mysterious art of look development and how to fix it in comp when all else fails. Come and see just how the grit of Soweto was crossed with the talent of Vancouver to make the magic of D9.
Every production has its challenges, but what happens when you are asked to create 4K images with 700 million microscopic metal-eating nanomites? Add in jets flying at mach 11 through fully digital environments (both in the air and on the ground) on a pipeline that not only spans across the globe, but also must function as if the artists were working in the same building. Working as the Visual Effects Supervisor on GI Joe: The Rise of Cobra, Chris Harvey overcame these challenges and lived to share them with us. Join us as Chris provides an overview of the technical and artistic process, as well as shares some of the trials and tribulations that went into completing the aerial sequence in the film's climatic finale. In this presentation, Chris will also provide details of their workflow from LookDev and R&D, through previs to post, and outline some of the pipeline and tools they had to develop to ensure the seamless integration of shots. Discover some of Prime Focus's tips, tricks and tools used to construct the vast digital environments and the extreme high volume particle effect on shots containing nanomites.
Zbrush has matured into an excellent tool for concept artists and designers. Ryan Kingslien and Meats Meier will take you through their processes of using Zbrush to imagine and create creatures and objects. Conceptual modeling is done without the worry or focus of perfect geometry, instead with a pure focus on form and techniques used to discover possibilities in design. Zbrush allows for very fast imagining of shapes and forms, which aids the designer in experimenting with many ideas and styles when creating conceptual 3d artwork. Ryan and Meats will demonstrate many of their techniques to efficiently create and control the geometry, from creation to final color and detailing.
Dylan enjoys teaching workshops at various events and schools around the world and has a line of instructional DVDs from the Gnomon Workshop. He was one of the co-authors of Ballistic's d'artiste: Matte Painting, and recently had the first solo exhibition of his work at the Gnomon Gallery in Hollywood, CA.
Meats Meier is currently a freelance illustrator and animator living in Downtown Los Angeles, California. He taught the first ever ZBrush course at the Gnomon School of Visual Effects, and is the author of the very popular Introduction to ZBrush training DVD produced by the Gnomon Workshop. Meats is also an award-winning digital artist (including two Expose Master awards) with over a decade of experience in a wide range of artistic fields. Meats appears on two feature film credits, Sky Captain and the World of Tomorrow and Hellboy as a technical director and compositor. He has also worked as an airbrush lead artist at a video game studio (Beyond Games), and has had a successful career as an independent artist and illustrator. Meier's artwork is on the cover of numerous books, magazines, and web sites and he was honoured with the prestigious "Maya Master" title by Alias at SIGGRAPH 2003. In 2006, Meats helped with the stereoscopic graphics for the cover of the TOOL album 10,000 Days and now continues to work on animations alongside Chet Zar and Camella Grace for their live touring concerts. Meats Meier is certainly the first 3D artist who will make his way through the history of fine art in the 21st century. The strength and the ideas emanating from his paintings remind that of artists like Picasso and Francis Bacon. In his sculpture, Arman's accumulation style and Tinguely's sense of movement transpire. Meats Meier is like a chef in a great restaurant, who saves his ingredients, and when we think the dish is almost finished, starts collecting each of them again, assembling them differently, to create a new object. 2b1af7f3a8