When a person starts a career, the path ahead of them is fresh and new. Every step glistening with the brightest of diamonds. A wonderful discovery each day as one strives to improve and increase one’s skills, one’s potential. There is nothing more exciting than the mystery of the career path ahead.
As time passes the mystery diminishes, the shine appears not quite as bright, but you continue forwards still enjoying the journey and the way the path dynamically shifts and moulds with you.
Then one day all the mystery is gone. The day to day has become mundane, the turns along the path not bringing new pleasure. Instead they provide the same things day in day out. Never enough time to complete your tasks as you want to. Never enough time to add the final finesse. Never enough time to make something truly amazing instead of just finished. That path is now a treadmill, and the diamonds nothing more than distant stars you think you’ll never reach.
I had felt this recently, and I am sure I am not alone.
Do not misunderstand me. I liked the path I have chosen and the situations that have arisen whilst on the journey changing it’s shape. I have great clients who appreciate the time I take over their projects and the work that I do. Everything is going well.
Despite this, I sometimes felt that the time to complete a task is never quite enough and that the quality of the final product is never exactly as I wish it would be. I have felt disheartened, losing my focus and my direction. The path was beginning to feel muddy and my feet were slipping.
And then something quite amazing happened. My vitality for what I do and the passion that was beginning to wane has been completely restored. If anything, it now feels greater than before. I am reinvigorated, re-centred and restored. Ready to throw everything I have into the path ahead with an understanding of my worth and what I can achieve despite the odds. That I can be proud of my work, my decisions and choices.
How did this happen?
I went to a work conference.
I know some people consider a work conference to be an excuse for a week away in a different city where you eat and drink under the guise of learning something. To a certain extent I am sure that this can be true. This was not what I experienced at all. For me, it was more an epiphany. The conference in question was FMX2018 in Stuttgart, Germany.
For anyone who does not know, FMX stands for the “Film and Media Exchange” and is described as Europe’s most influential conference dedicated to Digital Visual Arts, Technologies, and Business. Here there are interviews with influential people from all walks of the Media Industry, Directors, Animators, VFX Artists, Technology specialists, Designers and so on. Over 3 floors, in multiple rooms, there are more things happening than you have time to see, from in depth software talks, through hands on learning of new and future technologies to company recruitment. From students to old hands, the rooms are bursting at the seams with excited people.
Each day I caught up with old friends and made new friends. We had conversations about work that felt similarly awful yet at the same time comforting. We sat in stuffy rooms listening to people enthusing about their new ideas or explaining how they came to be where they are today. We ate different foods, talked about life as well as work and managed to both unwind and learn at the same time.
Every moment I was there I felt my concerns lift slowly away. It wasn’t just the relaxing moments, but I sure they did contribute to this. It was seeing everyone there with such a vigour for what they did. All the shining eyes of the students heading to the recruitment halls hoping to get internships or entry level jobs. All the stands where people showed off their new technologies. All the bosses and high level staff lovingly talking on stages to packed, enthralled crowds. What really struck me was a real joyfulness about the future.
I began to realise that the path was still shining, underneath the mud.
By the end of the week, I was seeing everything with fresh eyes. The projects that I would have passed by, I stopped and saw what they were doing. I began to question whether certain technology or software would aid me in my work. I began to question some of my current processes having seen and heard content that made new paths possible. I felt enthusiastic about my craft, my own skills. I felt as though the mental chains I had created were breaking and dropping away, my mind uncluttered.
On the plane home I opened my phone and looked at the apps I had on it. I realised most of them were about wasting time. I sat there at 35,000 feet and removed anything that I did not need. It turns out I don’t need much on my phone.
And here I am now writing this down, to share it with anyone who cares to read it, feeling more alive and invigorated about my career than I have felt in a long time.
I’m not suggesting that everyone needs to go to the next FMX, but if you are feeling somewhat jaded career-wise, get out and see what other people are doing in your field. Take a class in your current career to learn something new about it. Start to see what there is to be joyous about.
If there is a conference in your chosen job, then go to it. Make the effort. It will make you feel less alone, and bring you to a new understanding about your place in your chosen path. It has made me appreciate everything again.
In essence, before you decided to start a new career, try to renew your love for your current one. I have and it’s an amazing feeling.
I made a decision a fortnight ago. A decision that has been 9 years in the making, but a decision nonetheless. I am going to finally make the short film I’ve been threatening to do for ages.
I know, we all have that short film idea, it never really makes it beyond the corners of our minds, mental storyboard frames that look amazing, but in actual fact are probably outside of our skills. But I’ve decided I’m going to make mine come hill or high water.
What made me make this decision now?
I realised I have a lot of work to show what I can achieve with 3D, motion graphics and VFX compositing, but not one that really shows them all. And this way I can have one thing that has them all. And as it is going to be all done by me it means I can show it to the world without having and NDAs or people’s feelings to worry about. Apart from my own, of course.
So I have set myself just over two years from the initial idea to final piece.
At the moment, I am in the throws of doing the storyboards with the most technical of devices: a biro and a note pad. Why a biro? Because I can’t rub it out and so every nuance, every line is fixed on the page. It’s quite liberating to be free of a computer.
Interestingly, for me anyway, is the way the initial concept changed the moment I began to nail down the boards. The main conceit for the story’s big transition changed as soon as I reached that particular board and I found myself back tracking and adding new shots with new info. It’s one thing to have an idea, it’s another to make it happen.
Anyway, I’m going to add new bits to this page as I feel it’s interesting enough for anyone to see.
There is one final thing: the name of the project. It is… staying a secret for now. But if you know me, you probably know already, I’ve told a lot of people so that they can bug me to get it done.
Come back soon!
First published in 3DWorld Magazine 106 in 2008 – come on, I’m not that old, surely!? – This tutorial was set in motion by, apparently, someone called Dennis, in an email. Thanks, Dennis, you made me learn a truckload! Now you can all do it too.
Now, keep in mind that this was before Python Scripting was a big thing in Maya and that Komodo Edit is far better than some of the other free text editors out there. For more info on both of those click on the links above.
Right, it’s time to make a pin matrix, from nothing.
You can also get to the archive for this project here:
Sometimes, in the course of doing these Q&As, a question comes up that makes us have to use more than our current knowledge allows. This particular question is a case in point. Starting it, it soon became apparent that the original plan was not going to work out. It took a lot of searching and, in all honesty, a call to a colleague to get me on the right track. I mean, how was I going to get
individual UV sample information from an animation and apply it to an object? Answer: colorAtPoint.
Apparently, it’s been in the kit for quite some time but I have never needed to use it and, therefore, never knew it was there. I can now see a hundred uses for it. The colorAtPoint command is a simple way of extracting pixel information from a file based upon its UV coordinates. By sampling values from specific points across the surface of a texture, you can then pipe this info into an object to move it, scale it, whatever it. And if we use a script we can loop this to do it for every frame. Before we start building our pin matrix, however, there a few things that need to be understood.
We need to make sure that the aspect ration of our pins matches our image sequence. For this reason, I have decided to stick to a 640 by 480 image sequence. It is a standard resolution and is easily divisible. This way we can make a matrix that has 48 pins longitudinally and 64 pins latitudinally, and keep the aspect ratios the same so that our texture looks correct on our matrix. That makes us 3072 pins in all (ouch!) so is also important that you make sure to use NURBS for the pins as well as instances. (actually, you can do this with polygons these days [May 2017], but nurbs were still quite the thing at the time :)
Finally, and then we’ll get down to modelling, scripting and animating, a few words about UV coordinates. Think of them as X and Y in a front view pane. Your U values are like X and run horizontally and the V values are vertical.
Open a new scene in Maya. Now create a polygon plane with a width/height ratio of 64 to 48. Make the subdivisions the same. Now scale up the tile by 10 in all dimensions, rotate it 90 degrees in the X and move is 240 units in the Y. you should have something like the image above.
RMB click on the object to bring up its attribute marking menu and select Assign New Material > Lambert. In the Attribute Editor that pops up click on the Color checkerbox and navigate to your image sequence, or use the one supplied. Press six in the view pane. You should see your texture.
With the Attribute Editor still open, click the tickbox marked Use Image. Set your timeline to the length of your image sequence. In your animation Preferences, set the timeline animation playback speed to Play Every Frame. Now when you playback your animation you should see your animation playing on the tile.
In any view, create a nurbSphere with a radius of 5 at the origin. Rotate it -90 in the Y axis and then select the middle isoparm in the side view. From the Edit Nurbs menu select Detach Surfaces then delete the new back hemisphere. Select the remaining hemisphere and in component mode drag three new isoparms on the surface near the back. Now select Edit Nurbs > Insert Isoparms
In component mode still, switch your selection to Hulls and select the back three, scaling them down to about half their diameter. Now translate the last one back about 50 units until you have something that looks like a pin
In the front view move this new pin -315 in the X and to 5 in the Y until it fits in the bottom left hand square of your map grid. Rename it pin0 – that’s zero – and select Modify > Freeze Transformations followed by Edit > Delete By Type > History. Save your scene.
Selecting pin0, press CTRL+G to group it. Rename the group pins. Opening the group in the Outliner, select your pin and then select Edit > Duplicate Special > Option Box. In this option box be sure to set it to Instance and Parent. Change the translate Y to 10 and the Number of Copies to 47. Press Apply. Whoop-de-doo, you’ve got a vertical column of pins.
Select all 48 of these pins from the bottom up and in the duplicate window change the Y translate back to 0 and set the X to 10. Change the number from 47 to 63 and click Apply again. Eventually, you should have a grid of pins covering your grid. Save your scene. Select your pin group and under Display set Object Display > Bounding Box. Phew, that’s a bit faster to manipulate.
For the rest of the pin matrix, build a round edged front plate and set it about 50 unit in front of the pins. Duplicate it and make it twice as deep then move this behind the pins to make a back. Create four bolts with stems and put these in the corners. When you’re happy, group everything and sit it on the z-x plane for neatness. Or load in pinEdge.mb
colorAtPoint needs to specify an output (-o) of either RGB, RGBA or A where A is alpha, a U and V coordinate or samples(-u,-v and -su, -sv) and a source file. So, colorAtPoint -o RGB -u 0.5 -v 0.5 file1 returns the colour in the middle of file1 or colorAtPoint -o A -su 10 -sv 10 image1 returns 100 alpha samples uniformly spaced in 10 rows of 10.
Let’s try it. Open the script editor and type: colorAtPoint -o A -su 6 -sv 6 file1; Select all the text and press the numeric pad Enter key – This stops the text from being deleted as it runs the command. You should see a resultant string of 36 alpha samples corresponding to your image. They are sampled in the order you can see in the image, starting at the bottom left.
Now we need to find a way to use these results. Clear the Script Editor and type in: float $offsets = `colorAtPoint -o A -su 6 -sv 6 file1`;print $offsets; Press Enter as before and you get the same values but this time they are in an array called $offsets. Change print $offsets; to print $offsets; and you only get back 1 – the value of sample 20.
We have 3072 pins to animate here, so change your mel script to: float $offsets =`colorAtPoint -o A -su 64 -sv 48 file1`; print $offsets; Run this as before. To get these results takes longer, so we don’t want to use print statements. Move the print command onto a new line and put // to stop it from calculating.
Quick point about scripting. Scripting in the Script Editor is fine, but if you get more involved in scripting, use a text editor. You are able to save progressively without copying and pasting, but it can still be sourced and run in the script editor with ease. Notepad++ and Textpad (or Komodo Edit) are freely available and both handle syntax highlighting making commands easier to see.
We need to get this array into our pin’s Z translation. Add a few lines at the top of our script. Type on the first, string $obj = “pin”; and on the second string $attrib; $obj matches our pin name minus the zero. The $attrib will be used later on in our script, but declaring it at the top of a script is good practice in keeping all your variables together.
To use each array offset value in turn, we need to put them into a loop. Add this line: int $i; This sets us up a variable for the loop. Now add this line: for( $i = 0; $i < size($offsets); $i++ ) This loop starts $i at zero and finishes at the last offset array value. On two new lines add an open curly bracket and a close curly bracket.
Between these brackets create two new lines of script, the first: $attrib = ($obj + $i + “\n”);, the second print $attrib; The first takes our $name pin and adds the number of our offset onto the end of it then performs a carriage return starting a new line. The second line prints it. Select all the text and hit Enter. See all those pin names flashing by.
This is all well and good, but what we need $attrib to be is the pin Z transform attribute. Change the last part of the string \n to .translateZ so that the line now reads: $attrib = ($obj + $i + “.translateZ”); If you run this now you won’t have the carriage return, but your script editor will bring back the names pin0.translateZ through to pin3071.translateZ. This we can use.
Now comment out the print $attrib; Underneath it add this new line: setAttr $attrib $offsets[$i]; What this does is set each offset value to each point in turn through the loop. To make sure, move to around frame 75 in the timeline, select the script and hit Enter. If you look through the side view, you will see the points have moved a little in the Z, but not enough.
What we need is to increase the size of the offset. We do this be adding a multiplier to the amount attributed to $attrib. Change the last code line to: setAttr $attrib ($offsets[$i] * 10); Run the script again. The result is still too small. Change the 10 to 50 – after all our pin is 50 units long. Run the script again and check out the results. Dandy.
Assigning info at a single frame is fine, but we need to keyframe this if we want our pins to animate like our texture map. Add a new line under the last command: setKeyframe $attrib; If you run the script now, you’ll notice that it takes a little longer. If you move to another frame and repeat the script, you’ll see the keyframing results appear in the script editor.
What we have is a good script for a single frame. Now we need to loop this per script so it runs at every frame. Under the line $string $attrib add this: for ($frame = 1; $frame <= 100; $frame ++); On the next line put an open curly bracket. This creates a loop as long as our timeline and our animation sequence.
On the line after this curly bracket type in this command: currentTime $frame; The command currentTime is like clicking on a frame on the timeline, but in this loop it acts like a step forwards through the timeline. At the very end of the script put a closed curly bracket. Save your scene. Run your script. Now go have a cup of coffee. Or three. this could take some time to do. REally, a cup of tea…a big mug.
At each run of the setKeyframe command, the calculation time for the keyframing takes longer. This seems to be because of the accumulative effect required to add a new keyframe to your scene, so be prepared for a long wait. A useful idea is to break down the script into manageable chunks, say frames 1 – 20, 21 – 30 and so on so as to give you failsafe points to save your animation. Either that or, like a render, leave it running overnight, and wait for the results in the morning. Remember, in this instance alone, you are making 307,200 saved keyes for just four seconds of animation. Just keep reminding yourself, “Good things come to those who wait.”
When it comes to lighting the pin matrix, remember Chrome shaders do not really hold shadows well, so render off the shadow as a pass and comp it on later. Better than that, you might find that if you add a new coloured light to the right of the pin matrix, you’ll probably get more definition, as long as you make sure it does casts shadows.
First published in October of 2006 – wow, was it really 11 years ago? – This is a tutorial to recreate something like the book from Shrek. The question was sent to me by a Paul Greenwood, wanting to know how it should be done. Well, back in 2006 (heck) this is how I would have done it. Actually, most of this is still the same, so I’m putting it up here with only tiny edits.
Hope it’s of use!
..that “Shrek 2” took 10 million computer hours to generate its 1 hour and 45 minutes of CGI? Oh, you did. But did you know that a single frame of the city crowd scene took 35 hours to render? You knew that too. Okay, you got me on the trivia, but do you know, without sneaking a peek at the fact file above, how long it will take to recreate a book and page turns similar to the ones in the introduction to Shrek 2? Ah, you looked! That’s cheating.
Take a sneak peek at step 1, I won’t mind. Do you notice anything peculiar about it? That’s right. In the past I’ve given you something to start with but this time you’ve got nothing. Zilch. A big fat Zero. The reasons for this are twofold. In order to create a convincing page turn, you’ll need to create the book too. Secondly, and more to the point, if I just told you how to create a page turn it wouldn’t be much of a Q&A, would it? Page turns can be simple, a blendShape here, a non-linear deformer there, but opening a book and having the pages seem to fall comfortably into place is another kettle of fish entirely. That is why a page turn really begins with the book.
In this Q&A, the book is going to be a combination of polygons and nurbs. The book cover needs to be bound to a skeleton so we can animate the spine bending. To keep the rigging to a minimum we will use a polygon smooth Proxy. This is useful as we can also create clean UV mapping for texturing. However, because we do want smooth page turns these will be made from nurbs planes. That way we can increase their tesselation at render time. For all of these elements to animate collectively, we will also create a single node to drive everything.
Then we’ll make a double-sided shader so that our pages can accept shading on either side. Supplied for this is a finished scene with a weathered leather book cover. Something that would not look out of place in a land far, far away, actually. Speaking of far, far away, did you know that in the UK version of Shrek 2 the voice of the Ugly sis – oh, what’s the point…
Required: Maya 7 or above Difficulty: Intermediate Time took: 2.5 hours
Also required: Krita/Gimp/Photoshop for texturing
Starting from Scratch
Files for textures and reference scenes can be downloaded here: http://www.sip-sop.com/archive82/
Told you it was an empty screen. Create a polygon cube and move it 0.5 in both the X and Y axes. Extrude the top polygon up by four units creating four divisions. Now extrude out the top and bottom right-hand faces by 5 units adding five divisions. You should now have a very boxy C shape.
To round the corners, in the perspective view, select the front top corner vertex and the two vertices either side. Now select edit Polygons > Merge Vertices > Option box. Set the distance to 1 and Apply. Selecting the similar three points on the top and bottom of the mesh and repeat. Now select the eight vertices on the ends of the C-shape and drag them over by about 14 units.
Select the mesh object and scale it in the Z axis by about 28 or until you are happy with the dimensions. In the top view select the mesh and then select edit Polygons > Cut Faces. Holding down shift to snap to 45-degree angle increments, click on a vertical edge about 1 unit on from the top to create a horizontal cut. Repeat this one unit from the bottom.
UV Mapping and refining
Open up the UV Texture Editor. In an orthographic view select all the outer and edge faces of your book. Cylindrically map these polygons using a projection sweep of 180 with the spine central to the mapping. Scale down the Image Scale U and V to around 0.5 and move the projection down in the UV Editor. Repeat the process for the inside polygons, placing these UVs above the others.
In the front view, select the inner poly UVs deselecting the inner UVs afterwards in the UV Texture Editor. Still in the UV Texture Editor, change to a scale manipulator and stretch out the edges so they are visible around the edge. Add a Blinn shader with a checker in the colour to your mesh and pull around the UVs until you’re happier with the results.
Select your mesh and perform a Polygons > Smooth Proxy on it. Edit the proxy mesh until you like how the smooth mesh looks. Having created cleaner UVs in a simpler model, now add more faces by using the Cut Faces tool again, bisecting the book at regular intervals with 90-degree angles. Now add some randomisation to the CVs such as pulling up the corners slightly to simulate ageing.
Driven to animate
Make the smooth Mesh invisible for now. Create a skeleton like the one on the image above. The armature coming off into the book is for our fake page block and pages. Selecting the proxy mesh and then all of the joints except the armature, select Skin > bind skin > rigid bind > option box. Select Selected Joints and then hit apply. Now use Deform > Edit membership to clean up the bind.
Set a frame range of 1 to 25. Select joint1, group it to create a top node then rename this group to anim. With anim selected, open up the Attribute Editor and from its menu select Attributes > Add Attributes. In the new window that opens add the attribute name bookOpen, set the minimum to 0, the maximum to 1 and default to 0 and hit OK. This will be our animation driver.
At frame 1, click Animate > Set Driven Key > Set > option box. Select anim and click on the Load Driver button in the Set Driven Key window selecting attribute bookOpen. Select joint1 and shift select the translate and rotation axis, here rotateZ, in Set Driven Key window. Making sure anim.bookOpen and your rotate angle are at 0, click Key. Now set driven keys for the rotations down the joint chain.
At frame 25 set a keyframe on anim.bookOpen of 1. Now translate and rotate joint1, then rotate the other joints until you have a fully open book. Now repeat the Set Driven Key process from step 9 at frame 25. To check your keys, playback the 25 frames. Set Driven Key values appear in the Graph Editor and this is a good place to edit them for better results.
Go to Frame 1. Create a nurbsPlane with 5 U and V patches. Reposition its origin to its left edge and then point snap it to the armature joint. Scale it up to fit within the book. Now Modify > Freeze Transformations renaming it page1. Duplicate it. Move page2 down until it reaches the book back. Constrain > Parent page1 to the armature joint. Constrain > Parent page2 to joint1.
You can see that page 1 is being lifted by the armature. Using the same process above in steps 9 and 10, set driven keys for the armature so it transforms and rotates back towards to a slightly elevated angle. Now in component mode select the bottom isoparms of both pages and Create > Surfaces > Loft. Do the same for the top and side, to create our fake page block.
Deforming the page block
That top page looks a bit flat open don’t you think? Got to frame 1 and duplicate page1 renaming it page1Deformer. Remove any history and constraints and move it up in the y-axis. Select it and shift select page1 and then Deform > Create blend Shape. Go to frame 25, select page1 and in the Channel Box open the blendShape1 node setting its page1Defomer attribute to 1.
Edit the shape of the deformer until you get a nice page curl. This looks fine at frame 25, but at frame one it looks awful. To connect the blendShape.page1Deformer to the anim.openBook, we could use a driven key but as both nodes go from 0 to 1 we can use a quick expression. Open the Expression Editor and type in: blendShape1.page1Deformer = anim.bookOpen; then click Edit.
Now we’ve got a book that opens, but you may notice we haven’t got any pages. As preparation, we need to duplicate page1 at frame 1 and rename it turnPage. Delete any history and constraints and then move it up in the Y axis by a really tiny amount. Duplicate page1Deformer and move that up a similar amount, renaming in animPageDeformer. Now let’s make our first page turn.
Turning the pages.
Select animPageDeformer and shift select turnPage. Now select Deform > Create Blend Shape. Now select the page and Deform > Create nonlinear > Bend. Transform the Bend1Handle to the local origin of turnPage. Now select both turnPage and bend1Handle and group them twice calling the top group pageAnim1. Press Insert and curve snap their origins to the same spot as the bend1Handle. Now Constrain > Parent the top group to the page armature.
Keyframe turnPage’s blendShape to match page1’s. Add 25 frames to your timeline. At frame 20 Set the bend1.curvature to -1.1, it’s low bound to 0 and the high bound to around 3. Move it up to the top of your page so the curve bends upwards and inward but doesn’t change the page shape.
Keyframe the translate and rotate of bend1Handle and the curvature of bend1.
At Frame 30 rotate the bend1Handle clockwise 80 degrees, transform it down the page a little and set a new keyframe. At frame 40 move it to the bottom of the page and set a key on bend1.curvature of 0.8. At frame 50 set the curvature to 0. Now pickwalk up to the above group node and key its rotateZ from frame 24 to 50 to turn the page.
Select the blendShape2 node under turnPage and go to frame 30. Set a keyframe on the blendWeight. Got to frame 50 and now set a keyframe of -.5 to give a little shape to the page. Adjust your keys and their tangents to make everything smoother. Now select pageAnim1 and Edit
Duplicate > option Box checking the Duplicate Input Graph tickbox and Group under World radio button. Apply and repeat.
Now you’ve got three pageAnims, plus all their animation and deformation history. This means we now have two extra skeletons we don’t want. Go to frame 1 and delete all the pageAnim parent constraints and skeletons anim1 and anim2. Adjust them so pageAnim1 is just above pageAnim 2 which is above pageAnim3 as in the image. Now constrain them to the armature again as you did in Step 11.
Now when the pages turn they actually pass through each other because of their height order. Selecting the middle group of pageAnim1 set a transform keyframe as the page begins to turn. When it stops turning, move it left and down to the Y position of pageAnim3. Now pick the equivalent node under pageAnim3 and animate this up to the position of pageAnim1.
Congratulations, you’ve got a working book.
Double sided Shaders
Texture up your book, or open up step22.mb. Pages has two different sides but in 3D shaders work on both sides at the same time. What we need to do is create a shader which applies one material to one side and another material to the other. We can do this in Maya by creating a condition that uses an object’s normal direction as a switch.
Most of the scene is finished, but we need to apply shaders to turnPage1. Open the Hypergraph and selecting the page select Graph > Graph Materials On Selected Objects. You should now see a lambert shader called page1Mat in the Hypergraph. Create a Condition and a samplerInfo node.
Middle Mouse button click and drag the samplerInfo node onto the condition. Select Other as connection to open the Connection Editor.
In the Connection Editor, connect the flipped normal attribute of the samplerInfo node to the second term of the condition. This makes the condition register the facing normals as one value and the flipped normal as another. Now in a similar manner, connect condition1.outColor to the page1Mat.incandescence. Now double-click on conditon1 to open the Attribute Editor. Set its operation to Not Equal to distinguish our two normals from each other. Render a frame and you should see the page has a white and a black side. Create two Blinn shaders colouring one red and another green. Connect the red Blinn’s outColor to condition1.colorIfTrue and the green’s outColor to its colorIfFalse. Rename the green Blinn to page1Front and the red one to page1Back. You can now treat these as two normal, excuse the pun, shaders on one object.
For close proximity objects that appear to interpenetrate when rendered, increase the camera’s near clip and decrease the far clip making for more accurate rendering.
Yep, I’m that old. and as such I’ve had to find quite a few ways to get around things.
I could give you a list of ‘for instances’ here but instead of that I intend to give you a something much better. Each month I intend to put out a quick tutorial here to show you how to do all sorts of things. Some After Effects, some Photoshop, some Fusion, some 3D. All sorts of work arounds and hints, tips and tricks.
As well as tutorials, you’ll also get free elements and animation setups as well.
I’m also a superman of open source and free software, so I’ll be passing on as much of that as I can as well. Not just Blender, everyone knows about that, but other software that I use regularly to get around some of the more expensive routes to a great finished product.
I know I couldn’t have done some of things I’ve done without help, and I want to give back to you some of that as well.
Keep coming back to this page and you’ll find stuff appearing quite regularly.
See you soon.
Well, over the years I have tried on multiple occasions to get Blender Institute’s Blender into my work pipeline. It’s never been easy to do. Blender was, for a long time, considered a bit of the 3D love child; you can like it but don’t embrace it, don’t bring it into the fold. It’s (shudder) open source. That means no support, no repercussions when it all goes wrong. When it (gulp) it crashes!!
But each year more people would watch the short films, Sintel, Big Buck Bunny, Cosmos Laundromat, and think, “Hmmm, I wonder”, So they navigate to the website, download the surprisingly small installer and put the software back on their machines.
Only to take one look at the interface and say, “What? Naaah…” and promptly de-install it.
This interface may still be relatively the same as it always has been, and a bit hard to deal with for some, but the software itself is now very robust and capable of producing industry level work. But people still feel a bit squeamish about using it. But why?
On the DVD shelf at my local Supermarket is the film “Ozzy” It looks like a fun film about a dog. Here’s the trailer:
Now, I’ve been in this game for some time and I would confidently say that the software, maybe not necessarily the final look, but the software that did this was definitely up to par.
Blender, all of it. Open Source Software.
The animation company, Tangent Animation, took a big decision when they were championed to make this film.
Well, they took the challenge and made “Ozzy” with Blender.
And as such, I am now using it much more in my pipeline. I use the fluids for paint drips, I used the particle system occasionally, but I do like the cycles renderer, which is good despite all the people on the forums who rave about it. It’s quick enough and the results are physically accurate. What’s not to love?
And with it now having grease pencil added, it is accidnetally looking as though it might revolutionise how 2D animation is produced as well. Look here:
Pepe School Land’s Rigged grease pencil showing how combining the markup elements in Blender with the 3D side can produce amazing animation styles, which make animating easy. I mean, really easy.
And all that stuff is happening in real time. Which means that the render times for this sort of thing are so fast as not to be visible to the naked eye…okay, they will be, but still, they’re faster than most.
So what does this mean for the future of animation? Well, it’s bright. Brighter now than it has been for over a decade. New talent can get their hands on fully production ready software for no cost at all.
Both Tangent and Pepeland have tutorials on their sites – hey who doesn’t these days? – and anyone who really cares to can learn how to animate. Blender Nation is also a great place to learn stuff. Hey, if you really want to, for a measly €9.90 a month, (that under £9.00) you can join the Blender Cloud and get all the training courses and rigs you can lay your hands on. There’s no excuse to not know the skillset.
Blender is fast becoming the go-to software for animation – the rigging toolset is incredible – and is used in games now as much as Maya is. So, give it a try. Take the leap and look beyond the interface.
Whatever you choose to use in terms of software, do not look at open source as a stumbling block, but as a stepping stone.