December 2018! Western quolls at the Arid Recovery desert site appear to be doing well, and (as feared) all but one of the team-mates at work has resigned. Also I have a new-fangled block-based editor to play with for this blog. Gosh.
The sun and moments therein
I finished a cut of the AMITS: Hello! story reel at the beginning of the month. It’s just shy of 90 seconds which is a nice compact running time. And here it is! (Spoiler warning, obviously.)
After literally years of struggling to write a story with these two characters, this story reel is a quietly magnificent relief.
I modelled and rigged the Hellobot in the Blender 2.80 beta. It’s a simple rounded cylinder, with the eyes rigged to change colour and shape. It should be more than enough to get me through layout. Here is a short demo. (Very slight spoiler warning.)
There are now eight assets left to build, including scenery, a few props and two characters. Producing AMITS to any kind of deadline or schedule is completely unthinkable at the moment, unfortunately.
Blender 2.80 beta is coming along nicely but I haven’t made any updates to Keyframe Tools just yet. Hopefully the API to access keyframe data is not as convoluted as it is in the 2.7x series.
This month mainly I’ve mainly been studying Japanese. Or should I say Kongetsu ni watashi wa omoninihongo wo benkyou shite-ita. Or should I say 今月に私は主に日本語を勉強しいた。I can do that now. 今は出来るよ。OK, I’ll stop.
I’ve shifted gear from five minutes a day farting around on Duolingo to at least an hour a day learning Japanese characters, vocabulary and grammar. It’s really worth a blog post of its own. IOU!
That’s about it for December. I’ve got a yearly recap blog pencilled in for New Year’s Day or thereabouts, so expect that soon!
AMITS: Hello! got a first pass of storyboards on index cards
The robot has not kicked the soccer ball yet.
I helped out with a compilation error in Blender
I’m learning Japanese!
Please read on for specifics…
I had my gall bladder out at the end of October and I’ve been in recovery mode since. Fronting up to work in tracksuit pants is fun.
The gall bladder recovery meant roughly a week of not being able to sit up without extreme discomfort – I was either lying in bed or standing up. I watched a lot of movies, including the restoration of Abel Gance’s epic 5 1/2 hour silent film “Napoleon”. Honestly I don’t remember a lot about those two weeks aside from that they were slow and full of nourishing home-made stew. I blame the anaesthetic.
My top tips for people about to have a laparoscopic cholecystectomy (keyhole gallbladder removal):
Stock up on oversized t-shirts and soft pants with drawstrings.
Work on your upper body strength and leg strength, especially squats. It will hurt like hell to bend over for a week or two.
Take a book to hospital which is capable of distracting you. I took “Fear and Loathing in Las Vegas” and it was a perfect companion for walking off the CO2 bubbles.
Don’t plan on sitting up at a table or desk for a while after surgery. For me it was about a week and a half before sitting at a desk for longer than a few minutes was comfortable. Even four weeks later I’m taking extra doses of painkillers to manage the discomfort.
It hurts to laugh for a week or so. Aim for viewing material which is fascinating enough to pass the time without being laugh-out-loud funny.
Noises to sleep to
I live near a main road so having a neutral sound playing helps me sleep. I’ve been using a white noise app for years but lately my Bluetooth has been cutting out. Even worse, when it cuts out it cheerfully announces that it’s in pairing mode. Bah.
Fortunately the speakers can take audio over cables too, but my phone’s headphone jack doesn’t really grip anymore. Double bah!
Not to be defeated, I’ve patched up my modular synth to function as a white noise machine. There’s a video on the way going through the patch for the curious. I’ll update the blog post with a link once I’ve cut it together and uploaded it.
There are over seventy index cards – I used actual physical index cards because I could hold them in my hand as I was drawing them without needing to sit down. Sitting down hurt a lot at the time because I was full of holes.
Working smarter, not harder
Today I scanned in the index cards three at a time with a different chunk of the storyboard running at the top, middle and bottom. The Blender video sequence editor lets me crop video elements, so the idea was to run the sequence of scanned images three times with a different crop for each repetition.
You can watch the entire sequence of scans below. The index cards are even thick enough to maintain their registration – at least, it’s close enough for rough storyboarding purposes.
Batching the images up this way makes digitisation super quick – after half an hour of scanning and getting the right crop values, I have individual images of my index cards. Now I can import the images back into the video sequence editor and time them out to my audio scratch to see what I’ve got. Yay!
But has the robot kicked the ball yet?
Not really. I loaded the file up one night with no intention but to mess around and got a nice twisting faceplant happening in blocking. (Note: the first part of this isn’t timed out properly yet.)
Time away from animating has helped me realise something hugely important about where I’m going wrong: I’ve been taking reference pretty much as gospel instead of using it as a leaping-off point for my own ideas. It’s been screwing my creative process up a lot and it’s a thinking pattern I really must fix…
Between following sumo and getting back into Japanese animation, I find myself with a mighty strong urge to learn Japanese again. I’m trying out the site WaniKani to boost my vocabulary. So far WK is both challenging, aggravating and rewarding enough that I’m hooked.
October is Blender Conference month. Did you miss it? You can catch the presentations on this handy YouTube playlist where you will find the likes of Captain Disillusion, Tangent Animation (makers of the Netflix movie Next Gen), Goya-winner Daniel Martinez Lara, and many more! The streams were a bit rubbish this year so I’m hoping to make it back up to Amsterdam next year. (Yes, malfunctioning streams and a slow internet connection were annoying enough in 2013 to get me physically up to Amsterdam in 2014.)
The biggest news I’ve got for you this month is that I’m going in for some keyhole surgery later this week to remove my gall bladder. I’m told the recovery process for this surgery is basically a mixture of lying down and pottering around on my feet as much as I can stand. Desk work is not recommended, and the recovery time is a week or two. Wish me luck!
Now, what did I get up to this month? I didn’t actually animate anything. Honestly, I’m still kind of avoiding that soccer ball body mechanics shot I’ve been stuck on for a while.
How to not animate a body mechanics shot, part 1
Apparently I will write an entire novella to avoid working through that shot. Which I did, because suddenly I wanted to get a NaNoWriMo-style story in. In retrospect it’s interesting how much time I can spend writing versus how much time I can spend animating. I have a clearer sense of what to tackle and when in the writing process which I’ve yet to learn in animation.
It was also interesting having a creative charge-discharge cycle bouncing between work and home. I could load up with ideas at work when I couldn’t execute them, then I’d come home (still excited to work on stuff) and execute. Pretty handy!
It was also interesting how themes from working on AMITS began creeping into it. Which makes sense because another thing happened in October: apparently I will also restart “A moment in the sun” to avoid that body mechanics shot.
AMITS: Hello! (aka HTNAABMS part 2)
I finally got a good story together which comes in at under 90 seconds, something I haven’t really had since 30 April 2014 when I first devised this project. I also have a scratch track, some thumbnails and some new character designs to sift through.
I don’t know how many shots I want yet, but I do know there’s nine major assets I need to make, including three characters, and some sub-assets to take care of like little stones and stuff. I estimate about 130 hours of work to realise those assets from start to finish. Roughly.
Then let’s say anywhere from a few hours to many hours per shot for the animation. The lighting and render work should be pretty quick to turn out because I’ll be using Blender 2.8 and Eevee and not doing anything super-complicated.
Is it doable? Anything is doable! Will it be doable without significant input from other people though? Based on how my day job is tracking, I suspect the answer will be no, and honestly I’ve stopped caring if I do this all on my own steam or not. It doesn’t matter.
And of course I’m looking for shortcuts where I can find them. As a rigging trick I was trying to get “sticky arms” working, where I could just get an arm to suction cup itself to the body geometry and tweak the normals to suit, but it didn’t seem to work as well as I’d liked.
I don’t want to give away too much about the story for “Hello!”, other than there’s a good reason it’s called “Hello!”: it’s easily the most frequent word in the script.
Hope to see you all without my dumb achy gallstones shortly! Good thing too because I’m almost out of Buscopan…
Edit 6 November: The operation was a complete success and one of my gallstones was a big black monster of a thing! More about that next month..
Personally I spent most of the month battling one illness or another as the cold started settling in here.
There was a little pear animation I made. It uses shape keys and the Laplacian Deform modifier. Here’s the .blend file if you want a closer look. It was made for Blender 2.79a but it’s munty in the current 2.8 preview.
Speaking of Blender 2.8, I set up a Windows build environment this month when Blender’s nightly builds stopped during their office move. If you’ve ever wanted to try out unbuilt branches (like greasepencil-object) or code changes as they get committed, this is not super difficult to do and absolutely worth it!
And of course there’s the fun of loading up old files in the 2.8 preview to see how well they work. Here’s an abandoned animation test from A moment in the sun rendered in 2.8’s Eevee renderer (currently a work-in-progress). None of the materials have been tweaked to work in Eevee – it’s doing a pretty good job reproducing the Cycles materials, I reckon!
I kept going with the Animation Body Mechanics course. I submitted this polished jump for exercise 2. (Character rig is from CG Cookie.)
It only had to be a simple jump across a gap, but I got fancy – that’s how this four seconds of animation is the end result of nearly 26 hours of blocking, splining and polishing over an entire month.
I’ve been encouraged to stick closer to the assigned work in future without creating momentum-crippling challenges for myself. I think this is sound advice. 🙂
For something a little easier, I started the Demystifying Lip Sync Animation course too. My linguistics training helps me get good mouth shapes at speed. Here’s my submission for exercise 2 of the course. (Character and sound from CG Cookie.)
That’s it for now. Thanks for reading and I hope you have a great June. 🙂
The ribbon controller I got this month lets me have that some of that same expressiveness, and by expressiveness I mean hitting the wrong note a lot and having to cover it up with vibrato. Practice makes perfect!
Stuff I built
This is what I soldered together this month just gone.
Ornament and Crime polymorphic digital swiss army knife type thingy (3-5 January 2018) [modulargrid]
Music Thing Modular Magnetophon cassette tape head (16 January 2018) [modulargrid]
RYO 3xVCA triple voltage controlled amplifier (18 January 2018) [modulargrid]
RYO 2xVCX dual voltage controlled amplifier/crossfader and four quadrant multiplier (29 January 2018) [modulargrid]
The Feedback 106 Chorus build was a bit of a disaster. It uses period vintage chips to get the genuine sound of a Juno 106’s chorus effect. When it works, it sounds bloody fantastic. When it works.
Usually I don’t bother with actual vintage stuff. For all the romance of vintage electronics, the reality is that they’re rare, expensive, unreliable, susceptible to failure, and even being counterfeited in the case of MN3009 chips. This chorus did sound fab so I at least wanted to have a punt at making one, but if the vintage bits turned out to be duds, I resolved to put the whole thing aside and cut my losses there and then. And that is pretty much how it went.
Unlike the 106 Chorus, I got the polymorphic digital module Ornament & Crime working after three nights of building and troubleshooting. This module of legend should keep me occupied for months while I discover everything it can do, let alone how to use that as part of a whole system. Here’s an early test of the o_C in “Harrington 1200” mode sequencing some pleasant Boards of Canada-esque chords.
A pleasant surprise this month is the RYO & Kymatica 2xVCX, a dual voltage controlled crossfader. Fading back and forth between two signals at audio rates creates all kinds of fun timbres, sort of like ring modulation (which the 2xVCX can also do). Here’s a little test I recorded which goes all the way from grimy analogue noise to happy little chords!
There’s enough space left for two more modules, both of which I’ve already picked out, but more about that next month! 🙂
Let’s talk Blender! And movies! And spaceships!
The secret project I mentioned back in November was some album artwork for the Alien Force EP. I did a big write-up on it which appeared on BlenderNation. The feedback has been a little sparse but generally positive!
But that’s old news. Have some new news!
A moment in the sun
I am back in the sun (kind of)! Yay! (Kind of!)
At the beginning of the year I decided I liked the story mostly where it was. It’s the tale of a random labourer helping introduce a laser-obsessed geek to the Ultimate Laser Robot of his dreams. The current plan is to take the last scene of the story all the way through production as a pilot for the rest of the film, which means all I have to worry about for now is one single scene. My attention is contained to that one spot. Hooray!
I’ve been working on Scene 5’s art direction by rendering existing elements out from Blender, turning them into multi-layer images in Krita, then doing quick paint-overs to test out ideas.
To do this I render two EXR files – a multi-layer version with transparency and all render layers turned on to get each element isolated on its own layer, and a single layer non-transparent version which gives me the sky background.
From there I applied filters and painted over the separate elements to test ideas out.
In the repainted version the air is hazier, the route marker is crooked, the bus stop is falling apart and the road is sun-bleached. The scene’s still undercooked but this much better than trying to get my thoughts down purely in 2D or 3D. Yay for hybrid approaches!
Character-wise, I’ve been redesigning Pointy to make the character look and feel more like he actually is – a bit happier and younger and goofier.
Gronky isn’t in Scene 5, but he’ll be getting an ill-fitting hi-viz jacket when he does finally appear.
Alas, I got bogged down in story decisions around tone and character again. I’ve got some storyboards for that scene but without pinning down how I want to approach it all, I’m stuck. Bah!
I read somewhere that it’s better to have another thing to switch over to than beating one’s head against a single project, so I found one. I work on AMITS until I get frustrated, then switch over to this other thing until I miss working on AMITS too much.
The other thing: Fishtank
An ex-animator friend and I dreamt up an aquatic animated sketch-comedy series many years ago, something that might get picked up and lead to bigger things. We gave it the working title “Fishtank” and brainstormed a few ideas, but we didn’t follow through so it fizzled….
One of my ideas saw a little fish laying a massive guilt trip on its potential predators for daring to eat something so cute and helpless.
The predator in question is a great white shark who’s a bit of a softy and slow on the uptake.
Will the little fish end up a snack, or will the shark get more than he bargained for? Yes.
“Fishtank” is a much smaller project than AMITS, and definitely better sized for one person to work on. I might not finish AMITS this year, but this one I could conceivably get done by the end of the year.
I’ve got the story thumbnailed out already. Here’s the second of five pages of story scribbles which I drew on actual paper in biro then scanned into Krita.
I’m really looking forward to writing the music for this as well. It’s going to be an utter hoot writing completely overwrought tragically sad music, like that 1960s library music which Ren and Stimpy used to superb effect.
Despite both projects being comedies, Fishtank is more classic slapstick and AMITS is more inspired by 1950s Looney Tunes which is as indebted to radio comedy as the silents, so they complement one another pretty well.
See you next month with more fish, more sun and the final pieces of DASYRAC! 🙂