Some of the feedback I added:
The arms were stiff while moving forward so I loosened it up by adding more drag.
I hadn’t widened the base of Marv enough making him look off balance. To fix this I spaced the legs farther apart and also worked more on the sideways arcs of his feet.
He was also unintentionally looking quite feminine. His walk seemed to become more male when I widened his base more to suit his girth. The outward angle of his arms to his body also made him look more feminine which I was having trouble fixing without them cutting through the body a lot. The problem didn’t seem so hard to fix after coming back to it.
I also worked more on how his feet were planting on the ground and rolling up as they were a bit glitchy looking.
Marv Walk Feedback Playblast 01 Front:
Marv Walk Feedback Playblast 02 Side:
Marv Walk Feedback Playblast 03 3/4-view:
Marv Walk Feedback Playblast 04 Top:
These are playblasts from my walk cycle for Marv. This version only contains feedback from Abigail about having the shoulders too high. I’ve since added more feedback. With this walk I was mostly concerned with how I could create a sense of weight through the timing. I choose the bulky Marv rig for this reason (more extreme). My main references were the Digital Tutors tutorial, Richard Williams’ The Animator’s Survival Kit, Conann’s class and a gif (which I’ve blogged about here).
Marv Walk Playblast 01 Front:
Marv Walk Playblast 02 Side:
Marv Walk Playblast 03 3/4-view:
Marv Walk Playblast 04 Top:
Someone posted this gif on the Animation Belfast facebook page which I found quite helpful.
I took screenshots of the poses on each frame I wanted according to Richard Williams 33 frame cycle. This way I could get a better idea of how weight affects how slow/fast the character moves between poses. I was mostly interested in the heavy walk for reference for my attempt at Marv. Heavier movements require more energy, will therefore take longer to lift and will stay suspended for a shorter time.
Bobby Chiu (2015) Craig Mullins Artist Interview :
It’s interesting hearing the history behind digital painting but Mullins also gives some good insights in this video:
Because of the tight deadlines and resultant pressures, Mullins says:
“It’s very important to schedule time to get lost. Go off into the weeds and try something that doesn’t work. Then if something does work, bring it back into the pipeline.”
Simple tools require more of yourself to make it work. The result is something more individual and unique to you.
Be mindful of how you approach the canvas. What can you learn from the constraints of a costly medium that can’t be as easily discarded? e.g. a real life canvas versus a digital canvas?
Get your inspiration from living life as opposed to looking through others’ work again and again.
Mullins is an artist because he wants to express something else. Don’t become so focused on the tools – perspective, anatomy colour etc., that they become the end point. It’s not just about art, it’s about what you are expressing.
The emotion that comes from the idea trumps technique. Therefore, how do you get better?
Anthony Jones (2014) How to Study:
These are some helpful takeaways from Jones’ video on how to study:
How should you think about study?
Be aware of the differences between studying and copying. Studies can involve things like: colour guessing, value guessing, breaking down the shapes, negative shape study etc.
Start small and work-out in small steps. Train like an athlete. Train all the muscles in unison.
Avoid information overload. Train each area in manageable amounts.
Anthony Jones’ video Shortcut to become an Amazing Artist (2014) also gives some points to think about. It mostly focuses on the value of hard work which is good to hear about every now and again.
How do I work hard (smartly?)? How will I become an expert?
This is how we’ve blocked the scene together so far. It includes Abigail’s Skyguard, Christian’s mountains. Blayne’s bridge units (which we may be re-purposing as ship clamps) and my platform. We haven’t added Matthew’s vehicle into the composition yet. Blayne suggested that we could have the camera fly through the scene behind/from the viewpoint of a ship.
This is a rough camera I did also for a sense of scale and space so far.
A lot of the ideas we discussed for our sci-fi scene contained destroyed objects. This tutorial has a lot of helpful pointers for what you should be thinking of when modeling destruction. One of the most useful methods I took away from this was that an area should be extracted from its surroundings first if a lot of resolution is going to be added e.g. if you’re going to splinter the end of a piece of wood.
This is the tutorial:
Modeling Architectural Destruction in Maya
Look at reference to see how different materials respond to stress. Wood splinters, concrete breaks in a particular way, glass etc.
Select faces of section you want to modify and extract. Cut a jagged line with the edgeloop tool and extract the cut area. Fill the missing geometry around the areas that have been extracted.
Re-use pieces that are broken off as rubble for later. Focus on the type of material you are cutting up and think of what tools you can use to do this. What kind of damage do you want to do? From where/to what extent.
Use ‘fill hole’ or ‘bridge’ etc. to fill gaps that are made from cutting away jagged geometry. Insert multiple edgeloops where extra resolution is needed for detail. Where on the model has the stress been applied to? – only destroy these areas e.g. above or below. Is the stress damage on the front face or has the object been broken on the side?
By destroying the model you are exposing areas that would not normally be seen e.g. under floors and between walls.
Metal framework bends under stress. Metal will probably not have little chunks cut out of it the same way that concrete does. Wood will have sharp snaps that splinter and therefore require higher resolution. Electrics will be pulled out from their settings and will have trailing wires. Some wires will be connected and some disconnected. Use the cv curve tool. Displace and move the created curves out of the same plane. Resize the nurbs curve to adjust the radius of the extrusion. When modelling destruction, try to maintain the ratio of volume between missing sections and the amount of rubble. Buckle areas e.g. the floor. You can add more resolution to nurbs by using ‘rebuild surfaces’ (or by individually adding isoparms). Look for sharp versus rounded edges in your geometry.