Final Year · Major Project · Semester Two

Presentation Four: Animation, Render Tests and Production Schedule

Asset List Directory_Veterinary_Clinic

Figure 1.1 – Shown above, The Vet Exterior concepts and design layout.

The past few weeks have been witness to a drastic push in order to get the environments for the animated documentary blocked out and established. In total, there are five fully rendered sets that are required for the purposes of the narrative. Jess has been focusing on experimentation with the artistic style, exploring the different styles of modelling and texturing to achieve an illustrated aesthetic – using the backroad concept as the focus for the render testing.

Jess has been focusing on experimentation with the artistic style, exploring the different styles of modelling and texturing to achieve an illustrated aesthetic – using the backroad concept as the focus for the render testing. Whilst it has already been addressed in the previous update, I would like to reiterate that Ryan modelled the conservatory.

Within the past week and a half, I have been working collaboratively with Tyrone on the layout design for two different environments. In the recent weeks, Ryan has been working dedicatedly to create the rig for the Zara dog model. Katie has their attention focused on the puppy model; capturing the youthful essence of young Zara in her smaller form.

Figure 1.2  -Shown above, the blueprint plan and tonal concept, compared with Jess’s render test. It was during the modelling process that Jess elected to reduce the amount of material that was contained within the scene.

In other words, things have been following rather chaotically – in a good eway. The team are constantly making progress, and that momentum that is pacing us steadily through the mass mountain of work that is stacking upon us. Each of the environments recieved the same basic set-ups; a tonal concept art piece, a layout plan and an asset list. By doing so, each environment has the tools required to come to fluition; regardless of what teammate was available model it.

The information shown below in figure 1.3 was what I provided Tyrone with in order to begin the process of modelling the bedroom environment. he seemed content in his knowledge not to model anything regarding the exterior wall, as this would be the area that the hallway and the bedroom connect together to strengthen the ability to execute the contineous shot.


Figure 1.3 – Shown above, the concept piece and layout design for the bedroom environment. 

With the rest of the team members content in their tasks, I turned my attention to the last environment; the hallway.


Figure 1.4 – Shown above, the hallway concepts and layouts that had been created as part of the pre-production process.  

The hallway was a peculiar environment to work with, due to the dual aspect nature of the space. In recent feedback given during our previous presentation, the tutors suggested using the environment in some way to give the illusion of time passing throughout the home as Zara remains the same; the most suitable location to showcase this was the hallway, due to the longevity of the design and because of the panning shot from left to right. The challenging part would be the transitional stage between the two, as we would not like for the audience to be taken out of the narrative flow due to the jarring transitional stages and cuts occuring around the protagonist.

Figure 1.5 – Shown above, the current modelling stages for the hallway. 

As much as I have wanted to explore environment design for the past few months, admittedly, this is only the second time that I’ve had to model something as large as an entire scene – especially one with a dual aspect purpose. My process is a little slow as I need to refresh myself on how to proceed with certain objects, and ensure that the models look good on hard surface mode. So far, it appears to be going pretty well – I just need to continue my processs and begin the second version (the full construct) within the next few days.

‘Urban Myths’

In other developments of the week – I was finally able to give Charlie a complete rendered concept piece of her living room environment for ‘Urban Myths’. The step by step process can be witnessed in figure 1.6, shown below. I first presented her with the rough lined version to get some feedback, then based on her critic and suggestions, returned to the piece to do the clean lineart.

Figure 1.6 – Shown above, the original concept from Problematic Mythical Hipsters, clean line art,  and the rendered piece.

Once that stage was complete, the next challenge was creating the colour palette mix that Charlie had expressed her desire to have. I talk about this in greater detail within the post, ‘Urban Myths.’ Despite the difficulties in trying to get the two very conflicting colour palettes to become compilmentary, I really do like the piece. My hope is that Charlie is content with it once I show it to her in the next few days.

Management Plan 

Team Roles and Responsibilities: 

Ryan – Production Director: Working in collaboration with Katie to rig the dog character, create blend shapes and review other pre-animation properties.

Jess – Art Director: Modelling the backroad environment and exploring the approach to executing foliage in the intended art style.

Tyrone – Lead Animator: Exploring character animation and testing the dog character rig in order to assess that it is suitable for the intended animation.

Katie – Character Designer:  Finish the three-dimensional model for the adult version of Zara, begin the youthful pup version of her, and apply the basic skeleton rig to both models.

Nadine (me) – Environment Artist: Execute the environment concepts in artistic style, complete the asset directories, and contribute to environment modelling.

Bi-Monthly Deadlines:

6th February – Pitch Project

Process Stage: Completed. Review link can be accessed here.

20th February –  Presentation One: Research, Animatic & Plan.

Process Stage: Completed. Review link can be accessed here.

The team presented on Tuesday the 21st of February, and have begun to adjust amendments based in relation to feedback from tutors, classmates and other team members.

6th March – Presentation Two: Final Design, Updated Animatic, Tests & Updated Plan.

Process Stage: Complete. The team has their delegated roles in each area of the pre-production process. We shall spend the next two weeks focusing on nailing down the elements that we need in order to be prepared for the production stages.

27th March – Presentation Three: Animation, Render Tests, and Production Update.

Process Stage: In-Progress. The team continues to manage their delegated roles in order to complete the preproduction process. The team will commit to the pipeline schedule for the production stage of the project, which can be accessed here.

3rd April – Presentation Four: Rough Animation, Render Tests implemented within the Animatic, and updated Production Plan.

Process Stage: To be Completed. 

24th April – Presentation Five: Research, Animatic and Production Plan.

Process Stage: To be Completed. 

15th May – Presentation Six: The Final Deadline – Fully-Rendered Animatic.

Process Stage: To be Completed. 


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