IP Incubator Club Thread 2014: Monthly-019: August 2014

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  08 August 2014
Much appreciated Roberto!
It could be noted that I have added an additional 2 writers to the project, bringing it up to 3 (excluding myself).

Writing is hard people...get writers to write!
 
  08 August 2014
I Love Kaiju

Hey don't forget "I Love Kaiju"



Concept Name: I Love Kaiju

CATEGORY: Animation/Cinematic Comic

PROJECT DESCRIPTION: 3 Kaiju are on a journey to stop a rogue "power ranger" from destroying the 4th wall barrier.

START DATE - Long time ago.

ESTIMATED COMPLETION DATE :

WHAT WENT RIGHT THIS WEEK: Nothing to report this week.

WHAT WENT WRONG: Almost hired an artist, they said yes to my price and then they got a bigger better high paying job.
SHOW AND TELL:






 
  08 August 2014
KICKSTARTER UPDATE!

Music is incredibly important to me. While I'm usually a I-can-do-it-on-my-own person, I knew that having the perfect music for Stasis would mean having to find a pro.

One of the main goals of the Kickstarter campaign was to bring on a professional composer to translate the Stasis world and story into music. That is way easier to say, than do!

When Mark Morgan asked to be a part of the project I almost fell off my chair. It's no secret that the Fallout series was a transformative experience for me when I was younger; to have Fallout's composer work on this little project of mine... well, I was more than a little intimidated!

From the get go, Mark and I shared the same vision for the sound of Stasis. The main sounds of the game come from John's surroundings (you know who John is by now!) but the music comes from within. It's his experience - his personal story - that is being told through the score. Mark instantly understood what I was trying to put across and has created a haunting internal score.

The idea was to have a strong melody base around a lullaby. Creepy, huh? There are early leanings towards this idea in the trailers, as well as the opening piano music in the Alpha (played by me when I was in my I-can-do-it-on-my-own stage). Mark took this concept and created a beautiful melody that we are using as a foundation for the score.

Instead of focusing on scene based music, we're using the score to accentuate John's emotions. HOPE, FEAR, TERROR: these are the central themes for the music of Stasis - the skeleton that everything hangs off of.

I'm incredibly proud to give you a small glimpse into the musical world that Mark has created.



Q&A WITH MR MORGAN!

The main lullaby is a strong piece of music as a melody - something I know that was difficult to pin down. When creating 'Dream Of Us' (the main lullaby tune), what were the inspirations for the piece?

Mark Morgan: To me, it was about John singing a lullaby to his daughter so I envisioned what that would be like and went for a simple melody that could be sung by itself.

Is it difficult to create the emotional aspects from this melody? Do you draw from previous experiences? Or is it a process of trying different keys and instruments and seeing what fits?

Mark Morgan: I think it's a combination of both. The goal is to have a melody that can speak to you differently depending on the vibe. I believe that it all indirectly comes from your existence and experiences as a human being, rather than finding that emotion though the music. Certain orchestration portrays a certain emotion. Both Chris and I decided that for the more emotional pieces, cello, violin and piano would be the solo voices for the sound of Stasis. Then itís just a matter of fitting the puzzle together.

While John's external journey is being told visually, his internal journey is being told through the score. Are you still using the visuals as inspiration or does it help to focus JUST on the story elements?

Mark Morgan: I think for John's internal journey, musically I am focused on the story elements but Iím always aware of the visuals so not to lose sight of where he is. The visuals directly or indirectly have a huge influence on the musical palette.

Is working on Stasis any different to the other game projects that you have worked on, and if so how?

Mark Morgan: As of late, most of the games Iím involved in are in some way story driven, but in then case of Stasis, the story is so important and the music plays a huge role in telling that story. Sometimes I have found when itís just about gameplay, musically it's hard to feel that you're immersed in the moment. It becomes about broad stokes as opposed to written for the moment.

PROJECT UPDATES

We are past the halfway point and things are moving as smoothly as ever! Nic and I have spent the last few weeks focusing on our writers, even adding another to the team. Mark Odell has provided us with an incredibly terrifying piece of writing. Each body you find has a story to it and exists as a small piece of the puzzle. It's satisfying to see all of this come together.
Graphically, the game is pushing to completion. 90%, with one final scene being added. I'm purposefully leaving this screen towards the end of production because of how intense it will be to produce.
I've also been implementing some additional effects - courtesy of the latest release of Visionaire. GET IT HERE! The implementation of camera effects and screen shaders will add extra life into Stasis.
The script has only the last two chapters to be completely refined before we can send it to the copy editors and the voice artists. There will be a time when I have to say, "enough editing!", but until that day, I will continue to tweak!

-Chris
 
  08 August 2014
Daisy's Diner Updates

WHAT WENT RIGHT - After a lengthy delay, the second page to the current chapter is up! Now I need to make sure the third page isn't too far behind...


WHAT WENT WRONG - A couple of things, over the past couple months. The current chapter wasn't planned out properly, and basically needed to be re-written. I took most of June off to visit friends and family, and to clear my head.


WHAT WENT RIGHT, AGAIN - I decided to do some commissions, partly to earn some extra cash, but also to get my brain back in gear after the long break. The surprising thing was that easily half of the images were of my characters! Or maybe not so surprising, since they were pinups...

Yet another side project, is a re-do of Daisy's 3D model. The old model just doesn't hold up, which isn't very surprising since I'd only drawn the character a couple of times before modeling her... With the new model, my goal is to get her as close as possible to how I draw her, this time using proper reference drawings. At the same time, I'm asking myself if I should even bother, given how much time it might take to rig her... especially where I haven't made up my mind on whether I'll attempt any animation.
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  08 August 2014
@Lomax: The new model seems like an improvement.
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  08 August 2014
Originally Posted by CGIPadawan: @Lomax: The new model seems like an improvement.

Thanks! ...Though I'll trust my eyes after a month or so of not looking at it.
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  08 August 2014
Here is more info about my upcoming SIGGRAPH talk (as part of a panel)
http://theoryanimation.com/blog/we-...ph-on-animation
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  08 August 2014
Concept Name: SCHIRKOA


Website: http://www.schirkoa.com/

CGTalk WIP thread: http://forums.cgsociety.org/showthr...289#post7872289

Project Description:
SCHIRKOA is the story (an IP maybe) I will be trying to develop in coming years.
At the moment I am aiming at an animated Short Film. Followed by a graphic novel. And then let's see what else can come out. It's set in a dystopian city, involves bagheads and some other 'creatures'.

Status Number: 18

What went right/wrong past month:
*The latest artwork won "wall of fame" at Drawcrowd (http://drawcrowd.com/projects/mtyzmduyltgtmjitntu)
*Had loads of fun past week with the 3 day cinematic challenge. (http://forums.cgsociety.org/showthr...=1212592&page=2)
*Getting really slow with animation as my 2 other teammates who are voluntarily helping out from 2 different countries are getting busy at work lately. As for myself life/work have never been busier.

Show & Tell:
A work in progress clip. Showcases 90% finalized look and feel. Missing Fx/video screens and some other elements.

Last edited by redCigarette : 09 September 2014 at 11:07 PM.
 
  08 August 2014
Originally Posted by Lomax: Thanks! ...Though I'll trust my eyes after a month or so of not looking at it.



Actually only a couple of hours rest should be enough to "reset" the eyes - especially if you spend it looking at something else or other human figures... and then you come back to this.

If you don't feel anything wrong, it works.

Also you have to "get the character in" so you probably should be thinking already of making the hair since the face has to work with the hair and together that's the "head" of the character. If you don't do this you end up subconsciously trying to get a "bald head" right.
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  08 August 2014
I do have the hair line mapped out in the reference drawings, but you're right that it'd be much easier to figure out in 3D.

Part of 'resetting' my eyes isn't just about getting the model right, though...
I'd been aiming for feature-film quality rigs for too long, and making no real progress because of it. So now I'm trying to figure out what's more within my abilities. In the meantime, I'm working on the character in short increments without a clear goal. I'm tempted to just say "screw it" and go low-poly, if only so I might actually finish something.
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  08 August 2014
should we be posting our WIP updates here or just run them in our own thread? I'm a bit confused.

Anyway we could get the CG society god's to hook us up with our own IP Incubator sub-forum?
 
  08 August 2014
Post a win Anywhere you want
For now we will stay in HD until we gain more momentum..

BTW I am at Siggraph right now if you guys want to talk to me in person.
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LW FREE MODELS:FOR REAL Home Anatomy Thread
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  08 August 2014
Originally Posted by Lomax: I do have the hair line mapped out in the reference drawings, but you're right that it'd be much easier to figure out in 3D.

Part of 'resetting' my eyes isn't just about getting the model right, though...
I'd been aiming for feature-film quality rigs for too long, and making no real progress because of it. So now I'm trying to figure out what's more within my abilities. In the meantime, I'm working on the character in short increments without a clear goal. I'm tempted to just say "screw it" and go low-poly, if only so I might actually finish something.


Actually I have it in pretty good authority that many of the major studios for animation (not games) already work in Low-Poly. A lot of this has to do, I think, with the fact many video games now can project the illusion of High-Poly models with just low-poly models.

This means Zbrush, Mudbox, Sculptris, or Blender Sculpt Mode should now be very important tools in your arsenal. And Re-topology is a VERY important phase.

Also, note that Low-Poly models are superior for animation and weight painting purposes... you get much smoother deformations and folds with a low-poly model than one that is very heavy. Denser ones have more "weight paint resistance", for lack of a better word, it's easy to miss verts or have some of them off by 0.10 or 0.20 weight relative to each other and you get nasty wrinkling and kinks.

Low-Poly ones would have fewer verts controlling a larger area and react faster to weight painting. So you should be considering that as well.

P.S.: Can't recall the wireframe image, but I think SCHIRKOA above uses low-poly meshes with very good texturing and other FX. Even if it doesn't, I can assure you that exact look is possible with pretty low-poly meshes that are between 15k - 25k verts each (at least for bodies).
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"Your most creative work is pre-production, once the film is in production, demands on time force you to produce rather than create."
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Last edited by CGIPadawan : 08 August 2014 at 01:00 AM.
 
  08 August 2014
Zbrush is quickly becoming one of my new favorite toys. After a few hours of practice over the weekend, I ended up with a level of detail that might've taken me at least a week to get if I'd box-modeled it instead.

Feature films using low-poly meshes is also interesting, considering how some of the lines between features and realtime are getting blurred. Apart from poly counts, game engines are now using blendshapes for both the face and possibly body corrections, they have shaders that couldn't be done in realtime a few years ago, and even use displacement maps!

Schirkoa definitely has a nice look to it, sort of a hybrid of toon and realistic shading. I bet redCigarette could alter the shadingstyle in either direction, and it would still work just as well.

Another good low-poly example, I think, are Valve's Team Fortress videos. On top of the overall style, they're entertaining enough that no one cares about the level of detail. Between using existing assets and rendering with the game's engine, I bet they save a ton of time compared to if they were to take more of a brute-force feature-film route.
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