Group TWO: Animation, texturing, lighting.


tharrell, digones.

----->[to be filled in] {textures}

----->Alex York and GumboYaYa. {lighting}

Ok. This is how it will work. For these particular scenes, work with each other. If you want any TECHNICAL help from other animators/texturers/lighters, post in the main animation/texturing/lighting threads that I shall put up in the main forum.

You guys are in charge of :

and also

Please let me know if this is to your liking!!

PM me if you have any questions.

Here is the finished Pre-vis: (fixed)

When the animators finish a scene, post it in the ‘animation’ thread and have it approved by Kirt. Then give it over to the texturer, who will then give it over to the lighter. Each finished step will be posted in the relevant thread {animation, texturing, lighting} to be critted by Kirt.

Off you go!


Well, I’m ready to get started this evening, provided we have a final rig file. I guess, if we’re talking 24 boards, I’ll jump on the first 8.

Theresa, are those supposed to be two different storyboard pages? They’re both showing the same over there.

Also, I’m getting a 404 not found on the final animatic link…




Fixed. :slight_smile: :thumbsup:


I may have to pass up on the animation since I don’t have access to Maya.


Thanks for the fixes. Boards and animatic are fine for me now.

In lieu of a long discussion about how to divide up the fun stuff, I’m just going to jump on the first eight boards (19-25) tonight once I get word about the status of the rig.

I assume that we’re going to post WIP playblasts in this thread before the finals in the animation thread?



I hate to say this, but I’m out as well. The use of Maya killed it for me, as I’m almost exclusively XSI now. I really wanted to be a part of this one, but I’ll have to sit it out for now.




Sounds silly, but I was kinda looking forward to competing to see who could do the best splat gags (I know that’s what all of us in this group would be looking forward to).

I’m going to keep forging ahead then. I’ve got some slow time at work right now, so I’ll pick up as much slack as I can. I can manage this section myself if we don’t have other volunteers to fill the vacancies.

You guys are gonna stick around for crits and the like, right?



Hey there!

Here are the delegated scenes- if I don’t hear from digones in the next day or so, I’ll PM him and see what’s up.

Tharrell – 019-028

Digones-- 029-033

Have fun!


hi guys, I’m here again!

I was out of reach, due to my old poor internet connection, but I’m online again! :slight_smile:

Theresa, I’m gonna study the scenes tonight, then I’ll post any comments about it if needed

Tomorrow I’ll start animating

cheers and good luck to us all!



Here’s a first pass at timing, blocking and camera position for sequences 19-22.

There’s not much in the way of polish or squash/stretch just yet. It’s really meant to get crits on the timing and staging so far.

Bring on the C&C! :wip:


Do you still need an artist for the textures? If yes I can help about it.


Here’s the newest version of 19-22, reblasted using Ali’s specifications.

What’s changed:

  • No more control curves
  • I trimmed the intro to lose the ‘look up’ as it didn’t mesh with the prior cut on the animatic
  • I added an extra jump when looking through the hole as it feels better to me with a third, slightly less energetic, jump

Everyone, please chime in and let me know what you like and don’t like. Keep in mind that it’s at the blocking and timing stage currently and I haven’t begun polish stuff like squash/stretch etc.



tharrell - The jump in scene 20 (frame 25-75) isn’t needed. From frame 15, keeping the same camera angle, have him look down - hold the pose for a bit then look up again merging into the pose at frame 112. This will give the impression that he’s thinking about what he’s going to do.

Scene 21 frame 1, hold this pose a bit longer before he begins jumping. Also, on these jumps move him forward a bit on his landings. He’s too far away from the wall in comparison with scene 22. The straight up and down jumps are too static. His start positions should change a bit with each new jump. If you were to jump in the same spot, would you land perfectly and in exactly the same location each time?

Everything else looks great so far. :thumbsup:



Thanks for the crits and the dead on, concise direction :thumbsup:

I also thought about having him look down to ‘think’ but I didn’t want to deviate too far from the boards/animatic without input first.

My general impression of this section since I’ve started banging away at it was that we don’t spend enough time pondering the hole for its importance to sink in or for us to empathize with Orange undertaking his monumental task – important so we feel it and care when he gets beat up shortly thereafter.

Jumping on the revisions now… assuming the wife doesn’t pull me away, I should have updates tonite.



Here are the blasts for 19-22 incorporating Kirt’s feedback.

Vastly improved pacing as a result, and the little guy is starting to act like he’s got feelings now.


-I’ve started incorporating a little bit of weight and secondary motion (follow-through and sliding) in.

-I’ve gotten really fond of working the heck out of the eyebrows, so please let me know if I need to tone them down a bit. :smiley:

-Shot 20 is way longer and more…er…thoughtful

-I’ve tightened up the cuts a little bit

-I’ve started giving the motion a little more punch

Lemme know what you think:



tharrell - That’s much better, but I think you can cut a little time out of scene 20. It runs a little too long now - IMO. Cut about a 30 frames out of the pose just before he leans forward & another 30 when he’s bent over thinking. I’d also slow the look up at frame 280 so that it runs about half the current speed. He’s a little too ‘snappy’ here. Everything else is fantastic.

I like how you’re thinking here. It’s very important to understand the character’s motivation for each scene and I think you’ve got it. Keep up the good work. :thumbsup:


hi Kurt, Paperclip - not sure if you got my recent PM (paperclip) but I’m pulling out of lighting duties. this is simply because I don’t have access to Maya. this will change in the very near future, but for now it’s just not possible for me to help out with this short.

really sorry about that. I was so looking forward to working on this. the next one, I’ll be right in there.

best of luck to you guys. I’m sure you’ll pull off a corker!


Well, I volunteered for lighting duties, and I know my way around mental ray pretty well.

I’ll be tied up doing animation for a while during rendering and lighting tests, but once a lighting style and shaders are agreed upon, I don’t see why it would be terribly time consuming for me to adhere to a master art direction and institute them for this group of shots.

Don’t think it’s wise for me to join in tinkering with shading and lighting tests until after animation duties are taken care of, though – too easy to get sidetracked.

For the record, I’m fairly good at still camera work, but I haven’t gotten the hang of non-intrusive camera motion just yet, so I’m not going to be much help there.

One thing at a time first, I suppose. :stuck_out_tongue:

Now here’s a thought – those that aren’t able to actually handle the final files in Maya could potentially still use their software of choice to start cranking on lighting and shading tests. Once a style has been agreed on, we’re halfway there and should be able to match just about any look… besides the Vray “make pretty” button, that is :grin: No reason to stop now before we’ve gotten a look we’re all in love with is all I’m saying.

Just a thought…


More updates to be had:

What’s changed:

  • Timing of scene 20 adjusted per direction… it reads as curious rather than ‘eureka!’ now.
  • Toned down the kung-fu eyebrows™ in scene 20
  • A little more weight and follow-through added to scene 21, with slightly more hold on the initial pose at the beginning of the cut.
  • The ‘final’ jump in scene 22 floats a little more to add some anticipation for the next shot. (That’s code for ‘it just felt right’) :smiley:
  • (all shots) I’ve cleaned up extraneous keys for the benefit of others who’ll be working behind me
  • (all shots) I’ve tightened up ease-in and out slightly across the board
  • (all shots) I’ve toned down a few ‘swimming’ keys

Any other non-timing/direction polish type stuff I’m thinking I’ll wait on until an updated rig comes along – plus I’m curious what personality will come out from the other animators so I can polish for consistency.

As always, crits are most welcome!



sure Trey, I’m with you. It’s been suggested before too, so I might have a bash at a couple of tests if I get some free time (fast becoming a rare thing these days :sad: )

cheers and very nice work so far everyone.