Tuesday 29 October 2013

Jerry Can model

My second attempt at modeling, this time it was more complex than a bottle cap.
Once again I followed a tutorial series from Simply Maya and I must say I learned an awful lot again.
Thus far I'm quite enjoying the learning process. It's great to have something other than character animating to do to keep my creative juices flowing. I'm currently modeling several set props for my short film which we still hope to have updates for shortly.

Friday 4 October 2013

Starting to model

As I mentioned recently I am going to start trying to learn how to model. As someone who is NOT an artist, this is quite daunting. However, if I want to save money on my short film I have to learn to do more than just animate. Besides, it's always good to have multiple skill sets as it can often come in handy in small studio environments.

Following along with one of the free tutorials at Simply Maya I modeled a bottle cap! While it may not be a complex object to model I still learned a lot about extruding, the insert edge loop tool, beveling an edge and how to make sure each edge is tight so it smooths correctly. I had an idea how to do some of these things, but I picked up a lot of little tricks. So here it is. I also took at stab at modeling a jerry can which turned out fairly well and now I am modeling a Spitfire Airoplane with Nurbs surfaces. So far it's all very exciting!


Monday 30 September 2013

The Nut Job trailer

So the first teaser trailer for The Nut Job, my first ever feature film, has been released. Unfortunately Open Road didn't do a great job with the teaser and it has received mixed reviews so far. What I can say with certainty is that the movie is better than the trailer. I'm really hoping that whenever they release a second one it showcases more of the films qualities and personality.

http://www.youtube.com/watch?v=pcRk0zfGlnU

Wednesday 18 September 2013

Getting into Modeling

So I've decided to dip my feet into the intimidating world of 3D modeling. Let me start by saying that I am no artist. My drawing abilities peak at crude stick figures I'm afraid. This desire to tackle modeling has been instigated by the short film that I'm working on. I've quickly come to realize that when you're working on a film with little to no budget, you need to learn to do as many things as possible by yourself, rather than relying on others. I've scoured the web searching for some cheap, educational options for learning the trade and in that search I discovered Simply Maya.
 They have a series of free tutorials on everything from rendering to modeling. They also appear to have countless hours of tutorials that require payment but that are still very cheap. I'll post some updates right here and hopefully I'll start to see improvements in my work. My goal is to be able to model a lot of the props for the film myself!

Saturday 7 September 2013

Spark!

Once again it's been a little while since my last post. I had about six weeks off after production on The Nut Job wrapped up and I must say that I took advantage of having a free summer!

But now things are back up and running and I've started work at ToonBox again for my second feature film entitled "Spark". Once again I get to be part of a fantastic team of animators and my education continues as I'm learning every day.

Things are also progressing on our short film which, so far, nobody really knows anything about.
We haven't posted anything online yet as we're trying to keep the details as under wraps as possible.
However we hope to start showing the animation community what we're doing very shortly. Character designs are nearly complete and from there we will finally get our main character modeled and rigged. It's been a slow but exciting process so far and I must confess that I think about the film constantly. We believe that the story has real potential and with the crew that we've assembled so far I know that the quality of the film production will match the story. I can't wait to start sharing our film with everyone and hopefully recruit more talent to help us bring it to life!
We plan on creating a blog specifically for the film so more details on that to come shortly!

Thursday 1 August 2013

Commerical work

This is a spot I recently completed for Chuck Gammage Animation in Hamilton, ON. I just noticed that the commercial had aired yesterday so I wanted to share it on my blog. Note: I was only responsible for the Honey Bee animation at the end. The animation was freelance work and most of it was done using my laptop on the GO train to and from Toronto. Not the best environment for creating quality animation and I'm not thrilled with the final piece, but overall I think it turned out okay.

Tuesday 23 July 2013

Tangent cleaner

This is an excellent script that I use every time that I animate a shot. It is essentially an improved, smarter version of the auto tangent available in recent versions of Maya. Simply paste this script in to your script editor and add it to your shelf. The only glitch is that it doesn't work directly from stepped mode. You have to convert your curves to spline first, and then run this script. It does a lot of work for you and you will find that if you use this script constantly to smooth out your curves, you will spend less time in the graph editor.

//This script smoothes animation key tangents.
//Copyright Nathan Tungseth.

// Declare procedures:

proc float shallower(float $value1, float $value2)
{return ( abs($value1) < abs($value2) ) ? ($value1) : ($value2);}

proc float steeper(float $value1, float $value2)
{return ( abs($value1) > abs($value2) ) ? ($value1) : ($value2);}

global proc trdprty_tungsethTangent()
{
// Declare variables:
int $numberofcurves; int $c; string $curve; int $I;
int $selectedindexes; int $totalindexes;
int $start; int $end;
string $tanType; string $step; int $locked;
int $i[5]; float $x[5]; float $y[5]; float $m[4];
//string $before; string $keynode; string $after;
int $sign[4]; int $node;
float $ix; float $ox;
float $inSmooth; float $outSmooth; float $inlimit; float $outlimit;
float $inSlope; float $outSlope; float $inAngle; float $outAngle;
int $locked; int $weighted; int $weightlock; float $inweight; float $outweight;
float $smooth; float $limit;
float $slope; float $angle;

waitCursor -state on; // make a nice wait cursor icon while it works...-comet

// Outer loop goes through selected curves, one at a time.
string $curves[] = `keyframe -q -sl -name`;
$numberofcurves = `size ($curves)`;
for ($c = 0; $c < $numberofcurves; $c = $c + 1)
{

// Inner loop goes through selected keys, one at a time.
$curve = $curves[$c];
int $selectedindexes[] = `keyframe -query -sl -iv $curve`;
$totalindexes = `keyframe -q -kc $curve`;
$numberofselectedindexes = `size ($selectedindexes)`;
for ($I = 0; $I < $numberofselectedindexes; $I = $I + 1)
{

// Determine index value of current key (2) and four neighbors (0,1,3,4).
$i[2] = $selectedindexes[$I];
$i = {$i[2] - 2, $i[2] - 1, $i[2], $i[2] + 1, $i[2] + 2};

//if tangency type is not "step", do the following.
string $tanTypes[] = `keyTangent -in $i[2] -q -ott $curve`; $tanType = $tanTypes[0];
$step = "step";
if ($tanType != $step)
{

// Loop to determine x and y positions of five keys (time and value of each).
$start = (`max 0 (2 - $i[2])`);
$end = (`min 5 (2 + $totalindexes - $i[2])`);
for ($p = $start; $p < $end; $p = $p + 1)
{
float $X[] = `keyframe -in $i[$p] -query -tc $curve`; $x[$p] = $X[0];
float $Y[] = `keyframe -in $i[$p] -query -vc $curve`; $y[$p] = $Y[0];
}

// Calculate four slopes between the keys (0,1,2,3).
for ($p = 0; $p < 4; $p = $p + 1)
{
if ($p < $start || $p > ($end - 2))
{$m[$p] = 0.0;}
else {$m[$p] = ($y[($p + 1)] - $y[$p])/($x[($p + 1)] - $x[$p]);}
}

// Are there nodes? Check sign (+,0,-) for the 3 slope changes.

$sign[0] = ($m[1] - $m[0] == 0.0) ? ($sign[0] = 0) : (($m[1] - $m[0])/(abs($m[1] - $m[0])));
$sign[1] = ($m[2] - $m[0] == 0.0) ? ($sign[1] = 0) : (($m[2] - $m[0])/(abs($m[2] - $m[0])));
$sign[2] = ($m[3] - $m[1] == 0.0) ? ($sign[2] = 0) : (($m[3] - $m[1])/(abs($m[3] - $m[1])));
$sign[3] = ($m[3] - $m[2] == 0.0) ? ($sign[3] = 0) : (($m[3] - $m[2])/(abs($m[3] - $m[2])));

if (($sign[0] * $sign[1] >= 0) &&
($sign[2] * $sign[3] >= 0) &&
($sign[0] * $sign[3] <= 0))

{$node = true;
$inSmooth = ( $m[1] + ( ($m[1] - $m[0]) / 2.0 ) );
$outSmooth = ( $m[2] + ( ($m[2] - $m[3]) / 2.0 ) );}

else {$node = false;
$inSmooth = $m[1];
$outSmooth = $m[2];}

//as long as tangent is locked (handles move together), combine the two slope values into one.
//Exception: if weights are free and also broken, treat angle as unified.

int $Weighted[] = `keyTangent -q -wt $curve`; $weighted = $Weighted[0];
if ($weighted == true)
{
float $oldIx[] = `keyTangent -in $i[2] -query -ix $curve`; $ix = ($oldIx[0] * 10.0);
float $oldOx[] = `keyTangent -in $i[2] -query -ox $curve`; $ox = ($oldOx[0] * 10.0);
}
int $Weightlock[] = `keyTangent -in $i[2] -q -weightLock $curve`; $weightlock = $Weightlock[0];
int $Locked[] = `keyTangent -in $i[2] -q -lock $curve`; $locked = $Locked[0];
if (($locked == true) || ($weightlock == false))
{
$smooth = (($inSmooth + $outSmooth)/2.0);
$smooth = ($node == true) ? (shallower($smooth,(shallower((2.0*$inSmooth),(2.0*$outSmooth))))) : ($smooth);
$inlimit = ( ( $smooth * $m[1] ) < 0 ) ? ( 0 ) : ( 3.0 * $m[1] );
$outlimit = ( ( $smooth * $m[2] ) < 0 ) ? ( 0 ) : ( 3.0 * $m[2] );
$limit = ( shallower( $inlimit, $outlimit ) );
$slope = ( shallower( $smooth, $limit ) );

//Correct overshoot for weighted curves.
if ($weighted == true)
{$slope = shallower($slope,(shallower((($y[2]-$y[1])/$ix),(($y[3]-$y[2])/$ox))));}
else {$slope = $slope;}

$inSlope = $slope;
$outSlope = $slope;
if ($locked == true)
{
keyTangent -in $i[2] -lock false $curve; // Temporarily unlock tangent.
}
}
else
{
$inlimit = ( ( $inSmooth * $m[1] ) < 0 ) ? ( 0 ) : ( 3 * $m[1] );
$outlimit = ( ( $outSmooth * $m[2] ) < 0 ) ? ( 0 ) : ( 3 * $m[2] );
$inSlope = ( shallower( $inSmooth, $inlimit ) );
$outSlope = ( shallower( $outSmooth, $outlimit ) );
}

$inAngle = atand ($inSlope);
$outAngle = atand ($outSlope);

// If curve is weighted, calculate weight for key.
if ($weighted == true)
{
$inweight = ( ( $x[2] - $x[1] ) / ( 3 * ( cosd ( $inAngle ) ) ) );
$outweight = ( ( $x[3] - $x[2] ) / ( 3 * ( cosd ( $outAngle ) ) ) );
// If it's the first key, set $inweight = $outweight. Reverse for last key.
if ($i[2] == 0) {$inweight = $outweight;}
if ($i[2] == $totalindexes - 1) {$outweight = $inweight;}
}
else
{
$inweight = 1;
$outweight = 1;
}

// Apply angle value to tangent of current key.
// If weights are free or nonweighted, leave weights alone.
if ((($weighted == true) && ($weightlock == false)) || ($weighted == false))
{
keyTangent -in $i[2] -ia $inAngle $curve;
keyTangent -in $i[2] -oa $outAngle $curve;
}
else
{
//...but for locked weighted keys, space weights evenly.
keyTangent -in $i[2] -ia $inAngle -iw $inweight $curve;
keyTangent -in $i[2] -oa $outAngle -ow $outweight $curve;
}

// Relock tangents.
if ($locked == true) {keyTangent -in $i[2] -lock true $curve;}

// end condition that tangency type must not be "step".
}
// Go to next key.
}
// Go to next curve.
}
waitCursor -state off; // put mouse cursor back to normal. -comet
// end procedure.
}
trdprty_tungsethTangent;

Wednesday 26 June 2013

The Nut Job wraps up

Work on my first feature is quickly coming to a close. It's hard to believe that I got this break so early in my career, and even harder to believe that it's ending so soon. I have spent a little over four valuable months at ToonBox working and learning simultaneously. I have grown a lot as an animator and I can see the progress in my work, which is always rewarding. Although my time on The Nut Job is almost over, thankfully my time at ToonBox is not. I am lucky enough to have been offered a position on the studios next feature entitled Spark. 
However, I do have 6 weeks off in between films and I plan to use that time relax and get some sun, but also to continue practicing my animation skills from home. During this time I want to put together some sort of tutorial that will hopefully provide some useful tips. My goal is to have this tutorial ready before I go back to work in mid-August.
 


Thursday 16 May 2013

I'm back!

It's been a while since my last post but I am still here, working hard everyday to improve my animation skills.
Things here at ToonBox continue to move along at a brisk pace and I continue to learn more with each working day. When I first arrived I would need to show the director my shot multiple times and receive a decent amount of notes before it was good enough to be approved. Now I feel much more confident and capable and I am able to tackle a shot much more independently. My speed has also improved significantly which is important for both studio and personal work.
I plan on posting a tutorial video in the near future that will demonstrate how I plan and execute a shot. I am by no means an expert animator, but I would still like to take the opportunity to share what I've learned with anyone who might find it useful.

Work on the short film that I am involved with is also moving along quite well. I will be posting updates in the "short film" section of this blog soon including storyline, character sketches and call-outs to anyone wanting to be involved.

Monday 15 April 2013

The Nut Job press release

Following the news that Liam Neeson will be joining the cast of The Nut Job, the following press release was issued at the end of the last week:

Sunday 17 February 2013

My time at iAnimate

As per a request from Kat I want to take a bit of time to go in to more detail about iAnimate and what is it like to attend their workshops. Personally I spent many months - roughly six I believe - practicing at home so that I could put together a reel that would enable me to skip the beginner classes. Jason assessed my reel and placed me in workshop 3 where I would spend 14 excellent weeks!


When you become a member of iAnimate you get access to many things: the community of fellow animators, the amazing feature quality rigs which are still the best I've worked with and literally thousands of hours of lectures, demos, Q&As etc. This for me is probably the most important part.

My advice is to ensure that you have several days in which to devote to "studying" when access to the community first becomes available. I learned a lot from my instructor during my assignments, but I learned the most from the seemingly limitless supply of instructional videos. Do not take these videos lightly. Dedicate as many hours per week to watching them as possible. There are videos about virtually everything you can imagine to do with animation and best of all, you get to download them all and keep them forever! From Jason Ryan chatting with fellow animators about the industry and profession, to him explaining how he plans a shot in 2D and many on how he takes a shot all the way from blocking to polish - these are probably the ones I found most useful. These demonstrations about how he animates a shot range from cartoony runs to subtle facial acting and they will help you immensely. You get to learn his entire workflow and it really makes you think about your own workflow and how you can make it more efficient - something I am still striving to improve!

Take advantage of the community space and post your work. Not only can you receive further feedback from fellow animators but the more people who share their work the more inspirational work there is to watch. When I first started at iAnimate the community was very vocal and people were posting at a rampant pace. Unfortunately it did slow down as the weeks wore on and the community became quieter. Hopefully it has picked up again since.

One thing I would suggest to anyone wishing to apply is to research the different mentors before you choose the one you will work with (yes you get to pick which mentor you want, provided there is still space in their class). Figure out who you like the sound of the best and which one specializes in the type of animation you want to pursue (realistic, visual effects, cartoony). A lot of mentors are from Dreamworks and most have a similar style but still, make sure you check each one out a bit.

Finally, when the mentor critiques your work (once or twice a week depending on how they want to run their class) tell them that you want them to be harsh. Trust me you would much rather they tell you that your shot looks like crap than baby you. I often found that my mentor was too easy on both my work and the work of my fellow classmates. He was a great guy and a good mentor overall, I just think he could have pushed us all a lot further by being more honest and harsh.

Hopefully I've done a decent job at explaining my time there. It really is fantastic value for money and I recommend it highly to anyone looking to improve either animation skills :)

Monday 11 February 2013

Anyone Can Animate

I don't have the book in front of me, but I think it was Richard Williams who said this in "The Animators Survival Kit" - a must own for all animators by the way. To say that anyone can animate is not to say that animation is easy...not at all. It is an extremely difficult skill and one that can never really be mastered. As an animator you are constantly learning and evolving, especially today when the technology is always changing.
What is missing from this quote is "Anyone with a passion for animation can animate". It requires practice, hard work and commitment. For the purpose of this post I will use myself as an example.

I got in to animation relatively late. In fact, I had never even considered computer animation as a potential career until a little over a year ago. I spent my life chasing the dream of becoming a professional golfer. I had always known I needed a back up plan in case golf didn't work out, but I never figured out what that could be. I wanted to do something I enjoyed but little else spoke to me enough to make a career out of it.
As a kid I loved movies and I loved to make movies. I loved to shoot some footage, edit it and watch my "masterpiece". The problem was I never knew what I could do with this passion for movies or how I could turn it into a profession. Anyway, the long and short of it is that I stumbled across animation, realized how much I enjoyed bringing life to a character and decided I wanted to do it for a living.
It was a scary decision to put golf aside and concentrate on animation because at that time I was not a good animator. I had never animated six months prior to this decision and the only education I had was self-taught. But once I'd made the decision I knew I had to knuckle down and commit to it. I worked hard, practiced at home, purchased tutorials and eventually, when I could afford it, took a workshop at iAnimate.

If anybody is reading this who is at the early stage of their animation career and you want to know how to get better, here's my two cents:
A) Work hard. There is no substitute.
B) Post your work for critiques on sites such as "11secondclub" or "youanimator" and listen to the feedback. Develop thick skin, take it on the chin and use it to get better.
C) Watch as many tutorials as you can while you get started. Jason Ryan has some great ones on his site for a very reasonable price. It's a great way to learn and improve.
D) If you can afford it, enroll in an online school like iAnimate. It's a great way to make connections, receive feedback and work with some fantastic rigs and characters.
E) Network. If can easily be overlooked but it's one of the most important things. Research the studios that you want to work for (don't shoot for Pixar right away) and contact them. Ask them for a tour of the studio or an informational interview. This is what first got my name on the radar at Topix. I emailed a dozen studios asking to meet in person and they were the only one to respond. I met a lead animator at the studio and a year later I got my first job in the industry. Contact as many studios as possible and contact them often, always being as polite and personable as possible.

That's all for now. Hopefully this helps somebody out there :)

Wednesday 6 February 2013

I recently had the good fortune to be offered a position on the animation team during production of The Nut Job! It's a tough decision between staying at Topix or taking the chance at ToonBox. Ultimately I feel that the opportunity to work on a feature film at this stage of my career is too big to pass up. It is also much closer to the style of animation that I originally wanted to pursue. During my time at Topix I have picked the brain of my co-workers who have been in the industry far longer than myself. I've tried to acquire as much information about the industry as possible and from what I can gather, working on a feature film can open up a lot more feature possibilities in your career.

I would be sad to leave Topix because the studio and the people have been great. I have learned SO much during my time here and I can never thank them enough for everything. A lot of people wait a long time for their first paid job so I know how lucky I am. But, I would also be very excited to start this new experience. It was my goal to be involved in a feature film after five years in animation so to be offered this gig after only four months is huge. Hopefully this is just the start!

Tuesday 5 February 2013

My first top 10!

This past month I placed in the top ten in the 11second club for the first time! It has been a goal of mine to get one of those little trophies (how nerdy) for several months now. This past month I had a little more time to commit to my entry and the work paid off. Since entering I have gone back and polished up more of the shot as well as changed the camera, lighting and background to place more emphasis on the animation itself. Next goal: at top three finish!

Tuesday 29 January 2013

You Animator site

For those of you who are interested in posting your work and receiving valuable critiques, You Animator could be the perfect site for you. Everybody is welcome to post their work, critique the work of others using their built in software and even become a mentor by giving excellent critiques. There are other sites such as the 11secondclub that provide similar opportunities, but You Animator takes the ability to critique a shot that much further.

YouAnimator

Tuesday 15 January 2013

Eye dart reference

Here is a fine example of eye movement and eye darts. It was orginally posted by fellow animator Kyle Kenworthy. Enjoy and happy learning!

Eye darts tips and tricks

I have only been at Topix for four months but I've learned quite a lot in that time. Working under Marcus Alqueres (Plant of the Apes, 300 etc) provides ample opporutnity for one to expand their knowledge of animation. For example I have a greatly improved my understanding of the graph editor and how best to use it. During my time at iAnimate I was still afraid of the GE and very rarely touched it. In fact my first assignment (which I condsider my best) was done without using the GE at all. I still struggle with floaty animation when I rely too heavily on it, but I am getting better. I will blog more about the GE in the near future, hopefully when I am more qualified to do so! Now, on to those eye darts!
They may seem insignificant and many animators can overlook them during the polish stage, or simply not know how to execute them properly. Up until quite recently I myself have been guilty of this. However, it was one of the first things that I learned from Marcus and his method has carried over to all of my other animation. Here's the trick I learned: WORLD SPACE. Most rigs, if not all, have the option to keep the eyes in head space, or switch them to world space. I had always kept them in head space because it never occured to me to animate them any other way. It seemed logical to keep the eyes moving with the head. This, however, is not how your eyes actually function. Try looking in the mirror and turning your head from side to side while still looking ahead. It appears as if your head pivots around your eyes as your eyes stay focused ahead. If you animated a head turning from side to side the eyes would follow. While this behaviour may work for some situations, it is not ideal for animation and will not give you the most believable movement.
The key to the eyes is to constantly animate eye darts...constantly. The human eyes are always scanning and shifting their focus. They don't do this by drifting over many frames, they do it in a very short amount of time. Typically two frames. Even if you make a big head turn, say 180 degrees as you scan a room, your eyes don't simply move from position to the other. Instead they would dart 30 degrees over two frames, pause. Dart 25 degrees in two frames, pause. Dart 50 degrees etc etc. The best way to learn is to simply observe. If you ever find yourself watching a scene in a movie with an intense close up on a characters face, watch their eyes and try to catch every time they dart.

There are many tutorials and blogs out there that go into much more detail than I did here and I encourage you to look them up. Animating believable eyes adds that final touch of polish to your shot. You will be amazed by the difference it makes.