jo b.

wow. great detailed model!

ok. this explains how we work. the images are from "I'm walking" but it's the same way of setting up the characters and props. First the Flat Pass / Ambience 100. This is quite easy to setup and renders fast. Second a Dome Pass for simulating environment light. we mostly use the poissant domes with kliegs and z-buffered shadows. We don't need any color maps, but we need bump maps and we need transperency maps. Every group needs to be white. No Specularity turned on. Third a Sun/Key light Pass, with the same setup as the dome pass. Fourth a spec pass. No color maps, but bump- and transperency- as well as specularity maps. (Specularity turned on). Quite easy to setup with spec on diffuse off at the light/s. But ambience of every group needs to be at 0%. Fifth an effects pass for the Dust. Now everything has to be black and camera ambience needs to be at 100%, like the flat pass. We also need and transperency maps here. No lights needed. You can't expect any software package (EVEN not A:M) to render out the images with your desired look. It's always the postproduction and compositing where you combine your elements to give your project the final glance. Greetz, Jo and the rest of the Department.

crazy

just the shelves on the outer walls of the market are mapped.

sure. is there something special you want to know? cuz... there isn't something special about it. we just bulid elements and put them together in a chor. we lighted the floor and the celing seperately. we animated loops with stride length for the customers. that's it.

well thanks again. we don't have wires, but some character sheets and turns. the sheet isn't final, but i guess you'll find the differences - odd one out! the turns are a little rough in the compositing, cause we did them just to show the models, not the final look. the turn of the mother is missing though, cause the scedule was too tight to finish it. TURN - DAD TURN - SON TURN - DAUGHTER TURN - BEAUTY say hello to them...

well thanks to all of you. we're glad you like it.

cool! very funny!

wow, this is what i call solid work.

thanks. @greg we used the old school poissant dome with z buffered shadows. --- once more thanks yves --- for the balcony we just rotated the dome about 20 degrees to get more light from the front bottom and less from behind, where the wall is.

we rendered small groups of people and composite them together afterwards. the crowd mostly consists of figures we designed to be a crowd member. they have quite simple models with lots of poses to change their shape, colour (in this case this wasn't too important) and emotion. there were very few animations for the crowd we used several times.

@ nyahkitty yeah, we render small groups of people and composite them together afterwards. the crowd mostly consists of figures we designed to be a crowd member. they have quite simple models with lots of poses to change their shape, colour (in this case this wasn't too important) and emotion. yeah, there were very few animations for the crowd. the camera? WE moved the camera..?!? willi once wrote some flickering scripts we used for "sunny side" and we just used them again with a few different values. done in AE. it took about a mounth. if you ask me, it would've been great to have more time for the animation of the main characters. we had only about 3 - 4 days for them. @ dimos saturn is a big store for electronic products. SATURN

thnx. yeah, we did a skeletal pose with certain bones for the overall shrinking + plus a muscle deformation to avoid certain unwanted deformations. than the pose was used as a basis for the action. we had to do a lot of "muscle point cloth simulation" for the whole clothing which was a real struggle. during the production we found out that it wasn't the best way of doing that. - the skeletal pose was more x/z shrinking than y shrinking. whenever some childbones were rotated a little to far, the head, hands or fingers for example, they were deformed in a unpropotional way which looked total strange. that meant that the charakter couldn't move a lot during the clip. - the scaling of the bones had just 2 keyframes (0-100), in the pose and in the animation as well. but somehow the resulting deformation wasn't linear. gotta have something to do with the complex structure of the charakter. like: the slipping of the feet in due to the scaling. but as alsways we didn't have the time to look for another solution. the whole clip was produced in 3 weeks with just 4-5 people, plus some serious corrections by our client. so we struggeled on and were quite supprised how "well" it all turned out. there are still some things that we'd loved to have worked on a little more on,(i guess this was bad grammar) but we're glad everyone likes it.

sorry, we had to make some space on our server a few day ago. maybe it was deleted as well.

wow, great. i love the smoothness and the level of detail of this animation. one little thing, i think the grin at the end comes in a little early. maybe he can take some frames more to realize that nothing serious happened. thanks for sharing. i'm very curious about the whole thing.

that's hard to tell by just looking at those images.. all i can tell you is that the black background is a preset in ae and is visible where your images have an alpha value. it's always better to use background images or colored layers to adust the background color than changing it in the komposition settings. the rest depeds on your individual layers, the tranfer modes, the transperency...

thanks, no we didn't try to use forces and dynamics. it's always a task to get forces and dynamics congruent in different passes and we didn't have lots of time, so we thought of a way we could trust in.

thanks, we're glad you like it. about the relationship: dr. klob is a scientist... of course. the "kid" is called willian j. petterson. he's klob's full time proband. i'm not sure, but maybe they're having some kind of experiment going on. or maybe they try to enjoy the fireworks, but the lost orientation... i dunno... -what do you think? about the animation: everything is hand animated. the scarf is animated with one control bone. for each segment there is an intermediate bone with different enforcement (10 % - 100 %)and corresponding lag (0-2 frames). the hair movement consists of two groomed poses. one for the shaking and one for the direction.

AND A HAPPY NEW YEAR!

first of all thanks, we're glad you like it. on this spot worked 5-7 people for about a month. im not sure how to describe our work pipeline... we start with storyboards, to fix the scenes for the planned spot and to get an overall impression of the effort. than we cut your drawings together with layout sound (if there is a need for sound - in fact this time we totally worked without sound) to get a timing for the spot and to figure out if all planned shots can take place in the desired timeframe. during this time we usually model the main characters and props. when we and the agency agree with an animatic, we can start animating. every drawn scene now can be replaced with an animated shaded preview to discuss about final changes in animation, timing and direction. we also provide final stills to our clients so they can get an impression of the final look. if a scene is approved we start rendering. we render in several passes: flat, light, spec, plush, particle, several masks.... to have more freedom in the compositing, wich is done in adobe after effects. rendering in passes greetz...

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this guy definetely has appeal. and this is a thing that does not depend on it's complexity, realism, texturing or what so ever. i've seen 1000s of detailed figures without appeal. maybe you achieved this by accident, but hopefully not. keep that focus.

cool lightning method! looks amazing.

as far as i know... no! thanks. we're glad you like it.