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Hash, Inc. - Animation:Master

HomeSlice

Film
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  1. From what I can see, the only thing that might make your set less than photorealistic are materials and lighting. The geometry seems spot on. Both you and David Simmons are creating some fantastic urban themed sets and models that seem very similar in style.

  2. I helped render TWO and from what I remember, it was quite a task. I drove down to Hash several times and stayed for several days at a time and me and Jason pretty much spent all day every day working on it. There were too many issues for me to list (or remember) and we just tried different things until we could get something usable. I apologize that I can't remember specific issues and what we did to fix or work around them. The most common fixes I remember were:

    -simply rerender borked frames

    -render troublesome scenes on a single computer instead of netrender

    -paint out artifacts in photoshop

    -turn off dynamics in troublesome scenes

     

    My interest in re-rendering it is to do it in 3D and to see how much more res or passes is needed to fix the texture sparkling.

    If this is all you want to do, maybe import the image sequence into AM and apply a Denoise Post Effect to the frames. Maybe that will do the trick.

  3. That works very well! Wonderful art direction.

    From your blog:

    I want to achieve an organic feel that is very far from the bland slickness of normal computer animation. And hopefully the unavoidable jerkiness and roughness of the resulting animation will by far be outweighed by the amount of life and personality.

    I think you were successful :)

  4. Love it!

     

    Great stuff, Jirard! I'll second Robert's recommendation of making the face a neutral pose.

    Unless that *is* the neutral pose. But I can't imagine how it could frown any more than it already is, which probably means that what you have there is not really the neutral pose.

  5. I think I also need to put some face bones in, for puffing out of cheeks, pursing of lips, and I guess he's going to need eyelids, none of which was in the original plan.

    Beware of SCOPE CREEP!! It has led to the demise of many worthy projects. Don't let it happen to you.

  6. One thing I just thought of ... would "Layout" be covered by "Set Designer"?

    Not so much for us. Our Layout is more like camera angle and placement.

     

    From what I've read, which may or may not be accurate ...

    "The layout artist has a lot to do with the lighting of the film, the scope, the way the camera moves through the sets," he explains. "The layout artist is in a very great way the cinematographer of an animated film, deciding what the camera is going to see and where the characters will be blocked in a scene."

     

    So I figure a Layout Artist does Lighting, Camera and Character Placement/Blocking.

  7. After testing with some other formats (TGA and jpeg) in the image section it became apparent A:M has a problem with (PNG files colors) I will add it to the report section.

    Did you save the png out of Photoshop? If you did, Yves Poissant addressed this a couple of years ago. It seems Photoshop (and perhaps other programs) sets the gamma of png images in some strange way. I think on Windows, the gamma is set to 2.2. Yves suggested removing the gamma information altogether using a program like PngCrush ( http://pmt.sourceforge.net/pngcrush/ ).

     

    You can also use IrfanView to gamma correct a png image. Open the image in IrfanView and go to Image > Color Corrections. Then set "Gamma Correction" to 1.00.

    You can also Batch correct a bunch of png images at once. Open IrfanView and go to Fle > batch Conversion. For "Output Format", choose "png". Then hit the "Advanced" button. Then check the box for "Gamma Correction" and enter a value.

    http://www.irfanview.com/

     

    The problem is more widespread in the web browser arena. Here is a brief overview of the problem web browsers have with correctly rendering png images. http://morris-photographics.com/photoshop/.../png-gamma.html

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