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Elm

New Soulcage Department A:M commercial

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Hi freaks!

 

After a pretty long abscence from Animation Master, we finally did a project again with a whole lot of A:M usage involved. It's a (web-) commercial for a company called "Lieferheld" (which some of you might know as "Delivery Hero"). All characters have been modelled, rigged, shaded, animated and rendered with A:M, backgrounds have been created with softimage and Modo. We kindly invite you to have a look at it:

 

https://youtu.be/6R81osEkf_Y

 

Lots of greetings,

Elm.

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That looks fabulous! Thanks for showing that!

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*lol* Will this be broadcasted in Germany? That was much fun ;).

Very well done guys :).

 

See you

*Fuchur*

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Love it! so wonderful and amusing and well done ...Very funny! ....

 

but..but.. I don't speak German.

 

I assume this is a public service announcement warning? Using the telephone can be fatal when ordering take-out food? :lol:

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"I assume this is a public service announcement warning? Using the telephone can be fatal when ordering take-out food? :lol:"

 

Nancy - exactly.

 

@Fuchur: It won't be broadcasted. It's just a web-clip. What's it called anyway? Web-commercial? Dunno...

 

Thanks for liking it gals'n guys! :)

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Great stuff as always!! Loved the whole thing. Lighting was great!

 

Steve

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Love it! so wonderful and amusing and well done ...Very funny! ....

 

but..but.. I don't speak German.

 

I assume this is a public service announcement warning? Using the telephone can be fatal when ordering take-out food? :lol:

 

;) Close to it... It is a version of "Drei Chinesen mit dem Kontrabass" (a very popular child song for learning vocals in the German language... the first round is with the actual vocals and after that all the vocals are replaced by only one vocal like "e", third round "i" and so on. Roughly the whole song translates to: "Three chinese with a contrabass, sitting on the street and talking about something. A police man came a long and he asked: What is this? Three chinese with a contrabass?" >repeat over and over... this phrase is only choosen because it containts many and different vocals in one phrase in German...)

 

There are fun little references to this when the woman orders chinese food at the wall for instance ;).

 

But in this they do not teach about how to pronounce vocals but how to order food... and how dangerous it can be to order food by phone instead of doing it online using "Lieferheld".

 

See you

*Fuchur*

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APPLAUSE! I like the long-form that internet commercials allow...30 seconds is too short.

 

That is a great usage of A:M... I take it you comped the characters onto the background in AfterEffects? Wow- nice A:M Hair usage... and cloth dynamics on the dress!

 

I loved it, and am off to go watch it again and again!

 

This should be linked to on the A:M Facebook and social medias

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APPLAUSE! I like the long-form that internet commercials allow...30 seconds is too short.

 

That is a great usage of A:M... I take it you comped the characters onto the background in AfterEffects? Wow- nice A:M Hair usage... and cloth dynamics on the dress!

 

I loved it, and am off to go watch it again and again!

 

This should be linked to on the A:M Facebook and social medias

 

As I'm not a facebook / social media guy myself, anyone may feel free to share it wherever and however they want. I mean that's what it's for. So - please, share it on as many sites as possible.

 

P.S.: - Yes, after effects. It's not cloth simulation though, it's made with dynamic bones.

Greetz,

Elm.

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it's made with dynamic bones.

 

More stuff I need to explore!

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excellent ! how did you made the rendering ? ambiant occlusion ? i'm curious to learn you workflow as a noob i am !

regards

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Hi!

 

@ Rodney:

The girl's dress and the italian cooks pinafore (?) cps are assigned to several vertical bones (all located at pelvis height) which then have dynamic constraints to swing around, pretending to be cloth. That's all.

 

@stefff285:

No ambiance occlusion at all. That would have taken too much time in rendering. Lighting was done with three lights - one main and one rim to give definition. To emulate ambiance occlusion, or global illunination, or whatever you'd like to call it, there's the third light as part of a spinning-light-rig, which travels up a spiral path surrounding the whole scene within one frame (at 36 passes per frame).

 

Using 36 pass rendering had this other purpose, too:

The fuzzy surface / look of the characters was achieved by using an animated displacement map for their 'skin'. That means that 36 times a frame, another displacement texture is rendered. A:M then blends these passes together, so the fuzzy, yet smooth surface develops.

 

 

Greetz,

Elm.

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Using 36 pass rendering had this other purpose, too:

The fuzzy surface / look of the characters was achieved by using an animated displacement map for their 'skin'. That means that 36 times a frame, another displacement texture is rendered. A:M then blends these passes together, so the fuzzy, yet smooth surface develops.

THIS merits another look... GREAT techniques!

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Using 36 pass rendering had this other purpose, too:

The fuzzy surface / look of the characters was achieved by using an animated displacement map for their 'skin'. That means that 36 times a frame, another displacement texture is rendered. A:M then blends these passes together, so the fuzzy, yet smooth surface develops.

 

Thanks for that Elm, very insightful.

I was playing with animated displacement a few months ago in order to try to get an effect like that seen in PIXAR's 'Inside Out' which they call 'effervescence' or something like that.

The main difference being that I was trying to add it to the end of strands of particle hair.

Your method might aid in achieving that effect.

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I did a quick try on that 36-pass global GI trick Elm was using- and not getting predicted results... I put an object in my chor... made a 'cyclone-coil' path in a model and in the chor set a kleig light to it with a path constraint and an aim-at to a null center stage. I animated the ease on the klieg to the path from 0-100 over the course of 1 frame and rendered in multipass at 36 passes. I am not seeing the klieg move from pass to pass... what did I miss?

 

EDIT: Motion blur!

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I've done some tests on spinning lights before and found that it was in the same general range of render time as regular AO. It was faster with less passes but longer with more passes.

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I've done some tests on spinning lights before and found that it was in the same general range of render time as regular AO. It was faster with less passes but longer with more passes.

 

Oh - really? That's interesting... However, there's a few things you can do with a spinning light rig that can't be done with AO. You can use a raytrace or z-buffer light, you can use one or more rays, you can "distribute" the light's position in each pass as you like, you can also animate lights parameters for each pass (like size, intensity, falloff etc.), or you can even move / rotate and even animate the whole light rig itself in your choreography if you like.

 

All in all I like this flexibility, and I've pretty gotten used to this technique for a while (when working with A:M).

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Does this method prefer Klieg lights or regular bulbs- or no difference... what do you use?

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@stefff285:

No ambiance occlusion at all. That would have taken too much time in rendering. Lighting was done with three lights - one main and one rim to give definition. To emulate ambiance occlusion, or global illunination, or whatever you'd like to call it, there's the third light as part of a spinning-light-rig, which travels up a spiral path surrounding the whole scene within one frame (at 36 passes per frame).

 

Using 36 pass rendering had this other purpose, too:

The fuzzy surface / look of the characters was achieved by using an animated displacement map for their 'skin'. That means that 36 times a frame, another displacement texture is rendered. A:M then blends these passes together, so the fuzzy, yet smooth surface develops.

 

 

 

 

 

 

ok thanx i go learn later but i keep your advices in my head :) thanx a lot

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Does this method prefer Klieg lights or regular bulbs- or no difference... what do you use?

 

 

I use a bulb light, as you don't have to add an aim-at-constraint, which a klieg needs to have (it needs to point at the center of your scene in each pass). The advantage of klieg lights is that you can use shadow maps (z-buffered shadows) which render faster (but don't provide the accuracy of raytraced shadows on the other hand).

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