Posts Tagged ‘Digital Art and Animation’

Star Thief Studio Animation & Interactive Book Teaser

Wednesday, January 14th, 2015

Star Thief Studio is one of several on-campus Project-Based Learning studios at Cogswell College. These studios mirror professional production studios and allow students to collaborate with their peers – whether they be artists, animators, technical artists, engineers and sound designers – to create outstanding large scale projects.

= ABOUT STAR THIEF STUDIO =

Star Thief Studio is guided by faculty with industry experience and student work is regularly critiqued by industry professionals. We are focused on creating engaging story-driven content in the form of animated shorts and interactive stories. Currently Star Thief Studio is working on an unannounced project which will feature a stand-alone animated short and an interactive version of the story, bundled together as an app for the iPad.

Our development artists work in a dedicated studio space and use everything from pencil, paint and clay to Maya, Zbrush, Mudbox, Photoshop, Renderman and Fusion. Much of our digital painting and sculpting is done on Cintiqs. Our engineers use tools like X Code, Flash Professional, and Maya, writing code in Objective C, C++ Maya API, Action Script, Mel Script and Python.

Star Thief Studio offers students the opportunity to be an important part of a major project that will deliver a great experience, film credit and professional quality content for their demo reel. The large group, project-based environment of Star Thief Studio gives students the opportunity to develop and exercise the skills needed to work effectively with a team over an extended period of time. Skills like communicating professionally, being a team player, taking initiative and learning to lead, as well as managing time-sensitive tasks and completing work within deadlines. In the end, students will have work for their portfolios which has been refined to an extremely high standard and used in a major animated and interactive project.

See more at: http://www.cogswell.edu/student-work/studioe.php
Andhttps://www.youtube.com/watch?v=UTv8U7n_cIg&list=PL9DCF83E90D3F20A7&index=1
Video created by Cogswell alumni and Cogswell students:
Rachael Sass
Andrew Long
Jose Hernandez

Virtual Reality Sculpting

Tuesday, December 30th, 2014

Screenshot taken from: https://www.youtube.com/watch?v=jnqFdSa5p7w

Have you ever thought about sculpting using Virtual Reality technology? A new app called VRClay shows us how to do just that by allowing us to create 3D sculptures in VR. Using the Oculus Rift headset and a motion controller such as the Razer Hydra, we will be able to sculpt 3D figures using motions such as push, pull, drag and buildup. While the traditional method of using computer screens would still be ideal, a VR workspace would give us the ability to walk around and inspect the physical manifestation of our work. There is still no release date for the Oculus Rift, so it looks like we will have to wait a while before we can try this app.

Peter Gazallo

Pixar Animator Michal Makarewicz visits Cogswell

Wednesday, November 26th, 2014

Picture credit goes to "animationfestival.no" and was used for the "Fredrikstad Animation Festival" in Europe.

Michal Makarewicz visited Cogswell College on the evening of November 19th, 2014. Currently holding the title of Directing Animator at Pixar, Michal joined the company in 2003 and has worked on many of the company’s films to date. His body of work includes The Incredibles, Cars, Ratatouille, WALL-E, Up, Toy Story 3, Cars 2, and Brave, as well as numerous Pixar shorts. In 2008, he was awarded an Annie for “Outstanding Character Animation in a Feature Production” by the International Animated Film Society for his work on Ratatouille.  Michal is also the co-founder of the Animation Collaborative, a school of animation founded by professional animators. Teaching since 2005, Michal has also been a lecturer as well as teaching classes at the online school, Animation Mentor, as well as instructing classes at California College of the Arts and the Academy of Art University.

The evening of November 19th was a special occasion, not only were students shown the workflow and artwork of an industry professional, they were also treated to an animation demo! This is quite rare, as most guest speakers do just that – speak and answer questions. Michal helped foster a loose and friendly atmosphere, answering any questions posed to him during his demo, no matter what they were. The presentation Michal gave started off with a 10 minute reel of his work at Pixar. He seemed hesitant to play it, citing time constraints, but the crowd wasn’t going to have that. After the video, Michal dove right into a detailed breakdown of his workflow including tips from his mentors, examples of how to streamline your work, and even throwing in an impromptu lecture on the philosophy and principles of animation. After his presentation, we were given a meet and greet opportunity while Michal set up his animation demo.

Michal started his demo using Maya and a free rig available to to the public. He imported some audio from “Liar, Liar” and proceeded to show us each and every step of his process, flying from menu to menu and making rapid changes and edits. He explained exactly why he was doing what he was doing, and would ask the audience for feedback on his work while he did it. Asking the crowd for feedback and suggestions made the session more interactive and laid back, which seemed to be greatly appreciated by those in attendance; everyone had a great time. After a short 40 minutes, Michal had fully animated a character including facial expressions, body movement, even mouth movements synced with the dialogue. And the crowd had helped!

The evening closed with Michal explaining his role at the Animation Collaborative, and a thank you. This truly wasn’t a night to miss for any hopeful animators or those interested in the field of animation. Hopefully we will have more speakers with approaches similar to Michal’s; interactive presentations that allow the crowd to get more involved.

Juan Rubio
Digital Art & Animation student at Cogswell College

Michal Makarewicz, Directing Animator at Pixar Studios Coming to Cogswell

Monday, November 17th, 2014

Cogswell Career Development Center Presents: Michal Makarewicz
Wednesday, November 19th
6:00 PM
Dragon’s Den

Have you ever wanted to see an industry professional do an animation demo? Ever wonder how to develop your project? Cogswell College hosts Michal Makarewicz today to answer your questions and more.

Michal Makarewicz, Directing Animator at Pixar Studios and Instructor at Animation Collaborative, will provide an hour-long animation demo at Cogswell. Whether you are new to animation or more experienced, Michal offers tips and techniques for developing your animation project. The presentation is in partnership with Animation Collaborative – an organization that offers workshops throughout the year on various animation industry specialties.

Concept Art Process for Award-Winning Short Animated Films

Wednesday, November 5th, 2014

Kong Vang, Cogswell alumni and Art Director of two short animated films

Kong Vang, Cogswell alumni and Art Director of the two short animated films “Driven” and “Worlds Apart” – both created in Cogswell College’s Project X class – shares his process of creating character concept designs and more.

While working on the films created in the Project X class, I learned that it takes a very dedicated team to make a short film in four semesters or less. Many of the students on this team are attending classes full-time in addition to contributing their talents towards making an awesome film.

Here’s an overview of what happens during the production process of a short animated film: First the script and storyboards are completed and approved, within the first semester. Meanwhile, the concept team begins creating concepts for characters and environments.  Approved concepts are sent into the modeling pipeline as soon as they are approved where our artists create 3d models. As each model is approved by the Director, they are sent into the texturing and rigging pipeline. Technical artists create animation rigs for each model and prepare them for animation testing.  Animation is a long process so it is important to get the rigged 3D models to the animators as soon as possible. Animation takes almost a year to get all of the shots approved.  After the animation is polished, the first test of the film timing is created, approved, and sent off to the sound effects and music score team.  Also during the process of animation, approved shots are sent to the lighting team for light set and test render. When the finalized lit shots are rendered out, they are sent to the compositing team for the final clean up. After the composite shots are cleaned up and finalized, they are sent off to the film editor who creates the final cut of the film and music score.

On the latest film ‘Driven’, each member of the team wore different hats depending on which stage of the production pipeline the film was in.  For instance, initially I started out in the concept design pipeline, then moved to the animation pipeline and finally to matte painting for the final stage of the film.

One of my jobs as a concept designer was to collect the approved designs from the other artists and finalize them. Because most approved designs are from different artists, each with their own distinct style, the finalization process ensures a consistent look and feel. After finalizing the look and stylization of the characters, I would render each character in 2D using Adobe Photoshop so that it would represent its 3d counterpart.  This allows the Director to easily visualize how each character will look before it gets passed along to the modeling team.

Digital media is the fastest way to work and Photoshop offers the perfect tools and work flow for this demanding field. With infinite tool presets, custom brushes, and limitless iterations, it allows me to work more quickly and easily compared to traditional mediums like paint or ink.

To block out the initial character’s silhouette, I like to use a standard round brush, which I adjust into an ellipse shape, then angle it 45 degrees. This style of brush setup creates a line weight that flows much more nicely than the standard round brushes. Once the silhouettes and internal shapes look good, I create a new layer in Photoshop and start to block out the forms with one color value. At this early stage, I prefer to work in black and white.  It makes it easier to focus just on values and form rather than getting caught up about the colors. My preference in digital painting is to work from dark to light values, or shadows to highlights. It has been my experience to get results much faster using this method than trying to paint from light to dark.  I push and pull (lighten and darken) the values until the character forms are clear.  During this process, I maintain a wide range of values to create depth and realism.

Once the characters have been sketched out, it’s time to experiment with color palettes. I like give a slight color tint to the values before painting on top of the black and white image. The tint layer acts as a color wash so none of the black and gray value show through later. I create a new layer and set the Layer Mode to “Color”. I start by painting over the character with the color palette that the team agrees on. By using multiple layers, I don’t lose my original black and white image – and I can test out different color schemes.  Once I’ve added general color blocks to the characters, I use a new layer to start painting in details. For the final detail stage, I use textures and custom brushes to polish the look of the characters.

The development stages from concept to finished product vary from character to character; it all depends on what the Director is looking for. For example, secondary characters may be approved before main characters. Main characters are often challenging as they have to be visually pleasing and have the right visual attitude. On the other hand secondary characters have far less restrictions, allowing flexibility for designers to explore their creativity.

The concept team spent almost an entire semester designing characters. After four months and multiple iterations, all nine characters were finally approved. Once approved, I took the concepts and started finalizing each character’s look. It took me roughly four or five hours to render out the first pass of each character to show the Director.  One character in particular – the adult Biff cop – took almost ten hours to design.  After multiple small changes, the final designs were approved.

One of the most surprising and challenging characters to design was the Jet Bike that the main character rides.  Its importance in the film is equal to the character that rides it. Although there were many great concept designs shown to the Director, none of them were approved. That’s when I was given the tough task of designing the bike. After fifty designs, we started to narrow down the concept. Once the main silhouette was chosen, I mixed elements from the best three designs together to get the final jet bike concept. The process for this single ‘character’ took three or four weeks, from start to finish, working with traditional mediums like graphite and paper.

This is just the front-end of the production pipeline for a short animated film. It takes a strong team and lots of man hours to complete the film. In the end many people had come and gone, and lots of talented people contributed to the film. We were all so glad that the film was finally finished. It took the PX team about four semesters and two summers of hard work to accomplish the short film, Driven. The Project X class has given me the best hands-on experience possible. It has definitely changed my future and life for the better. Thanks Project X!

Kong Vang

CGI Far From Monkey-Business in Dawn of the Planet of The Apes

Tuesday, July 8th, 2014

The latest installment of the Planet of the Apes franchise displays some of the most innovative CGI techniques to date. Weta Digital, the CGI mastermind behind such films as Ironman, Man of Steel and Avatar, has further evolved the digital animation process to achieve lifelike effects. Actors work side by side with the digital art and animation teams to achieve realistic facial expressions bringing the computer generated images to life.

In his article, “Is This the Most Remarkable CGI in a Film Ever?” Patrick Jong Tayor comments on the sequel’s amazing attention to detail. “To make it work, Weta Digital employed dozens of wireless 3D cameras to faithfully capture the actors playing the apes, who donned motion capture suits with active marker strands, measuring position, velocity and acceleration even if the markers were obscured from camera view, and witness cameras mounted to the suits to capture facial mocap information.”

Cogswell offers programs in Digital Art and Animation designed to prepare students for exciting careers throughout the entertainment, media and art industries. As seen with Dawn of the Planet of the Apes, CGI techniques need to be ever-evolving in order to compete with the next big blockbuster.

Dawn of the Planet of the Apes has an interesting plotline, astounding CGI effects, and a smooth transition in the fictional 10-year time gap between films. Do you plan on seeing this summer blockbuster? Are you Team Human or Team Ape? Tell us in the comment section below.

Source: RedShark News

“Transformers: Age of Extinction” Great for CGI – Bad for Bay…

Thursday, July 3rd, 2014

Director Michael Bay is getting slammed with reviews on “Transformers: Age of Extinction”. The majority of which criticize his directing skills for an amateur in story line, a flopped plot-development, and an overabundance of product placement.

In his recent review, Boston Globe columnist Peter Kenough noted that it was “all shot and edited as if by a Cuisinart. In short, the cinematic equivalent of being tied in a bag and being beaten by pipes.”

This is the first installment of the Transformers franchise that we won’t be seeing resident protagonist Sam Witwicky, played by Shia LaBeouf. Instead we get the Hollywood star power of Mark Wahlberg, however his performance is also highly criticized. “Wahlberg spends a lot of time looking with awe and terror into the blankness of a green screen, later filled in post-production by Bay’s monumental, juvenile special effects’, critiques Kenough.

However “monumental” and “juvenile” the special effects are, one can’t help but step back in awe at the advancements in CGI animation and digital special effects. Shots of giant alien spacecrafts, a prehistoric dinosaur extermination, cityscape battlegrounds, giant robotic aerial dogfights, and rumors of a robotic Oreo cookie.

According to his review (embedded above) Mr. Sunday Movies says, “The special effects cannot be faulted… They should almost be called VERY-Special Effects.” Cogswell offers programs in Digital Art and Animation designed to prepare students for exciting careers throughout the entertainment, media and art industries. Special effects are key in producing summer blockbuster hits, especially those directed by explosion king Michael Bay.

Do you think Bay’s a CGI-Genious, or a bogus bomb of a director? Are you planning on seeing Transformers: Age of Extinction? Are you Team Optimus, or Team Bumblebee?

Source: The Boston Globe

Disney Turns to Digital Technology to Fuse Animated 1959 with Live-Action 2014 Maleficent

Tuesday, May 27th, 2014

On May 30th Disney fans will get a first look at the live-action retelling of the classic Sleeping Beauty from the point-of-view of the story’s renowned villain Maleficent, played by Angelina Jolie. Producers were posed with the challenge of sticking true to Walt Disney’s original 1959 animated version of the villainess, while introducing her in live-action to a 2014 audience that demands high-tech illusionary entertainment.

Digital art and animation teams worked to produce cartoon-like aspects while keeping the “real-life” feel. In the trailer we see Maleficent engulfed in what has been deemed by bloggers as “cartoony” green flames, harking back to the original animated signature evil powers. We also see computer-generated pixies, tree creatures, ravens and the infamous fire-breathing dragon, all adding to the live-but-animated feel.

Sound design took a different spin to create a more modern and gothic feel for the remake. The famous Disney classic “Once Upon a Dream” was recomposed as a haunting rendition by singer Lana Del Rey. The trailer also reveals the use of strategic sound bytes, mystical swoops, swishes and swacks all fashioned by digital audio designers. Dark crows and caw sounds add to the gothic haunt factor, all the while harking back to Maleficent’s original 1959 pet raven Diablo, recast as a shape shifter named Diaval in the live-action remake.

Will you be seeing this early summer blockbuster? Do you think the digital art and animation effects will be enough to allude to the original? Does Lana Del Rey’s rendition give you the creeps? Let us know in the comments!

Images Credit: Disneywikia.com

Links:

http://disney.wikia.com/wiki/File:Stand_Back_you_fools_-_Maleficent_-_kmp.PNG

http://disney.wikia.com/wiki/Maleficent?file=Maleficent-%25282014%2529-54.jpg

The Sims 4: Unique Fusion of A.I. Technology and Emotion-Based Soundtrack offers Gamers New Ways to interact with their Sims

Thursday, May 15th, 2014

Since 2000 The Sims has been a staple in the gaming world, setting the standard for real-life simulation.  However in recent years the various expansion packs and add-ons have confused consumers on the brand that original creator Will Wright began 14 years ago.

The Sims 4 offers new and exciting features that will remind gamers of the original game rooted in emotion. “SmartSim”, is a new feature that heightens emotions for the Sims. During gameplay, the Sims’ emotions are impacted in different ways, for example, hobbies, relationships, food, etc. Combined with new digital animation techniques and A.I. technology, the “Smart Sim” is a completely new breed of Sim.

In the past Sims never interacted with the gamer. However, by adding emotion, and a new soundtrack, the Sim can now react with the gamer through music. Soundtrack composer Ilan Eshkeri had to create scores that could take advantage of the SmartSim’s emotional capabilities and also hark back to earlier stages in the game.

“If something emotional happens… I’d try to relate all of those to a few notes or a riff or a chord sequence that appeared in one of the longer pieces of background music. For example, if character is doing something in the house or if something breaks in the house, I’d try to relate that to the music you heard when you were building the house,” Eshkeri said.

According to executive producer Rachel Franklin, the flow of the game comes together with the marriage of sound design and digital animation technology. “Ilan is known for these theatrical sweeping, wonderful compositions,” Franklin said. “It’s a way for the Sim to respond back to the player… You can really feel that in the audio. Combining that with animation technology and facial emotional overlays… things work together in a really cool way to make you feel more related to your Sim. Because ultimately you’re caring for them…the music brings your relationship really to a height.”

Cogswell College offers programs in Digital Art and Animation, Digital Audio Technology, and Game Design.  Titles like The Sims 4 wouldn’t be possible without the technological advancement of these disciplines.  – Learn more about the opportunities these programs can provide TODAY!

Source: http://www.theguardian.com/technology/2014/may/07/sims-4-composer-ilan-eshkeri

Low-Budget Projects Offer Promising ROI Thanks to Digital Technology Advances and Creative Marketing Strategy

Tuesday, May 6th, 2014

Low budget film and animation productions utilize every means possible to get the job done, all the while watching every penny.  Filmmakers often tell stories of their earlier work, from casting parents and friends, to shooting in their neighbor’s backyard.

However, within the last ten years we’ve seen a jump in the quality of low budget projects as well as higher profits. The 2009 box office hit Paranormal Activity was filmed on a budget of only $450K and brought in over $89 million in profits. That’s a 19,849% return on investment!  This is all thanks in part to smart viral marketing campaigns, as well as creative editing via digital technology.

Independent filmmakers and animators are able to create projects more cost effectively compared to the big name studios. Since their projects are low budget, an independent project can afford to fail, compared to a major motion picture company flop that could cost millions.

In the case of Paranormal Activity, we saw a highly creative viral marketing campaign based on sounds and reactions that fed off human curiosity. Online trailers showed clips of the audience’s reactions of sheer terror, paired with strategic sound design. Digital Audio was key in adding to the fear factor to the preview. This drove traffic into the theaters and proved to be another contributing factor to the project’s success.

Cogswell College offers programs in Digital Art and Animation designed to prepare students for careers throughout the entertainment industries. Cogswell also offers programs in Digital Audio Technology, which provides project-based instruction for a wide range of professional audio fields by developing skills in sound design for film and other areas. Both areas are key for independent low-budget projects to become box office hits.