Created another character for the animated series. This will be the main character who is an anthropomorphized soft serve ice cream cone. Below is the sketch and the first pass on the 3D model. I’m wanting to keep textures as simplistic as possible but there are some cases where you need more detail to convey the character. Like in this case, the waffle pattern around the face needs to stand out just enough otherwise you lose the ice cream cone quality but too much and you lose the human quality.
Since my son is a big fan of rainbows, as of course most five years old are, I was originally thinking of using a rainbow colored soft serve ice cream but on second thought decided that vanilla ice cream with sprinkles made more sense.
Created another character for the animations. This one I am basing on our dog Kinu. She’s a white Schnauzer-Poodle mix. I’m making her into a doughnut at my son’s request. Take a look at the evolution from dog to doughnut!
Some first pass concepts and sketches for characters in my animated series. Just so you know, I am getting the bulk of my art direction from a 5-year-old and he is a tough boss! The characters will be food-based, anthropomorphized and cartoonish or at least as far as it is currently envisioned. Some of it or all of this may change of course. For now, I created some quick character sketches and modeled out some of the characters.
Our main protagonist is a school kid envisioned as a humanized rainbow ice cream. Of course all of this is preliminary and I will be completing multiple iterations before I even get into production.
I also took the cake character and created a 3D model of her. Once I have a handful of characters to populate the world with, I’ll start some rigging and animated tests.
Lollipopland Intro from Michael Gochoco on Vimeo.
This is a snippet for the intro shot of an animated serial currently called Lollipopland, a character-based children’s cartoon. It’s more inspirational as a way to get myself motivated.
Right now, the project is in the preproduction treatment phase, going through style and inspiration boards, concept, character sketches and narrative design. When production begins, I’ll keep this blog updated with my progress.
This is a project I am working on which will be a character based animated series for small children. This is a beginning render of an intro/establishing shot for the fantastical world which the series is based in. While working on the file, I noticed a strange effect when you import 32-bit EXRs into Adobe After Effects when the color space is set to “Linearized.”
Apparently when you set color management to a 32-bpc linearized working color space, adjustments do not get applied to the alpha channel of the EXR. The RGB channels do seem to output correctly but this is not the case for the alpha channel and it does cause a “halo” effect around the edges of an image with transparency. Look at the following examples. On the left is the non-linearized version and the alpha is seen correctly. The image on the right is the “linearized” version.
As you can see, the alpha on the right has a brighter gamma than the image on the left. This is probably a good thing since single channels are often used as “data” rather than as an image. But in this case, it does require that we add some adjustment. In order to return the alpha channel back to expected you need to add a levels effect (individual controls) to the layer and then adjust the Alpha Gamma correction to 0.45. Leave the RGB channels alone and it should return to an image matching the non-linearized version. So keep this in mind when using in a linearized color space in After Effects.
BMW Non-work Intro from Michael Gochoco on Vimeo.
Utilizing Redshift car shaders and global illumination to create this non-work demo of what a BMW intro splash could look like. The car is a model of a BMW from Arte-3D. I re-shaded the car with Redshift materials, animated and rendered. Using a LUT created with Photoshop, I graded the render and composited the final end card in After Effects. Total project time: 3 hours including render time.
Experimented with car paint materials while modeling this concept vehicle in Maya. Composited in Photoshop with light grading. I found that starting with the tires help to define the profile of the body. It took a total of 3 hours from start to finish.
Finished modeling and texturing this exploration of an extraterrestrial spacecraft. About 8 hours of work putting in hour long stints whenever I could over the past week. I ended up rendering in Arnold as the shading options in Photoshop were too restrictive, however, I did complete the compositing in Photoshop, adding some glow and a color grade. I still created the file textures, two of them, in Photoshop 3D using a process I’ve refined and intend to cover in a future tutorial!
This is something I am currently modeling and texturing using Photoshop. Also, trying to render this using Photoshop 3D. I am also thinking of putting together a tutorial on my workflow for using Photoshop CC 3D to texture a model. Watch out for it soon!
I’ve been using The Maya-AE Live Link feature that was recently added in Maya 2017 Update 3 and it is a marvelous solution for motion graphic artists and animators who use a Maya and After Effects workflow. Whereas you had to use a hacky workflow of scripts and baking keys to go back and forth between apps, this new workflow gives me just the right amount of control and ease of use.
Although it doesn’t give you 3D rendering inside AE, and honestly you don’t want to be rendering Maya scenes from After Effects, it gives you the ability to exchange cameras, lights and transforms with which you need to match your render sequences with the composite. I am currently developing Pixel Cloud 2.0 and using Maya-AE Live Link in the workflow. Hope to show it off real soon!