Tuesday, January 25, 2011

Open Season 3 - Introdução - Shot # 01

Hey guys!
As I promised, I will start today a series of posts about my journey in production of Open Season 3. These are all shots I animated:

Olá galera.
Como prometido, vou iniciar hoje uma série de posts sobre a minha jornada na produção do Open Season 3. Pra começar logo sem enrolação, estas são todas as cenas que eu animei:




Alan Camilo OS3 Animation Reel Download (right click + save as)

How it all began ... It all happened very fast. They contacted me, I signed the contract and one week later I was starting to animate. As I work in Seagulls Fly all day, I was hired to delivery half the usual quota, 3 seconds per week. It seems to little for one used to advertising animation, but it is not, believe me. I worked about three hours a day, five days a week. I was picking up speed over time and the average quota I've animated was 4.1 seconds per week.
The first week was a rush to get the hang of everything. The first step was to watch Open Season 1 and 2 again to refresh. After that I read the character bible of Boog. The character bible is a document which contains plenty of information on all aspects of the character, personality and characteristics, the do's and don'ts, how best to use the rig, tips and tricks to avoid common mistakes with the character, etc.. It's like an instruction manual for the character. Then I watched all the animatics, layouts and animations that were already done. It was essential to be with that in mind so that I could make my shots to fit the pattern of the film. After that I played with the rigs and then I felt prepared to start the animation itself. It seems a simple step, but it took about 3 days.
As incredible as it may seem I think it is easier to solve an animation in a project like this than on the eleven second club for example, that because a lot of aspects of the shot was already done, like the personality and characteristics of the characters, animatic, layout, camera and sometimes the initial pose, final pose and some initial coordinates of direction. All of these initial elements I call as the "business" of the shot. It is what I have to follow to the letter, I have to work within these limits. The "business" of the eleven second club is just the audio, which leaves open a huge range of different options, like the amount of characters on stage, their personalities, camera angle, animation style and others. In Open Season 3 all shots had a well established "business", ones more, other a little less. Of course I have not had a whole month to animate every shot you know ... far from it. I usually got about 4 or 5 shots at a time, and while the director was reviewing a blocking, I was already blocking other, and so on. Here's the first shot I animated:

Como tudo começou... Foi tudo muito rápido. Entraram em contato comigo, acertamos os detalhes do contrato e uma semana depois já estava começando a animar. Como eu trabalho na Seagulls Fly o dia todo, fui contratado para animar metade da cota normal, 3 segundos por semana. Parece pouco para quem está acostumado com publicidade, mas não é, acreditem. Eu trabalhei em média 3 horas por dia, 5 dias por semana. Fui ganhando velocidade com o tempo e a média que eu acabei fazendo durante todo o projeto foi de 4,1 segundos por semana.
A primeira semana foi bem corrida pra pegar a manha de tudo. O primeiro passo foi assistir novamente o Open Season 1 e 2. Depois disso eu dei uma boa lida no character bible do Boog. O character bible é um documento onde contém diversos detalhes sobre todos os aspectos do personagem, sua personalidade e características, o que fazer e o que não fazer, como utilizar melhor o rig, dicas e truques para não cometer erros comuns com o personagem, etc. É como um manual de instruções do personagem. Depois assisti todos os animatics, layouts e as animações que já estavam prontas até o momento. Foi imprescindível estar com isso em mente para encaixar minhas cenas no padrão do filme. Depois dei uma brincada com o rig e só então me senti preparado para começar a animação propriamente dita. Parece uma etapa simples, mas levei uns 3 dias nisso.
Por incrível que possa parecer eu acho mais fácil resolver uma animação num projeto como o Open Season 3 do que uma animação do eleven second club, por exemplo, isso porque a cena já vem de certa forma mastigada, uma vez que já estão resolvidos a personalidade e características dos personagens, animatic, layout, camera e muitas vezes a pose inicial, pose final e algumas coordenadas iniciais de direção. Todos esses elementos iniciais eu considero como o "business" da cena. É aquilo que eu tenho que seguir à risca, tenho que trabalhar dentro destes limites. O "business" do eleven second club é apenas o áudio, o que deixa em aberto um leque enorme de opções diferentes, desde a quantidades de personagens em cena, suas personalidades, ângulos de câmera, estilo da animação, entre outros. No Open Season 3 todas as cenas já tinham um business bem definido, umas um pouco mais outras um pouco menos. Agora... eu não tive um mês todo pra animar cada cena né... longe disso. Eu geralmente recebia umas 4 ou 5 cenas por vez, e enquanto o diretor estava revisando um blocking, eu já estava blocando outra, e por aí vai. Aí vai a primeira cena que animei:


Open Season 3 - Shot #01

Boog tells Ursa: "Listen Ursa... I know you've got no reason to believe me."
Boog fala para Ursa: "Listen Ursa... I know you've got no reason to believe me."



I just thought that, at least initially, I'd have shots with multiple characters, takes with a far camera, secondary characters and such ... nothing like that! The first shot had Boog, the main character in the film, acting animation, almost a close shot, and I didn't know how to deal with the rigs yet! What's worse is that the production had already started few months ago, everyone was warmed up, but me.

Eu logo pensei que, pelo menos no início, iriam me mandar cenas com vários personagens, takes de longe, personagens secundários e tal... que nada! A primeira cena foi logo com Boog, principal personagem do filme, acting com plano americano, quase um close, e eu nem sabia direito lidar com os rigs ainda!!! E o pior é que a produção já tinha começado ha alguns meses, tava todo mundo aquecido, menos eu.



This first post will be much longer because I will be explaining a bit how is my planning process, the following will be more peaceful:)
After watching the animatic, not only of my shot but of the whole sequence, I started making some thumbnails. Often I like to start doing this brainstorm of thumbnails. I'm listening to the audio in loop, "drawing" the animation in my mind. With that I am sketching various ideas, with no commitment to order. At this stage I try not to spend more than 10 seconds in each drawing, because that way I do not lose sight of the general idea. It is essential to have a good sense of drawing, but not necessarily you have to do excellent illustrations of your thumbnails before going to 3D. I remember an interview that Michael Jordan was saying how he did those fantastic performances in basketball. He said he imagined every detail of everything he was going to do moments before, then everything play out naturally, because everything was already planned in his mind. I think it's very important this "mental plan" for animation. That is why my thumbnails may not make any sense for those who are seeing for the first time because much of the planning is only in my mind. The thumbnails in fact serve as a reminder. For me it is more worthwhile to illustrate the idea with stick figures and few notes than to try to get exactly the final look. This is because the process of refining the drawing does not stop on the paper, when I'm positioning the character in 3D I'm still drawing, trying to refine every detail, working the silhouette, negative spaces, etc.. For me it's a bit complicated to make a very well worked drawing and then try to position the character the same in 3D, you run the risk of going of model and even lose the coherence between one pose to another. These are some examples of thumbnails that I used in this movie:

Esse primeiro post vai ser bem mais longo pois estarei explicando um pouco como é meu processo de planejamento, os seguintes serão mais tranquilos :)
Depois de assistir o animatic, não só da minha cena mas da sequência toda, comecei fazendo alguns thumbnails. Muitas vezes eu gosto de começar fazendo esse brainstorm de thumbnails. Fico ouvindo o audio da cena em loop e "desenhando" a animação em minha mente. Com isso fico rabiscando várias idéias, sem compromisso de ordem. Nessa etapa procuro não gastar mais que 10 segundos em cada desenho, pois dessa forma não perco a visão geral da idéia. É imprescindível uma boa noção de desenho, mas não necessariamente precisa fazer de seus thumbnails excelentes ilustrações antes de partir pro 3D. Eu lembro de uma entrevista que o Michael Jordan dizia como ele fazia aquelas jogadas fantásticas no basquete. Ele dizia que imaginava cada detalhe de tudo que ele ia fazer momentos antes, então a jogada saia naturalmente, pois já estava tudo planejado em sua mente. Eu acho muito importante esse "planejamento mental" para animação. Por esse motivo meus thumbnails podem não fazer sentido nenhum pra quem está vendo pela primeira vez, pois boa parte do planejamento está somente em minha mente. Os thumbnails servem na verdade como um lembrete. Pra mim vale mais a pena ilustrar a idéia fazendo bonecos de palito com algumas anotações do que tentar chegar exatamente no visual. Isso porque o processo de refinar o desenho não pára no papel, quando eu estou posicionando o personagem no 3D eu ainda estou desenhando, procurando refinar cada detalhe, trabalhar a silhueta, espaços negativos, etc. É um pouco complicado fazer um desenho super bem trabalhado e depois tentar posicionar o personagem igual no 3D, você corre muito o risco de sair do model e até mesmo perder a coerência entre uma pose e outra. Estes são alguns exemplos dos thumbnails que usei nesse filme:




From these thumbnails, I made some footage of myself. I use basically two ways to do this. The first I let roll the audio in loop and act in front of the camera as many times as necessary, and second I do the same thing but instead of pretending/dub the audio of the shot, I really speak aloud, but with audio OFF. Notice the difference? The first option gives you the advantage of operating in the exact timing, but the second your mind will be freer to focus only on the acting, which in my case usually gives better results. In both options I usually shoot at the same angle that will be the animation. Rare cases such as walk cycles I film in another angle, like a side view of the action. I never copy the footage, because that way I would not be taking 100% of the advantage that animation offers. Usually I film several times and use the footage as reference poses, timing, expressions, nuances, etc., extracting a little of each footage. Often I mix a thumbnail pose with an expression of the filming and a subtlety that is only in my mind, for example. Only after all these things ready, I went to 3D. Usually before creating anticipations, breakdowns, Inbetweens, subtleties, etc. I define very well the storytelling poses, refining every detail such as fingers, expression, shapers, offsets, mouth... EVERYTHING! I always keyframe all the ctrls in this stage, in stepped mode. Like this:

A partir destes thumbnails, fiz algumas filmagens de mim mesmo atuando. Eu uso basicamente duas formas de se fazer isso. A primeira você deixa rolando o audio da cena em loop e fica atuando em frente a camera quantas vezes achar necessário, e a segunda você faz a mesma coisa mas ao invés de fingir/dublar o audio da cena, vc realmente fala em voz alta, porém com o audio DESLIGADO. Notou a diferença? A primeira opção te dará a vantagem de atuar no timing exato, mas a segunda sua mente ficará mais livre pra focar somente na atuação, o que no meu caso geralmente dá melhores resultados. Em ambas as opções eu costumo filmar no mesmo ângulo que será a animação. Raros casos como ciclos de caminhada eu filmo em outro ângulo, como uma visão lateral da ação. Eu nunca copio a filmagem, pois dessa forma eu não estaria aproveitando 100% do que a animação proporciona. Geralmente eu filmo várias vezes e uso a filmagem como referência de poses, timing, expressões, sutilezas, etc, extraindo um pouco de cada filmagem. Muitas vezes eu misturo uma pose do thumbnail com uma expressão da filmagem e uma sutileza que está só em minha mente, por exemplo. Só depois de todos esses elementos prontos, parti para o 3D. Normalmente antes de criar antecipações, breakdowns, inbetweens, sutilezas, etc, eu defino muito bem os storytelling poses, refinando todos os detalhes como dedos, expressão, shapers, offsets, boca, enfim... TUDO! Sempre marco os keyframes em todos os controladores nessa etapa, em stepped mode. Ficou assim:




I do not show this step to the director, because you can not have a clear idea of the animation yet. In Maya a tool I use a lot is the TweenMachine. With it you can create new poses between two poses, getting closer to one or the other (confusing, right?). Let's say I have these storytelling poses above and I want to start creating an anticipation pose between the first and second storytelling. Rather than duplicate the keyframes of the first storytelling and start creating the new pose from it, I create a pose interval, say, 80% near the first storytelling using the tween machine and from there I start to create the pose of anticipation. With that I guarantee a smoother animation, because those ctrls that I'd forget to move, like some shapers or offsets, will be already among the interval created. In playblast may not make much difference, but when the fur is added it is very noticeable if some ctrls is not animated smoothly. Besides important poses like anticipations and breakdowns, I also use the TweenMachine to insert poses that define ease in or ease in out. I usually do this by creating keyframes in all controllers around 70% or so to a pose or another and tweak the hands ctrl, feet, head, etc, in order to fix the arcs. Creating these keyframes is great not only to give a closer feeling to the final animation, but also to facilitate (a lot) the blocking pass to the spline pass work. When I got used to this system, it was rare that I get into the graph editor to adjust spacing. I usually set 99% of the animation without entering the graph editor. It is possible to do this without using the Tween Machine, but it saves a lot of time. And the lip sync? Well, until then the blocking has no lip sync, but has some main key poses for the mouth, pretty rough, since they are not yet on the right timing:

Eu não envio essa etapa para o diretor, pois não dá pra ter uma idéia clara da animação ainda. No Maya uma ferramenta que eu uso muito é o TweenMachine. Com ele você pode criar poses entre uma e outra, ficando mais próximo de uma ou da outra (ficou confuso, né?). Digamos que eu tenha estes storytelling poses acima e queira começar a criar uma pose de antecipação entre o primeiro e o segundo storytelling. Ao invés de duplicar os keyframes do primeiro storytelling e começar a criar a pose de antecipação a partir dela, eu crio uma pose intervalada, vamos dizer, 80% próximo do primeiro storytelling usando o tween machine e a partir dela eu começo a criar a pose de antecipação. Com isso eu garanto uma animação mais suave, pois aqueles controladores que eu esqueceria de mexer, como alguns deformadores ou offsets, já estarão intervalados entre os storytelling poses. No playblast pode não fazer muita diferença, mas quando o pelo é adicionado fica muito visível se algum controlador não está suavemente intervalado. Além de poses importantes como antecipações e breakdowns, eu tb uso o TweenMachine para inserir poses que definem ease in ou ease out. Geralmente eu faço isso criando keyframes em todos os controladores 70% próximo a uma pose ou outra e acerto o arco das mãos, pés, cabeça, etc. Criar esses keyframes é ótimo não só para dar um feeling mais próximo do spline pass, mas tb para facilitar (e muito) o passagem do blocking para o spline pass. Quando eu me acostumei com esse sistema, ficou raro eu entrar no graph editor para ajustar spacing. Eu costumo definir 99% da animação sem entrar no graph editor. Dá pra fazer isso sem usar o Tween Machine, mas ele salva um tempão. E o lip sync? Bem, até esse momento o blocking está sem lip sync, mas com algumas bocas principais prontas, ou melhor, rafeadas pois não estão no timing certo ainda:




The director always wants to see the lip sync on the blocking pass. At this point, I check all ctrls responsible for the lip sync, shapers, jaw, tongue, etc.. I clear some of the keyframes and start to create the proper lip sync, still with the f-curves in stepped mode. Clearly, the lip sync keyframes will not be in the same keyframes of the body, so it's important to save the selection of the controllers of lip sync and also save a selection with all the others. I usually do first the open phonemes such as "A ", "E ", "I", then do the phonemes "O ", "U" and then their mouths shut, as "F", "M", "P "," B ". This order does not matter much, since you listen well to the audio and vary in some measure how the mouth opens. It's good to have a headphone ... the sound is much clearer, to me it makes a huge difference. This phase I do not care much about the arc of motion of the mouth and lip corners. The important thing is the shape of the mouth to be interesting and the timing is right. This step of blocking + lipsync means about 60% of the total work on the shot, it is worth spending the time needed to properly define the animation, or I'll lose a lot of time on the spline pass. The animation was like this:

O diretor sempre quer ver o blocking pass com lip sync. Nesse momento, eu seleciono todos os controladores responsáveis pelo lip sync, shapers, mandíbula, língua, etc. Feito isso eu limpo parte dos keyframes e começo a criar o lip sync propriamente dito, ainda com as curvas em stepped mode. É obvio que os keyframes do lip sync não vão estar nos mesmos keyframes do corpo, por isso é importante salvar a seleção dos controladores do lip sync e também salvar uma seleção com todos os outros. Eu costumo fazer primeiro as bocas com fonemas abertos como "A", "E", "I", depois faço os fonemas "O", "U" e depois as bocas fechadas, como "F", "M", "P", "B". Essa ordem não importa muito, desde que você escute bem o áudio e saiba variar na medida certa o quanto a boca abre. É bom ter um headfone... o som fica bem mais claro, pra mim faz uma enorme diferença. Essa fase eu não me importo muito com o arco do movimento da boca e dos cantos do lábio. O importante é o shape da boca estar interessante e o timing correto. Essa etapa do blocking + lipsync significa cerca de 60% do trabalho total da cena, ou seja, vale a pena gastar o tempo necessário para definir bem a animação, ou irei perder muito tempo no spline pass. Ficou assim:




The director did not ask for any change of pose or action in this shot, only details of the character, particularly for the model. In the early shots I was getting used to it and then it got easier. After the feedback from the director, I made the adjustments required and went for the spline pass. First I define the spline of the body, I mean, all the ctrls except the lip sync ones. I select those ctrls and apply the spline tangent, right on the timeline, without opening the graph editor. But not all keyframes I use spline! Some of them I use flat tangent, usually the end of a moving hold. This prevents those unwanted overshoots. When I want an overshoot I create a new pose, I never let the computer do it for me, as it is always bad. After this is done, the animation is almost working. It is not time for the graph editor yet. Rather it is good to check the arcs, especially the hands and face, usually the nose. Over time I became accustomed to blocking thinking of every arc, so I usually only tweak the arcs on in-betweens and not on keyframes. After that it is cool to delay one or two frames the movement of an arm over the other. This is the part where the keyframes start getting messy. It is good if the animation is approved before starting to mess, or will give a much bigger work to edit. Sometimes it happens ... is pretty boring :( I do this by selecting all the keyframes of an arm (hand, fingers, elbow, shoulder, etc.) e stretching and/or dragging the keyframes in the timeline. I do it consciously, not just select all the keyframes of the animation and drag because that will not work! Then, I gave the eyes a work, adding blinks, eye darts, delaying an eyelid from the other, etc.. Only then is the time to enter the graph editor to make some adjustments. It is not a rule, but the ctrls that I think deserve more attention in the graph editor are: waist, spine, head and hands. Waste some time working on these ctrls makes a big difference. To me the animation has to be functioning before working in graph editor. if the blocking was not good is not adjusting the graphic that will save it... I'm very relaxed, or rather lazy on the graph editor. I prefer to spend most of the time planning and blocking. I do not lose my time tweaking the graph editor so that the lines are pretty, like deleting unnecessary keyframes, for example. Doing so will become a mess when you need to change something later, you'll need to create these deleted keyframes again, because the director can always ask for changes after the spline pass is ready. Personally I think it is a huge waste of time to clean up the graph editor, after all nobody is going to open your file to see if your f-curves are beautiful... what really matters is the final result on the screen.
The spline pass that the director wants to see, is actually the final animation, polished, except on very long shots, where the process can be divided into more steps. But in general, shots with up to 10 seconds is good to make the spline pass almost final, just missing a "quality control" polish, such as geo pass through, floating feet, etc.. The spline pass of this shot was this:

O diretor não pediu nenhuma mudança de pose ou atuação nessa cena, apenas detalhes do personagem, principalmente quanto ao model. Nas primeiras cenas que eu animei eu fui me acostumando com isso e depois ficou bem mais fácil. Depois do feedback do diretor, fiz os ajustes solicitados e parti para o spline pass. Primeiro eu defino o spline do corpo, ou seja, todos os controladores menos os do lip sync. Eu seleciono esses controladores e aplico o spline nas curvas, direto na timeline, sem abrir o graph editor. Mas nem todos os keyframes eu uso spline! Alguns eu uso flat, geralmente o final de um moving hold. Isso evita aqueles indesejados overshoots. Quando eu quero um overshoot eu crio uma nova pose, eu nunca deixo o computador fazer isso pra mim, pois fica sempre ruim. Após feito isso, a animação já quase funciona. Ainda não é hora do graph editor. Antes disso é bom checar os arcos, principalmente o das mãos e do rosto, geralmente o nariz. Com o tempo eu acabei me acostumando a blocar já pensando nos arcos de tudo, então eu geralmente só conserto os arcos nos intervalos e não nos keyframes. Depois disso é legal atrasar um ou dois frames o movimento de um braço em relação ao outro. Essa é a parte em que os keyframes começam a ficar bagunçados. É bom a animação estar aprovada antes de partir pra bagunça, ou irá dar um trabalho bem maior pra editar. Ás vezes acontece... é bem chato :( Eu faço isso selecionando todos os keyframes de um braço (mão, dedos, cotovelo, ombro, etc) e arrastando ou esticando os keyframes na timeline. Eu faço isso de forma consciente, não basta selecionar os keyframes da animação toda e arrastar que não vai dar certo! Feito isso, eu dei uma trabalhada nos olhos, acrescentando piscadas, eye darts, atrasando uma pálpebra da outra, etc. Só então é a hora de entrar no graph editor pra fazer alguns ajustes. Não é regra, mas os controladores que eu acho que merecem maior atenção no graph editor são: cintura, coluna, cabeça, mãos. Dar uma trabalhada nestes controladores faz uma grande diferença. Pra mim a animação tem que estar funcionando antes de mexer no graph editor... se no blocking não ficou bom não é ajustando o gráfico que vai salvar... Eu sou bem relaxado, ou melhor, preguiçoso quanto ao graph editor. Eu prefiro gastar a maior parte do tempo no planejamento e no blocking. Eu não perco meu tempo punhetando o graph editor pra que as linhas fiquem bonitinhas, apagando keyframes desnecessários, por exemplo. Até porque se fizer isso vai ficar uma zona depois se tiver que mudar algo, vc vai ter que acabar criando esses keyframes que apagou novamente, pois sempre é possível o diretor pedir alteração depois do spline pronto. Pessoalmente acho uma perda de tempo enorme limpar o graph editor, afinal ninguém vai abrir seu arquivo pra conferir se seu gráfico está bonito... o que vale mesmo é o resultado na tela.
O spline pass que o diretor quer ver, na verdade é a animação final, polished, a não ser em cenas muito longas, onde o processo pode ser dividido em mais etapas. Mas geralmente cenas com até 10 segundos é bom fazer o spline pass quase final, faltando apenas dar um polish em detalhes de "quality control", como penetração de malha, pés flutuando, etc. O spline pass desse shot ficou assim:




Passes comparison:
Esta é a comparação dos passes:



Final result, showing how the shot fitted in the sequence animated by other animators.
E esse é o resultado final, e como a cena se encaixou na sequência do filme animada por outros animadores.



Time spent: 24 hours.
Tempo de trabalho: 24h.


**********************************************************************************************
If you have any questions, criticism or if I said something stupid, please contact me. My email is at the top of the site. I’ll be happy to exchange ideas. Soon I will post more shots and details of my experience in this project. Add me on Twitter to receive updates of new posts!
Cheers :)

Se você tem alguma pergunta, crítica ou se falei alguma besteira, entre em contato comigo. Meu e-mail está no topo do site. Ficarei feliz em trocar idéias. Breve irei postar mais cenas e detalhes da minha experiência nesse projeto. Me adicione no Twitter para receber notícias dos novos posts!
Abraços :)

133 comments:

Renato said...

Graande,mesrte!! parabens por tudo, é o ápice do desenho, dar-lhes vida!!
como ta se sentindo vendo seu objetivo realizado?
um abraço e continue assim, que tu merece!!!

CleberSales said...

Muito bom Alan, parabéns e obrigado por compartilhar seu workflow com a gente. Bem bacana saber como funciona a produção de um longa em um grande estúdio.

Guilherme Guidetti said...

Parabéns Alan, muito bom!
Curti muito seu workflow, e achei interessante toda essa pesquisa para chegar no personagem.
Me motivou bastante.
Abraços

Alex Liki said...

Belissimo post Alan. Parabéns pelo trampo. Abraços!

renato de medeiros said...

Parabens cara, vc é realmente um excelente animador!

Zé Alexandre said...

FUNtastic! =]

Parabéns!

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