Tuesday, March 29, 2011

Open Season 3 - Shot #09

A bee has just entered the nose of Elvis.
Uma abelha acaba de entrar no nariz de Elvis.



That shot was really fun to do. One thing I learned was the pass through maximum tolerance. It is obvious that we should avoid when the mesh of an arm pass through the ear and it is visible to the camera. When it is not visible, fine, we can leave it as it is, after all we want a 2D result remember? But then what is the exact point where the pass-through becomes visible?
I was familiar with the line "do not worry about the pass through on this frame, the animation is 24 frames per second, it will show too fast...". In this project the director was super picky about it, no frame unnoticed. And believe it or not, after working on this project I was so used to it that I start to realize several of those pass through that "shows too fast" even playing the animation in real time. That is, if we want to take our animation to the next level, to prevent pass through in every frame is ESSENTIAL.
In this shot Elvis sneezes. Watch it frame by frame. In real time you may not realize that the Elvis ears "magically" pass through Elliot legs :) Please, do not get confused... this kind of pass through is fine! This type of technique in animation is perfectly acceptable. The bad pass through is when a mesh is clearly tapping into another on a frozen frame. Well, but back to the subject... what is the exact point where the pass-through becomes visible? See diagram below:

Essa cena foi bem divertida de fazer. Uma coisa que eu aprendi foi a tolerância máxima do pass through. É óbvio que devemos evitar quando a malha de uma orelha penetra no braço e está visível na câmera. Quando não é visível, tudo bem, podemos deixar como está, afinal queremos um resultado 2D lembra? Mas então qual é o ponto exato em que o pass through se torna visível?
Eu estava acostumado com aquela história “não se preocupe com o pass through desse frame, a animação é 24 quadros por segundo, vai passar rápido...”. Nesse projeto o diretor era super exigente quanto a isso, nenhum frame passava despercebido. E acredite ou não, depois desse projeto eu fiquei tão acostumado que eu passei a perceber vários daqueles pass through que “passam rápido” mesmo tocando a animação em tempo real. Ou seja, se queremos que nossa animação seja top, evitar pass through em todos os frames é ESSENCIAL.
Nessa cena o Elvis espirra. Assista quadro a quadro. Em tempo real talvez você não perceba que as orelhas de Elvis passam “magicamente” sobre as pernas de Elliot :) Não confunda isso com pass through! Esse tipo de técnica na animação é perfeitamente aceitável. Pass through é quando uma malha está visivelmente penetrando outra em um frame congelado. Pois bem, mas voltando... qual é o ponto exato em que o pass through se torna visível? Veja o esquema abaixo:



Of course, even respecting the above diagram, if the character has a shadow, fur or whatever that denounce the pass through, you should fix it. The rules are there to be broken, but we have to know them in order to break them CONSCIOUSLY. I used this parameter I learned to adjust the Elvis legs pass through on the head of Elliot.

Claro que mesmo respeitando o parâmetro acima, se o personagem tiver uma sombra projetada ou mesmo pelos que denunciem o pass through, vc deve corrigir. As regras existem para serem quebradas, mas temos que conhecê-las para quebrá-las CONSCIENTEMENTE. Eu usei esse parâmetro que aprendi para ajustar o pass through das pernas de Elliot na cabeça de Elvis.

As usual this is the final result and how the shot fitted in the sequence animated by other animators:
E como sempre esse é o resultado final, e como a cena se encaixou na sequência do filme animada por outros animadores:



Time spent: 13 hours.
Tempo de trabalho: 13h.


**********************************************************************************************
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 :)

9 comments:

Lucas Eric said...

aew Alan, blz?
vc sempre diz que gasta(ou ganha) tempo no planejamento da cena. como vc planeja suas cenas?
abrax

Alan Camilo said...

Fala Lucas, blz?
Na verdade depende muito de cada cena, mas no geral eu planejo minhas cenas como descrevi neste post: http://www.alancamilo.com/2011/01/open-season-3-post-01-introducao-cena.html

Abs

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