Organising the animation

Today I spent some time organising my animation by creating the skybox, importing my star wars models and setting up the layers (for my skybox) as well as creating groups.

(Screenshot of my groups in the outliner)

An early problem I encountered when beginning my animation is that I kept clicking the sky box by accident quite often. This became irritating however I was able to find a solution to counter this issue. I selected my sky box (sphere) and in the layer editor, created a new layer called "Template." After doing this, the sky box would no longer select when clicked on and instead if I need to select the sky box, I can do so by using the outliner.

I also spent time creating space rocks for my animation. These will be animated by rotating slowly throughout the animation. This is to prevent the animation from being plain and will also interact with one of my ships during the animation.  I have also used bump mapping on the rock to give the rock a more realistic look since the directional light should bounce off the bump mapping of the rock.

Bouncing Ball Animation

Today I created the bouncing ball animation using the guide from the "Introducing Autodesk Maya 2015" book. I found that this guide was useful and taught me many new techniques for creating animations in Maya.

The Hierarchy

The guide advised that it is a good idea for each the ball object to create three layers named "translate", "scale" and "rotate." I found this to be useful for changing each value in the X, Y and Z axis for each attribute as it kept the attributes organised into individual layers.

Using the shortcuts Shift + W, Shift + E and Shift + R allowed me to also create new frames specifically for a certain attribute.

Graph Editor

Whilst following the guide, I was introduced into using the graph editor. I found the graph editor to be useful as it showed the timing and movements between each frame demonstrating it via curves. This allowed me to get my bouncing ball animation to be as smooth as possible.

A couple of tools I used in the graph editor is the "Linear Tangents" button and the "Flat Tangents" button. By using both these tools on the ball bouncing frames and ball landing frames, I was able to get a smoother look to the ball bouncing.

Squash and Stretch Technique

The guide also taught me about the squash and stretch technique which is also used by Pixar's introduction mentioned in an earlier blog post. This allowed to make my ball bouncing animation seem more "cartoony" and satisfying. It involved modifying the scale of the ball in the Y axis so that the scale reduced two frames after hitting the ground and then increasing the scale three frames after and then reducing it back to its original scale value. 


The Animation

(Although the animation is set to 30fps, the .GIF modified the frame rate and therefore it looks slightly different to when viewed in Maya.)

Animation Techniques

In the past week, we covered the animation techniques which are to be used in our animation assignment. In the practical we also covered the animation techniques which were used in two Disney animations. This included the WALL-E Pixar introduction and a Disney Pixel short film called "One Man Band."

Animation Techniques

During the lecture, we learned about various camera shots, angles and movement. The most notable angles I learned about which I may use in my animation are:

• High & Low Angle - These angles are great at giving the audience an idea of the size of the object. Since my animation includes two ships are remarkably different sizes, I can use these angles to give the audience an idea of the difference in sizes. This can make one ship look vulnerable compared to the other ships. 
• Birds Eye View - I may use this to show the audience the speed and size comparisons of the ship. This can also be useful for showing off the setting in the current scene.
• Rule of Third - I may use this to prevent scenes from being too "crowded." A good example of using this technique could be setting the camera to show the terrain on the bottom third of the scene whilst showing the sky and ships flying over in the top two thirds. 
• Leading the Eye Rule - I may use this to show when a ship is taking off as it leads the audiences eyes towards the ship.

Disney Animation Techniques

Here are the notes collected for the WALL-E Pixar Introduction:

1.      Still camera technique.

2.      Very smooth animation style.

3.      Interaction with the company’s logo.

4.      Gives a comedic/family friendly feeling using various gimmicks such as:

•          Squashing the I in Pixar.
•          Unscrewing the light bulb in the lamp.
•          Knocking the R in Pixar.
•          Replacing the R in Pixar with a character.

5.      The lamp jumps repeatedly getting faster. It squashes and stretches as a way of jumping.

6.      The lamp goes in one direction to give anticipation of what’s happening next. The lamp stops and slides.

7.      The lamp wiggles before jumping onto the I.

8.      The lamp gives the idea that it is looking for something.

9.      The lamp looks to the faces of the audience looking for sympathy.

10.  WALL-E enters the scene looking at the audience to give the effect to the audience that it is a friendly character.

11.  Animator uses short poses (straight and sudden movement) to give the robotic animated effect of WALL-E.

12.  WALL-E’s turning of the body to the other direction lets the audience know that he is leaving.

 Here are the notes collected for the One Man Band animation:

1.      Introduction is close up on a banner using camera panning techniques. Audience most likely does not realise the setting until the camera zooms out onto the stage.

2.      Rule of three technique.

3.      Curtains reveal new character. This can be seen as an element of surprise to the audience.

4.      Characters eye becomes camera to show the character's vision.

5.      Camera zoomed onto the coin bucket with the character about to put in the coin leads to anticipation.

6.      Using specific camera angles to portray the height of the characters.For example what is known as the "high angle" and "low angle" camera shots portrayed how small and vulnerable the short character was compared to the two musicians.

7.      Camera zooming all the way out to show the setting.

8.      Coin rolling on top of the sewer drainer leads to anticipation about wherever the coin will roll over or drop down the drain.

9.      The small character repeatedly failing to use the violin leads to anticipation about wherever this character actually knows how to play the violin.

10.  Increase in speed of the animation during the playing of the instruments increases tension. Scenes also change faster.

11.  The animation hints about entry of new character by playing a new instrument before changing the camera to show the new character. Gives an element of surprise.

12.  The new characters shape indicates he is sneaky by entering the scene suddenly.

13.  The high angle over the drain demonstrates the size of it and how unlikely the coin was to fall down the drain.

My Storyboard

Here is my storyboard:

Part 1

Part 2

Part 3

Explanation of each slide

0. The X-Wing begins flying in space flying downwards.

2. The Sith fighters fly into the scene chasing the X-Wing whilst also firing at the X-Wing.

4. The X-Wing flies off scene whilst the Sith fighter continues chasing the X-Wing.

6. The camera changes to ground level into a rocky planet environment. The artillery gun begins firing at the Sith fighters whilst the X-Wing flies past.

8. One Sith fighter gets destroyed whilst the X-Wing and the other Sith fighter leaves the scene.

10. The camera changes to the sky where the X-Wing continually flies upwards with the Sith fighter following below.

12. The X-Wing with its faster speed capabilities gets considerably ahead of the Sith fighter and begins making a U-turn.

14. The X-Wing completes the U-turn and begins firing at the Sith fighter, destroying it in the process.

16. The camera changes back down to the rocky planet inside of a building with a window. The Z-95 Headhunter enters the scene flying towards the building.

18. The Z-95 Headhunter continues to get nearer to the building.

20. The Z-95 Headhunter follows the X-Wing upwards back into space.

22. The two ships take a turn and proceed to go downwards.

24. The Z-95 Headhunter is shown flying near the ground.

26. Two Sith fighters appear in the scene in space. Although not shown, the X-Wing and Z95 is flying towards the Sith fighter, firing lasers at them.

28. Both Sith fighters get hit and are destroyed.

30. The backs of the X-Wing and Z95 are shown flying off past the destroyed Sith fighters, into the distance. 

All models completed

Today I finalized my three Star Wars ships. Below are the screenshots of each model with a summary of the problems I ran into, overcoming these problems, the accuracy of my models and how I could have improved:

Z-95 Headhunter

T-65 X-Wing

Sith fighter

Z-95 Headhunter

The Z-95 Headhunter was the first model I created in Maya. Whilst I was mostly happy with this model, I had one issue which I was not able to overcome at the time which is that the main base of the model is not symmetrical. I realize now that I can overcome this issue by splitting the model in half and using the "Mirror Geometry" tool which I did with one other model.

Another issue I had which I did fix recently is that my laser cannons were all made of separate cylinders. I found that although this was an easy way of creating the laser cannon, it was not very efficient and need increase my poly-count more than it needed to. I fixed this issue by deleting my laser cannon and recreating them using one cylinder and extruding the faces. I reduced the cylinders sub divisions from 20 to 15 to also reduce the poly-count caused by the extruded faces.

I think that my Z-95 Headhunter is fairly accurate to the actual model. However a problem I had when designing the model is that there are different variations and representations on how the Z95 should look when researching for images on search engines such as Google. For example this image gives the impression that the ship has a wide base whilst this image gave the impression it was thinner. This made it difficult to create an accurate representation of how the Z-95 Headhunter should truly look.

The biggest improvement I could make to my Z-95 Headhunter is improving the textures. Whilst I did apply textures to the ship, they were simple metal textures I created using the pattern tool in Photoshop. Although I did use some colour in the textures, I did not recreate individual bits of details which are in the actual ship. This is due to my lack of skills in Photoshop.

X-Wing

The X-Wing was the second model I created in Maya. One problem which occurred when designing this model was the angles of the wings. Due to the way the wings are rotated in the actual X-Wing model, I found it difficult to get a symmetrical positioning of the wings on each side. I was not able to use the Mirror Geometry tool in this case. I did partially overcome this by using the method where I would put the scale in a negative value to flip the wing. Although this helped, some wings were still not rotated properly and it took some time messing around with the scale and rotation of the wing till I was able to accurately position the wing. This made it difficult to perfectly position the wings in precise positions and rotations.

I do believe my X-Wing is accurate however there are some issues with the positioning of the four engines and four wings which could definitely use some improvement, however I did find it difficult to position without objects going through each other. Tools such as the align tool were not helpful in this case.

The biggest improvement I could have made to my X-Wing is improving the textures. Again like I mentioned with my Z-95 Headhunter, my Photoshop skills are not great so I was not able to add too much detail to my X-Wing. I feel like bump mapping may have helped greatly in improving the accuracy of my X-Wing. Another improvement I could make is the positioning of the engines and wings, however difficulties as mentioned earlier made this harder to accomplish.

Sith Fighter

The Sith Fighter was the final model I made in Maya. Since this was my last ship made, I rarely ran into any issues since most of my mistakes and issues made were experienced in my first two models and therefore I was able to avoid these issues whilst creating this model. I do realize however that I have some issues with the accuracy of the model. Comparing to other images of the Sith fighter, the top half of the wing should be larger, however due to the shape of the ship, I was unable to fix this in time for submission. There are also some other minor shape details I could have added to the bends of the wings however due to time and efficiency in polygon count, I decided to leave these details out.

Another downside as mentioned in the previous two other models is that the textures could be improved greatly. Although I did assign a texture to almost all of the objects in the scene, the textures were not great quality and do much match the actual Sith fighter with great accuracy. With better skills in Photoshop, I may have been able to get better results.

Texturing my sith fighter

I began to texture my Sithfighter model. I used Adobe Photoshop CS2 to design my textures as it seemed to be the most suitable software due to important features such as layers, patterns and selection tools such as the magnetic lasso tool which made it easier to select the UV Maps I created.

Before creating a new UV, I created a new material on the object. Typically I used the "Lambert" material but on my other ships such as the X-Wing I used the "Blinn" material for a better metal effect. I found that the default UV maps from the different objects used in my ship were most of the time; messy, unorganised and confusing. To get around this issue I used the "Planar Mapping" tool under the "Create UV's" menu in order to make the designing of the textures a lot easier. Below are the following steps I took to do this:

1. Select the faces on the object which I wanted to map.

2. Under the "Create UV's" menu, click "Planar Mapping."

3. Move, rotate and scale the Planar Projection into the correct positioning to get the best UV projection possible. Repeat for all the faces needed for texturing.

4. Once all faces are mapped, in the UV texture editor, take a UV snapshot. Below are the settings I mostly used. The size I used typically depended on how many different faces were in a certain object. Objects which had a high amount of faces would typically be a higher size due to more space needed for texturing.

I often used the image format: TIFF or PNG. This is because these two formats have minimal quality loss compared to other image formats.

5. Once the snapshot was saved I would import it into Photoshop and begin editing. I would often seperate each group of faces into seperate layers by using the magnetic lasso tool inside Photoshop to easily select the faded lines generated by the snapshot.

I would then begin each texture by using the fill bucket to give each group of faces a basic colour. Afterwards I would use the pattern overlay tool to give each group of faces the appropriate texture. This would often be a metal texture provided in Photoshop.

When each design is finished in Photoshop, each file would be saved as a TIFF as this format is very raw and gives the best quality possible when imported back into Maya.

The finished project: