Tuesday, April 30, 2013
Q & A with David
Below are the same questions I asked before, but this time to my friend David. He also studies at The University of Texas at Dallas in the ATEC program. Instead of animation itself, he is also studying modeling and texturing, like Nathan. I thought it would be helpful to get another perspective on realistic animation though models from another student.
What aspect makes computer animation realistic to you?
Having a realistic looking texture on a well developed model makes computer animation more realistic.
Is there such thing as an animation being too realistic?
No, the job of a modeler is to create a realistic model. The only thing that is stopping artists from creating realistic models that are perfectly human looking, is the limit that is created by current technology.
Do you prefer movies with more or less realistic character models, and why?
I prefer to have more realistic models in movies. I like to be fooled into believing that the model could be real.
Do you prefer modeling high or low poly objects/characters? And how does each impact the animation?
There is a difference in the uses of high poly and low poly models. High ploy objects are used to make thing pretty and realistic looking. Low poly is used to make less realistic, but more manageable objects. I prefer high poly models, but in game creation it is better to have low poly models with a high ploy map on the object to make the illusion that the model is more realistic than it actually is.
Is the texture on a character important on capturing realism?
Yes, without having a very realistic texture, the poly count does not matter. A realistic texture can make or break a model.
Friday, April 26, 2013
Guest Blog
Below is a guest blog from a classmate on his opinion on realism in computer animation.
"In my opinion, DreamWorks has yet to find its niche when it comes to computer graphic imagery (CGI). DreamWorks may just want to stay as broad as possible with its projects; however, I have felt a little let down with the realism of the CGI within Madagascar and Ice Age movies. The amount of detail in every character and scene is severely lacking when compared to other movies created by the company such as Kung Fu Panda and Shrek. This is very disturbing considering their competition, Sony and Pixar, are known for their very detailed animation and special effects. With the completion of Puss in Boots, DreamWorks has demonstrated their capabilities of producing a very striking yet detailed character rendering. Consider the character Humpty Dumpty for a moment. An animated eggshell would be difficult to visually confirm it is an egg if it weren’t for the overall shape with the off-white color. DreamWorks took the detail a step in the right direction by challenging its artists to add a very slight texture to mimic the slight stone-like texture of a real egg. Also, depending on the type of egg, there may be some slight variations in color with some spots that look like age-spots. This was also addressed in creating Humpty. Also, fur and hair have always been problems in the animation field. The realistic movement of every character’s fur has been top-notch in this movie. My only concern is that clean hair/fur moves more freely than dirty hair/fur. The way all the fur and hair was moving in the movie leads me to believe that the inhabitants of the wild west of Mexico are cleanest ever! This is probably not the case, but there will always be room for improvement despite anybody’s mastery. Overall, I was quite impressed with the product of this company and look forward to its future projects."
"In my opinion, DreamWorks has yet to find its niche when it comes to computer graphic imagery (CGI). DreamWorks may just want to stay as broad as possible with its projects; however, I have felt a little let down with the realism of the CGI within Madagascar and Ice Age movies. The amount of detail in every character and scene is severely lacking when compared to other movies created by the company such as Kung Fu Panda and Shrek. This is very disturbing considering their competition, Sony and Pixar, are known for their very detailed animation and special effects. With the completion of Puss in Boots, DreamWorks has demonstrated their capabilities of producing a very striking yet detailed character rendering. Consider the character Humpty Dumpty for a moment. An animated eggshell would be difficult to visually confirm it is an egg if it weren’t for the overall shape with the off-white color. DreamWorks took the detail a step in the right direction by challenging its artists to add a very slight texture to mimic the slight stone-like texture of a real egg. Also, depending on the type of egg, there may be some slight variations in color with some spots that look like age-spots. This was also addressed in creating Humpty. Also, fur and hair have always been problems in the animation field. The realistic movement of every character’s fur has been top-notch in this movie. My only concern is that clean hair/fur moves more freely than dirty hair/fur. The way all the fur and hair was moving in the movie leads me to believe that the inhabitants of the wild west of Mexico are cleanest ever! This is probably not the case, but there will always be room for improvement despite anybody’s mastery. Overall, I was quite impressed with the product of this company and look forward to its future projects."
-Kenneth Pacheco
Thursday, April 18, 2013
Q & A with Nathan
Below are a few questions answered by my good friend, Nathan. He also studies at The University of Texas at Dallas in the ATEC program. Instead of animation itself, he is studying modeling and texturing. I thought it would be interesting to get a perspective on realistic animation though the models.
What aspect makes computer animation realistic to you?
"Being a 3D modeler, I find the most convincing and fluid animations rely on good 3D designs. However, the success of a project relies heavily on the animator's eye for physics and natural limitations of the subject matter. They are the ones who need to know and study every tiny and minuscule movement that will make or break the illusion."
Is there such thing as an animation being too realistic?
"It all depends on the intended style and desired feel of the project. If the intent is to convince the audience that the model is interacting with live actors and scenery, then no there isn't such a thing as too real. "
Do you prefer movies with more or less realistic character models, and why?
"Like I said before, I think it all depends on the style of the project. As long as there is a consistent look that the artists are going for, then some times its better to have a more stylized look, and then sometimes its nice to be deceived. "
Do you prefer modeling high or low poly objects/characters? And how does each impact the animation?
"Mostly I prefer creating low poly models, most commonly used in games. I believe a good base design doesn't need to rely on too much detail to convey integrity and a natural feel. On the other hand, it is very satisfying and visually rewarding to complete a high poly model. When you put in more time and are proud of your mesh flow it yields beautiful work. As far as animating goes, it depends on the rigging, but I imagine you would be more at ease when presented with a low poly model."
Is the texture on a character important on capturing realism?
"Definitely! Every little aspect, such as texture, lighting, how the character moves, etc. sells the illusion. If every aspect is convincing, then it looks natural and in someways normal. However, if even one area is lacking, then its easy to tell something is wrong. "
What aspect makes computer animation realistic to you?
"Being a 3D modeler, I find the most convincing and fluid animations rely on good 3D designs. However, the success of a project relies heavily on the animator's eye for physics and natural limitations of the subject matter. They are the ones who need to know and study every tiny and minuscule movement that will make or break the illusion."
Is there such thing as an animation being too realistic?
"It all depends on the intended style and desired feel of the project. If the intent is to convince the audience that the model is interacting with live actors and scenery, then no there isn't such a thing as too real. "
Do you prefer movies with more or less realistic character models, and why?
"Like I said before, I think it all depends on the style of the project. As long as there is a consistent look that the artists are going for, then some times its better to have a more stylized look, and then sometimes its nice to be deceived. "
Do you prefer modeling high or low poly objects/characters? And how does each impact the animation?
"Mostly I prefer creating low poly models, most commonly used in games. I believe a good base design doesn't need to rely on too much detail to convey integrity and a natural feel. On the other hand, it is very satisfying and visually rewarding to complete a high poly model. When you put in more time and are proud of your mesh flow it yields beautiful work. As far as animating goes, it depends on the rigging, but I imagine you would be more at ease when presented with a low poly model."
Is the texture on a character important on capturing realism?
"Definitely! Every little aspect, such as texture, lighting, how the character moves, etc. sells the illusion. If every aspect is convincing, then it looks natural and in someways normal. However, if even one area is lacking, then its easy to tell something is wrong. "
Creative Idea
One aspect that helps make an animation more realistic, is a clever, unique story that evokes emotion. There's a reason Pixar movies are so popular among people, they cannot only produce very realistic animation, but they can take their audience on a fun journey through their creative anecdotes.
Take the movie Up for example. The story itself is not very believable - a house that floats across the world by balloons, a talking dog, or even Carl's extremely square face. But the story is fresh, no copying old tales, it's something we had never seen or heard of. Not only was it new, but also the emotions that Pixar evokes out of the audience are record-breaking for an animated movie. One minute you can find the audience crying, while the next minute they will be laughing. That is rare in animation, but very convincing and more realistic.
With this in mind, it would be wise to spend a good amount of time planning out a unique story that the audience can relate with. Once the story is ready, then one can move on to the animation process that I mentioned as a step by step guide in a previous post.
Take the movie Up for example. The story itself is not very believable - a house that floats across the world by balloons, a talking dog, or even Carl's extremely square face. But the story is fresh, no copying old tales, it's something we had never seen or heard of. Not only was it new, but also the emotions that Pixar evokes out of the audience are record-breaking for an animated movie. One minute you can find the audience crying, while the next minute they will be laughing. That is rare in animation, but very convincing and more realistic.
With this in mind, it would be wise to spend a good amount of time planning out a unique story that the audience can relate with. Once the story is ready, then one can move on to the animation process that I mentioned as a step by step guide in a previous post.
12 Principles of Animation
Below is an info-graphic displaying Disney's twelve principles of animation. If all of these principles are used correctly throughout an animation, the end result will be much smoother and more realistic.
Thursday, April 11, 2013
Steps To A Realistic Animation
Every animator has their own approach to fulfilling their animated project to achieve the best and most realistic of their ability. I will share an outline of the steps I take to plan and execute an animation from beginning to end.
Step One:
Decide what you are going to animate.
Step Two:
Plan out your shot.
Step Three:
Shoot video reference of your scene.
Step Four:
Draw quick but informative sketches showing movement.
Step Five:
Block out major key frames in an animation program.
Step Six:
Block out important in-betweens, extremes, and breakdowns.
Step Seven:
Convert blocked out shot into splined shot.
Step Eight:
Clean up splined shot.
If all of these steps are executed successfully, the product will be a very clean and realistic animation.
If these terms are unfamiliar to you, I suggest reading through this glossary:
Step One:
Decide what you are going to animate.
Step Two:
Plan out your shot.
Step Three:
Shoot video reference of your scene.
Step Four:
Draw quick but informative sketches showing movement.
Step Five:
Block out major key frames in an animation program.
Step Six:
Block out important in-betweens, extremes, and breakdowns.
Step Seven:
Convert blocked out shot into splined shot.
Step Eight:
Clean up splined shot.
If all of these steps are executed successfully, the product will be a very clean and realistic animation.
If these terms are unfamiliar to you, I suggest reading through this glossary:
Studying Real Life
One important aspect in obtaining a realistic animation is to study that of what you are animating. In order to get the most realistic looking lion, a good animator will study lions, watching their behavior and movements. There is a lot of hidden information that can be revealed by paying much attention towards live objects, that one probably wouldn't notice unless studying over and over again.
Another thing that animators do is shoot their own video reference. This allows the animator to plan out exactly what they want to animate, and figure out the timing. This also allows the animator to look frame by frame at their reference to see their movements broken down. Since correct movement is a major component in creating realistic animation, following a real life example gives a huge advantage to the animator.
Here is an example of a reference video I shot for an animation I am working on:
Although I'm no pro, here is the 3D animation in Maya that I have been working on to match the reference:
By following my reference, I will achieve a much higher sense of realism.
Another thing that animators do is shoot their own video reference. This allows the animator to plan out exactly what they want to animate, and figure out the timing. This also allows the animator to look frame by frame at their reference to see their movements broken down. Since correct movement is a major component in creating realistic animation, following a real life example gives a huge advantage to the animator.
Here is an example of a reference video I shot for an animation I am working on:
Although I'm no pro, here is the 3D animation in Maya that I have been working on to match the reference:
By following my reference, I will achieve a much higher sense of realism.
Thursday, April 4, 2013
The Right Balance
The gap between real and fake looking products in computer animation has been closing due to the advancements in technology. Animation studios like Pixar, and DreamWorks have been pushing the boundaries of realism, making movies resembling actual life. But is there a point where animation looks too real?
According to Ryan Nakashima, "A theory called the 'uncanny valley' says we tend to feel attracted to inanimate objects with human traits, the way a teddy bear or a rag doll seems cute. Our affection grows as an object looks more human. But if it looks too human, we suddenly become repulsed".
Movies like "Beowolf", and "The Polar Express" are good examples of this theory. After watching, you will notice how amazing, and realistic the characters look. Although the work is extremely impressive, it can be very displeasing to the eye.
My opinion on finding the balance of realsim consists of having as realistic movements as possible, with an unrealistic looking character. Theres something very appealing about seeing round, simple shapes on a character.
In order to get the most fluid, realistic movements, it is important to keep in mind an artistic and scientific mind set. Many people don't realize how much physics plays a part in computer animation. For instance, how far a character can move a heavy object depends on how big/heavy the object is, and how much force and energy are being built up before the motion of moving the object. If these aspects, along with others, are not taken into account, animation will not look realistic.
References
- Nakashima, Ryan. Too Real Means Too Creepy In New Disney Animation. (2011). USA Today. Retrieved from http://usatoday30.usatoday.com/tech/news/2011-04-04-creepy-animation_N.htm
According to Ryan Nakashima, "A theory called the 'uncanny valley' says we tend to feel attracted to inanimate objects with human traits, the way a teddy bear or a rag doll seems cute. Our affection grows as an object looks more human. But if it looks too human, we suddenly become repulsed".
Movies like "Beowolf", and "The Polar Express" are good examples of this theory. After watching, you will notice how amazing, and realistic the characters look. Although the work is extremely impressive, it can be very displeasing to the eye.
My opinion on finding the balance of realsim consists of having as realistic movements as possible, with an unrealistic looking character. Theres something very appealing about seeing round, simple shapes on a character.
In order to get the most fluid, realistic movements, it is important to keep in mind an artistic and scientific mind set. Many people don't realize how much physics plays a part in computer animation. For instance, how far a character can move a heavy object depends on how big/heavy the object is, and how much force and energy are being built up before the motion of moving the object. If these aspects, along with others, are not taken into account, animation will not look realistic.
References
- Nakashima, Ryan. Too Real Means Too Creepy In New Disney Animation. (2011). USA Today. Retrieved from http://usatoday30.usatoday.com/tech/news/2011-04-04-creepy-animation_N.htm
Wednesday, April 3, 2013
Introduction
Computer animation is a rapidly growing
industry due to the major advances in technology, and will continue to get more
and more popular. Movie and game studios have been pushing the boundaries of
computer animation and graphics to a point where the audience can't
tell what is real or fake anymore.
A major component to animation is the strive to achieve realism. Realism is what persuades the audience that the animation is believable, or possible. Realism in computer animation is no easy task to accomplish, even for industry veterans, taking patience and practice.
My goal is to inform aspiring and novice animators on the struggles behind creating a realistic animation, and to help them overcome this issue. I will refer to both an artistic and a scientific view point on animation, and how they affect realism in computer animation.
I am currently studying computer animation at The University of Texas at Dallas. Although I am still a student learning the field, I learn the trade every day, and strive to be one of the best. I plan on explaining my own struggles creating realistic animation on my own projects, and discuss my solutions.
In order to meet the needs of a well-developed solution on creating realistic animation through an artistic and scientific approach, I will be blogging about several ways of creating a sense of realism in computer animation. I will include an artistic and scientific view, and how it affects computer animation.
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