Software Technology

                                                         The Gumball Project



For the project I decided to do a Gum Machine instead of a Marble Machine, the concept is the same, but for me it looks more interesting. This is a scene I modeled, but the baby. Although it looks simple I already had some problems with the gum ball getting out of the machine and going to the funnel, so I fixed that in Maya. It was also supposed to have a little door at the end of the first spiral ramp, but the hinge constraint didn't work, so for time purposes I decided to take it out. I made the trails static objects and changed the gum ball to an RBD object. 

                     

Visual Effects II

For this month in VEF II we learned how to do Maya Fluids, Houdini Pyro Solver and Houdini FLIP Solver. They can be used for fire, lava, water, viscosity, etc... effects.

For the first project we had to do Maya Fluids. First we needed a reference for the fire and then, using Maya, try to reproduce it correctly. The tools we learned was basically how to use a 3D Container and its attributes.

For the first project we had to do Houdini Pyro Solver. First we needed a reference for the fire and then, using Houdini, try to reproduce it correctly. The tools we learned was basically how to use the solver, its simulations, its attributes and its shaders.

For the first project we had to do Houdini FLIP  Solver. First we needed a reference for the fire and then, using Houdini, try to reproduce it correctly. The tools we learned was basically how to use the solver, its particles, its simulations, its collisions, its attributes and its shaders.

For the forth project we had to do Houdini FLIP  Solver and add viscosity into that. First we needed a reference for the fire and then, using Houdini, try to reproduce it correctly. The tools we learned was basically how to use the solver, its particles, its simulations, its collisions, its attributes and its shaders. Plus we got do use the viscosity slider.

Character Animation 2 - CAN2

   "The Character Animation II Course continues to strengthen students' animation skills by exploring methods for creating movement that is not only entertaining and appealing, but also depicts actions that are driven by the characters' emotions and personality. Students will also analyze methods for creating solid acting choices that are unique and interesting. By using discussion and analysis, students will be introduced to the importance of evaluating their own work, as well as the work of their peers. This enables them to critique each other's projects with the intent of implementing what they have learned into their own animation, preparing them for situations encountered in the real world."




   For this class at Full Sail, CAN 2 require us to do 2 projects and some integrated homework activities. For the first project we have to do a 3/4 walk with a character having a change of emotions. We first begun exploring the camera angles, staging, thumbnails, storyboards, action breakdowns, anticipation and character backstory. After that we recorded ourselves acting as the character, using that as a reference video. This project had in total of 4 passes and 1 final turn in. Here is my drawings, video references and the final video.

  

For the second project we have to do lip-sync   We first begun choosing the audio file, exploring the camera angles, staging, thumbnails, storyboards, action breakdowns, anticipation and character backstory. After that we recorded ourselves acting as the character, using that as a reference video. Also we learned how to make a lip-sync using blend shapes created for that purpose. This project had in total of 4 passes and 1 final turn in. Here is my drawings, video references and the final video.

We also had some activities during the class, such as:

 Parent constraint, in which consists making the character interact with an object.

Stop exercise, in which consists making the characters antennas stop as the character comes to a stop,

Animated take, in which consists making an over the top exaggerated jump

Lip Test, in which consists making a lip-sync for the character

Cycles exercise, in which consists making the character walk in treadmill, and then making it walk forward by moving the main control

Here are the finals animations for the activities:

CAN I

       
                                                          Project 1: Basic Leg Walk

Project 2: Strong Poses

Character Rigging 2: Research - Rigging TD

I found this job position by searching on the website glassdoor.

The job requirements that are taught in Full Sail.:

·       Work closely with modeling and animation teams to create optimized rigs that fully address the needs of the character’s functionality.

·       Weight characters in an efficient manner while maintaining a high degree of visual and deformation fidelity.

·       Create tools that streamline the character creation workflow throughout the entire pipeline.

·       Maintain character hierarchical standards and protocols.

·       Ability to troubleshoot pre-existing character rig setups / scripts.

    Ability to work collaboratively and communicate with multiple teams.

The only ones that Full Sail didn’t taught us, or if it did it didn’t go deeper and further on the subject, are these:

·       Advanced knowledge of 3ds Max.

·       Past experience with various rig setups, including bipedal, quadruped, and complex robotic / mechanical characters.

·       Strong understanding of MAXScript, scripted controllers and expressions.

·       In-depth knowledge of FK/IK systems.

·       Ability to thrive in a fast-paced environment.

Hi-Rez Studios is immediately hiring a qualified CHARACTER RIGGER to work at our studio in Alpharetta, Georgia. Come join the creator of the critically acclaimed SMITE, Tribes: Ascend, and Global Agenda as we embark on exciting new game projects!

Responsibilities:

·       Work closely with modeling and animation teams to create optimized rigs that fully address the needs of the character’s functionality.

·       Weight characters in an efficient manner while maintaining a high degree of visual and deformation fidelity.

·       Create tools that streamline the character creation workflow throughout the entire pipeline.

·       Maintain character hierarchical standards and protocols.

·       Ability to troubleshoot pre-existing character rig setups / scripts.

Required:

·       Advanced knowledge of 3ds Max.

·       Past experience with various rig setups, including bipedal, quadruped, and complex robotic / mechanical characters.

·       Strong understanding of MAXScript, scripted controllers and expressions.

·       In-depth knowledge of FK/IK systems.

·       Ability to work collaboratively and communicate with multiple teams.

·       Ability to thrive in a fast-paced environment.

·       2-3 years experience with character rigging / skinning in a production environment.

·       Relocation to Atlanta, GA

Preferred:

·       Unreal 3 Engine Experience

I decided to make this post showing my progress in class rigging this character through images.

We first began with the character in a T-pose

                     Then we began rigging it by putting joints, IK handles, doing IK/FK systems, setting driven keys, parenting constraining...

             
                 Then we began putting icons on joints and finalizing the rig.