I watched a few kickstart videos but I have to say it seems to be an oddity for webcomics and there weren’t that many examples that I could find. That being said maybe I just wasn’t looking in the right place.
- They were short (usually 2mins or less)
- Mentions the platforms that be used
- Brief story summary
- Either voice over or create talking to camera
310 Views – ANTIIS Comics Presents Kickstarter Video: https://www.youtube.com/watch?v=Kxw_6Qsi0Ko
47,146 views – Best Kickstarter Videos of 2015: https://www.youtube.com/watch?v=Q8d0U-vMkSE
(Exploding Kittens looks like the type of thing to look at $8.7million dollars raised)
41,950 views- 5 Tips for Making a Killer Kickstarter (CrowdFunding) Video: https://www.youtube.com/watch?v=xwHs3i0KIbs
960 views- Please support me on Patreon: https://www.youtube.com/watch?v=evOq7TiZcMA
1,172 views- ComicFAN en PATREON: cómics y videos: https://www.youtube.com/watch?v=IjFR0s69uGs
2,173 views- My Art Patreon [AN INTRODUCTION]: https://www.youtube.com/watch?v=eW7gXn_QEo0
This is the result of following the tutorials cited below which taught you how to use the puppet tool to rig in after effects. Exactly what I learnt from those tutorials is detailed in the previous post “Character Rigging”.
MtMograph. (2013). Summit 4.1 – Character Rigging – After Effects.Available: https://www.youtube.com/watch?v=3yRFBgojsHk. Last accessed 29th Oct 2016.
MtMograph. (2013). Summit 4.2 – Character Rigging – After Effects.Available: https://www.youtube.com/watch?v=J9YlzbxxcoE. Last accessed 29th Oct 2016.
This time I stuck to what the book suggested and started planning it all out then doing the core poses of the face- though I’m really only focussed on the mouth for what Amy and I have planned.
These are the key mouth shapes that are made when the line, “Here’s an FYI, you’re all gonna die screaming” is sung.
I have sketched out what shape the mouth should be in when making these sounds in my sketchbook. I used the images I had found for mouth shapes, and reference footage that I had taken to get the most accurate mouth movement.
A bit fast, but to the point and easy to follow.
Taylor, J. (2014). Maya bodybuilder CHARACTER MODELING tutorial.Available: https://www.youtube.com/watch?v=spi4lGxnMZg. Last accessed 20th Dec 2015.
I tried to get the mouth shapes for the various words that the character has to say, but then I realised that I was making more work for myself because I would then have to adjust all the key frames on the time slider for the various facial muscles to fit them in the correct time frame.
Starting Out: https://youtu.be/lX8FYmyougw
Full Length: https://youtu.be/8AyrVfouMQg
This time, I added the audio into the maya scene and adjusted the time slider so that I would be focused on one word at a time, ensuring the timing was correct before moving on to the next word.
There’s already a clear improvement from the first attempts, however, it noticeably falls out of sync towards the end. I had been so focused on moving the lips that I forgot that the chin moves as well when people speak, so when I went back to add it in, it interfered with the lip movements.
The book cited below really helped to plan out and then improve my lip sync, although, when I only got it after I had initially got the rough shapes, so I used it to tweak the movements.
I’m going to start again, so there is a good foundation to build upon.
Roy, K. (2014). Facial Animation. In: How To Cheat In Maya 2014. Oxon: Focal Press. p246-p260.
- Looked at the reference images in The Animator’s Survival Kit.
- Picked which rig to use.
- Pose the rig in the main poses (blocking)
- Added in between poses
- In spline mode
- Key the arm positions
- Clean up the graph editor, removing any unnecessary keys.
- After clean up and then slight tweaking.
- Outcome: https://youtu.be/1gG-kGz3tJo
NOTE: Towards the end of the jump it looks a little bit like the rig slides to a stop, but looking in the side view it is actually off the ground, just the perspective makes it a little hard to see, this is why I added the boxes to show him landing.
Williams, R. (2001). Walks. The Animator’s Survival Kit. London: Faber and Faber. p102-173.
We tried to apply as much of our feedback that we had received to this as possible, but due to the time constraints, we ended up only fixing the credit speed, the title font, the sound, and the perspective shot of the marble.
Still, I’m pretty chuffed with our outcome.
With these scenes, the camera angles and speed have been tweaked several times.
Original ending: https://youtu.be/FHchZZZzKcw
The group then wanted the pipes to move as they had in a previous test I had done before going flat. (See here for video of test STICKS).
Changing pipe movement
When I went back to try and change the position of the pipes, however, I had to redo the scene. I was able to import the earlier version were the pipes did the wave movement and the pipes in my current scene were in the same position to do the movement but for some reason just kept going flat when I tried. So I deleted those pipes (120 of them) and duplicated the 40 pipes that did the required movement 3 more times. Which meant rebuilding the scene.
Thankfully, we had enough time to do that and get it rendered, but some issues came up.
Fixing Camera Movement: https://youtu.be/up0AfJqVMb8
The marble goes off-screen and it is also too fast, so I need to slow the pace of it down.
Current outcome: Shows issue with reflection
I ended up having a reflection in the background of the scene for some reason and so I changed the background to an Image Based Light with a gradient texture on top, like Alec suggested. This meant I could remove the point light that was lighting up the entire scene and it lowered render times. However, for some reason, the texture didn’t show up and it became an Alpha Channel, so I had to then take the scene into After Effects and add in a gradient background. Now, instead of the pipes being blue they are more grey.
I need to sort out this colour issue.
Alpha channel issue: https://youtu.be/gqMV9yIWwmM and https://youtu.be/c85FnlIQf4k
The reason why it has taken us so long to actually comprise an animatic is because we weren’t entirely sure how to communicate our concept on paper, and had already created playblasts of the movements of the camera and various objects that we wanted in our animation.
So it seemed rather redundant to then go back and make an 2D animatic of what we had already done, when we essentially had the majority of our animation roughly done in 3D.
However, we decided it would be best to create an animatic- since it was one of the requirements in the brief.
This is a very rough 2D animatic of our animation, without sound as we are still uncertain as to which approach we want to adopt to it; do we want to create a soundtrack with synthesisers, or, do we want to use distorted voices?
This 2D animatic doesn’t fully illustrate the movement of the cubes and cylinders (what I keep referring to as “pipes”) that we actually have, as it is time consuming and there are already play blasted versions of this in my previous posts.