Archives For GAME ANIM Notes

Andreas Deja Masterclass Notes

January 13th, 2013 — 4 Comments

First post of 2013 following a long holiday visiting with family in Australia. I’m terrified of 3 things in life; sharks, spiders and great heights, so it only made sense to dive off the Great Barrier Reef, venture into the tent-spider colonies of the Daintree Rainforest, and hike the sheer cliff staircases of the Blue Mountains among many other adventures. I actually found Australia to be a lot like Canada, only without the shit weather.

Anyway, I’m quite a bit late to this as it took place when I was somewhat occupied, many months before snow was falling here in Montreal, but here are my notes from the Andreas Deja Masterclass I was privileged to attend late last year. Many thanks to my good friend Sam Youssef and her Studio Technique for organising the day’s event.

Andreas Deja - Lion King

Since joining Disney in 1980, German-born Andreas Deja has breathed life into some of their most memorable villains in their classic films, and has spent the last three decades charting what he refers to as “the rise and fall of animation”. Much to his disappointment, he entered Disney at exactly the same time as many of the Nine Old Men retired, but lucky for us he spent time visiting them at their various homes around the country, with much of the talk being about passing on what he learned to us – essentially a new generation of animators – with a focus on the philosophy of bringing characters to life.

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ILM On Building Iron Man

December 31st, 2008 — Leave a comment

Just sneaking in before then end of the year, here is the second and far more comprehensive talk I attended at the earlier ADAPT conference. Happy new year everyone, et bonne anne tout le monde.

Industrial Light & Magic: Building Iron Man

Marc Chu – Animation Supervisor

Beginnng with his history, Marc joined ILM in 1994 and has since then served on 20 films, perhaps most notably as Animation Lead on “Pirates of The Caribbean” character Davy Jones. As Ironman was Marvel’s own first fully self-financed feature, they had 6 different companies competing for VFX work. It was interesting to see that despite its reputation, ILM must still compete for bang-for-buck value as film studios are keen to shop around. It comes as no surprise though, that the work was won in part on the back of the impressive Transformers work.

To this end, he showed a rough animation test of Iron Man taking off done over the course of two weeks. ILM has plentiful archive footage from which it can draw resources, and for this piece air footage repurposed from Ang Lee’s Hulk was used to create a high-quality flight sequence.
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OK, back to business. The first of two sessions from ADAPT 2008 – members of the Disney team working on incoming CG film Bolt talk about their road to enlightenment regarding an intelligent solution for driving blendshapes to maintain a high quality of deformation on a character lacking clearly defined limbs and a neck area. Of note, TD Hide Yosumi was actually a former member of SquareEnix, having worked on Final Fantasy X and the Disney-collaborated Kingdom Hearts series.

Walt Disney Animation Studios: Building A Hamster Named Rhino

Clay Kaytis, Philippe Brochu & Hidetaka Yosumi – Lead Animator, Lead Modeller and Technical Director for the character Rhino.

This presentation could easily be split into two parts, with the first concerning the solution achieved to maintain model fidelity in a character that could easily move between biped and quadruped movement, and the second on their general deformation solution for all areas of body/limb movement.

Beginning with an exclusive new trailer, the speakers began by describing the requirements of the rig which required the dual functionality of quadruped rodent-like movement and bipedal anthropomorphic acting. The character Rhino was described as essentially a ball of fat covered in fur that exists primarily inside a hamster-ball. While the ball-rig setup may have proven an interesting topic enough, with the TD writing special software for this alone, it proved enough of a challenge to overcome the transition between 4 and 2-leg stances.

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This, the final talk I’ll post from GDC’08, centred on the development of the first company-wide technology platform (or engine) for Square Enix. Despite the heavy tech-focus, this was the largest lineup I attended at the conference due to the chance of gleaning any information from these Japanese RPG masters.

Square Enix: The Technology of FINAL FANTASY

Taku Murata – General Manager, Technical Research Division

Traditionally, a new platform was created for each title, with the game first made in Japanese and translations following much later. This looks set to change with the latest upcoming releases which will be very exciting to many western fans, and the target platforms (for the engine) are PS3, PC and XBOX360.

Murata’s history reads like something of a chronology of technological breakthroughs in Japanese game development, with much of his work driven by animation – in particular facial animation. Of interest most of all was the admission that several of the driving forces for this new engine centred on displaying characters’ faces to a very high fidelity in close-up.

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Right from the off, this GDC ’08 talk was notable for the novel, (to the West anyway), approach to staffing up for this sequel. Charting the production of SSBB, the incredibly young-looking director Masahiro Sakurai began with his own hiring onto the project on March 9th, 2005 – placing the entire development time around the three year mark.

Sora Ltd: Development – SUPER SMASH BROS. BRAWL

Masahiro Sakurai -Director

Super Smash Bros Brawl Title Logo

Despite directing the original SSB games under the Nintendo/HAL Laboratory collaboration, Sakurai has been working as a freelance game designer since 2004 under his own company Sora Ltd. – (the company comprises just him and his assistant). After sub-contracing creative direction to Sora, Nintendo rented offices in Tokyo and employed the bulk of staff from long-time development house Game Arts. In addition, they temporarily contracted many of the original Smash Bros team for this project as HAL were not officially involved.

This is the way I’d like to see the game development process go in the future so we can move away from the restrictive full-time studio model towards a more talent based one where individual creatives and full development teams can be married, before disbanding once the pipelines and initial creative visions are established.

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Next up, in the first of three animation-related GDC ’08 presentations giving us an insight into modern-day Japanese game development, here are my notes from the Postmortem of Feelplus’s Lost Odyssey, one of two Japanese RPGs created exclusively for the XBOX360 under the watchful eye of Microsoft Game Studios and Final Fantasy creator Hironobu Sakaguchi.

Feelplus: Looking Back at LOST ODYSSEY – The Challenge of Cross Cultural Development

Ray Nakazato – President, Feelplus Inc.

As with each of the Japanese presentations, Nakazato began by detailing the hierarchy of the companies involved in the project. Feelplus Inc. was established in 2005, with the team quickly growing in size to the final headcount of around 100 developers, many of which came from Microsoft and SEGA. Feelplus is 1 of 3 companies under the AQ Interactive Group, (including Artoon and Cavia), and the project was a collaborative effort with Sakaguchi’s team at Mistwalker who formed the core desgin team.

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It’s certainly some time after the event, (it’s slow going when you’re in the middle of a full production), but I’ve finally collated my remaining notes from this year’s Game Developers’ Conference that relate to animation and characters in games. So to start off, we have the head of R&D on last year’s landmark film featuring virtual actors, followed by a trio of Japanese developers giving insight into their approaches to animation and character development.

Sony Pictures Imageworks: A Believable Character Postmortem: Motion Capture on the Virtual Set of BEOWULF

Parag Halvadar – Lead R&D Engineer

Hailing from the same studio that created Monster House, Halvadar’s talk concentrated on facial motion as that’s a recent topic for games industry. As is often the case with movie industry approaches they couldn’t directly be recreated for use in a game development situation, but nonetheless provided an interesting insight into some of the lengths that must be gone to in search of the (some say, false) holy grail of truly photo-real virtual characters.

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Uncharted Mocap

April 19th, 2008 — Leave a comment

At two months after the conference I’m a little late in posting my notes from the various lectures due to work commitments and the recent site overhaul, but now they’ll be forthcoming.

As an extra little teaser, there will soon be something new coming to Game Anim of interest to videogame animators everywhere over the next few weeks. So on with the notes…

Naughty Dog: Uncharted Animation – An In-depth Look at the Character Animation Workflow and Pipeline

Jeremy Lai-Yates & Judd Simantov – In-Game Animation Lead & Lead Character TD

After a fantastic opening to GDC with Ken Levine’s inciteful speech on Storytelling in Bioshock, this, my second GDC lecture was a veritable feast of practical information for animators.

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Layers of Pixar Polish

October 13th, 2007 — Leave a comment

The final Adapt Presentation Notes Session, providing information for animators regarding character and rig development, peer-review processes and general acting tips.

Pixar: How Pixar Animation Studios Brings Characters To Life

Andy Schmidt – Animator on Ratatouille

Ratatouille

This was an incredibly valuable lesson in the workflow for polishing an animated feature, which has some lessons we can directly employ for our own peer-review processes. The initially self-deprecating yet entertaining Andy Schmidt took us through the challenges of creating the characters for Ratatouille, (namely, how to turn vermin into an appealing character) before moving on to Pixar’s general approach to taking a scene through various levels of polish.

The biggest element of the talk that struck me was the difference between an animated film and videogame cutscene schedule – two supposedly similar projects in concept, with the key being when voice-over is recorded. Below is a comparison between Pixar and what is my experience of the norm for large-scale videogame project storytelling, taking a direct comparison with only the elements shared across mediums.

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Morph Management

October 11th, 2007 — 2 Comments

Another small post, this time on a different approach to morph-target lip-sync.

Di-O-Matic: Efficient methods for creating lip-sync blend shapes

Laurent Abucassis – Founder: Di-O-Matic

Di-O-Matic

A considerably lower-key affair than Halon’s, this talk revolved around a demonstration on how to make phonetic mouth-shapes for lip-sync via blend-shapes (or morphing), something that, while offering more control over mesh deformation than simple bone positions, can be quite a pain to actually create and maintain the multitude of models required to create a blend-shape list.

While it did turn into something of a product pitch towards the end, the educational portion of the talk began with pointing out the first mistake most animators make when creating lip-sync for the first time, whereby they try to for shapes for every letter. However as Laurent said, “A letter is not a sound”.
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