Maya - Lighting and Rendering - Depth of Field

Depth of Field works in Maya through Arnold to blur out the foreground midground or background to create the desired depth of field, resembling a real world camera. In the Arnold settings of Arnold you are able to change many things like focus distance, aperture size and aperture aspect ratio. 

Through the Arnold tab in the camera you can also add effects like vignette. The depth of field in Arnold works effectively however it has a long render time and you also have to render without the added blur before hand and composite the two together if you want to change between the two. 

Depth of Field Final Render

Week3: Animation - Moom Poses

 During this tutorial we looked at animating Moom with key poses to resemble a piece of reference footage. Setting the scene correctly is important in this process.

Before posing Moom:

-Changing the Graph Editor from Spline to Stepped.

-Changing the animation Tangents to Flat and Stepped in preferences.

-Setting the timeline to 25fps. 

-Making sure the Character Set is uploaded so that everything key frames in one timeline. 

I then key framed three main poses and two extra in between. Below are the results so far as this will be continued next week.

Maya - Lighting and Rendering - Photometric Lights

Photometric Lights in Maya are an effective way to create realistic lighting in a scene with soft shadows, using an IES files to resemble a real world lighting.

The lights are placed around the space to resemble real ceiling lights. 

Final render after added lights.

Rango - Character Archetypes and Storytelling

 After watching 'The Princess Bride' this week we were tasked with finding the same character archetypes in a film of our choosing. I chose to watch Rango a it follows the traditional Hero's Journey. 

The Hero 

Rango is the hero of the film, hence the films title. He follows the traditional archetype, however there are some grey areas in the film (lying to the towns people) that don't follow a traditional hero's journey which could present Rango as more of an anti hero. He seems to get out of most situations through luck. 

The Shadow 

The Hawk is introduced at the begging of the film and plays a strong role throughout, even after it's death Rango uses its shadow to scare Rattle Snake Jake. The Hawk's only priority is to hunt other animals and seeing as the audience are first introduced to the bird through it's shadow it fits this archetype well.

The Herald

The Mariachi Owls narrate Rango's journey from beginning to end, much like a Greek Chorus, however Rango can see and hear them so in many ways they are the call to action. It could also be argued that Road Kill could be the Herald as he represents the call to action. 

The Threshold Guardian

The Hawk/ Frog Creature when Rango first walks into the desert. It is one of his first trials and almost causes him to turn back. The idea of the other side and the road could also represent this archetype. 

The Trickster

The Mayor of Dirt is technically the shadow or 'Big Bad' of the story', but the audience does not learn this until later on, he presents himself as an ally to Rango therefore he is the trickster. 

The Mentor

Road Kill is the first living animal Rango meets on his journey and when he is at his lowest point he brings him back to save the town. He gives him useful advice therefore he is the Mentor. The Spirit of the West could also be considered Rango's mentor as he is referred to often throughout the film. 

Allies

Most of the townspeople quickly become Rango's allies, these include: Doc, Mr. Merrimack, Priscilla, Spoons, W.B and Mr Timms. 

The Mother

I found this difficult to find as there is no real mother type in this film. I decided that the water or walking cactus could represent this role as both guide Rango in times of need. 

The Father

There is no real mention of fathers, other than Beans' father, however the Spirit of the West seems to be the only other character to fit this role. 

The Child 

Priscilla fits this archetype well. Rango meets her when entering the town of dirt and she becomes an ally. 

The Maiden

Beans fits the traditional maiden archetype in a sense, this film follows a western story structure, however she aids the group more than hinder's them. Usually the maiden is helpless and constantly needs saving, but Bean's contradicts this role. 

The Shapeshifter 

Rattle Snake Jake is a fierce villain throughout this film until very late on when he realises he has been tricked by the Mayor of Dirt. He soon swaps sides and vows to leave the townspeople alone for good. Rango himself could be seen to fit this role. He changes his backstory throughout and often lies, only to come out with the truth near the end of the film, he is also a literal shapeshifter as he changes colour. 

Character Design - Week 3

 This week we started off by looking at environments, the first task was to make a caricature out of an existing piece of architecture. I chose to emphasise the gothic architecture in Big Ben, focusing on the sharp edges and long line work.

I was then given a character and had to design a space which I thought they would live in. I was given Pharaoh’s palace and had to design the same with the word ‘decadent’ in mind.

As well as architecture and spaces we also looked at body language and the arcs the run through both human and animal structures.

Character Arcs

 Pharaoh Character Arcs

Animal Character Arcs

Art Jam - Monster Mash

 I took part in Meg’s art jam in which the theme was ‘Monster Mash’. I used randomised numbers to pick the number of arms, legs, eyes as well as a role and personality. I then had to create some thumbnails creating a character with two arms, four legs, 3 eyes, artsy and chill. I then had to pick the best one and go into more detail. I found this task really beneficial as I was able to create some designs in an environment where I didn’t care about the outcome, and I actually really like what I have come up with.

Monster Thumbnails

Final Design

Moana - Myth and Storytelling

 After last weeks lecture we were tasked with finding the hero's Journey story structure in an existing animation.

The Ordinary World

In the introduction to the film Moana's grandma sets the scene with a story introducing some key characters. Moana is introduced to the audience through a song which literally describes here world and way of life. The ordinary world (the known world) is Moana's island. 

The Call to Adventure

There is a hint at this step when Moana is given the heart of Te Fiti by the ocean, but the main call to arms is when the fish start dying and it becomes apparent that the island is dying. 

Refuse the Call

There is a brief period in the introduction when Moana gives up on the idea of leaving and decides to focus on her duties, and again when she crashes her canoe and decides that the journey is too difficult. 

Supernatural Aid (Mentor)

Moana's grandmother acts as her mentor in the into to the film but her main mentor/ supernatural aid is when she meets Maui a demigod with shapeshifting abilities. 

Crossing the Threshold 

Moana literally crosses the threshold when she jumps off of the ledge into the underworld. Before this her surroundings are fairly normal, when she jumps she becomes surrounded by all manner of spirits and supernatural creatures. Crossing the threshold could also be argued as the scene in which Moana decides to leave the island.  

Belly of the Whale 

When Moana enters the cave of Tomatoa. This is when she and Maui are almost outmatched. 

The Road of Trials

This is when Moana begins to learn how to sail. As well as this she comes across various creatures which she must defeat and throughout the film she takes over Maui and takes control. 

Meeting the Goddess

This moment is at the end of the film when Moana meets Te Fiti. It could also be argued that Moana's meeting with her grandmother's spirit resembles the stage also. 

Women as Temptress

When Te Fiti is in her volcano form and destroys Maui's fish hook, she gives Moana a reason to give up and go home. The great thing about this film is that there is no love interest to drive the story so in some ways Moana is her own worst enemy. 

Atonement with the Father

Maui is somewhat of a father figure to Moana. When he tells her the story of his creation they strengthen their bond immensely. This stage also occurs when Moana sees her grandmother's spirit as she gets some closure.  

Ultimate Boon

This is when Moana returns a second time to Te Fiti to try and defeat her. She and Maui settle their argument and work together to save Te Fiti. 

Refusal to Return

Moana has a few moments when she almost gives up but the most poinient is when she is almost beaten and throws the heart of Te Fiti back onto the ocean. 

Magic Flight

This is when Maui returns as an actual bird to help Moana after his fish hook is almost destroyed.

Rescue from Without

This same as the last stage, this is when Maui returns to help Moana. This stage could also be when Moana comes to a realisation that Te Fiti is the volcano and returns her heart. 

Crossing the Threshold 

This is when Te Fiti's heart is returned and she begins to grow back all of the lost plant life. 

Apotheosis

When Moana and Maui are properly introduced to Te Fiti and she holds them in her hand. She forgives Maui and thanks Moana for returning her heart. 

Master of Two Worlds 

This is the moment when Moana realises that she is the one that will save her island and is able to use everything she has learnt on her journey to restore the heart. 

Freedom to Live

When Moana returns home and leads a group of canoe's to the ocean. She changes how her people feel about the ocean and instead of placing a stone in the pile of past rulers she paces a shell, symbolising the new begging.