Cel Shaded Goodness

The re-texturing and re-rigging of the VF-1 is complete. Alls I gots to do is set up the transformation to GERWALK mode from FIGHTER and from BATTROID to GERWALK. Save out those animations, reverse 'em, and then I'll be set. Mostly. Importing and exporting FBX files is a little wonky on account of the IK targets, but I should have that cleaned up shortly, as well.

You wanna see what the latest in outta space is?

Just another update as I work on rigging the Valkyrie for transformation. Whenever that gets too daunting, I go back and add some more effects or backend stuff to what I've already done. Things that are missing from this sequence:
*ink outlines (need to determine best weights)
*Craft do not blur with motion through canopy glass
*Dralthi are not firing as Valkyrie passes through their ranks
*3 Raiders at end need their firing fixed (with new pflow system I extrapolated)
*Fire rate for Valk needs to be adjusted
*Shell casings
*global lighting
*cockpit lighting
*textures need to be adjusted to accept light color-tinting
*Valk textures need to be toon-ified
*Console/Dashboard still doesn't fit within confines of cockpit

I also want to add brow raises and winks for left/right for the Rev1 model so that I have more control over facial expressions, using a wired controller.

And now, a taste of what's to come...

This is just an example of some of the stuff going into the video. The lip sync has not been tweaked in this scene, textures are placeholders in some cases, and no ink lines have been added. Also, the console for the VF-1 is sticking out of the cockpit!

Back from Da Trenches!

Okay. We're back. With a brand new system that's cutting render times into tiny fractions, into like, 1/24th of the previous times. Not too shabby.

Here to celebrate is this video:

Now, I basically shifted some cameras around, and added some exhaust to the previous test render, and let 'er rip, just to see how long the renders took. Previously, each angle took all night, with the possibility of overheating the computer and causing it to shut down. This time, render times were between 18 and 24 minutes, at one point, I used backburner to render TWO camera angles at once. Quad Core processing, people. You can't really knock it, not for another year and half at least.

Anyway. I'm excited to get back to real deal of putting this video together. Plus it's giving me practice for another CGI project I've got on the back burners (so to speak).

Aaaaanddd, we're off... wherein "we" means "my computer" and "'re" means "is"

So, remember how my computer was turning itself off during rendering? Now it turns itself off during whatever. I get about three minutes after boot before the thing just turns itself off. Then I have to wait for about a day before it comes back. Needless to say, this is going to affect the production schedule somewhat. I'll be breaking into my emergency 3rd credit card to purchase a new computer.

I'm still taking donations and selling CDs, however, so if any of y'all are excited to see this project complete a little sooner than later, by all means, I'm willing to accept help. More than willing.

In other news, production for The Exploding Girl wrapped on saturday. It was an extremely intensive and intimate shoot with a small crew, small cast, and a small budget. Camera department was awesome, and brought me up to speed on the first day. And everybody had to pick up a little slack since we didn't actually have any G&E. I've made some great friends and colleagues on this project, and I look forward to working with them again in the future.

Cuz of other stuff

So, right now, I'm a week into production of "The Exploding Girl", an indie feature directed by Brad Gray and produced by Ben Howe and Karin Chien. This is my first gig as 2nd AC, and I'm really enjoying it. Since we're shooting on the RED ONE, my job doesn't really involve loading mags or unloading, but rather slinging huge files around huger hard drives, and making sure the batteries are fully charged. And that camera CHEWS through batteries like nobody's business.

Anyway, production on the video is at a standstill during this time, but I'm excited to begin work again in September, when I'll need to purchase the latest 3ds max software. If anybody would like to contribute, of course, the donation link will hopefully still work. You can also buy copies of the old albums, because I know that far fewer people have these than should. Anyway, I'm excited to say that the majority of the behinds the scenes work on the video is done, and what is left at this point is making shit happen. Well, provided that the 3ds max upgrade comes off without a hitch.

This is just a test, so don't ruin your shorts yet.

This is just to test out the rigging of the Rev1 character, the rigging of the cockpit controls, and how the two interact.

Technical difficulties

I will post some more tests very soon. However, I'm having hardware and software issues. I may need to purchase a new copy of 3ds max, as my current copy is starting to bug out hard for reasons unknown. Pricey, pricey.

The computer is being a champ about the stuff I'm asking it to accomplish, but this thing is definitely dated. It's a Pentium D, which if anybody is keeping score was the dual-core before people knew about dual-cores. Which means, it's pretty old by computer standards, 2.5 years in human years, which is about 40,000 years in computer years.

I'm still accepting donations of course, but I'm also accepting lucrative freelance work in AfterEffects, Avid Media Composer, and to some extent Photoshop and friends.

Spread the word.

Comfy Chair.

First (public) Rigging and Skinning Test

Here, ladies and gentlemen, is the first rigging test deemed acceptable for the public at large. Strangely, a tearing problem in the left hand that had been fixed has reappeared. I'm most impressed by how the suit's folds and wrinkles around the kneepad smooth out as the knee bends. The back of the knee and the inside of the elbow are by no means perfect, but for the most part, I think this thing is working. Hoorah.

With luck, the next four characters or so should be modeled and rigged in half the time. I'm still debating whether to make custom rigs, switching to the more limited but somewhat more dummy-friendly Biped rig, or sticking with the Cryptic animation rig. The custom rig would be the most flexible, but more than likely overkill. The CrypticAR is more than up to the challenge, but skinning proved somewhat tricky. In addition, the CrypticAR has a boatload of hidden stuff floating around in the document that I'm afraid could get unruly or bog down the process. I'm considering using CrypticAR for the Tai Chi rig, but simple biped rigs for the rest. Anybody want to weigh in on this?

I'm looking at the man in the mirror

I just spent a few hours analyzing my own face when I spit my own rhymes. It's a little surreal. Sometimes I'm mad boring, other times, I'm ridiculously over-animated. It's not terribly natural rhyming directly into a camera lens without moving too much, so that I can get a reference for facial animation. But I've got a good handle on when I blink, when I squint, when I arch or furrow my brows, etc. I'll translate this all the CGRev1 and then completely tweak the crap out of it.

More as it happens.

Almost complete suit

This is a turn around of space suit for the many dog fight sequences.

And here is the first lip sync test.

Plenty of tweaking to do. Plenty more morph targets to create to keep a brother from having ZERO expression on his grill. And I still gotta purchase some software to make this process fly. Things are looking good, though.

Blame it on the rain

Lip syncing. I never thought I'd be spending so much time on it. As an emcee, the thought of any performer ever lip syncing to music is somewhat distasteful. As a filmmaker, the process is always time consuming, precision oriented, and somewhat maddening. But when the two professions collide, I find that I must work diligently to create an effective set of visemes for the animated Rev1 so that his delivery is reasonably believable.

The question, do I make the L viseme recognizable to broad audiences as an L, or do I model it accurately, the way I say -- or swallow as it may be -- Ls?

Check back soon for another movie.

What Not to Not Wear (in Space)

Wow, there I am, less my dreads, in a snazzy space suit. The suit isn't as flexible as one might like, so I'm adding some more wrinkles and such. It's essentially finished, though.

Steady progress on the most complex of the character models. I hope.

I'm gonna have to adjust the padding in that helmet to accommodate my hair. Dang.

More progress on the flight suit model.

Isamu Dyson called and wants his space suit back

A quick pictorial history of one of several character models appearing in this project:

First look at my dome

Here's a quick sneak peak at the rough of the creepy yet awesome 3D animated Rev1 head.

You too can help me make this awesome thing

I've never done this before, so here goes:

Please help me to finance my awesome CGI music video. I won't be able to make this project happen without your emotional and psychic support, and it will be a heck of a lot more plausible with a little financial support as well. I am providing a secure paypal link which will allow you to donate a sum of your choosing to this project.

Please visit www.chebroadnax.com/blog.html and click on the donate button at the side of the page.

I'm not a non-profit organization (I'm just one man!) so I'm afraid I can't give you a tax write off receipt.

I will greatly, greatly appreciate any donation of any sum. It all helps. Due to the encryption technology paypal is using, I won't necessarily be able to tell who has donated, so if you want to see your name in lights, shoot me an email and let me know. Everybody who helps and has helped on this project will be included in the credits.

Thank you all!

Welcome!

This is my production blog. I will be updating it with awesome information about the even more awesome CGI music video project currently underway. I'll post video clips, stills, works-in-progress, as well reflections on the process and all that sorta stuff, I guess.

This is where you get a tiny glimpse into what goes on when I get to work on whatever I want.