Category: Collaborative

My process varies slightly for each shot but generally it is as follows.

1. Set project, bring mockup scene to the project and import the rig.
2. Open human IK panel and create character definition
3. Connect appropriate parts in the human IK definition panel to the skeleton of the rig. I.E left upper arm to left upper arm, neck to neck, spine 1 to spine 1 etc. It’s a tedious process.
4. There is two ways of doing this either double clicking on the part of the body in the definition panel then click on the correlating part in the skeleton or double click on the part in the ik definition panel then in the appropriate name in the outline. The latter is my process as it is quicker.
5. Do this for all the joints and body parts, maya mirrors the action meaning if you do it on the left upper arm as long as naming convention is right it will repeat the process automatically on right upper arm.
6. Click and drag the motion capture data into maya
7. repeat step 3 to 5 with the motion capture data skeleton. When done character 1 should be rig and character 2 should be motion capture data in the human ik panel. Choose character 1 and source character 2 (mocap data).

8. Edit the motion capture data to correct length for this shot it was 72 frames so I set my timeline and edited the mocap data to 72 frames.

Create animation layer select the character the animation is attached to and add selection in animation layer.

9. Go over the footage in the blank timeline in the animation layer and set your keys where appropriate, use the animation editor to adjust and polish the animation.

10. I used locator and parent constraints to plant the feet and keep them from moving and I also used a locator to animate the can.

11. Lastly I use the time editor to relocate if necessary adjust and fine tune the timing of the movement in the graph editor by adjusting timing and spacing of key frames.

The model and rig is done but it has some problems, the character was not modelled in T-pose or A-pose. The arms can not be fully extended the shoulders are not symmetrical and the skin weight has not been painted correctly causing issues when animating. Observe image to the left, right shoulder is significantly lower than right shoulder when right shoulder is moved but in static original frozen position it looks symmetrical, however problems occur when either shoulder joints are moved. The skin weight of the lats overlap with the shoulder and arms so when the arms or shoulder is moved it brings the lats with it.

Rose seperated the arms and painted the skin weight again again however Fan has to now remodel part of the right arm and fill the gap. The feet are not the same height, the foot that wears a boot is significantly lower than the mechanical foot causing issues when trying to animate a walk cycle. Also right foot is not fully planted.

By manipulating edges, faces and vertex points I fixed the feet bringing them to the same level and boot flat.

The base of the mechanical foot had to be extended in order to bring it to the same level as the other foot. This was done by selecting the face of the mesh and bringing it down while adhering to the initial design of the foot.

Me and Roos booked green screen sessions where we recorded all the motion capture data needed while waiting for Fan to model and rig the character.

We also planned which shots will be motion captured and which shots will be key frame animated. Shot 3, 4, 6, 7, 9 and 10 will be motion captured. I will animate shot 11, 12, 13 and 14 using conventional 3D key frame animation techniques.

While Fan is modelling and rigging the character I made two mood boards one for the characters headgear and one for the city. These two mood boards explores the aesthetic options for the project.

We want vertical architecture, densely populated and polluted air, toxic clouds covering the sun. All light sources will come from the buildings. These images are from some games and anime that served as visual inspiration, mainly Cyberpunk 2077 and it’s respective anime adaptation.

Storyboard illustrated by Lee written by Roos Stolk

1. Establishing shot of a Cyberpunk city skyline
2. Camera pans down to street level showing impoverished neighborhood
3. Introduce character walking towards the camera
4. Character stops and receives a message
5. He reads the message a hologram appears notifying him that his rent is due
6. He reacts to the overdue rent notice and in frustration kicks a can
7. Character goes to pick up the can in front of an alleyway as he is picking up the can something in the alleyway catches his attention
8. POV of character reveals what he is looking at, a glowing green portal
9. He slowly walks into the alley
10. He continues walking towards the portal
11. He reaches out for the portal
12. Puts a finger through the portal
13. His cybernetic hand becomes organic as he is pushing it through the portal
14. He becomes more human as he goes through the portal

Phoebe illustrated this sketch for the character.

This is the production schedule we aim to follow and the roles of each team member. Roos presented an idea for the story which we all agreed to, Lee will draw the storyboard supervised by Roos. Phoebe will draw character sketches which Fan will then turn into a 3D model and make rig out of. Jesse, Roos and Eddie will gather assets and model what is needed for the environment, as well as texturing rendering FX. I will animate the character using motion capture and key frame animation.

A subject specific padlet board was created to advertise the project to fellow students.