VIZAVS

Checkpoint Folder

Sabrina Yun

Since the last checkpoint, I edited the objective trunk by extending it vertically. I also moved some of the stems of the tree so that the ball in the tree can be more fitted in the center. For the bottom of the objective, there is a lotus that I modeled. The main problem of the lotus is that it’s too symmetrical and “perfect.” I’m planning on changing it up so that it looks more natural. I also need to fix the alarm clock model that is creating errors in Unreal.

Sabrina's Google Drive Link

Tommy Herrera

Tommy's Google Drive Link

Mae Dolan

Since the last checkpoint, I modeled a bed and picture frame for the bedroom scene in our animation. I spent a while on the bed figuring out how to make the cloth look realistic. I also worked on the tree and edited it based on a new concept picture; I made it twistier and added more platforms.

Mae's Google Drive Link

Ara King

Lotus Concept:

The goal object which will be used to guide the player is a tree-like structure emerging from lotus. The concept for the lotus was meant to communicate the themes of serenity and harmony with its geometric design composed of smooth pedals. I had originally intended to add more petals to the lotus, but I found that 3 cascading layers of 5 petals each was an arrangement that which resembled the look of real lotuses, while also being a bit more regular than the actual plant.

Shadow Rig and Animation:

The rig for the shadow character is fairly simple since it does not have limbs. The animation for the character needed to be a seemingly common, but off putting idle action, so I animated the character with a slow breathing action which can be looped during the shadow’s other actions to make it appear alive.

Flyer Rigg and Animation:

The Flying eel like creature’s animations are still being worked on. The intended result is to create a creature which appears to fly through wavy ribbon-like undulations of its body. I am currently looking for alternate rigging methods to meet this end.

Ara's Google Drive Link

Will Tallent

Will has been working ableton to start designing the sound production. I have reached out to a violin player to get live recordings of the strings which will be manipulated digitally to add a creepy or peaceful mood. He has also been modeling the mineshaft, which is the intro to the dream environment and will be based on Langford so that the players in the architecture will feel as sense of familierity. I have also created a new schedule for the rest of the semester and created a to-do-list which covers all aspects of production needed before the final product.

Will's Google Drive Link

Taylor Mullins

Since the last checkpoint, our team hit a bit of a snag regarding the Gear VR and our game. We spent about a week running tests and gauging what all we could fit into an environment while conserving computational power so that it wouldn’t lag on the phone, however, we came to learn that even with a very simple scene, the Gear maxes out at 60 fps. For this reason, we have decided to drop the Gear VR for the time being. However, there is a good chance that we will create something smaller and simple (like a side project) to launch with the Gear. We simply couldn’t fathom simplifying our game enough for the phone to support it. That would have meant that we would have had to sacrifice most of the work that we have already done.

So after we worked out our plans to proceed with a version of the project that can be launched from a desktop, I proceeded with triangulating all of the rock and cave models and reducing the meshes multiple times so as to maximize efficiency. Since I altered the models, I also had to re-surface all of the rock formations and cave models. From there, I used the plans that Tommy laid out for the cave and reconstructed it, using larger and more simplified models. Now, we have a fully constructed cave. I have also gone on to add the glowing mushrooms along the paths of the cave. These will act as a sort of guide and help the player move along the intended paths. I am finishing up set dressing this week.

Taylor's Google Drive Link

You Jin Kim

(2/15~2/18)

Mushroom

Concept- guidance the path that character walks through the story. Assets that will show many

times inside of environment.

Disk mushroom(2/15)

-growing on the cave wall. Light glowing-very important to dark place of cave. At first, even it is

disk mushroom, it shouldn’t have clean edge around it. Even these assets have important role to guide

the character, some kind of twisted features are needed. Badly squashed- scaled down so disk

mushroom

Ball mushroom(2/16~2/18)

-growing on the ground. Addition of tentacles and wrinkled stem to the ball mushroom.

Features are like these are easy to catch attention.

Flying worm(~2/21)

Concept-theme of ‘free’, initial intent was flying creature but then thin layer of worm would give

mysterious impression to main character and view. Putting neon color

Previous drawings are easy shape and yet are structured for flying because of themes. Some

concepts are complicated shapes while others have simple ones based on sub concepts.

3/2/2015

Continued from the flying creature (2/21~24)

-Modeling is started from cube and it is stretched out to be more like from concept art I made

for. Extrude is key point here to make arms like shape for creatures; those arms will be shell armor for

the creature. From the concept art, the creature has wider arms than the model one but the wide of

arms does not matter for the model hugely so I left the way it is for now.

Field Vegetation 01 (2/28~2/29)

-Named it as four tentacles for temporary. The concept art is from Ara from our group. This is

made by same techniques like other models but a bit challenge because of how those tentacles are

wrangled differently. For vary kinds, I could do move leaves (tentacles) many ways to give distinguish

shapes for them. If there are other options available for this model, it will be used for making many

different kinds.

Field Vegetation 02 (2/29~3/1)

-Named it as tall vegi for temporary. Another concept art from Ara. There is no complicated

modeling method for this model while it still needs another layer on its body to have transparent skin

for final model. The themes are similar to mushrooms and yet different since this field vegetation need

to be harmony with the scene.

As Model leading.

Mae -I asked and gave suggestions for Mae made for round jellyfish type to have wrinkle in

vertical ways. Just round shape is fine but I wanted the jellyfish model to have closer to the concept art

if it is possible.

Sabrina- I made suggestion over shadow figure to have white eyes. Based on the concept art to

our group, the shadow figure has eyes that give creepy looks. Other than the eyes, the model is very

close to concept art and group love how the model turned out.

Poster frame (3/2~3/3)

-Very simple model to do. There was not much of difficult with extruding the model. Just making

plane model was too simple to make so I had an idea for this poster frame to be as a valuable poster.

Some people put poster inside of photo frame so the poster is in good shape on the wall with caring

looks(or makes poster as more valuable to that one). So I started with cube model and scale up to make

long rectangle as poster shape then extruded the side to that poster was in photo frame.

Field Vegetation 05(3/4~3/10)

-Named as vegi holes since this one has so many holes to be. The base model one for this one

was sphere because overall shape was squashed ball type. So I had to start with sphere to be squashed

like concept art. I tried to use brush tool from Maya to pull and push the surface of model but it only

showed little bit of change and it was difficult with the brush tool. So I had to select each faces to pull

and push to make more squashed features be visible to the eyes. Also this model needed to have

thickness with it so people can see that this vegetation has weight. So I asked Will if this model needed

to be thick a bit and he said yes to the question and made suggestion for it. After I made many holes for

this vegi model and Will helped me with to make thickness to this model. And it turned out perfect

squashed vegetation with many holes model for our animation.

Field Vegetation 04(3/14~3/17)

-This one was named as crush vegi since some big force crushed this vegi into pool shapes. I

started with cylinder model and put many edges before I experimented with the shape. First of all, this

vegi model didn’t grow up straight so I had to move and rotate parts of model to give that impression.

Also the model needed to have bumps and craters on the surface so I had to extrude the faces and

move inside some to make those bumps and craters features on the surfaces. Also I had to do that

randomly so it won’t give any artificial feelings to people. Putting features at randomly on the model

was really challenging and took some time to that for each faces but I managed to pull closely to what I

had it for the picture and concept art.

You Jin's Google Drive Link

Longline:

A small, playful dog spends a sunny afternoon at the park with some unusual pet friends.

Anthony Eason

Since the last presentation, the two main things that I’ve made progress on was cleaning up the animation of the first three shots and beginning the early stages of lighting the scene.

Animation

For the animation of the man walking up the hill, I had a lot of issues with getting the perspective correct. I started from his first position and worked forward till the end, and because I was zoomed in so far in the window, he shrunk like Ant-Man towards the end. To fix this, I drew the first and last frames to get a sense of his perspective throughout the shot.

Lighting

I began making lighting tests to see how the environment could potentially look in the final film. The quicker we’re able to get an accurate sense of lighting, we can move on to coloring in the highlights of the characters. The whole idea for the environment is to make the viewer believe the characters could actually live in that world, even though they are 2D in a 3D environment. So the trees, grass, and pond models are very stylized, and the lighting (fill, directional for sun) give a realistic shadow scenario, yet a cartoony –feel atmosphere.

Zach Smith

For the gorilla animation, I finished the gorilla's body and polished the dog's movement. I also started drawing the final keyframes for the dog. Once I finish the final key frames for the dog, I will start working on coloring and lighting before finally filling in the missing frames. I am working on the matte paintings seen below. I am working on the buildings for the background.

Danyah Alriffi

The Biggest challenge was understanding how an animal's body rolls in mid air. While there are plenty of cat refrances, dogs, especially dotsons are harder to find. I used images and cats, other dogs, as well as watching some videos and relying on my own imagination to get the positions right.Drawing them was a challenge in itself. They are poses I don’t normally draw in my own work.

For the scene of our puppy jumping off the gator’s nose, that was slightly easier but still required plenty of references. I used images of dogs both running and jumping, one of them being the jump cycle from 101 Dalmations which was our original inspiration for this project .

I also blocked in some color to begin tying the scene together. The color will need adjusting as we start working with the lighting.

Bekha Wells

The first scene of the ostrich is updated to where the dog appears from behind the ostrich. The second scene of the ostrich running with the dog upon its back. The circle represents the dog. This small scene can be turned into a loop for as long as needed. The run sequence will end with the ostrich coming to a sudden spot and the dog jumping off. The running positions were influenced by images of certain stages of a run cycle and a YouTube video of an ostrich racing a runner.