Team Redundancy Team Review

April 18th Review:

Paper View

View our Blog: Trello <------ Blog
View our Calendar: Schedule <-------- Calendar

Brittany Wolfe

Nicole DeBolt
Ashley St. John
Jenny Martin

Meena Subramanian
Randi Reynolds
Ben Laney
Cody King

To Do List:

Tuesday: Paper Flying // Butterflies
Wednesday: Flower (All Day)
Thursday: Finish Flower (Sound/Title/Names)
Friday/Weekend: Finish Animation // Camera Looping Issues

Misc:
     Preview: Randi to finish around Sunday
     Poster: Brittany for Thursday
     Team Shirts

Monday: Be able to view everything in oculus

APRIL 18 REVIEW

This Monday April 18 will be focused on your project being 90% completed (you can let us know which 10% is not yet completed). We'll do this review in the studio.

We require a working demo on headset if VR and a near complete animatic if animation.

Continue to post individual dialog on the blog here as to your progress. Please make sure to post before class begins in order to receive the full 10 points for deadline made.

Oddity Alley 4/11

Sarah Brown

Logline- A bright, calm alleyway is full of little hidden oddities and events.

Link to content: https://drive.google.com/open?id=0B5gce7Te3m6yNWNqT3F5eWk5d28

Stills:

The game now has looping ambient sound composed of a light tune and outdoor noise, to make the environment feel lively. The Footprint and Jack-In-The-Box Oddities are completely 2D & 3D animated, with sound. Modeling and Texturing of the alleyway is about 50% complete, due to troubles that arose between Maya & Unreal over the past week. Currently, technical errors are keeping the game from successfully being deployed onto the Samsung Gear VR, causing the objects to render pitch black, though this problem isn't occurring on the PC.

Pet Park

Calendar:

Animatic:

Individual Progress:

 

Anthony:

 

I've been working on completing animation for the first three shots, the entry, taking off the leash, and seeing the Gorilla.  I implemented the screenshot of the lightened environment and colored one frame in shot 1 and 3 to see how the coloring and lighting would look together.  I also worked on drawing the dog into the Ostrich animation.  This week, I will complete the animation for the ostrich and the exit scene, and continue to color in the characters in the shots.

Zach:

I have been working on finishing the new animation of the dog moving past the gorilla at the end of the gorilla scene. We are mirroring this scene in after effects after the animation is done in flash. Once I finish the animations, I will get back to work on the matte paintings.

Danyah:

This past week my focus was primarily on cleaning my animation and correcting small errors. The majority for my work was on assembling all the clips along with foley and music, and adjusting the timing. Our pets have equal screen time, the ostrich has slightly more time since he is part of the closing. We've also begun coming up with stylized titles to be placed in either the opening or closing of our animation.

Bekha:

The line animation of the ostrich is finalized and we are now adding the final linework animation of the dog. I added blinks to the face of the ostrich. I also drew expressions and movements for the stopping sequence. I am now beginning to color the scenes of the ostrich.

Jackson Spencer Ocean Man Review 4/11/2016

Jackson Spencer Ocean Man Review 4/11/2016

"The ocean and a man become one."

Due today: Using After Effects for the creation of water-like effects that the imply form of the man

Upcoming dates:

4/11 --> 4/15 Tweaking the position and opacity key frames on the effects, adding smaller splashes and layering them to look more real

4/15 --> 4/22 Finishing a more in depth environment for the ocean man to be placed into for the final

I first looked into using the Trapcode Particular plug-in for After Effects to program a particle field that would be modifiable around a shape (the animation), and could be coded to look like water, so then I could place it over my animation using a mask to create the illusion that the drawing was made of water.

 

but I soon realized that the plugin was actually very expensive, so I had to find another way to create the same effect using other methods in After Effects.

So I converted the frames of my animation into png files, opened them in Photoshop, and created a batch action that would cut out the animated man in each frame and save it. Then I opened the png files as a sequence in After Effects.

 

 I placed the animation of the man on the top layer and applied the Simulation filters such as CC Blobs, CC Glass, Change Color and experimented with their different modifiers to create something that appeared like liquid. Then, in combination with a motion blur, I created four null objects that were linked with the positions of copied versions of the liquid man, and made them to follow the limbs of the man with keyframed motion paths. Using the CC Mercury filter, I could turn the copied versions of the man into splashes of liquid, so I could then create splashes of liquid that followed the movement of the man.

The movements seemed to work pretty well, the challenging part was getting the splashes to look one with the man, but I think that once the keyframes of the motion path get a bit more attention and I mess with the opacity of the different layers I can get them to appear more fluid.

Review for 4/11

Team Mighty Mouse

Team Members:
Lukas Kontilis
Christian Salinas
Jorge Macias
Kelsey Grier

Blog
Calender
Progress Sheet

Dream Queen Death Machine Team - 4/11/16

Tomas Herrera - checkpoint 4/11<--- this is link

Since the last checkpoint I have:

-combined all environments into a series of streamed levels

-imported all models into the unreal project

-refined the field prototype

-implemented models

-reworked terrain

-placed invisible walls to define level bounds

-implemented cave audio

Current goals include:

-implementing textures for all models

-polishing transitory sections at the beginning of the mine shaft and field environments

-implementing flying NPC behavior
(work shown in demo, not Google Drive)


Youjin Kim <--- this is link
(3/31~4/6) Dock -This is one of signature models at the environment. So which means the dock need to blend to the environment and pose as ‘epic’ object in the environment. There are several of kinds of dock in the world but I wanted to model this as simple and yet have some details there. However, the dock needed to give impression like this is made of wood and Taylor (head of Surface) of group really did excellent job on the texture and impression on there. Next was outline of dock-should be straight or bent- that needed to decide before model. I then went straight forward for bent dock because I wanted to model that dock. I extruded a lot from the side of dock to make posts then I realized that if I modeled the straight dock I would just make several posts at one side of dock, delete the half of side of dock and do the mirror geometry to make easier for the model. However, I just stuck for this outline for the model because that would be easy to do it despite how much time I spend to work on the modeling. (4/6~4/13) Lamp in Mineshaft -After I looked through the reference of lamp, I thought that this one is going to need mirror geometry definitely. Working on modeling of lamp was surprisingly happy despite that outline of the modeling was giving me a bit difficult time to me. The difficult steps in this modeling process were where and how should I extrude on which part. After I finished one part, then I would do mirror geometry to save the time and not off from the shape of lamp. I loved the overall of lamp’s modeling but I wanted to try other shapes for top and bottom of lamp to see which shape would be fit for the animation’s mineshaft. Then again, either shape would be fine as long as people could recognize this was lamp right away when they see it. Overall of these weeks for modeling was that finishing models soon as possible so that animation test is ready and my other modeling members did excellent jobs on their parts and fixed some features if it was off.


Taylor Mullins<--- this is link

Since the last checkpoint, I have been working on various surfaces in Substance and in Unreal.  The process mainly involves importing and placing various maps within a node network.  A few of the assets needed to be remodeled due to odd triangulations and less-than-ideal UV unwrapping.  Mainly, I have been focusing on the mine shaft area of the beginning of the game as well as working with a few of the assets from the bedroom.

Unfortunately we ran into a bit of an issue with the specularity on translucent materials (Unreal simply doesn’t support that, according to the various threads and forums that I have found).  That being the case, it looks like we will be sacrificing one or the other for each asset.

On a positive note, we have a working Rift!  We spent a while getting it connected and configured so that it works in our project.  It’s working correctly now.  Now, we’re just figuring out what way would be best for the user to navigate the cave (we are considering the possibility of bringing in a controller).  


Will Tallent<--- this is link
The past week I have spent my time creating audio scores for different parts of the map, we finished a score for the middle and end of the cave and as well as the end of the field. I have also begun recording sound effects to implement for different parts of the map. I have re modeling multiple objects to allow for better surfacing.  I also created 3 choral like trees in Maya for use in the field. We also figured out how to successfully connect the Rift to our build in Unreal. This was a huge milestone for us. I also spent some time this week researching how to implement the sounds in unreal and figured out how to export the audio from audacity and then convert the wav file to a 16 bit pcm wav file which unreal prefers to a standard wav file.
I have been doing these things as well as keeping in touch with each member of the team to insure we are on schedule.



Sabrina Yun<--- this is link

After finishing all the models that were assigned to me, I went back and remodeled the alarm clock and lotus flower. When the alarm clock was surfaced and then placed in unity, the texture of the model was splotchy. I quickly made a new model so that when it was UV unwrapped, it turned out smoothed. For the lotus flower, I smoothed it out and lengthened it vertically so that it had more depth and wasn’t too flat.

I also worked a little with helping with the sound and music of the field and cave. This week, we are planning on going out and recording sounds of the wind, footsteps and ambience of a field.

We also started on the title sequence. We spent a few days on picking it. The first day, we researched titles and nouns related to death. We then did several voting sessions to pick the final title: “Being.” After that, I was assigned as one of the members of the team to work on the title sequence. Using photoshop, I made several designs and color schemes relating to the title. And we are still planning on making more designs and coming up with ideas on the title.

Mae Dolan<--- this is link
This week, I finished all the models I needed to on the schedule. I met with Will and Sabrina as well and we worked on the music and sounds for the cave and field, and we planned which sounds we still need to record in the upcoming weeks. We also voted on the title “Being” for our animation and Will, Sabrina, and I researched title sequences and aesthetically interesting graphic designs to use for our animation when the title comes out.

Ara King<--- this is link

Importing Animations:

The serpent and shadow creature animations have been successfully imported from maya to unreal. Importing the animations was not very complicated, but once they were in unreal it became apparent that there are certain parts of the animations which need to be adjusted, in order to make them look more natural. The shadows movements were too rapid, and the serpent has a strange pivot near it’s head which needs to  be corrected

Animating the Blob Creature:

I used blend shapes to give the blob creature an, undulating animation to imply life. There were only a few complications with using blend shapes, but once I got used to how maya treats the morphing operations, I was able to create a squash and stretch animation for the blob. The blob must still be refined so that I can control its origin during blendshape animation