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Subnautica below zero lead6/8/2023 Nicolas Seck, Animation Director: We started by creating a detailed previsualization, based on the storyboard animatic provided by the client. I then spent a few days refining the shots and making sure that they all reached the level of detail and quality that our client expected.Ĩ0.lv: Could you discuss your animation approach? What are the tricks when setting up movements for such shorts? What tools did you use? Could you discuss some of the more complex movements in detail? We divided the trailer by sequence, and each animator had the ownership of their own chunk to preserve the continuity of style. Overall, we had a team of 7 animators (John Batchelor, Ciaran Dempsey, Mario Linares, Dmitriy Tunik, Kimberley Watts, Will Eades, and I) who were involved across a two-month period. The facial rig was managed brilliantly and impressively in just a week by Will Eades who managed to satisfy all our requests to control the face, down to the tiny details. This was crafted by Ahmed, with the support of our lead animator John Batchelor. ![]() The hero character’s body was built using a 3ds Max base and had three variations of costumes with specific needs for each. We had one rigger in the team, Ahmed Shalaby, who worked within a very tight deadline of fewer than two months to do the job. We spent quite a lot of time designing the rigs so we could control as many details as possible, such as the jiggles and the muscles flaring on the Snow Stalkers which were all individually animated by hand. ![]() For instance, we integrated the use of sine waves to generate a nice flow in the squid shark’s tentacles. The rigs for the creatures were custom-made, with the integration of different tools to fit our needs. Nicolas Seck, Animation Director: We animated completely in 3ds Max, thanks to the high level of attention and care from the team in crafting the models of the creatures and our hero character. Texturing was then completed in Substance Painter, before bringing the assets back into 3ds Max for look development using V-Ray and groom, which was done in Ornatrix. Once those were signed off, they were retopologized so that they could be rigged, and the final sculpt details were added. ![]() 80.lv: How did you work on characters and creatures for the short? How did you model and rig them? What tools did you use for production?ĭavid Weaver, Senior Character Artist: We started with the concept art provided by the client and created a series of concept sculpts in ZBrush.
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