Friday, April 16, 2010

Modeling Techniques

Hey Guys, Since our next project is going to be pretty modeling intensive, Rob wanted me to do some modeling tutorials, and then publish what I learned here. I found some great techniques to model complex geometry.The First step is to find a good set of photos or drawings, and then set them up as image planes in the corresponding orthographic views. In this case a 69 GTO. It's impossible to model accurately without this step.
Once the image planes are set up create a basic polygon, in this case a cube, and add enough subdivisions to get the basic shape. Scale edge loops and move verticies until the cube matches up with the drawings. Do this in each of the orthographic views. Try to keep edge loops at places where there are divisions in real life, such as around the door, hood, trunk, glass, etc. At this stage we are not worried about small detail.After I created the basic shape, I went in and deleted half of my cube making it easier to work with. Then I adjusted edges and verticies to make the mesh more accurate (real life photo reference is great for this). Keep edge spacing as consistent as possible except where there are sharper edges. I also went in and deleted the glass.One at a time I went in and selected the faces of the different body panels. I then used the extract command to make each panel it's own piece of geometry. A good rule is that if it's seperate on the real object, seperate it on the mesh. This way it's much easier to add detail to individual panels, but the overall shape and edges of everything still match up.Next I went in and defined and reworked each separate panel, until it was the shape I wanted, then I started to add other details. The chrome trim was extruded from the edges of the panels and then extracted. I built the chrome bumper and grille the same way extruding the edges and using my reference drawings in the orthographic views. Finally I went in and added the GTO decals, lights, mirrors, glass, and wheels. Then I duplicated all the surfaces and combined them with the other half to make a full car.All done. I hope this helps with some modeling concepts when dealing with complex hard surfaces.

Tuesday, April 13, 2010

Jibba Jabba

Hey y'all. I've been trying to do research on basic jib jab techniques to get ready for that short pioneer jib jab project coming up.

Here are some fun examples of the different stylistic approaches to jib jab animation:

Time for some Campaigning :
http://www.youtube.com/watch?v=adc3MSS5Ydc
Obama Saves the Day:
http://www.youtube.com/watch?v=kVFdAJRVm94m
Monty Python:
http://www.youtube.com/watch?v=hQ72fcHDUC8
Hedgehog in the Frog:
http://www.youtube.com/watch?v=dRsXU4Q6a0Q
Tale of Tales:
http://www.youtube.com/watch?v=Tmcp4XNCWRY&feature=related


So I tried to do a little test animation to get my feet wet. It's not spectacular but it utilizes some of the basic principles of jibba jabba:




Here are some tutorial sites that I came across that I found pretty helpful. I'll add more as I find them:

Basics:
http://ae.tutsplus.com/tutorials/beginner-series/create-the-jibjab-effect/
Putting it together:
http://blog.jibjab.com/2008/07/14/putting-it-all-together/
Utilizing the Puppet Pin Tool:
http://www.motionworks.com.au/2009/02/the-dancing-can-part-1/
Overview for AfterEffect tools:
http://help.adobe.com/en_US/AfterEffects/9.0/WSB2E4332E-8EA6-4fa2-AF6F-D50C22088EE3a.html

Tuesday, March 30, 2010

Pipeline in a Box summary and Evaluation

Hi everybody,
Rob had me research a pipeline tool created by Adam Sidwell, a former BYU grad. The pipeline is a tool that comes along with the book "Body Language," which is a pretty nice rigging book. We are thinking about implementing it for our next project, but need to decide if it is worth it. Here is a brief summary of it:
1.) Automated project setting which has referencing tools that run off of it. In essence, by setting your project (similar to setting project in Maya) all the referencing of needed assets is automatically set up for you. (i.e. no "what asset was needed in this shot???")
2.) File system broken up by show-sequence-shot.
3.) Ability for a pipeline TD to "force" people to use a certain asset such as texture or rig. (One example would be: lets say you have a character that has a certain texture, but for one scene this character needs a muddy texture because he fell in the puddle. The TD would be able to force that texture for the shot without anyone else having to think about it.)
4.) shotinfo.info files- Using an extremely simple syntax, the pipeline TD is able to type in a text document what assets are needed for a shot, and Maya and the pipeline tools will automatically read, parse, and execute those assets to be referenced.

That is what I understand of the pipeline so far. As you can see it has several positive aspects. Here are some things that I felt were negative about it.

1.) This pipeline seems to be geared towards a film-type production. (Animation-heavy work) The tools in it were created to make referencing different rigs and textures for the same character. Im not sure that the projects we do at the CTL are that in depth to have seperate rigs and textures for each object/asset.
2.) One of Robs main concerns was not knowing where some people have put their files. In this pipeline, File placement is crucial and its a little bit convoluted at first. Getting everyone to know where to put their files would be fairly difficult, so one of us (or two) would need to be in charge of the pipeline and placement. If this person was gone, things could get slow and progress could be halted.
3.) Right now, we don't set projects when we open up Maya. We just open up the mb file and work on it. With this pipeline, setting your project is another very crucial aspect and im not sure what would happen if you were screwing this up, because I havent had much experience with it yet.
4.) A designated Pipeline TD **MUST** keep up on everything. Like, this person has to know everything about every shot, because he is the one that sets up the files that are needed. If you do it ideally as well, the TD would also be setting permissions on folders. But thats not totally necessary.

My evaluation-
I think that although some aspects of this pipeline are complicated and Im still not 100% knowledgeable about this certain pipeline, I think it is worth trying out. Just for the experience, really. The reason for this is because it is good experience to work in an actual pipeline because that is what they do in the industry. It will also give some of us the opportunity to put "pipeline TD" on a resume. File organization is so important with a production that any hands-on experience with setting this up and keeping it working will give someone a definite edge if this is something they are interested in. Also, this thing would be easy to scrap if it wasn't working out for us.

Sorry that was long, please let me know what you think and any problems you think our current pipeline has! I havent been here long so I dont know much about that.

Friday, November 6, 2009

Vue Render Settings

You can select user settings, then load this file - S:\PROJECTS\Virtual Biology\Drafts\Art\Production\Ecology\Vue\Vue_Scenes\Vue_RenderSettings.urs

or manually adjust settings using this cool screen-cap!

Thursday, October 29, 2009

Hi All, Since a lot of us are going to be working on the biology in the next little while I realized that I needed to publish the list of all the changes that I know about that need to be made from the layout versions of the animations. Here are the links to view the latest version of each layout animation and the current list of changes that we have for each one:

Mitosis:
1. Beef up the thickness of the chromosomes starting at 00:30. They should be much more substantial that the microphillaments.
2. Where do the centriols come from at 00:31? should they be at the polls when we switch to UV light or migrate from one spot as shown?
3. Vary the lengths of the chromosomes.
4. Have the nuclear membrane fade in more gradually around the unraveling chromosomes between 00:50 - 00:58.
5. Pinch and flow the organelles when dividing the outer membrane at the end of division 00:58-01:01.

Meiosis:
1. Beef up the thickness of the chromosomes starting at 00:30. They should be much more substantial that the microphillaments.
2. Where do the centriols come from at 00:31? should they be at the polls when we switch to UV light or migrate from one spot as shown?
3. At 00:42 have chromosomes pair up near each other like in image "Meiosis Part 2 Screen Shot #1.jpg"
4. At 00:53 have all of the spindle fibers growing or shrinking "Meiosis Part 2 Screen Shot #2.jpg"
5. Align first chromosome pull at 00:53 and cell division axis at 01:02 see "Meiosis Part 2 Screen Shot #3.jpg"
6. Don't unwind chromosomes at 00:59
7. Spindle fibers don't fade out and grow against each other to push cell a part and lead to division.
8. Centrosome couplets travel to polls at 01:10.
9. At 01:20-01:28 Follow the sperm maturation process.
10. Make a female end version with 3 of 4 eggs disappearing and one remaining 01:22-01:29.

DNA replication:
1. at 00:04 focus on single DNA strand and pan left to see opened strand at 00:08 (maybe make pan take longer)
2. at 00:13 The doughnut-shaped binding clamp binds to the DNA just after the RNA primer is added. The clamp then serves to recruit the polymerase.
3. at 00:22 The polymerase on the lagging strand not only polymerase DNA, but also forces the RNA primers off the existing DNA and cut the RNA primers off. Then the same polymerase adds DNA nucleotides in the place of the RNA primer. See "DNA Replication Screen Shot #2.jpg"
0:20 -0:22 DNA polymerase (the Green blob) will remove the RNA primer one residue at a time and replace the RNA with DNA one residues at a time. (the other protein – the grey smashed candy corn – should not be there).
4. At 00:24 and 00:31 These proteins are unnecessary because the original polymerase performs the duty of removing the RNA primer. See "DNA Replication Screen Shot #3.jpg"
5. at 00:40 leave shot with two diverging strands of DNA.

Translation:
1. add in longer proteins strands in backgound
2. At 00:00 - 00:05 make ribosomes on the rough ER should be the same color and shape as the ribosomes in the cytoplasm. If possible, it would be great to see ribosomes come onto and off of the rough ER as the animation progresses
3. At 00:00 - 00:06 circularize the mRNA as shown in " Translation Screen Shot #2.jpg"
4. At 00:21 make the growing protein strand to ball up outside the ribosome as it is made. This is a natural folding process in which the protein binds to itself.
Have the emerging peptide chain fold up. If you don’t think there are enough residues to fold up properly, then either lengthen the movie or speed up the process to fit more residues in.


Transcription:
1. add in nuclear pore in background 00:42-00:52 and have mRNA strand head up toward pore like it will be going out of it.
0:21 What are the attacking molecules at 0:21
0:30 Can you stay zoomed out until the mRNA leaves the complex (about 0:32)?
The mRNA chain needs to move away from the DNA strand. You might add a peripheral Ribosome to the mRNA chain.

Photosynthesis -light reaction:
1. At 00:00 add a yellowish membrane to the inside wall of the green plant cell wall
2. At 00:00 Give the Golgi 5 pancake stacks with the two outermost stacks having many vesicles blebbing off.
3. At 00:00 Make the mitochondria about half the size, or less, than the chloroplasts.
4. At 00:00 Make the cell membranes of every organelle the same width
5. At 00:00 The smooth ER should be continuous with the rough AND they should be slightly different shades of the same color. Remember that the smooth ER is more tubular while the rough ER is stacked like pancakes.
6. At 00:04 Make the outermost membranes of the chloroplast translucent to light green--preferrably slightly different shades and very light compared to the grana (the stacks of discs inside the chloroplast, which should be rich green like they are)
7. At 00:05 Ideally, the entire surface of the thylakoid discs would be somewhat populated with the proteins of the photosynthesis electron chain.
8. At 00:07 Make the membrane containing our proteins completely horizontal.
9. At 00:07 Populate the membrane with phospholipids that slightly wiggle. (See Steve Herron's bioenergetics Membrane Animations in email)
10. At 00:10 Make the electrons bluish balls of energy (balls of light) and the photons yellowish balls of energy.
11. At 00:19 For the water molecule colors, oxygen should be red and hydrogen should be white (with a pearly sheen so that they have some texture).
12. At 00:34 Unite the 2 orange hydrogens to the first mobile electron carrier protein before it moves from the first complex to the next complex (while it is still located near the top sheet of the membrane).
13. At 00:37 Cause the electrons to follow each other through a U-shaped path up into the core of the complex that begins at the currently designated startpoint and ends at the currently designated transfer point.
14. At 00:39 Cause the second mobile electron carrier to remain in close contact with the membrane during its movement from the second comlex to the third complex.
15. At 00:57 Place the Ferrodoxin NADP Reductase (FNR) enzyme on the top surface of the membrane, not integrated into the membrane.
16. At 01:01 Once NADP is reduced by adding hydrogen allow it to dissociate from FNR and randomly move away from the membrane surface.
17. At 01:05 Be sure that hydrogens are on either side of the membrane, but not in the membrane space itself.
18. At 01:05 Make the ATP Synthase complex move from the time that it can be seen on screen.
19. At 01:08 Cause the freshly created ATP and cycled hydrogens to randomly dissociate away from the ATP synthase once emitted from the protein complex.
20. Let ATP rotary pump (01:06-01:10) cycle longer by adding another 6 seconds.

Lac Operon - Gene regulation:
1. At 00:03 - 00:11 Please include 3 or fewer lactose molecules until after the RNA Polymerase's first pass (the unsuccessful DNA-binding event). Then cause more lactose molecules to appear and bind the repressor.
2. At 00:03 - 00:11 The lac repressor actually binds a loop of DNA on either end. The Lac Operon Picture #1, depicts the bound DNA loop. The animation could show the unlooping after repressor deactivation then the subsequent binding of RNA polymerase.
3. Let regulator move off instead of using transition at 00:22.
4. At 00:30 - 00:47 See Screen Shots #2a and #2b--The ribosome subunits bind to the RNA separately. First the small subunit binds. Second, the first tRNA binds. Last, the large subunit binds. I imagine this portion of the animation be somewhat more similar to the already produced translation animation but simplified. Could we make simple tRNAs that simply enter the ribosome and others that exit the ribosome out the other side? This animation ties together other DNA-associated animations (transcription and translation), so I, personally, would like a couple of the main steps from those animations to reappear here.
5. At 01:09 - 01:16 After the repressor has re-bound to the DNA please animate 3 or fewer lactose molecules.
0;30-0:32 I think the Ribosome should attach to the mRNA earlier (around 0:30 not 0:32), first with the small subunit and then the large subunit (as mentioned in your notes).
The Ribosome should bind near the beginning of the mRNA molecule, but not at the end. There is an mRNA cap and associated proteins (to complex to add) that bind to the very beginning the ribosome typically binds several residues downstream of the cap.
Peptides should appear fairly quickly after the Ribosome starts down the chain. In this version of the animation you have the Ribosome binding at
0:32 and peptides first appear at 0:36 (too long).
The peptide should appear as a chain folded (as noted in your notes).
0:59 The blue lactate molecules in the cytosol need to be bigger or the lactate molecules on the Lac Repressor (the Gold tooth) need to get smaller as the molecules move towards β-galactosidase.
1:03 As the blue lactate get degraded by β-galactosidase, the glucose and galactose molecules should appear (two smaller gray molecules).

Monday, October 26, 2009

Here is the path to the Vue plant models that we have purchased for the ecology lab.

S:\PROJECTS\Virtual Biology\Drafts\Art\Production\Ecology\Vue\Purchased_Plants\

Thursday, October 22, 2009



























I'd been experimenting with making a shear fabric all afternoon and thanks to help from Stacey and Dan, I found out how to make it work. This might not be the most exciting thing for anyone else, but I'm super stoked about it :) Yeah for Alpha Channels in Photoshop and for Stacey's awesome light rig!