Author: Yi Huang

5 high-resolution still images

showreel

Acquiring and Customizing the Bird Models

The bird models were purchased online, and to give our female bird a distinct identity, I redrew the textures to differentiate her from the male. This customization was a new experience for me, and it added an extra layer of detail to our animation.

The Complexity of Wing Animation

Animating birds was uncharted territory for me, and I quickly discovered that the structure of bird wings is incredibly complex, with numerous controllers to manage. This part of the process was genuinely challenging, and it made me appreciate the skill of animators who work on animal-themed films. The intricacies of movement and the need for lifelike motion are truly impressive.

The Rendering and Compositing Process

When it came to rendering, I faced another set of challenges. Blender’s incompatibility with FBX format animation files forced me to export in Alembic format. However, the ABC format files lose materials and textures, which meant I had to reapply these in Blender, adding to my workload.

After compositing the characters and scenes in Blender, I quickly added props and rendered the current shot. I then exported the render sequence and edited it in Adobe Premiere Pro. It’s worth mentioning that the red thread of Yue Lao was hand-drawn by me, using the software Calliipeg.

The Hand-Drawn Touch: Yue Lao’s Red Thread

The red thread, a significant element in the story of Yue Lao, was hand-drawn by me using Calliipeg. This added a personal and unique touch to our animation, distinguishing it from others and adding a layer of artistry that cannot be achieved with purely digital way.

The Rigging Reality Check

The rigging process, though meticulous, was not without its surprises. Just when I thought I had completed the rig and could finally move on to animation, I’d discover issues that required me to go back and make adjustments. A particularly frustrating moment was when I found that Cupid’s halo was inserted into the head model, which meant I had to stop the animation and return to the rigging stage for fixes. This happened multiple times, cost lot of time.

The Thrill of Animation

Despite the rigging setbacks, the animation phase is where I truly shine. It’s the part I know best and enjoy the most. I quickly moved into blocking, setting keyframes for the characters. However, the time lost in rigging meant I had to prioritize and focus on a limited number of shots. Regrettably, this meant that Cupid only appears in one scene, which I find disappointing since I’m very pleased with his design and find him adorable. I plan to continue working on this project even after submitting it.

The Joy of Reference Shooting

For Yue Lao’s animation, I spent a considerable amount of time on reference shooting, which was a fascinating process. It felt like I was more than just an animator; I was an actor too. I lament not having enough time to refine the character’s movements, but I’m committed to revisiting and polishing this animation later.

The Balancing Act

Balancing the technical aspects of rigging with the creative process of animation has been a challenge. It’s a constant reminder that animation is a complex dance between technology and artistry. While the rigging phase can be tedious, it’s a necessary foundation for the animation phase, where all the hard work pays off in the form of dynamic, lifelike characters.

Yue Lao. As with Cupid, the process involved creating a skeleton and binding it to the model, but with unique challenges that required creative solutions. Let’s dive into the details of rigging Yue Lao and the issues I encountered along the way.

Rigging Yue Lao: A Similar Yet Different Journey

Much like Cupid, Yue Lao’s rigging started with the basic methods we’ve come to know. His longer arms and legs, however, presented their own set of challenges. Fortunately, the weight painting around the knees and elbows was relatively straightforward, achieving a natural look with minimal effort.

The Coat Conundrum

One of the major issues I faced was with Yue Lao’s coat. I wanted it to maintain an inverted triangular shape when his arms were lowered, but I was unsure how to rig it to achieve this effect. After scouring numerous tutorials without finding a solution, I resorted to copying the arm weights to the coat. This was a practical workaround, though not the most elegant solution.

The Facial Hair Fiasco

Rigging Yue Lao’s beard was another challenge. Initially, no matter what expression I tried to animate, the beard wouldn’t move as expected. Clearly, this wasn’t the desired outcome. I attempted to copy the facial weights to the beard, hoping it would move in tandem with the facial muscles, but this led to model deformation issues. In the end, I added separate bones for the upper and lower parts of the beard, which I’ll manually adjust during the animation phase to reflect the character’s expressions.

Fine-Tuning the Details

Lastly, there were minor details to address, such as the ankle area where the calf model would change thickness as the foot rotated. These small issues required careful adjustments to ensure that the final animation would be seamless and believable.

I’m delving into the intricacies of scene creation as I work on bringing the contrasting worlds of Cupid and Yue Lao to life. Just as with character modeling, the textures and materials play a crucial role in setting the stage for our narrative. Let’s explore the techniques and creative decisions that are shaping this scene.

Texture and Material Techniques

The approach to texturing and material creation for the scene mirrors that of character modeling, with a focus on detail and realism. It’s not just about making the scene look good; it’s about creating an environment that tells a story and immerses the viewer in the cultural clash and harmony of Cupid and Yue Lao.

The Mystical Mountains of Yue Lao

One of the standout features of the Yue Lao scene is the mountain range, inspired by the ethereal beauty of Chinese classical landscape paintings. To achieve a feeling of cloud, I incorporated transparency gradient nodes along the Y-axis of the mountain model. This technique allows the upper parts of the mountains to appear solid and clear while the lower parts gradually fade into translucency, mimicking the soft, misty quality of clouds.

Creating the Waterfall with Transparency Maps

The waterfall on the mountain was a fun challenge. To give it a dynamic, flowing effect, I used transparency maps and added code along the Y-axis to animate the water. This creates the illusion of movement and brings the scene to life, adding a sense of energy and natural beauty.

Crafting the Clouds: A Blend of Techniques

Cloud creation was a blend of modeling and texturing. I started by creating basic cloud models and applied materials that gave them a soft, transparent edge. To enrich the appearance and add a touch of hand-drawn artistry, I inserted hand-painted transparency maps around the edges of the clouds. This technique not only enhances the visual appeal but also adds a unique, personalized style to the scene.

The idea is to place Cupid, the Roman god of love, and Yue Lao, the Chinese matchmaker, in a single scene that highlights their cultural differences. This isn’t just about placing two characters together; it’s about creating an environment that tells a story of its own, reflecting the clash and harmony of Eastern and Western philosophies.

Designing the Scene: Architectural and Landscape Contrasts

To achieve this, I started by researching architectural styles and landscapes that would best represent each culture. For Cupid, I looked into classical Roman architecture with its grand columns, domes, and statues, symbolizing the grandeur and history of the Roman civilization. For Yue Lao, I chose traditional Chinese architecture with its pagodas, arches, and courtyards, embodying the serenity and wisdom of Chinese culture.

Visual Style: A Clash of Aesthetics

The visual style of the scene needed to reflect the cultural contrast while maintaining a sense of harmony. I decided to use a color palette that would complement both worlds: warm, earthy tones for the Roman side and cooler, more muted colors for the Chinese side. This would help create a visual language that speaks to the differences and similarities between the two.

The Challenge of Unity in Diversity

The biggest challenge in this scene design is to create a sense of unity amidst the diversity. I want the scene to feel like a natural encounter between two different worlds, not a forced juxtaposition. To achieve this, I’m considering the use of shared elements, such as a common water feature or a sky that blends the colors of both cultures, to tie the scene together.

Incorporating Symbolism

Symbolism will play a significant role in this scene. For Cupid, I plan to include symbols of love and passion, such as hearts and arrows. For Yue Lao, I’ll incorporate symbols of fate and destiny, like red threads and ancient scrolls. These elements will not only enhance the cultural narrative but also provide visual interest and depth.

After all the models are complete, it’s time to move on to rigging, which involves creating a skeleton that our models can move with. Let’s explore how I’m using the AdvancedSkeleton plugin in Maya to achieve this.

AdvancedSkeleton Plugin

For those who might not be familiar, the AdvancedSkeleton plugin is a powerful tool in Maya that simplifies the rigging process. It allows for the creation of complex skeletons and controls with relative ease, making it an invaluable asset for animators. This plugin extends Maya’s native rigging capabilities, offering a range of features that facilitate the creation of professional-grade character rigs.

Rigging Cupid: The Journey Begins

I started with Cupid, using the AdvancedSkeleton plugin to create a skeleton that would support the intricate movements needed for animation. The plugin’s intuitive interface made it easier to establish the hierarchy and structure of the bones, which is essential for smooth deformation and animation.

Dealing with the Challenges of Weight Painting

After the initial binding, I encountered the common issue of clipping or “popping” where the model intersected with itself in certain poses. This is a common challenge in rigging and requires careful weight painting to ensure that the vertices of the model are correctly influenced by the underlying skeleton.

I spent a significant amount of time adjusting the weights, a process that involves assigning influence over the model’s vertices to specific bones. This step is crucial for achieving a natural look in the final animation and requires patience and attention to detail.

The Persistent Problem of Clothing Interference

One persistent issue I faced was with the shoulders, where the clothing would clip through the body model. Despite my best efforts in weight painting, I couldn’t completely eliminate the problem. In the end, I had to get creative and solve it with a bit of visual trickery.

Creative Solution: Texture Workarounds

To address the clothing interference, I decided to modify the body model’s texture map. By changing the color of the areas covered by the clothing to match the clothing’s color, I could minimize the visibility of any clipping in the final render. It’s not an ideal solution, but it’s a practical workaround that maintains the visual integrity of the scene.

Refining Character Design: Lessons from Modeling a Chinese Deity

With experience gained from creating a Cupid model, I approached the challenge of modeling Yue Lao, the Chinese deity of love and marriage, with greater efficiency. However, this project came with its own unique set of challenges, especially in preserving the cultural and aesthetic elements of a traditional deity.

Preserving Traditional Features

One of the key features of Chinese deities is their distinctive appearance, such as a prominent forehead and large earlobes—symbols of good fortune in Chinese culture. Incorporating these features into the character design was essential.

During the modeling process, ensuring that the eyebrows and forehead wouldn’t clip during rigging required careful attention. Balancing artistic fidelity with technical feasibility was critical to achieving the desired results.

Enhancing Facial Details

After completing the UV mapping and texture painting, I realized that Yue Lao’s face looked overly simplistic. Unlike the rich details of an elder’s face—eye sockets, under-eye bags, and nasolabial folds—it lacked the depth and realism I had envisioned.

While I had successfully modeled these features in Maya, the texture-based approach in Blender initially fell short. To resolve this, I added a layer weight node to the skin material. This subtle enhancement brought more dimension to the face, capturing the wisdom and age expected of Yue Lao.

Lessons Learned

1. Cultural Authenticity Matters: Incorporating culturally significant traits like large foreheads and earlobes adds depth and respect to a design.
2. Attention to Detail: Addressing issues such as rigging clipping and simplistic textures can elevate the final result.
3. Experimentation Pays Off: Using material nodes creatively, like the layer weight node, can mimic features that are challenging to model.