Studio CG Modelling/Animation Project

[WP Rayner]

This is not the usual type of modelling that's presented on the forum, but I thought I'd share a few images from a CG animated short titled Melvin, currently in progress in the studio. It's essentially a short story about self-awareness and discovery, becoming the individual you want to be rather than remaining the anonymous stereotype that those around you expect you to be. First image is of Melvin himself, the main character.



This next image is a work-in-progress opening shot of the city environment which will establish not only the physical nature of Melvin's world, but the emotional feel of the bulk of the story. Still a lot of detail work to do on the set, adding litter and so on.


 
The third image is the interior set, again with more litter detail to be added.

[Bill Gill]

Hi, Welcome to the forums, you've got my interest. I want to see more.

[Chris J]

What software do you use?

[WP Rayner]

Hi, Welcome to the forums, you've got my interest. I want to see more.

Thanks Bill, it's good to be here.

Paul

[WP Rayner]

What software do you use?

As with all tools, software used is determined by the task at hand. There are six separate applications being used at this point in the project, some of which are proprietary, and as such, I'm not at liberty to reveal any specifics.

Paul

[Ray Dunakin]

Beautiful renderings!

[WP Rayner]

Beautiful renderings!

Thank you Ray!

Just had a glance through your website... didn't realize you were an illustrator. Your airbrush illustrations are very good. Are you still illustrating?

Paul

[Dave Fischer]

Paul-- I've been a fan of CG since its earliest stirrings and have bought more than a few not-so-hot movies because the backgrounds were so incredible. I certainly feel that computer rendering has a place here, and would love to see more of what you do. As an illustrator who was forced to learn to work on the computer back in 1996, I wonder if the same conversation still comes up-- a fellow-illustrator and I complained that we were doing better work than ever before, but in the end had nothing to hold or hang on the wall. Oh, well, that's where models come in...

And Ray-- I never got farther than the In-Ko-Pah, so never saw your illustration until just now. Very nice! I see a lot of Ray Gaedeke in your work. Do you know who he is? Studying his work on Lindberg covers when I was five years old sparked my interest in illustration!   DF

[Ray Dunakin]

Just had a glance through your website... didn't realize you were an illustrator. Your airbrush illustrations are very good. Are you still illustrating?

Thanks! No, I gave it up in the mid-90s when I started focusing more on game development.

[Ray Dunakin]

And Ray-- I never got farther than the In-Ko-Pah, so never saw your illustration until just now. Very nice! I see a lot of Ray Gaedeke in your work. Do you know who he is? Studying his work on Lindberg covers when I was five years old sparked my interest in illustration!   DF

Thanks! I'd never heard of him, though of course I've seen his work on model boxes many times in the past without ever realizing it. I just did a Google search and found a bit of info about him -- he was quite an interesting and talented guy.

https://www.oldmodelkits.com/blog/plastic-model-kit-history/ray-gaedke-–lindberg-line-box-top-illustrator-artist-twirler-and-entrepreneur/

[finescalerr]

I built this one. -- Russ

[WP Rayner]

I built this one. -- Russ

I have one of those in my stock pile... may be inspired one of these days to build it.

[WP Rayner]

Paul-- I've been a fan of CG since its earliest stirrings and have bought more than a few not-so-hot movies because the backgrounds were so incredible. I certainly feel that computer rendering has a place here, and would love to see more of what you do. As an illustrator who was forced to learn to work on the computer back in 1996, I wonder if the same conversation still comes up-- a fellow-illustrator and I complained that we were doing better work than ever before, but in the end had nothing to hold or hang on the wall. Oh, well, that's where models come in...
DF

Thanks Dave... when I first started out with CG visualization, I used to feel the same way about it's transient nature, nothing to hold on to or hang on the wall. I printed out a few images, trying to come up with something that I felt was more tangible, but after years of doing commercial work, I've come to realize that the issue is no longer any concern to me. As long as the client is happy with the work, I'm satisfied. This animation project is a personal one and is radically different from my commercial work which I felt was getting a little stale and repetitive. This offers the opportunity to broaden my skill set and have a little fun at the same time... that is if unwrapping UVs can be considered fun!

[Dave Fischer]

Paul-- Sounds like we have all walked the same path regarding the transient, throw-away nature of contemporary graphics. A personal project gets you past the 90% mindset of commercial work, but not having a deadline enforcer can test your dedication! How long do you estimate your new project will take? Keep us informed of your progress-- I am finding this very exciting.   

Oh, and here's the Ray Gaedke cover I found SO inspiring as a kid. Why it couldn't have led to a more lucrative career I can't say...  DF

[WP Rayner]

Paul-- Sounds like we have all walked the same path regarding the transient, throw-away nature of contemporary graphics. A personal project gets you past the 90% mindset of commercial work, but not having a deadline enforcer can test your dedication! How long do you estimate your new project will take? Keep us informed of your progress-- I am finding this very exciting. 

Oh, and here's the Ray Gaedke cover I found SO inspiring as a kid. Why it couldn't have led to a more lucrative career I can't say...  DF

Well I'm not in any particular hurry on this project Dave, but I'm guessing two-three years to complete including rendering. Animation is a slow and pains-taking process. Spent this past week adding details to the city set, which I think for now, completes it. (If you right-click the image and open in a new tab, you'll get a larger view.) Probably be some changes when I plot the camera track through the scene. There are also changes and details to be added to the interior hallway set to tie it in more closely to the city set.


 
Next step in the process is to remodel the main character derived from the concept. The geometry has to be reworked completely so that the character can be properly rigged for animation, plus I then have to model the second version that presents his story-line transformation.