Commercial: NSW Communities (Cogs)

Click to play video.
Click to watch video.

This was done a relative quick job for the New South Wales government. They had, in fact, recently come back to us for a ‘phase 2’ ad along the same lines, only the deadline was a bit shorter.

The ad was in two parts: the cogs and the town hall scene. I’ll just talk about the cogs scene because that was the only part I was involved in.

I was asked to create the cogs that formed the NSW state lines. We bought a few gears off Turbosquid to get started, but other bits and pieces had to be modelled along the way. I had first set up the layout of the gears, and rigged sections of them to follow different controllers. Then individual gear component combinations were rigged, and then placed into the main scene.

The rendering was also done in LightWave, but the final look was supposed to be hand-drawn. This process was in 3 parts.

The base render was from LW, which was a clean, multi-toned render. LW enables me to colour individual gears/items based on the fact that they are instanced or separated, and I used this to quickly shade variations of the colour theme. I like the fact that I can get lots of shading control across whatever shader channel (eg diffuse, specularity) that I’m using.

After the base render, Richard post-processed that in AE using his own concoction of adjustment layers and textures.

And for the third step, Richard‘s AE renders were passed on to Alexandre Belbari and Thomas Buiron, who gave it the more sketchy, organic look.

When it came back to us, Richard add further effects such as the smoke and particles.

 

Commercial: Vector Solar Green House

Remember that this work thread is about the fact that cg projects are rarely straightforward; one artist might look he’s not doing anything, when, in fact, he’s doing everything, and vice-versa.

My contribution to this commercial is intermingled with the fact that it had been animated, and its look set up by someone else to be rendered in Octane, a GPU-based, unbiased renderer, presumably to make rendering faster and more beautiful. However, it wasn’t faster, and it wasn’t that much more beautiful, as the look was mainly AO-like. Time was running out. We have a renderfarm that can render mental ray, V-Ray, LightWave, and After Effects; but not Octane. So, it was passed on to me so I can render and comp it in time. Not surprisingly, it wasn’t just about hitting the render button in LightWave.

I took the original assets, replaced everything with LightWave shaders, tweaked the shadows and diffuse shading so that they matched, as close as possible, to the original test Octane renders, and had to fix many of the errors present in the scene, as well a number of broken models. I strategised on how much needs rendering based on the animatics; I used Janus, the ultimate LW ass-saver, to breakout lots of the necessary animated elements and mattes, and rendered them; Richard and I did the motion graphics, and I comped everything for the final product in After Effects.

This hot-potato workflow, in which a project is tossed completely to another person to be rescued, is out of my control; I simply have to do it. The main problem I have with it is that few recognises it as that: a pawning-off of accountability and yet accepting the full credit for it (as such, I’m not credited). And, again, this is why this work thread is being written: a project like this would not have seen the light of day if someone hadn’t objectively dealt with the details that were required to actually finish the job to the client’s standards. What you see isn’t what went on.

There are hard facts in professional workflows, which some are in denial of. Workflows that fly against simple reason will not get them where they want, no matter how much they cuss or growl at the monitor. There is a lesson to be learnt here, but are those who need to learn it actually get it?

Commercial: James and Wells

jaws_thumb_1
(Click to watch video)

I should say this is a “bit of an odd one”, but then I would sound like broken track record, wouldn’t I?

Yes, it’s another odd one, internally called JAWS, it was abandoned like a mutant, tossed like a hot potato into the hands of the poor soul who needed to resurrect this dying pig… or sheep.

Fortunately, I was not the poor soul, but Richard Falla. Pitying his sorry life dearly, I extended a finger — my pinky, to be precise — to assist his writhing body out of the the slings and arrows of outrageous fortune.

So I made racist kiwifruit drop from the sky and flags wave. Cool. In the meantime, Richard rescued the job from burning in hell.