For
the final delivery, I made revisions to shots A90, B20, B30, B50, and
B60. A80 was good to go so I didn't revise anything in that shot. Once I
was done with each shot, I exported the animations out of Maya and
imported them into our
Unreal Project. Once they were in the project, I made sure they were
working right in their respective shot sequences. Then I wrote my autobiography and submitted that and my contact information to the team leads to compile and made my contribution slide for the final presentation.
I animated final passes for shots A80, A90, B20, B30, B50, and B60. Then I exported the animations out of Maya and imported them into our Unreal Project. Once they were in the project, I made sure they were working right in their respective shot sequences. The barista animation was giving me some trouble, but Melanie figured out what the problem was so all the animations are playing correctly. I also adjusted the cameras for shots A80 and B60 and imported those into our Unreal project as well.
I animated second passes for shots A80, A90, B50, and B60.
Shot A80
Shot A90
Shot B50
Shot B60
Cleaning Animation Data
I cleaned and characterized the Mocap animation files for 5 different files, Andre_WaitingIndle_001.001, Chris_PacingIdle_001.001, Tyler_FidgetyIdle_001.001, Alyssa_WaitingIdle_001, Amy_WaitingIdle_001, and Blake_WaitingIdle_001, so they are ready to be plotted to a character and have their animation cleaned up.
I blocked animation for shots A80, A90, B20, B30, B50, and B60.
Shot A80
Shot A90
Shot B20
Shot B30
Shot B50
Shot B60
Helping Animation Set Up
I exported the environment out of Unreal and set up a Maya file with the environment in it for animators to use. I also tested exporting cameras out of Unreal and wrote up how to export cameras for the people doing Layout.
I updated the shot list based on the storyboards and animatic from last sprint. I added screenshots from the animatic to help the camera artists with layout, updated the descriptions of the shots, and added time codes for each shot. Then I came up with a point system for how to equally distribute the work load between the animators where "hard" shots are worth 3 points, "medium" shots are 2 points, and "easy" shots are 1 point. The point number for all the shots total was 48 and there are 6 animators so each animator got 8 points and we were able to distribute work that way.
I did a bit of research into references for Sol's mannerisms and behaviors. This doc is linked above.
Reference Footage
I filmed reference footage to further establish the mannerisms I imagine Sol would have. This was based on a shot in the cinematic, shot A20 where the girls are ordering drinks, so I may be able to use this more in the future as well.
Sol Proxy Rig Stress Test
Once I got the proxy rig for Sol from Jordyn, I filmed reference footage for a girly, bubbly walk and then animated a walk cycle based on that reference as a stress test for the rig.
Layout Reel Edit
Once the camera artists with their second pass of layout and Melanie exported the sequence from Unreal, I edited the sequences together and then added the time codes and shot numbers to the edit.
Perforce Proof of Stress Test MP4/Maya File & Layout Reel
For Artist Interview Research Project, I interviewed Sean McDermott and asked him about his experience as a 3D Gameplay Animator in the industry and specifically at Insomniac Games.
The PDF of the presentation I made for this project based on the interview I conducted can be accessed here.
