Look! I finally cut together a demoreel!
I'm getting interviewed by PIXAR! :DDDDDDDDD Actually, Pixar gets a slightly different version of my reel. The Pixar version simply has no music... they're not very big fans of music in demoreels, apparently.
Which is why I got off of my lazy bum and finally cut a reel together.
Oh, I have a reel breakdown too! Check it out here (PDF).
The song in my reel is "I Like Van Halen Because My Sister Says They Are Cool" by El Ten Eleven. I've recut it slightly to fit the length of the reel.
I also finally put together a personal site thing at www.yiningkarlli.com.
Speaking of new sites... I should probably get around to redesigning Omjii.com soon. Hm.
Monday, February 21, 2011
Saturday, February 19, 2011
How 'Bout Them Apples?
Earlier this week my mom gave my roommates and me a gigormous sack of apples, so I've been eating apples all week. Which is good, because I love apples. :)
So I had an apple sitting on my desk, and I had Maya open, and I was a little bit bored, so... I made some apples in Maya!
Over the past few months I've developed a bit of an... odd... workflow for texturing/shading irregularly shaped objects (apples... muddy boots... hermit crabs...). I start with modeling and whatnot in Maya, as usual:
Then I go into Photoshop and use various reference (images found online, photos taken with my Nikon D60, etc) to paint a tile of the texture I want. For example, for the apples I took some photos of the apples and then extracted textures from the photos to create this texture tile:
Next, I bring the object mesh and the texture tile into Mudbox and use Mudbox's projection stencil tool to paint the mesh using the texture tile as the stencil. The nice thing about bringing things into Mudbox for texturing is that I don't really have to worry too much about UV mapping. Mudbox will automagically take care of all of the UV stuff as long as the imported mesh doesn't have any overlapping UV coordinates. So instead of messing with the UV editor in Maya before texturing, I can just use Maya's Automatic UV mapping tool to make sure that no UVs overlap and bring that into Mudbox. After painting in Mudbox, I got a texture image like this:
After texture painting in Mudbox, deriving spec and bump maps in Photoshop is a relatively straightforward affair. Once texturing and shading is done, I render out the beauty pass and z-depth pass and other passes...
...and bring all those passes into After Effects for compositing and color grading, and I'm done!
So I had an apple sitting on my desk, and I had Maya open, and I was a little bit bored, so... I made some apples in Maya!
Over the past few months I've developed a bit of an... odd... workflow for texturing/shading irregularly shaped objects (apples... muddy boots... hermit crabs...). I start with modeling and whatnot in Maya, as usual:
Then I go into Photoshop and use various reference (images found online, photos taken with my Nikon D60, etc) to paint a tile of the texture I want. For example, for the apples I took some photos of the apples and then extracted textures from the photos to create this texture tile:
Next, I bring the object mesh and the texture tile into Mudbox and use Mudbox's projection stencil tool to paint the mesh using the texture tile as the stencil. The nice thing about bringing things into Mudbox for texturing is that I don't really have to worry too much about UV mapping. Mudbox will automagically take care of all of the UV stuff as long as the imported mesh doesn't have any overlapping UV coordinates. So instead of messing with the UV editor in Maya before texturing, I can just use Maya's Automatic UV mapping tool to make sure that no UVs overlap and bring that into Mudbox. After painting in Mudbox, I got a texture image like this:
After texture painting in Mudbox, deriving spec and bump maps in Photoshop is a relatively straightforward affair. Once texturing and shading is done, I render out the beauty pass and z-depth pass and other passes...
...and bring all those passes into After Effects for compositing and color grading, and I'm done!
Friday, February 4, 2011
Watermelon Smash
For animation class, we were given an assignment where we each had to pick a random mixed drink name and use that name as the basis of a 10 second animation in After Effects. I picked something called a Watermelon Smash (it contains.... watermelon cubes... and I don't remember what else). So... here's a watermelon smashing something!
We were actually allowed to use anything we wanted for the actual animation, the only rule was that we had to composite the final result together in After Effects. I wound up doing the ocean, splashes, and sparks in Flash (with tons of help from Joseph Gilland's book Elemental Magic) and painting the boat and the watermelon in Photoshop. The watermelon itself is animated entirely using the puppet warp tool in After Effects.
I'm not terribly happy with the sound. That needs some reworking probably...
Here's a few stills breaking down how the entire thing was composited:
...and here's some random stills:
We were actually allowed to use anything we wanted for the actual animation, the only rule was that we had to composite the final result together in After Effects. I wound up doing the ocean, splashes, and sparks in Flash (with tons of help from Joseph Gilland's book Elemental Magic) and painting the boat and the watermelon in Photoshop. The watermelon itself is animated entirely using the puppet warp tool in After Effects.
I'm not terribly happy with the sound. That needs some reworking probably...
Here's a few stills breaking down how the entire thing was composited:
...and here's some random stills:
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