Ted Stapletons University Blog

Jetpack Jones Head Modelling Body Modelling 1 Body Modelling 02 Body Modelling 03 Body Modelling 04 Uv Layout Skinning 01 Jetpack Jones Rigging 01 Colours and Restrictions Upper Body Weights  Corrective Weights IK Rigging  Facial Rig and Rivets Texture Painting Test Renders Turnaround Completed Demoreel Animation Drama Poses Action Poses Weightlifting - Graph Editor Settling Poses Weightlifting Final Animation Lip Sync - Emotions Lip Syncing - Lip Movements Lip Sync -  Facial Movements Lip Sync - Head Blocking Pose to Pose Pose blocking Pose to Pose - Ghost script Pose to Pose Animation  Lighting and Rendering Displacement AOVs Motion Blur Ambient Occlusion Depth of Field Stand ins Photometric Lights Caustics Mesh Light Physical Sky Fog and Atmosphere Mudbox Post 1 Post 2 Post 3 Post 4 Post 5 Custom Model Character Design Influence map Week 1 Week 1 - Mouse Concept Art Week 2 Week 3 Week 4 Mo

When creating different poses with gaps between them in the frames and changing from FK to IK the ghost became useful to easily pose Mooms inbetweens.

Painting cracks with layers and stamps Exported paint layers to Photoshop Adjusting the bumpmaps and converting painted layers to normal and bumpmaps Layer painting options and adjustments Trying out the pose tools Rendering a screen image Rendered Image Model export options

For Jetpack Jones the challenge was hard as I often encountered many obstacles either due to a mistake I made or the software acting up. Still I was impressed with what I was able to accomplish and has given me insight into what to expect when I go professional. It has also made me think of which roll to undertake when I enter the industry properly. I am also quite proud with how this turntable turned out although the obvious seams on the boots need some work. Overall, I'm happy with how this turned out though I wish could get it out earlier.

Throughout these projects I found them quite fascinating to work with. They have allowed me to give a better appreciation of the software and work done with the programs used. Despite the recent trying times I have the experience quite fulfilling to understand how industry operates. For my Jetpack Jones the challenge was hard as I often encountered many obstacles either due to a mistake I made or the software acting up. Still I was impressed with what I was able to accomplish and has given me insight into what to expect when I go professional. It has also made me think of which roll to undertake when I enter the industry properly. Although I do feel that it still could be better as I may have done some improper modelling and did get many turnarounds out before the deadline. Overall I feel quite pleased with the outcome as I have managed to at least render a turnaround and completely rigged, textured, and posed Jones makes me anticipate for the next pipeline project as I do think I

Flight-lighting Flat painting Ptex texturing

Test render pf Jones with finalised textures. Close-up of face with subsurface scattering.

Everything Toolkit 2 Jetpack Jones Life Drawing Mudbox Animation Lighting and rendering Character Design

Texture Painting of the lower body. Made in both photoshop and mudbox Various head paintings - made in mudbox mainly

Link to Presentation Audio: https://drive.google.com/file/d/1zxLyZrnp2z5R0EM11k4SwFk37Qm48oRr/view?usp=sharing

Completed Facial Rig Rivets completed.

Artwork of a scientist ( AKA Dr. Coomer) from the video game Half-Life (1998) Reflective Statement Sculpting in Mudbox has been quite interesting especially when it came to my own model after learning its tools and techniques. As a result I have applied what I have learnt from my experiences into other projects and I do look eager to do else in future ones. The method of converting models in bumpmaps and the sculpting layers have been helpful and interesting ways of handling digital modelling when it comes to the pipeline.

The raw version of the voice acting. Stuff will probably have to be changed and edited to decrease its length closer to a 4 minutes.

Test render of my pre_viz island illuminated with a physical light. I modelled the island as if it were actually a set or prop placed on a flat plastic surface meant to be the sea.

Blocking plan for the virtual set

Premise Script by ted stapleton on Scribd

The pre-viz model for my main setting of my premise.

Controls have been coloured and the edit attribute window demonstrates how I was able to restrict the movements of certain controls and attributes. Complete controls and restrictions. The star represents the visibility control to adjust the visibility of all the controls.

The island which my animated short takes place on. The layout was heavily influenced by fjords and the landscape of scandanivian coastal regions particularly Norway.