Fuel & Fire Page Roughs Part 2

The next phase for my first page roughs.

s04_hunter-attack-_1smv2.jpg

s04_hunter-attack-_2smv2.jpg

Notes:

  • Hugh model posed in all frames.
  • Basic posing of the hero Hunter creature done. 
  • All background Hunters will need to be added.
  • Visual FX not started (smoke, dirt, tire tracks etc.)
  • Basic shading will be decided during rendering phase.

During the final render phase and polish in SketchUp (which will wait until the entire book is roughed), I’ll be determining shadow tones, dialogue placement, and any extra rendering elements.

Fuel & Fire Page Roughs Part 2

The next phase for my first page roughs.

s04_hunter-attack-_1smv2.jpg

s04_hunter-attack-_2smv2.jpg

Notes:

  • Hugh model posed in all frames.
  • Basic posing of the hero Hunter creature done. 
  • All background Hunters will need to be added.
  • Visual FX not started (smoke, dirt, tire tracks etc.)
  • Basic shading will be decided during rendering phase.

During the final render phase and polish in SketchUp (which will wait until the entire book is roughed), I’ll be determining shadow tones, dialogue placement, and any extra rendering elements.

Posing In Maya

What a day. I posed all the Hugh models for the first 2 pages of the scene I mocked up yesterday (see previous blog post). A total of 6 panels out of the 11 total for the spread (plus a super long shot for panel 1).

The posing in Maya was way fast to do. 6 panels took 3 hours. A few screen shots from Maya below:

mayaposing0.jpgmayaposing1.jpg
mayaposing3.jpgmayaposing2.jpg

Then I imported a panel into SketchUp and polished it up. The polishing phase in SketchUp is a little more time consuming – just 1 panel took about 2 hours. In SketchUp is where I focus on the line work and pop out all the details I want to emphasize, plus adding shadows. I’m starting to liken this part to the “inking” stage in comics.

mayaposing4.jpg
In Maya.

mayaposing5.jpg
Raw import into SketchUp.

mayaposing6.jpg
The polished panel.

Fuel & Fire Page Roughs

Okay, so this week is all about building a scene for Fuel & Fire. This will be the first scene I’ve created for the book. For starters I roughed out the pages needed for the scene using stand-in objects.

s04_hunter-attack-_1sm.jpg

s04_hunter-attack-_2sm.jpg

Notes:

  • These represent 4 pages in the scene. The scene will encompass about 5 pages.
  • Comic will be in landscape form. 
  • The red shapes are the clipping mask showing through (being that the images are not cropped and sized to fill the frame). This will obviously be fixed in the final.
  • The images will be shaded like the single frame in panel 2 on the first page.
  • The purple is rough placement of sound FX.
  • The white is rough placement of narration and dialogue.
  • The red diagonal lines are some changes to the panel shapes and gutters to break them out of their plain box form.

The Tools:

  • SketchUp – rough, and eventually final renders (though I might do this in Google Layout).
  • Maya – character posing and deformation.
  • Photoshop – for the roughs and final layout (though I might use Illustrator for the final).

The Assets:

Roughing the Page Process:
[PS] Photoshop
[SU] SketchUp

  1. [PS] Load up my custom template (10 1/4″ x 6 5/8″ landscape)(facing pages).
  2. [SU] Open up scene file in SketchUp.
  3. [SU] Import basic assets, arrange, and set camera angle (save as scene).
  4. [SU] Screen shot (alt+PrtScrn) the panel shot in SU.
  5. [PS] Paste (ctrl+v) as separate layer in template file.
  6. [PS] Crop out any extra items in screen shot.
  7. [PS] Create panel in a separate layer (for use as a clipping mask). Arrange on page.
  8. [PS] Arrange layers so that image is on top of clipping mask – right click on layer ans select, “create clipping mask”.
  9. [PS] Fine tune image in mask.
  10. Repeat steps 3-9 for each panel.

Fuel & Fire Page Roughs

Okay, so this week is all about building a scene for Fuel & Fire. This will be the first scene I’ve created for the book. For starters I roughed out the pages needed for the scene using stand-in objects.

s04_hunter-attack-_1sm.jpg

s04_hunter-attack-_2sm.jpg

Notes:

  • These represent 4 pages in the scene. The scene will encompass about 5 pages.
  • Comic will be in landscape form. 
  • The red shapes are the clipping mask showing through (being that the images are not cropped and sized to fill the frame). This will obviously be fixed in the final.
  • The images will be shaded like the single frame in panel 2 on the first page.
  • The purple is rough placement of sound FX.
  • The white is rough placement of narration and dialogue.
  • The red diagonal lines are some changes to the panel shapes and gutters to break them out of their plain box form.

The Tools:

  • SketchUp – rough, and eventually final renders (though I might do this in Google Layout).
  • Maya – character posing and deformation.
  • Photoshop – for the roughs and final layout (though I might use Illustrator for the final).

The Assets:

Roughing the Page Process:
[PS] Photoshop
[SU] SketchUp

  1. [PS] Load up my custom template (10 1/4″ x 6 5/8″ landscape)(facing pages).
  2. [SU] Open up scene file in SketchUp.
  3. [SU] Import basic assets, arrange, and set camera angle (save as scene).
  4. [SU] Screen shot (alt+PrtScrn) the panel shot in SU.
  5. [PS] Paste (ctrl+v) as separate layer in template file.
  6. [PS] Crop out any extra items in screen shot.
  7. [PS] Create panel in a separate layer (for use as a clipping mask). Arrange on page.
  8. [PS] Arrange layers so that image is on top of clipping mask – right click on layer ans select, “create clipping mask”.
  9. [PS] Fine tune image in mask.
  10. Repeat steps 3-9 for each panel.

Rigging the Hunter

hunter18.jpg

I finished up rigging and skinning the hunter in Maya today. I decided I needed a Maya rigged version of this creature because it will be interacting a lot with other characters that will be in Maya. So now I can pose them together in one single application.

The only drawback to this (and it might turn out to be an artistic benefit) is that I will now have smooth out all the shapes and bring out all the lines I want drawn by hand when rendering in SketchUp.

This might not be a bad thing, since I’ve been considering doing a deformation pass (in Maya) for nearly every frame in comic. CG stuff can be incredibly static and lifeless by default. I believe the extra pass in Maya would help in breaking some of that unwanted CG stiffness.

SketchUp Character Building

I’ve been getting a fair amount of questions regarding how I build my character models in SketchUp (SU). I’ve written some things to those individuals in the past, but I thought a blog post is due regarding this subject.

This isn’t a tutorial but a description of the process. If you keep an eye on the techniques I believe you’ll be able to follow along.

Read more

Expressive Hugh

I thought that I should test out some of the blend shape expressions I made in Maya, and bring them into SketchUp. Each one of these expressions are made from several blend shapes, with their sliders at various levels.

expression_test_2.jpg

expression_test_1.jpg