Week8: Research Abstract

The abstract was due in today and I'll admit after being teamed up I found trying to focus in on my research project an even harder task. There is no room for motion capture in the short film Tom, Kieran and I are working on but having already geared my research towards that and now I feel myself trying to find a way to adapt this to my practical work.

Abstract:

Visual Effects: CG and Live Action Integration

Growth in technology has undoubtedly had an effect on the progression of visual effects in TV, advertising and film. Imagination is pushing this technology further in the field reducing the limitations and obstacles that visual effects have previously faced. Visual story-telling has always had its limitations to what could be achieved, but films such as ‘The Curious Case of Benjamin Button’ and ‘Avatar’ are being seen to raise the bar; proving that what was once seen as unattainable, with advancing technology, can actually be achieved to great standards. ‘Technology can overwhelm and potentially dehumanise a production or it can be used to create very poetic and very emotional flourishes that wouldn't exist otherwise’ (Cameron, 2009, cited in Dyer P.92). James Cameron, director of avatar, explains that it is not only how advanced the technology is, but also how the technologies are used that is important. The use of the word ‘dehumanise’ is the central focus of this statement, highlighting that the technology and visual effects are vital for creating a sense of realism to the story.

Primarily, this investigation will revolve around visual effects and compositing in regards to story-telling. Specifically it will focus on the integration of a believable CG character and live action plates: whether immersing this character in a completely live-action environment, or having the character interact with live action characters. Naturally, to create convincing visuals, props and environments too will have to be created digitally and composited into the scenes to help create this believable environment that the character can interact with.

However, whilst the main aim of this investigation will be to gain an understanding of the processes involved allowing the immersion of the character in its environment creating a convincing character is crucial for this to be successful. Observing techniques used in film in particular (such as those mentioned above and many more) allow a great understanding of the processes involved in heightening the believability of the character but also how many differing techniques are available. ‘The Curious Case of Benjamin Button’ and ‘Avatar’ both utilise motion and performance capture techniques to emphasise the realism within the characters and this would be a definite interest within this research.

Predominantly however, the real focus of the research will be gaining an understanding of the skills and techniques required for immersing a CG character into a live action environment whilst additionally creating realistic/convincing effects that better communicate the story to the audience. Of course, there are effects that are both visible and invisible, and it is hugely important that these are used to draw the audience in to the story. ‘Our goal is to not be noticed…hopefully … you don’t even know we were there’ (Preeg, 2009). Steve Preeg, animation and character supervisor in ‘The Curious Case of Benjamin Button’, highlights that out with the use of flashy and intentionally obvious effects, visual effects and compositing is hugely about seamlessly bringing the visuals and story-telling elements together in a believable and almost unnoticeable manner: that the visuals should never lead the audience to question the story or the character. This is a massive necessity in the role of visual effects in story-telling.

References:

Dyer, J. 2009. Empire, International Index to Performing Arts, [magazine article] 240 (0957-4948) P92. [Online]. Available through Pro-quest website: http://search.proquest.com/docview/2214911/fulltextPDF/1416980F0682699C0EE/1?accountid=10606 [Accessed 04 Oct 2013]

Preeg, S. 2009.Interview. Interviewed by Lee Stranahan [online] Uploaded on 17 January 2009. Available at: http://www.youtube.com/watch?v=7X5zCxe6Ah8 [Accessed 22 Oct 2013]

Unfortunately, as it stands at present, I feel I have unavoidably displayed this confusion in my abstract. There seems to be a clashing of possibilities. I feel as though I have taken a step back in my research and may  need to rethink my question/topic again.

Week 8: Nurbs

Another nurbs progress report:

Everything is beginning to look very blocked in. I think I need to try out some other curve tools to begin actually modelling more rounded objects.

I decided to begin re-modelling the door again from scratch using the curve i used to create the fridge body itself.

Week 7: Nurbs

Nurbs Progress: The Killer Fridge door try 01

After making the door, I realised that the top of the door did not match the shape of the top of the fridge itself...So I will have to re-model the top of the door to fit better...somehow.

Week 7: Project/Teams

The big meeting was had and Tom, Kieran and I came out of the wash as a team. 

Tom and Kieran already had a little idea in mind but it does contain most of the elements I am interested in working on, so it all worked out in the end.

The idea generally involves a man being turned into a CG character and many crazy antics ensue. This idea will fit perfectly for all our specialisms. Kieran and I will undertake the good number of fairly complex vfx and compositing elements and Tom will attack the 3D character with his mad animating skills.

This is a wee concept the boys put together before my addition to their team:

I am, rather looking forward to getting our project cleaned up and production started! :)

This concept of an animated character in a live action environment reminds me a great deal of "Who Framed Roger Rabbit" (1988) . 

The 3D character will interact with objects in the environment and naturally the transformation scene will be one of the most taxing jobs in regards to vfx and compositing.

Week 6: Nurbs Modelling

More Nurbs Progress...or slowgress

My progress on the nurbs project has been very snail-paced to say the least. I do finally think I'm starting to get the hang of it though. I just hope I can get the rest of the stuff done more quickly.

this is the scene I am building...with a bit of artistic license (because the angle is not ideal).

Week 5: Programme of Study

The first draft of my Programme of Study:

MSc Animation & Visualisation

Programme of Study Proforma 2013/2014

Student:                Stephanie Flynn                                                                                  Supervisor:

Date: 11.10.13

Programme of Study Title:  Visual Effects: CG and Live Action Integration

Project Rationale:

With the rapid growth in technology, visual effects too has begun to improve, allowing the creation of more imaginative and complex stories and shots to be completed to high standards. Methods for creating realistic and believable CG elements (particularly characters) and integrating them with other elements have been tested and adapted throughout the years and have been used to create more believable visuals to allow the viewer to more easily be immersed in the story.

Aims:

To successfully integrate a believable CG character either within a live action environment or interacting with live action characters. Achieve an understanding of motion/performance/facial-capture techniques and to gain a specific knowledge in visual effects and compositing in Nuke.

Objectives:

Explore many methods of creating believable CG characters, and the best ways to integrate them with live action plates.

Research Strategy:

Hopefully by studying techniques both involving and not using motion/performance capture to determine the amount of animation that will be used or combined with it (or not) as a result and then investigating how best to integrate this character into an environment (possibly live action) and/or to have it interact with other characters( also possibly live action).

Expected Outcome(s):

A short film/ trailer surrounding a fully computer-generated character successfully and believably interacting with live action environments/characters.

Schedule:
Semester1: Research, finalising ideas, pre-production designs and visuals decided, tests.
Semester2: Tests, creating character, animation tests, filming and editing, testing compositing elements, lighting tests.
Semester3: Final edits, lighting, animation/filming and compositing.

Key Challenges and Issues:

Access to necessary technology and using what technology is available to me to create the required standard
Time restraints
Finding access to motion capture technology

Resources:

2D software: Photoshop, After Effects
3D software: Maya, Nuke
Motion/performance/facial capture technology
HD Cameras and video equipment
 

Reference Materials:

Online resources: talks/speeches, interviews, papers/ articles, investigations, reports.

Compositing and visual effects books, papers.

Motion-capture books and papers.

‘Art of’ books

‘Making of’ videos

Week 5: Contextual Review

The first research assignment was completed and handed in today. I'm still feeling there's a lot of wiggle room for my ideas, but I am hugely interested in CG characters and motion capture. I have been studying the use of motion capture in films such as "Avatar" (2009) and "The Curious Case of Benjamin Button" (2008) and how to create a sense of realism in completely CG characters. The concept of "The Uncanny Valley" proved to be a greatly important factor to consider.

Contextual Review:

Visual effects in story-telling: Problems creating believable CG characters and the Uncanny Valley

        The exploration of a story needs a character to travel through it. Just as a character is nothing without a story. This creates the idea that character and story are hugely linked. Without a character for the audience to empathise and connect with, to share human experiences with, the audience can have no emotional attachment to the story. The connection between the audience and the character is vital for the telling of the story. There are many other tools involved in the story-telling process, as Bryan Jones, a freelance digital compositor Explains:

“visual effects have reached the point where they can no longer be distinguished from photographed reality, regardless of how fantastic the filmmaker’s vision. Used wisely […] digital effects can be a powerful and invaluable part of the contemporary storytelling toolset.”
(Bryan Jones, 2008, P: 6)

Technological growth has undoubtedly opened up a new world of possibilities in regards to story-telling through film. With these possibilities however, comes more learning and more problems to over-come. Being a freelance compositor, Jones’ opinion is naturally in favour of visual effects as a tool in story-telling. Although he does use the term ‘used wisely’ suggesting that there is always a time and a place for visual effects. This brief display of Jones’ opinion was selected and used in a paper for a visual effects seminar, so naturally, any information from this would be one-sided and with little argument against its use. Additionally the paper has likely taken his words out of context and used them to portray their own message. However, visual effect artists, in regards to creating believably human CG characters in films, definitely have a few obstacles to face in the process. In many cases where film and games try to create close-to-life human CG characters, there is one trap that many fall into; and that is the “uncanny valley”. This concept, although originally referring to robotics, also applies to CG characters in films.

             It is said that as characters “appear more humanlike, our sense of their familiarity increases until we come to a valley…the ‘uncanny valley’.” (Karl F. MacDorman and Takashi Minato, 2005, p: 1). A character has to display human traits and emotions for the audience to be able to relate to them. MacDorman and Minato’s use of the terms ‘human-like’ and ‘familiarity’, express the idea that the closer the character gets to being human, the more the audience can empathise with them. However, they also clarify that, further down the line, there comes a point when the audience then disengage from the character.

          David. F Gallagher of the New York Times, mentions his opinion that the “[‘uncanny valley’] is the no man’s land where artificial humans look both realistic and unrealistic at the same time” (David Gallagher, 2007). Gallagher, being a journalist for the New York Times, is writing this article geared for the paper’s readers who may not be aware of this process. This first statement, although not particularly clear as it stands, is developed as he then goes on to discuss the ‘uncanny valley’ effect in ‘Beowulf’ (2007), explaining that “it’s impossible to watch ‘Beowulf’ without sensing that the ‘actors’ are being pushed around by invisible forces” (David Gallagher, 2007). Gallagher seems to propose that, although highly complex in technique and appearance, there is something unnatural about the performances. His mentioning of ‘invisible forces’ portrays the thought that perhaps the technology is in control of the performance as opposed to the actor/animator. He then goes on to say that he feels something is ‘missing’ (David Gallagher, 2007) from the characters, but admits he is unsure of what that is exactly. This could be interpreted to mean that the audience’s reaction is the result of something subconscious, something we as humans do or observe without realising. Gallagher’s opinion may appear to be somewhat unrehearsed in detail, but it definitely reflects the idea of a typical person’s view on the subject. His writing, also conveys an air or ignorance to specific information on the subject, he’s not trying to convey what is fact, but merely his generalised opinion. It can, in a sense, be seen to contradict Jones’ idealistic description of visual effects. Additionally, there are undeniably differences in regards to the tone of these two views. Jones’ words were coming from his experience in the field, and the reader can immediately identify the confidence in his knowledge. Gallagher on the other hand is writing from an outsider’s perspective on the visual effects in the film and there appears to be a lack of confidence in his view. He seems only to hint or suggest his ideas.

KEY WORDS:       Visual Effects, Uncanny Valley, CG Characters, Story-telling, realism

References

Beowulf, 2007. [Film] Directed by Robert Zemeckis USA: Warner Bros. Pictures

Gallagher, David F. 2007, Bits: The Business of Technology, New York Times [online] Available at: http://bits.blogs.nytimes.com/2007/11/14/digital-actors-in-beowulf-are-just-uncanny/?_r=2 [accessed 07 October 2013]

Jones, Bryan, 2008, Digital Storytelling: The Narrative Power of Visual Effects, Seminar on the Creative Use of Technology In Film and Television, Norwegian Film Institute, Oslo, Norway.

Mori, Masahiro, 1970, The Uncanny Valley, Energy, 7(4), Translated by MacDorman, Karl F. Minato, Takashi, 2005, p: 33-35

Week 5: Nurbs Modelling

Slowly but surely, I'm starting to get to grips with the process of modelling. However, the shapes are really simple and I believe this is probably why. Once getting round trying to make hard-edge shapes with the CV curve tool, there is a lot of duplicating that can be done.

Side View

Perspective view

I feel the use of curves will become more useful in creating the more organic shapes that are in the image.