17 May 2020

More 2001 posters

I couldn't help myself. The Aries shuttle, the round spaceship, I sent three days building myself. I had a model of it in my folder of collected 3D models, but I really didn't like it. It is still not all it could be and I might go back to it and maybe a few of the others and improve them as sort of a hobby.

MY idea was to get a striking image of each ship and I rendered a few options for each and hopefully picked the best ones.

Click on images to see more details.


14 May 2020

2001: A space Odyssey poster series

I had an itch to do something with 2001, one of my favourite films but didn't think doing one of my icon drawings would work. Instead I imagined a new set of posters and used information from the original posters such as the studio logos and the credits. I decided not to use the two tag lines on the 60's posters... too wordy. I wanted to really highlight one element and make it front and centre. I used 3D models - positioned and lit them instead of trying to find and alter images from the film. This way I was able to get exactly what I needed. I felt they needed an insane amount of detail. The star field is real, I took it in Colorado a few years ago.

Not all of these work as well as the others but I decided to show all 4 just for comparison.  The first two are my preferred images. The second are sort of runner ups, but I like them and put a good amount of effort into all of them.

Click any image to see more detail.


10 May 2020

Icon Illustration: Forbidden Planet

I was inspired to draw this after listening to the Forbidden Planet episode of Max, Mike, Movies!  awhile back and finally got around to doing it. It actually came together much more quickly than I thought. It took a few hours to draw Robby the Robot but the rest of the elements had less details than I remembered. This was all done in Affinity Designer so it's all vector illustrations. I looked at some hand drawn pencil drawings used for the ID monster animation (done by Disney Studios) and added some extra attention to the eyes. I drew it in pencil in Affinity Photo and then vectorized it to keep the rougher look it had in the film. Robby is mostly just a series of basic shapes, but tons of them with gradient fills to make them look 3D.

05 May 2020

In Production: Cask of Amontilado

Sets for this were made over a year ago and some of dialog was recorded last November. Then I prioritized making "28 Young Men" and "25 years Later".  I did the voice of Montresor but it was pretty terrible so I asked Mike Luce to re-do it and he graciously agreed.

Unlike my last 9 gothic horror animations, I decided to shake things up and go with animal characters instead of human. I think this will work better and as I got a little better making these types of characters the last couple of years it made the rigging and texturing go easier and work nicer. That said, I keep finding little corrections to make in the final models each clip so by the end, they should be perfect!

The image is of Fortunato, who will not end well in this story. The other, Montresor, is a raven based character. The setting is very dark and sombre so I added a coloured fill light to each character to keep them visible and colour coded those lights to match their roles in the story. Fortunato is warm light and Montresor is a cool blue.

30 April 2020

Replacing After Effects with Apple Motion - after getting Boris FX and Mpuppet

After Effects is the last of the Adobe products I have yet to find a workable replacement for, until maybe now. Motion is sort of the red-headed stepchild of the Final Cut suite, Apple does not give it much love and never really has. I bought it right after it came out and it's been through a few iterations over the years but now it is sort of an add on for Final Cut X, in fact a version of Motion is hidden inside Final Cut so it can be used to make interactive templates.

It is an odd duck of a program, the interface and very different from After Effects in many ways but it has and always has had the advantage of being much more "live". In other words you can work on it with a lot less lag and hear sound playing as you scrub which makes syncing to sound really easy without have to wait constantly for RAM previews. I don't know why, but Apple had and still has the opportunity to make it into a real After Effects competitor by simply adding some features borrowed from the AE feature set. It's almost gets there, but never quite makes it.

Boris Effects Blur and Sharpen is something I have had my eye on for years now. In After Effects I use a great plugin to add motion blur in post to my 3D animations but even though it's available fro Motion I never bought it. The Boris set of plugins has a motion blur and a depth map blur which lets me add depth of field to animations, again in post. The plugins recently went on sale so I finally ordered them. Motion now has everything I use on a regular basis in AE with the exception of the puppet tool for animation with still photos. Enter the new MPuppet plugin, which was also on sale which does all that and a little more. Both were  more money than I wanted to pay even with the discounts but Motion is completely functional for my needs now. There is a 15$ puppet tool add on for Final Cut, but not Motion which limits the use in a 3D space and the kinds of interpolation you can use. A great deal but I would run into problems if I suddenly got work on an episode of "American Experience" again. (Please hire me more! I love working on that show!)

So right now I am using the Motion app for my latest animation. So far so good. The interface takes  some getting used to after decades of AE under my belt but I like it and some of the features, like adding grain I like much better in I did in AE. I find it faster and the live sound really saves time and take away a ton of aggravation. I find even when I have lower the resolution for more complex scenes, 1/2 res is almost as clear as full res in many ways and can be used for everything but super precise colour adjustments.

Feature I have not been able to replace are the retouching and paint features in After Effects. When I was de-rigging and retouching stop motion commercials having this feature was invaluable. While t's not as important, I do still use it to fix small issues with renders so I odn't have to serenader a complex scene over again so finding a plugin that can clone and paint like AE will be the next thing to look for. Until then I'll have to keep AE and hope Apple finally decides to actually put some effort into it's Motion app.

If you never tried Motion, maybe now is the time with everyone being stuck indoors for eternity. Its 50$ on the Apple store.

25 April 2020

dessin: Orignal (drawing: moose)

My nephew in Northern Quebec is building a house for himself and this will be his house warming gift. I had to source a few images of moose and combine them input something I wanted instead of taking photos myself for reference as moose are hard to come by in the gay village these days.  I exaggerated the shows and highlights to give more dimension to the image. Even with being stuck indoors all day with no work, this took three days to draw, mostly because fo all the fur.

Sketchbook Pro.

22 April 2020

Dessin: Acrobat_Chute / Drawing: Acrobat falling

He wasn't really falling; in real life he was holding onto a pole with his legs. As I got into the drawing, I started to think that without the pole it was much more interesting and that the pole took away from his silhouette and robbed the composition of movement. This is all on one layer and almost all stipple work with the notable exception of his hair and a thin, solid line along his arms, shoulders and right side  to balance the solid blacks in his shoes and pants on the top of the drawing a little.

This is the fourth illustration I have done of this same performer. Sure he was hot and cute but he has a charisma about him and was really accessible looking for some reason. All in my head I'm sure but that's where most art happens, non?