Wishingbox was full of fun challenges. I joined the project when it entered the Texturing and Lighting Collaborative with Studio X at Academy of Art University. This page specifically highlights character/assets that I helped to surface for the animation, but I was highly involved in various aspects of the production. I assisted with modeling, Uving and UV transfers, texturing, environment layout, look - development , material creation, R&D , documentation and asset management. Working on animations like this is a team effort and involved a ton of brilliant people to put it together.
Modeling, Sculpting, Texturing ,Surfacing, Hair, R&D Lighting & Rendering, Compositing
The Pirate came to us with decent topology, but as lighting and surfacing began, we started noticing some issues that required changes to the geometry. Besides knowing that the beard was going to be changed to better fit the director's vision, we also found collisions in the two sided coat , thickness in the feather and n-gons in the shirt to be potential show stoppers. Before surfacing , I set about the task of fixing these issues so that if rig changes were required, they could be done before finalizing the production asset for lighting. Besides modeling, I worked with Xgen, textured and shaded the character. You'll notice that my pirate looks a little cleaner than the gruffy one seen in the trailer. Ruchirek did all of the finishing touches that really gave the pirate a lot of character - including grunge, stubble and skin aging.
This Gif is showing one of the many animation tests created to check that Xgen curves were working properly. This test is simply checking that the beard, mustache and eyebrows follow the face. Other tests were done to see how well the guides followed the beard mesh, how the hair reacted to wind, and where popping and collision occured.
Modeling, Sculpting, Texturing ,Surfacing, Hair, Lighting & Rendering, Compositing
Chewy the shark is a character prop in WishingBox. The initial model that was being used in block animation at the time that texturing and lighting production was starting, looked eerily similar to Pixar's "Bruce" from "Finding Nemo". I accepted the unique challenge of making him look different while still trying to maintain the original deformations in the shark rig being used in animation. By pushing and pulling points around, I was able to come up with a unique silhouette. Changing the model so drastically however, did require UV cleanups as well as a painted weights transfer from the original Bruce Rig to the the New Chewy Model. Overall, the new Chewy model worked surprisingly ell in the old Bruce Rig. Because the new Chewy model had the exact same number of vertices as Bruce, transferring texture and rig information, despite the drastic changes in shape and silhouette, was a breeze.
Further down the line, Animation needed some additional controls for chewy the shark and Mareesa Sanchez re-rigged Chewy, giving him unique controls suited for his particular "moment of fame" . She ended up needing to change a few vertices around in this process, after Chewy's textures had been finalized. This required an additional texture transfer pass in Mari to make sure everything lined up in the final shot.
The Base Model with Normals Applied.