I am currently in my 4th year at ARTFX School of Visual Effects, and within the framework of my curriculum I have the opportunity to carry out an internship for a period of 2 months at Sliced Bread Animation.
I spent the first month of the internship taking part in the realization of an animation project for a live client. Working alongside other members of the studio team, my responsibilities were character animation, shading, and render preparation.
Following this project, Jamie told me about his desire to change the setup of the studio to migrate to Maya 2017 and use Arnold Renderer. So, Jamie asked me to make a ten-second commercial showing the possibilities of Maya 2017.
Concerning the possibilities of Maya 2017, I was very interested in working with FX, and with Mash. Wanting to specialize in FX, I chose to realize the commercial in this direction. To better understand the values of Sliced Bread for the realization of this commercial, I gathered Christina and Jamie to ask them some questions such as:
- Why did you name your studio Sliced Bread?
- How is Sliced Bread is different from other studio?
- Which words would best define Sliced Bread?
From their answers I then began to gather ideas by going through intuitive writing, drawing, until finally I find an original idea that I like. Once this concept was well-defined in my head, I started writing the documents to explain my idea.
The first document presents the pitch, the intentions, and the process that I wish to put in place:
References of rendering, techniques, DA:
I then presented the project to the Managing Director, Jamie, for feedback.
In order to simulate the stylized representation of a water ball, I began to create a sphere, and apply a deformation by Map UV, connect ed to a 3D noise animation. I then exported a geometry cache, which I used to emit a Fluid. I used a radial field to hold the Fluid close to the surface of the sphere. The Shading parameters of the Fluid allowed me to create what looks like a field strength by defining precise areas of opacity. I then made a fluid cache. The shading was realized from an aiStandard to which I added a bump of 3d noise animation. I then realized the storm with Fluid simulation.
When the simulation of the storm finished, I worked on the lighting of the scene to give a dream-like, mysterious atmosphere.
I found while working on this commercial that unfortunately particle rendering is very expensive in time spent rendering. I decided that the project was maybe too ambitious for a month of production, and that it might be better to instead realize a project with Mash, procedural. I will write about my experience with this in my next blogpost.