Eduardo Gutierrez – Animation Reel 2016

CV located in http://www.eosmusashi.wordpress.com/about

Responsible for all animation within. All animation hand-keyed. Rigs belong to their respective creators.

Shot breakdown:

1. 00:03 “The Huntress” – Aia from AnimationMentor.com, Dragon from Animationrigs.com – 2015

2. 00:26 “Chase” – Morpheus by Josh Burton, Horse by Joel Anderson, Nico by chadmv – 2013

3. 00:34 “Ninja Duel” – Norman Rig by Leif Jeffers et al.- 2014

4. 00:51  “Deer” – Deer rig by John Vassallo, dinoRig v2.0 by Harry Gladwin-Geoghegan – 2013

5. 01:04 “DQ commercial” – (storks only) Caramel VFX, Guadalajara, Mexico – 2014

6. 01:09 “Superfarmers commercial” – Studio Local, Auckland, NZ – 2014

7. 01:20 “Hanging Fan” – Bishop from AnimationMentor.com – 2008

8. 01:25  “Nick’s Kitchen” – Malcolm 2.0 from AnimSchool.com, Mery from meryproject.com – 2016

9. 01:47  “NIckelodeon’s The Penguins of Madagascar” – Oktobor Animation Ltd, Auckland, NZ – 2010/2011

10. 02:06 “The Huntress” – Aia from AnimationMentor.com, Dragon from Animationrigs.com – 2015

“Celtic Impulse” Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 3.0
http://creativecommons.org/licenses/by/3.0/

 

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The Isamu Dyson Project: Introduction

Seems like there shall be a new addition to the YF-19 project! It’s its pilot, Isamu Dyson!

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Douche doesn’t even begin to describe him.

I’m opening a new section because, first of all, this is gonna take a while. And also because it will make it easier to separate the actual project from all the rest of stuff I’m learning as well, including anatomy, topology, sculpture and organic modelling in Blender.

So in our previous episode, we were dealing with the face topology and the edge flow, among other shenanigans.

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March 1 – Smoothing out the face

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As I was refining and defining the topology to keep it as smooth and soft as possible without adding more resolution, I started figuring out the ears and how to properly attach them to the head.

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March 8 – ears modeled and attached

This took a while but it was fairly easier this time since I had practiced with the Blenderella tutorial.

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Placement of pole vertexes

Pole vertexes are very important for organic modeling, since they divert the flow and make complex figures. I had to make sure they were positioned in strategic places, like the ones around the eyes and on the upper lip. I’m trying to have the least amount of them on the face.

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March 11 – Refining features and neck

I increased the resolution a bit to add the details on the cheeks and eyelids, then added the eyeballs and shaped the lids around them.

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Eyeballs added

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My edge flow made interesting things at the ears. I hope that doesn’t create any problems.

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He resembles Sakai enough to be what I was meaning him to be, a 24 year old Japanese-European. From this point on I would edit his features to make him resemble a bit more the Anime Isamu, without losing the realistic proportions.

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Not bad for my first human model!

For the body and flight suit, I decided to just photobash a bunch of things to create it. The Anime suit is sci-fi looking, which is cool, but I wanted a more down-to-earth approach, based on actual suits that exist, even if that veers me off the same shape. Things will be either bigger or smaller and proportions will be different to suit his realistic body, but the idea is to keep the same feel and key details of the cartoon. I just wanted to add a lot more detail and realism to the way the pieces are put together, like the little pockets and straps that are characteristic of test pilot flight suits.

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So I began looking for reference images for the different parts of the body. I also thought of borrowing MacGyver’s mullet style to see how it looked like. The pants will be based in actual anti-G-force flight suits worn by fighter pilots. They also carry a type of corset that prevents the blood from their stomach to shift away and make them pass out.

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The inside will be just like the NASA blue jumpsuits, it even has the same front zipper that you see in the film, but with the arms bulkier and bigger from the pressurization.

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The neck collar that attaches the helmet is from a SR-71 test pilot suit, and the boots are Apollo moon walking boots. They have the same feel as the film, big and bulky. I added the chest piece from the original Macross Plus since it’s so iconic.

I really really don’t like the shoulder pads. But I have to add them since they are the most recognizable part of his look. I’m just gonna make them more functional, like armor pieces that provide protection, more than immense “look at me” chunks of yellow and black.

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The helmet will be pretty much the same, but with added detail to its different components and the mechanics of them.

So this shall be a fun challenge! 😀

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300 drawings (and counting)!

http://imgur.com/a/0PU3P

The 200 series:

The 100 series:

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Blender Human – Face Topology

Topology should be renamed to ‘Nopeology’.

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The fun trying to sculpt continued. I reached a point where I was fairly happy with the outcome.

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February 3 – Refining face

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More refining.

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By this point I was also learning a lot about muscles and how they connected the different parts of the skull to create the different planes of the face, so I decided to try it out and make something like that by sculpting it.

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February 3 – Muscle sculpt

I began with a skull shape and then using the clay modelling tool, added layer upon layer of stuff to create the nose and the lips. That gave me the idea to actually create the skull by modelling it with polys, then make the muscles and then fuse the whole thing into one piece that I could soften and sculpt the facial features from.

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February 11 – Skull modeled

So I modeled and sculpted a skull using a reference from Google images, and then started placing the main muscles to form the face.

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February 13 – First pass of facial muscles

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February 15 – Finishing the facial muscles and adding the nose

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February 17 – Merging into one piece to sculpt

The experiment didn’t pan out as I planned, mainly because it wasn’t just a matter of merging the whole set of pieces into one giant boolean object. So I lost a lot of definition around the mouth and for the cheeks. I decided to give it a go anyway, and began a retopology after cautiously studying the face articulation images from Brian Tindall’s The Art of Moving Points. There are dozens of different face topologies out there, but this one had a lot of sense from the animation and articulation point of view, which is my purpose for Isamu Dyson.

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February 17 – Face topology on top of muscle construction

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February 20 – Second attempt at retopology

I tried it out once again from an existent OBJ model, and it went completely overboard. Too many polys again. I had to find a way to smart it out and come up with a smaller number. I had become obsessed with finding the correct way to build up a head.

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You know what they say: If at first you don’t succeed, try again and again and again and again…

The third attempt came out better. Much less polys and a lot cleaner outcome. I was also trying to get the polys to be as even as possible.

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February 23 – Fourth attempt at topology

Fourth attempt. I began this one from the nose, being that it was the hardest part to get right. Nope, nope. Blew the flow and got into weird outcome for the lines. So I scratched this one before continuing.

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February 24 – Fifth attempt.

Here comes the 5th. Bingo. I got rid of some more polys for the forehead and smoothed out the flow for the nose and mouth. Still not entirely happy with the green span that goes over the nose instead of under, but I didn’t see any problem with that.

I decided to give it a try and get my Isamu reference ready.

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This is Noriyoshi Sakai, a Japanese soccer player. He’s 24 years old and half European (his mother is German and his father Japanese). So he’s the perfect candidate for a realistic approach to Isamu Dyson, who happens to be 25 in 2040, when the events of Macross Plus unfold. (Fun fact: he was born on March 2015 so he’s a babbling toddler right now.) Also, being an athlete and all, there’s plenty of photos around of him. Plus, he’s got the stupid confident grin of the Anime.

 

I began creating the topology based on the last success, and slowly carved out the facial features from the photographs.

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February 27 – Topology flow on the sixth attempt.

So I’ll start cleaning and refining the topology and create the rest of the head, and then we can move on with this.

Because, damn.

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Human Tutorial – Impasse

I’ve reached an impasse on the tutorial I was doing on human figure because I wanted to really, really understand topology first, so I went back and started learning it from scratch. I’m closer to get it, still not quite there, but then I reached this deadlock between different things that I want to become better at before attempting to model and rig Isamu Dyson.

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Sintel has a great topology on the main character’s face, and so far it’s one of the best resources I’ve found, so as a startup point I really recommend it to anyone interested in learning how to model.

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I attempted to make a planar basis for this topology, but it quickly proved to be a terrible idea. Behold the following monsters when I was attempting to understand it.

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January 17

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January 18

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January 19

Once this was a fairly understood thing, I decided I would sculpt a face and then wrap this topology using snap to vertex.

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January 20

Hold on a sec. I don’t know how to sculpt shit.

 

 

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January 21

This was my best attempt so far. Boy I’m very new at this. The character wasn’t supposed to be ape-angry, by the way. Eventually I was able to wrap the topology around it, so very happy about the result.

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Not so happy about my sculpting skills, so back to school on that.

 

We begin with a Mexican luchador…

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January 30

Then turn on the multiresolution on…

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And slowly pinch and pull, add and take away, soften and increase the resolution as you go. It was looking a bit Roswell Alien there, so I reduced the eyes and worked on the proportions.

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Then I softened a bit too much and now it’s a female head, apparently.

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Stay tuned!

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The YF-19: Progress Reel

I compiled all the renders I’ve been working on (plus a surprise at the end!)

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