Phil: Hello again, Graeme! You’re back then? Great – so what’s the latest on the development of your new animated short? Where are you at and does it have a title yet?
Graeme: Hey Phil. I’m glad to be back at Red’s Kingdom to share some animation shenanigans. I’m thrilled to announce the film has a title, and it’s called The Green Glider. Currently, the main development has been translating the style of the illustrations into Maya and really knuckling down to nail the story, so lots of drawing, plus sound design for the animatic to really get into the nuts and bolts of what The Green Glider will look and feel like.
Phil: One of the loveliest things about your developmental sketches and production art is their illustrative style, but when it comes to moving your 2D ideas into 3D, what are the challenges?
Graeme: The challenges are always to maintain that quirky style within Maya. I love painting and illustration because imperfection adds charm, and many times with my sketches and illustrations I’ll do a scribble without thinking too much into it or “colouring within the lines”, and then that one line makes things more visually interesting. Translating that into the glum greyness of Maya is always a challenge, as the program runs on maths and numbers… and I failed maths in school. But I love trying to manipulate Maya so that it bows down to me…!*
*(Graeme gives an evil laugh!)
I was told in uni to treat the developmental stage like a laboratory where I have my beakers and potions and I just experiment. I always do that in the pre-production phase to see what sticks.
‘Evil’ bubble car thumbnail sketches
‘Evil’ bubble car turnaround
Phil: You’re obviously an artist who likes to keep things loose and expressive and you work things up quickly, which gives them their charm and their energy. Do you find the more exacting rigors of 3D animation frustrating?
Graeme: It’s definitely frustrating, but so rewarding when things do work and look how you want. With sketching and doing illustration I can trust the process; there’s always this period where everything looks like shite. I call it… the “shite zone”, but then, from just playing around and trusting the process, I most of the time end up with an illustration of something that looks evocative in relation to what I wanted.
In regards to 3D spaces such as Maya, you can’t be as lackadaisical and free-form – at least to an extent. If you do, your resulting models will have horrendous geometry and nothing will look right or function properly. You’ll end up modelling something a few times because you didn’t take a step back and think about how to model it before tackling it. It is something that goes against my free-flowing nature, but I always take a step back, put on my thinking cap and ask myself, “Graeme, how are you going to go about this?”
Phil: So The Green Glider, Graeme… What is it?
Graeme: The Green Glider is the macguffin of my film. Its pertinent and really important in bouncing the story along. It completely changes the outlook and ambitions of the main character Ash, and propels him into an unknown world full of mystery and magic.
The green glider developmental thumbnails
The green glider turnaround
Phil: You’ve included a test render of a scene from your film in this week’s update – the bubble car against the backdrop of the city. How many different processes, techniques and tweaks have come together to produce this one proof-of-concept render?
Graeme: Wow! This is going to be lengthy with a lot of technical jargon, but here goes… So as mentioned I wanted to get across the feeling of the original concept art, so that was the main goal.
Original concept painting
Test 3D digital set render
To start off with, I created lots of alpha maps for elements that are in the distance, such as those yellow window lights, and dialling down their transparency to get some nice atmospheric perspective; you’re not going to see those elements way in the distance, so there’s no need to have actual modelled geometry clogging up the scene and dialling up render times. An assortment of coloured blobs that move slightly can easily and more effectively represent the space of a city. Dialling things back to their simplest form is always in the back of my mind when I’m composing sets and shots.
Orange glow with windows Alpha Map
Orange glow with windows colour Map
Alpha maps are drawings turned into 3D geometry, which means I can preserve the original style of the concept art. I can even turn a full piece of concept art into an alpha if I want. You can put an alpha map on any piece of geometry – a sphere, a cube, anything! You can also have 2D animated textures, which takes things to the next level. Alpha maps are always my go-to when I want to translate into 3D the original style of my illustrations.
When I had a bunch of alpha maps finished for the background of my shot, I moved onto the central block of the metropolis. I realised the alphas would look flat when I move the camera, so to combat this I extruded the plane to give it more depth. When I animated it all for the fun of it, I loved how it looked, so this technique will be implemented into the final shots to express the constant movement of the city.
Moving City Block Plane
To bulk out the inner part of the city, I used simple blocks, some with the same texture as the city alphas and some with plain orange. Around the edges of the city to produce the impression of even more depth, I planted more alphas (which are just orange brush strokes) to make it seem as if the environment was being lit by orange street lights. I also added more yellow window alphas to more planes and more cubes to make things even busier.
The Cityscape from above Screenshot 2
The spiky triangle things are the pillars that will hold up the many roads that surround the metropolis. I want triangles in there because triangles are seen as negative shapes. To get the gross green haze that is fizzing up from the water of the world I just plopped in a Fog effect, which really gives the scene a more hazardous vibe.
I modelled and textured the little blue car for a collaboration project back in Uni. It suited my new protagonist’s personality perfectly, so I didn’t need to create a new one. Those evil looking bubble cars in the turnaround concept art will be surrounding him and over-populating the roads. I can’t wait to model and texture those nasty things! I was really inspired by Hot Wheels cars I loved as a kid.
Even now, there is still a way to go with the metropolis set; I have to texture the roads and bridges, but getting that analogue feel of my concept art is always my priority.
Phil: I understand you’re collaborating with a composer for this film, and that sound and music are playing a key role – how’s that side of your project development coming along?
Graeme: Brian Freeland is my composer. Brian created the music for my graduate film, Lost Boy. Yonks ago, I gave Brian a lengthy email explaining my idea for this new film and the vibe I was going for. Brian had a song composed that had never seen the light of day and gave me permission to use it as a placeholder for The Green Glider animatic. In the meantime, I’ve sent Brian an iteration of the animatic so he can work his magic on a new composition. I’ll be updating him with the latest animatic as soon as it’s done. I trust Brian completely, and it always feels like Christmas when he’s something new to share, so I try and bide my time patiently!
Phil: What’s your working day like? Or rather, when and where do you knuckle down and get on with your film? How are you making yourself get on with it?
Graeme: Honestly, I just really enjoying doing it – even the parts that aren’t so fun. I just have to suck it up and get on. I’m strict with myself and my work. It’s ingrained in me since my uni days and it’s a good trait to have or else nothing would get done. I try only to take breaks when something clicks or I get over the hump of something. It can be really easy to take a break when Maya is being a lippy little shit and won’t do what you ask, but I always have to get over that hump before taking a break because it makes coming back to it a lot easier – then it feels like something you don’t want to take a break from and you’re raring to get back to it.
I pretty much start working from when I wake up – albeit it’s a later start than I would like, as my sleeping pattern is a bit shit right now, but that’s due to me being such a night owl. I LOVE working at night! It’s when I feel my most creative and I get a good chunk of work done when most people are asleep.
My little ‘creation station’ is really sad actually. It’s on the dining room table. My tiny London apartment doesn’t have space for a desk, so I mainly do my work there, but I also have a little garden, which is a luxury in London, so I spend a lot of time working there too… and also working on my tan. I like to bring my laptop and Ipad with me to our local park, where I’ll do some script writing or complete some sketches – keeping my two metres distance of course! Being in such a small apartment means I have to get out, as sometimes a change of scenery does wonders for the mind and work flow and working in an open space revs my creative cogs. A library would work wonders too, or the constant lulling chatter and hiss of barista steam from a café is ideal, but they’re both off limits at the moment. These little excursions will have to do until I make my millions and put a down-payment on my industrial loft with floor to ceiling windows drenched in natural light, a mezzanine overlooking its mammoth grandeur and the warm rust tones of exposed brick…
Phil: Finally, what’s up next on your job sheet?
Graeme: Right now, I’m working on finessing the script for The Green Glider and nailing the storyboard and animatic, so the story is in its most definitive form. Then I can start rallying the troops and get a little team together that will hopefully like to hop on board. Then I’ll be on the hunt for some funding. I want the story as solidified as possible so when I do reach out, those creatives can see exactly where the film is heading. There’s loads of stuff going on behind the scenes too. I like to chip away at things constantly, so I’ll be doing 3D bits here and there. Soon I’m going to jump in and start modelling the characters. I think you have to learn to juggle and keep all these plates spinning when making an animated short. I will try and keep them spinning and not smash any of them with my clumsy ass. I know this time is precious and it will be a different ball game when I am back to work full time. so I’m giving it the full whack with the time I have!