Category — Daughter of God

Following on from Big Boss’s blog a few months back about stereoscopic rendering, I took it on myself to take it one step further… Realtime stereoscopic flash!

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Although they were done several months back, I thought I should share some of the fantastic character portraits that the concept artist Jerome Dobinson did for “Daughter of God”.

Viceroy.

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So, two blogs back I mentioned that I’d talk about skinning and the royal family for Daughter of God, well it’s that time! Also (bonus!!!), I’ll be talking more about animating the soldiers in a sequence where they drive their army vehicles to take on the rebels

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Some concept art from the film “Daughter of God”. A mix of styles and mediums , but maybe interesting enough.

“Arrival at the The Fist” - This is the ancient war machine of the Emperor’s enemies.

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Okay so we’re back to the pre-production of Daughter of God, yay! Creating the final character rigs, ones that will be used in the final renders (of course we might do a few changes before the actual rendering begins… and word ‘final’ doesn’t mean final, here in AWF it’s never final… unless there’s blood involved ) Starting with a very simplified soldier rig which only has 3000 polygons, our aim is to have the rigs to be at least 9000 polygons. So I begin the process to up rez the rig, which means adding much more detail (polygons) to the mesh… becoming less squarish but still keeping that visual style like Arcade Trap… yes you know you want to click on “more”

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It has been a while between blogs so it’s apparently time for an update. The work I’ve most enjoyed doing this year was storyboards for the short film “Daughter of God”. I spend most of the time on a computer so just drawing lots of rough thumbnail sketches for several days straight was kind of fun. These are not the final storyboards however, more to work out how many shots there will be, what props and scenery we will need and whether the whole thing makes sense. Below is my treatment of sequence 6. As you can see it’s fairly rough, most of the time on this is spent thinking of the best layout for each shot (which camera angle, where the characters are in relation to each other) and whether the sequence flows well. Sequence 6 focuses on a tense confrontation between the hero, named in the script only as “Old Soldier” and a group of assassins sent to take the Princess from his care. That’s it for now.

Recently I have been working on an in-house project ‘Daughter of god’ (working title). This work has included the modelling of a war torn city and landscape props (tanks, artillery, etc).

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We had a concept artist come into the studio this week, drawing designs and ideas for ‘Daughter of God’ (working title). Considering how early the development is, it’s always nice to have a visual idea of what to expect from a short.

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Alright, so this week we’re in development for a new animation called ‘Daughter of God’ (working title). Which has an awesome storyline, amazing action, and magical looks. It’s all at the very early stages, so there’s no storyboards or scripts yet. Just the concept. And if you’re curious, it’s set in the future of the samurai/ninja era…..yes I’m excited

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We have started a new studio project, entitled (working) “Daughter of God” (or maybe “Daughter of the Gods” or strictly speaking “Daughter of god” - it is a multi-deity religion). It is a short film that will evolve into a whole collection of narratives and creations.

Perhaps, a major motivation driving this project is its difference from our last big gig - “Sam and Piccolo”. It’s quite different to “Sam and Piccolo” (SAP - for those that worked on it) for several key reasons - a film that has a very low technological threshold, a story that creates a world which will continue to evolve, and a narrative driven by direct action.

By technological threshold, I am referring to the fact that almost every shot in SAP had cloth, hair and environmental simulations, the end result of which was that there was an innate hesitation to change shots that were completed, even if they didn’t work as well as initialy hoped - basically because of the sheer magnitude of the work that reworking it would require.

I am hoping Briony will bring to this a humanity and sensitivity that is dynamically complemented by the action that other team members can bring.

Here is a thumbnail of a rough sketch for the armoured juggernaut.

Big inspirations for this one:

• Chris Moeller’s Iron Empires
• Lian Hearn’s (Gillian Rubinstein) “Tales of the Otori”
• George RR Martin’s “Song of Ice and Fire”
• Any WWII sniper flick - for example “Enemy at the Gates”

It is simple straight-forward and brutal. Hopefully you will enjoy being engaged by it when it’s completed.