Wednesday, February 13, 2013

Rendering for Game Reels

Hey all!

As promised, here's the process I used to render shots for my Sly Cooper: Thieves in Time reel.  There's nothing fancy or complex about it.  In fact, it's about as basic as you can get, but it gives really nice results very quickly.


-Create Render Camera [Create> Cameras> Camera]
    -Set region in render settings:
    -Name render camera "RenderCAM_01"
    -Set RenderCAM_01 to desired location and lock channels
        -Highlight all info in channel box, right click, and "lock selected"
    -Set RenderCAM Environment color to white
        -RenderCAM_01Shape> Environment

-Create ground plain [Create> Polygon Primitives> Plane]
    -Make sure the ground plane is big enough to absorb all shadows
    -Name "GroundPlane_01"
    -Turn off "Casts Shadows" [GroundPlane_01Shape1> Render Stats> Casts Shadows]
    -Create a new lambert [Rendering tab> Lambert]
        -set color to solid white
        -set Diffuse to 1.0

-Create two directional lights [Create> Lights> Directional Light]
    -Light one, name "DirLight_Shadows"
        -Point relatively toward camera
        -Turn on Ray Trace shadows  [DirLight_ShadowsShape1> Raytrace Shadow Attributes> Use Ray Trace Shadows]
    -Light two, name "DirLight_Filler"
        -Point relatively away from camera
        -Set Intensity to 0.5

-Open Render Settings
    -Render Using: Mental Ray
    -Common tab:
        -Image Format: Targa
        -Frame/Animation ext: name.#.extension
        -Frame padding: 4
        -Start frame and end frame
        -Renderable Camera: RenderCAM_01
        -Width SHOULD already be set (See above)
    -Indirect Lighting tab:
        -Final Gathering
    -Quality tab:
        -Custom Sampling
            - Min Sample Level -1
            - Max Sample Level 1
        -Filter: Gauss
        -Filter size SHOULD set to 3.0 by 3.0
        -If you are using elements that might reflect or refract (glass, for example), you might want to tweak these settings.  Otherwise leave as-is.
    -Motion Blur:

-Set Project
    -Wherever you want the render to output to
-Render> Batch Render

I'd love to hear other people's rendering techniques.  Link in the comments!

Thursday, February 7, 2013

The Ins and Outs of Game Reels

As tends to happen when I write advice regarding something I’m passionate about, I’ve written a rather lengthy… well, lecture for lack of a better word… on what to keep in mind when preparing a game-animation reel.  If you’d like the quick and dirty “shots list” – that is, a list of 10 shots that, in my mind, would make up a perfect game animation reel – feel free to skip to the bottom.

Forming a good game-friendly demo reel is just as tricky as forming a good film-friendly one, because not every studio does the same kind of work.  From Visceral to Sanzaru, style can vary so extremely that it would seem impossible to form a one-edit-fits-all demo reel.  Having reviewed reels at studios that seek realism (Cryptic and the now defunct Secret Level) as well as studios that push the boundaries of cartooniness (Sanzaru), I have learned a few things about what catches the eye of the animation team – which I’ll list below [under the heading “ANIMATION”].  That said, the animation team isn’t the only group you need to impress.  Obviously, there’s the rest of the studio – the art director, designers, and (depending on the studio) departments such as rigging, modeling, or even programming might be involved in the interview process.  Often times, however, the primary group you want to get the attention of are the recruiters, which brings us to my first piece of advice; editing. 


Recruiters, for the most part, are a different breed than, for example, the animation team.  They don’t always have an eye for great animation.  What they do have an eye for, however, is entertainment value, or “appeal”.  Editing your reel is CRUCIAL to catching the eye of a recruiter.  Now I’m not saying “you’ll be offered the job based on the snappy music or clever cuts you use.”  That said, low-res playblasts on the Maya grid will pail in comparison to the same quality of animation rendered out w/ shadows and motion blur at a clearer quality.  It shouldn’t matter.  I spent a long time piecing together playblast reels strictly because I felt it shouldn’t matter.  However, much like wearing khaki shorts and a Darkwing Duck t-shirt shouldn’t matter in an interview, you want to put your best foot forward.  In the case of your demo reel, this is also (typically) your FIRST foot, and you want to make a good impression with it.
[I’ll write up a how-to for simple, game-reel rendering when I’m done here J]
Remember that your reel isn’t ONLY being submitted to studios. It’s also going online, where the wide world can look at it at their leisure, which is why “showmanship” is so important.  This is key, because while great animation will get you into a studio to which you apply, a great REEL will get the studio to “apply to you.”  In other words, a well-edited, polished and clean-looking reel can double your job-hunting efforts.
This isn’t something that comes naturally to everyone.  Don’t be afraid to stand on the shoulders of giants – if you find a reel you like the pacing of, try to match that rhythm.


Rule #1: Know Your Mechanics:
Okay, now that the ugly truth of “presentation mattering” is out of the way, let’s talk animation.  I think it’s excellent that many of the online animation schools are offering programs directed toward game animation.  Here’s the key ingredient, however, to game animation success: MECHANICS!  It’s no secret that a majority of games are body-mechanics centric.  In fact, even many of the studios that are more “character acting centric” – I’d give examples if I was certain it wasn’t a breach of NDA contracts – have found methods of having the acting choices selected, in large-part, by the engine itself. 

Studios that are very cinematics-heavy will often have a cinematics-devoted team (Blizzard is the obvious example), and for these sorts of positions, you might as well have a film-friendly reel.

What really sells a reel to a game studio’s animation team, however, are proper mechanics.  It doesn’t matter what the context of the animation is.  Sure, things like hand-to-hand combat, run cycles, or well-executed falls seem like the bread and butter of game animation.  There’s nothing wrong with any of these, and in fact, if done right, they are PERFECT for a game animation reel (see “Shots List” below).  The point I’m trying to make is, whatever you choose to animate, make sure that the weight feels PERFECT, that the hips are shifting as they should, that the arms and spine overlap when he/she/it lands.   I say this with all sincerity, if you have a reel w/ a guy simply pulling a can of beans down from a shelf, but you do it with convincing and well-executed mechanics, you will go a lot further for most game studios than a reel chalk full of funny dialogue pieces that only show from the chest up.

Rule #2: Versatility:
There are two parts to this rule.  The first is style:
A good lead animator (who will typically have the biggest pull on who to hire) should be able to spot a good animator no matter the style of the animation.  I’ve always firmly believed that an animator who pulls off excellent realism should be just as successful at cartoony animation.  I’ve found, however, that not everyone sees it that way.  A reel full of Sly Cooper or Ratchet & Clank cartooniness might not get you the job on Assassin’s Creed.  Personally (and this truly is just one man’s opinion), I feel that the strongest reels are the ones that show a little of everything. I don’t have a specific example, but I can only imagine the animators at Sucker Punch or Insomniac would fit this mold perfectly, particularly any old-hands that made the transition between Sly/Infamous or Ratchet/Resistance.

The second part of this rule takes into consideration what you’ll likely be asked to do within the confines of one particular project.  You want to be versatile not only in style, but in function:
I use myself as an example only because I can give a first-hand account: I have spent a majority of my career on player-characters; that is, the character controlled by the player.  From time to time, however, I jump onto other things.  On Golden Axe, I had to do a lot of creature work and enemies.  At Cryptic, I was tasked with some quadrupeds (horses, deer, even spiders – which I realize aren’t quadrupeds).  On Sly Cooper: Thieves in Time, the last few months of the project I spent on cinematics.  The ability to jump into these different roles will prove invaluable, which is why in the shots list at the end of this article, I’ve included a little of everything. 

Here’s a list of 10 animations (along w/ examples) that would constitute what I’d consider a “perfect” game animation reel.

[Note: this is by no means a definitive list.  I’m sure there are things I’ve forgotten to include, and I am sure some readers will disagree with me on the importance of others.  Please leave your thoughts in the comments!]

- Hook:   What I mean by “hook” is – a shot that is fixed to the beginning of the reel as a “hook” to let the viewer know they want to continue watching.  There’s no specific rule as to what this should be, but make sure it’s one of your best shots.  My rule has always been: Best shot first, second-best shot LAST.
[Example] (go to 00:15)  The first shot on this reel is so dynamic, with the creature crashing into the scene, big chomping motions toward the camera, and a dangerous, exhilarating pay-off.  A perfect “hook” to let you know “this is going to be awesome!

- Interactive Combat:  Throws, grapples, stabs.  To put a creative spin on it: hugs, pattycake, or sports tackles/checks.  The more of these on your reel, the better.
[Example] More than half of this reel is made up of excellent grapples.

- Realistic Walk/Run:  In the growing mocap universe, there aren’t too many jobs that will require this sort of work done by hand, but a great reel will show that you can. 
[Example] (go to 00:07)

- Environmental:  This can be anything from a car skidding believably to a stop, to a collapsing wooden structure.
[Example] (go to 00:21)

-Pure Weight:   This should show the character’s interaction with heavy weight, either by catching or lifting something, or by absorbing their own weight in a fall.
[Example] (go to 00:47)

- Gap Jump:    Have a character cross a gap w/ believable mechanics.
[Example] (go to 01:23)

-Creature Walk or Run (spider, farm-animal, large monster, etc.):  For bonus points, use a quadruped we’re familiar with, such as a horse or dog – these are more difficult because we know what they should look like.
[Example] (go to 00:41)

-Creature Contextual: A creature doing something other than walking or running.  For bonus points, have them interacting with the environment (or other creatures):
[Example] (go to 00:44)

-Dialogue Shot or Character-Driven Cinematic: Having a solid acting piece on your reel is paramount to attaining any job that might incorporate cinematics.  This doesn’t have to be a dialogue piece, so long as the character’s personality is driving the scene.
[Example] (go to 00:52)

-Closer:  Seal the deal with a solid shot.  I mentioned before that I prefer to use my “second” best shot at the end.  This is only sort of true – I put the second best shot toward the end, but if there’s a more “captivating” piece that might not have as much polish, but has more of an impact, I’ll choose that one.
[Example] (go to 02:30)  This shot, while perhaps not as polished as some of the earlier work, has a light-hearted gag and makes a nice “cherry-on-top” of the reel. 

Thursday, March 29, 2012

Learn from my Failure: Unsolicited Laughter

I consider myself someone who takes criticism – particularly of my work – relatively gracefully. Maybe I don’t give a big smile and a warm “You’re absolutely right,” all the time, but I try not to bite either. I know that feedback is – usually – intended to uplift me as an artist, and take my work a step or two further than I’d pushed it myself.

Today, I acted ungracefully.

I’ve been working on Sly Cooper: Thieves in Time for over a year now. Of all projects I’ve ever worked on, this has been the most rewarding – by far. The game is truly a triple A title, both beautiful to look at and fun to play. I’ve done some of the best work of my career on this project, and take great pride in the team I’ve been matched up with. A greater group of talented, enthusiastic, and collaborative spirits I have never known.

One such artist, and in fact one of the artists I respect most in the video game industry as a whole, stopped by my desk today to have a look at what I was doing. AND THEN ZOMG ALL HELL BROKE LOOSE!!!

Okay, to be fair, I was rather tired, having had only about 4 hours of sleep and coming in extremely early. Also in my defense [whiny voice], this particular shot was one I had really been fond of, and had thought was turning out quite nicely.

You fellow animators will know, when someone looks at your work and doesn’t say anything, that’s a bad sign, and a gut wrenching feeling. So I gritted my teeth as he watched it loop over and over, and waited for the “It’s good… but...”

That never came.

Instead, what he said was “Well, [Deep gut laugh] it’s not there yet.”

Again in fairness, it wasn’t the most tactful criticism. Even in reading the words, they seem incredibly un-harsh. Any animator knows, however, that an unsolicited laugh is one of the most stinging criticisms one can receive, yet I implore you not to think harshly on his response. To start, he very sincerely apologized soon after. It’s what happened next that is the truly shame-worthy action – or perhaps I should say “RE-action.”

I didn’t exactly pull out my machete and lop off his limbs, but in no uncertain terms, I told him his words were extremely useless, and (like a hormonal teen) made sarcastic jokes about how “helpful” he was being, and I was “sure glad to have his critical eye around to let me know when I’m failing.” Taken aback by my stinging reaction, he apologized and walked away.

He returned to his desk, at which point he IMed me, apologizing again. Still seething, and having had a few moments to think up some more angry words, I typed them out. “If you’re not going to give me ‘helpful’ words, I’d prefer you kept your mouth shut.” “I do this professionally. I know more than you do on this subject” [which is not only unfair, but wrong]. These aren’t exact quotes; as I said, it was early and I was tired, so I can’t give an exact transcript of the discussion.

He profusely apologized again and agreed that, unless asked for feedback, would “keep his big mouth shut.”

I stewed for a while in my own annoyances, staring at my shot. I showed my lead, and to add to my anger, he agreed that it had a long way to go. No it doesn’t, I thought. You’re all blind.

I started pushing here, pulling there, and after a while, had something of a breakthrough… suddenly it clicked, and really worked. I compared it to the playblast that had sparked the unwelcomed response, and could not believe how bad the previous version had looked. My fellow artist, who was not attached to the piece, had seen what I had not.

I then sucked up my pride and apologized to him – not because he was right, but because whether he was right or wrong, my reaction was immature and unprofessional, and for these things I was, and continue to be truly sorry.

We hear constantly “take criticism gracefully,” yet even when we think we practice this mentality, our own personal feelings can blind us to what others, who are not standing so close to the monitor, can see much more clearly.

If my coworker reads this, I want to apologize again, and thank him for his critical eye. After a few more hours of struggle, I now have a shot I am rather proud of, and more importantly, a new wrinkle in the brain: spontaneous laughter as a negative response to my work is a blessing in disguise; an honest, knee-jerk reaction that informs me that “no, my shot is not working.”

Learn from my Failure!

Wednesday, November 2, 2011

Through The Pixl Glass

My awesome friend Brandon Foster has started a blog that will discuss the making of video games. I am extremely honored to have been one of his first guests.

Please check out his blog -- it'll definitely be a great one to watch!

Through the Pixl Glass


Wednesday, October 19, 2011

Interview with Animation Mentor!

I feel a warm bubble in my chest when I think about Animation Mentor. The school literally changed my life and pushed me deeper into the wonderful world of animation and of animatORS than I ever could have achieved on my own.

So when they asked me to film an interview for one of their newsletters, I was extremely excited to have the chance to "give back."

The interview went very smoothly -- their film crew are total professionals! The final footage was split into two films. The first covers going through school as a new parent. The second covers the shot I did that was used for the AM Student Showcase (a HUGE honor I had been dreaming of since before attending AM!!)

Thank you SOOOO much to Bobby, Shawn, Carlos, the wonderful Animation Mentor film and editing crew, and Dana's rockin' mowhawk for EVERYTHING!!

Part 1:

Part 2:

[Please forgive the lisp... I was killing off the tail end of a lung infection when this was filmed]

Wednesday, June 15, 2011

The Bay Area's Racoons Have Become Noticeably More Theivius.

Post E3, I am now allowed to name drop Sly Cooper. We work together :)

Sanzaru is developing the next installment of the Sly Cooper franchise, and I am extremely lucky to be animating Sly himself! Here is a little demo of the game. Despite cleverly crafted and eloquently phrased criticisms such as:


...Sanzaru truly is a top level company with three of the best assets a game studio can have: a desire to prove itself capable of reigniting a beloved franchise, the excitement of a young studio, and a refrigerator stalked with free soda.

Okay the third one is give or take :)

More on Mr. Theivius soon!

Tuesday, February 15, 2011

Colin's Borg

I had created this animation for Star Trek Online as a tribute to Colin's Bear. Sadly, despite expressed permission from Colin Sanders, the creator of the original animation, the dance was never put into the game. It was fun to make, though!