SunCoast Production Log #010
- Ethen Dent
- Feb 16, 2022
- 4 min read
FEB 10 - FEB 16
ETHEN DENT
Master Spreadsheet
Production Summary - One issue with the production checklist is that it contains an overwhelming amount of information. Hence making the sheet quite difficult to digest information. Since asked to make the information more digestible, a production summary sheet has been made to rectify the issue.
In order to make this work, I looked into additional aggregate functions so that the information didn’t require constant input whenever a status changed or assets added, etc. For example, I looked into aggregate functions that looks at status validation based on what specific value the status returns (i.e. ‘Complete’ or ‘Not Started’).
Independent columns were added to depict how many high, medium, low priority assets are left.
[Master Spreadsheet, Roster Sheet update]
Gantt Chart - Since the timelines on modelling and rigging don’t match up with the schedule, I have altered the schedule in regards of more modelers on the team. Pushing back the modelling timeline by a little over a week. Removed the management section from the Gantt chart.
Begin to add key events to the Production Checklist/Gantt Chart. This is to help adhere to deadlines.
Production Checklist delegation is starting to commence. To start, most of the delegation will be based on departments and no individual tasks. As we proceed further into production, the individual tasks will be delegated.
Website Design
This week has been focusing on the implementation of feedback received from various sources. The box around the logo has been removed. The new USP has been added to the website. The web pages have been changed to reflect the colour scheme of SH010 in the animated project.
Unreal Discussion
As we have only one team member designated to Unreal in the pipeline, discussions are underway to have an Unreal consultant that will assist with work conducted in Unreal.
What I’ve been listening to this week:
GEORGE MORRIS
Test Rendering (& Voice Acting)
"Once I was happy with the rubbish in the ocean I tried to do some more test renders as we would be rendering out in unreal. I am still happy with the quality of the Movie Render Queue. What I would need to test out in the future would be the import export of the alembic animations the animators will give me in the future as well as the importation of the cameras as well."
"Afterwards the group went out to find a quiet place to record our voices so the animators could match the movement of the animation to that of our voices. "
What I’ve been listening to this week:
JACK DEVEREUX
“Received feedback on previs and continued to edit it.”
What I’ve been listening to this week:
JESSICA HILES
Weight Painting
“Finished Dex Base Rig, Sent it to Michael who fixed some issues, Exported the skeleton and the controls to fast track the Troy rigging.”
"Finished Dex Base Rig, Sent it to Michael who fixed some issues, Exported the skeleton and the controls to fast track the Troy rigging."
"After using the week to get the skin weighting right, I decided it was at a stage where I could ask for some feedback. Again I went to Michael Davies for this. After a day, he sent back the rig with a few improvements."
"One was the scale which just double transform. I have fixed this for you."
"Others were things like the pivot for the jaw, which was very low. I have amended this. I have added a lot of point constraints on your controls and fixed some of your skin weights so that the flipped are smoother and deform better. The point constraints are so you can sculpt the poses if you need to."
"As you can see, he fixed one issue we were having where the rig would scale double what it was meant to and as I only used orient constraints; he added point constraints to the controls that needed them."
"After all this I realised that the other turtle rig would me using the same skeleton but just moved a bit to fit the different body size. I took advantage of this and exported the skeleton and the controls to speed up the next rig's process."
What I’ve been listening to this week:
MUHAMAD USMAN
"Imported some meshes into the scene and placed it in the environment layout. I needed to change the setup and get more references from different games. I have been modelling some assets to give some additional polish. Added foliage to the scene including some rocks. UV a number of models to prepare texturing for substance painter."
What I’ve been listening to this week:
PRIYA SHAH
We decided to start production since we had the art direction sorted. I decided to set out the cameras with the basic layout given by our 3D lead Mo. I will be working with him to set out the environment and place the main assets in the right direction. The technical pipeline between me and Mo would be exporting and importing the layout. The layout in Maya would be just referenced while main changes of the assets and/or environment needs to be done in Unreal Engine. The camera is roughly placed and animated like in the animatic. The camera has two key frames added at the beginning and the end with the calculation of frame numbers from the seconds of the animation. The camera is still roughly placed, once the characters come into the scene most probably all the cameras will need some shifting. However, the main aim at the moment is to export the cameras out and see if it is positioned correctly into the Unreal Engine. Also, to have cameras in place approximately saves a lot of my time to rename and also position them one at a time. All camera is positioned in one previz but they can be exported into separate FBX files.
What I’ve been listening to this week:
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