From the list of “mecha I would not want to encounter in a dark alley”…

Mecha-flea is based on this lovely painting:
Here at Ottoman headquarters, we’re quite fond of the work that’s gone into crafting the “medina” environment—if you scroll up, it’s right there behind the logo. But it is, in the end, just a low-poly mockup of the real thing. The final version is still quite a ways away.
The initial designs for the medina were drawn up by Dimitri Avramoglou back in 2008. His concepts were later converted into a blocky 3D model which we’ve been using for pre-visualization and tests. As you can see in the image below, the medina features buildings only where the camera can see them.
Now that we’re nearing the end of our pre-vis phase, the medina is due for an overhaul. The first step: a library of detailed building designs with which to populate the medina. Some of Tom Woode’s concepts are shown below.
To ensure that these new buildings are laid out as realistically as possible, art director Matt Evans is developing a heavily researched map of the walled city for the modelers to build upon, complete with streets, archways and marketplaces.
It’s an impressive start to what is sure to be a massive undertaking.
I don’t normally like to post unfinished work here, but these new Scarab mecha “shin guard” designs by Sandi Dolšak are too eye-catching not to share. Although loosely based on the 2D concept art, Sandi has added an extra toe, surface plating and some aggressive-looking toe protectors.
This model is really shaping up nicely.
Project art director Matt Evans brings us this incredible clay maquette of the Scorpion Rider. The sculpture will be used as a reference for some reshaping work to the arms and other areas of the existing model.
Having received the last batch of revisions this morning, the storyboards for The Ottoman are finally finished. The recruitment process for storyboard artists began over a year ago, and it eventually took five people to produce the over 700 panels that depict the events of the short film. (Thanks once again to Davin Cheng, Victor Lopez, David Ward, Vincent Morin and Ian Cherry.)
Below, in no particular order, are a few of my favorite panels from the collection.
The Ottoman’s wife is the latest addition to the Concept Art gallery, the last of the four main characters to be added. Putting together a plausible Arabic steampunk ensemble was tough—corsets are right out, and goggles make her look like a pilot. In the end we went with a Moroccan-style djellaba, updated with some utility pockets and hoodie drawstrings.
There’s also an indoor outfit in the works, but the hair is proving difficult to model.
As a director with a film background, I’m constantly struck, while working on this project, by how differently live-action and animated films are made. Here’s the distinction as I see it:
1. Work out the performances
2. Shoot it
3. Edit
1. Edit
2. Shoot it
3. Work out the performances
This is admittedly a subjective view. After all, there are plenty of live-action directors who plan their films around the cinematography and shoehorn the actors in later. But filmmaking as I know it is about creating performances, capturing them, refining them and assembling the results for maximum impact. So I definitely find myself struggling with the topsy-turvy world of animation production.
In animation, working out the timing of shots is the first thing you do. Even before you have final characters to shoot or final sets to shoot them on, you’re expected to time your storyboards and lock down your shots. You’ve effectively edited your entire animation together before you have any footage at all. From there, you work out blocking and camera angles, and only then can you begin to work on the animated performances, carefully customized to your previously chosen camera angles, and even to your previously determined shot lengths.
Of course, there are perfectly good reasons why these two workflows differ so much. In live-action, performance is a fluid, mutable thing. If a director expects to capture the best of what the actors are capable of delivering, that director has to be willing to rethink the film’s shot plan—or even the script—based on what happens in the moments between the lines. In animation, the audio track that drives an animated character’s performance is recorded and timed long before an animator even sits down to start working. Moreover, while it’s considered perfectly reasonable to shoot twelve takes of an actor’s performance and use only one, it’s a tremendous waste of resources for an animator to spend time animating anything that ends up on the cutting-room floor.
The resulting gap between the two approaches is substantial, and there’s no easy way to get the best of both worlds. The solution I’ve put together on this project is a hybrid approach that runs like this:
1. Storyboards / Animatics
2. Rough animation using low-res proxies (pre-visualization)
3. Edit
4. Performance (final animation)
It’s not the most efficient system in the world, as it effectively requires you to animate the film twice, once before the cut and once after. Even then, it’s less than ideal—most of the acting is still added after the timing is already locked down, which means there’s not much room to shape the flow of the film around the performances. But it’s the best method I’ve been able to come up with, given my preferred way of directing and the constraints of working with an entirely internet-based team.
The previous installment covered ways of lowering costs when negotiating a contract. But the director’s work doesn’t end there! Now that you’ve settled on a limited budget, you’ll need to get the most out your freelancer’s limited time.
It’s important to point out that your freelancers are not the enemy here. They want to give you the best possible artwork in the shortest amount of time, which should also be what you want. The key to achieving this? Communication. You, the director, need to convey to your freelancer precisely what your project needs to move forward. And precision is the word, because you can’t afford to have your freelancers stumbling around trying different styles and configurations on your dime.
To steer your freelancers to the “right” designs/concepts/models, you’ll need every tool at your disposal: e-mails, diagrams, reference art, video chats—whatever it takes.
Here are some other techniques you can use to get better work, faster:
If this sounds like a lot of work, you’re right. You are essentially trading your time for money.
It’s our first animation test!
This one is the brainchild of Jasper Hesseling, who’s been tasked with finishing the clothing/detail modeling of the main characters. To see how his baggy pants geometry would deform while in motion, he set up this quick animation test.
The results were better than we’d been expecting. Jasper’s inventive use of the jiggle deformer gives the pants a loose, jaunty sway, but without having to do any tedious cloth simulation.
Looks like a winner!