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  • 2 days ago
MAKING OF WITH SCRAT

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Transcript
00:00On Ice Age, effects pretty much cover everything that you see moving that is not a main character.
00:18In traditional special effects, you're trying to create something that looks real.
00:22In Ice Age, we're dealing with a cartoon world.
00:25The idea that gravity only takes effect a few seconds after you fall off the cliff.
00:29A cloud of dust doesn't just woof out, it goes woof.
00:32And because of that, the process that we went through to develop the effects was to take a basic physical model
00:37and have it emote the feeling of the shot rather than just what it would really look like in real life.
00:42In order to get this effect of this huge glacier crashing down on this poor little scrat,
00:47we took a whole bunch of different little elements, combined them together into one big scary mush.
00:52We had to take the bow wave of the glacier moving through the snow, we took the dust,
00:57we took the chunks of rock falling all around.
00:59In order to do that, we do it in a series of layers, a series of passes, that allows us to isolate each element
01:05and deal with it on its own so that we're not dealing with the weight of the entire system.
01:09What was interesting about Ice Age was that we had so many different kinds of creatures to rig,
01:14that moved in so many different kinds of ways.
01:16Each character was a rigging challenge.
01:18Rigging is like creating a marionette or a stop-motion armature.
01:22Anything an animator might want to move, rigging has to prepare for that.
01:26It has to create some sort of control, some sort of handle that you can grab and then cause the leg to twist,
01:32an arm to bend, the face to move.
01:34We take the final geometry from the modelers, we create a skeleton within Maya,
01:39and we use this skeleton to deform the character.
01:43There are hundreds, perhaps even over a thousand, perhaps different things that an animator could possibly animate in the character rig.
01:50What we did to deform the characters was bind the geometry to the skeleton that we created.
01:56Geometry, of course, is made up of a series of points.
01:58We could bind the points of the lower arm to the lower arm skeleton,
02:02so when the lower arm skeleton rotates, those points are going to move with the skeleton.
02:06What we experimented with were adding in cartoonish controls.
02:09For instance, when the Scrat is yanking at the acorn, his arms are actually scaling,
02:14they're increasing in length, the bones are actually scaling out.
02:17We would add special sort of deformation controls and make the eyeballs scalable,
02:22just to sort of emphasize the drama of the action or the pose.
02:26All the things that we do are you're doing is that you are guiding the puzzle.
02:28They essentially станете the same with your shape to be prepared for your child.
02:30They could never do so.
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02:52You

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