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"PUMPING IRON" UPDATE...and 100+ watches!!!
18 years ago
Greetings!
First off, thank you, everyone for your support! 100+ watches in the first 4 weeks! I must say, I'm pleased you all chose to watch us, and I can promise you that you'll NOT be disappointed that you did.
Itoril and I just want to give everyone an update and announce our current progress and near-future plans with the "Pumping Iron" project. Right now, I just finished and uploaded the floorplans into our 'scraps' directory for the last of the main scenes which will be modeled in the movie. There will be a few other "scenes", but the gym and apartment complex are the only ones that will be very detailed, as they are the two locations where nearly all of the movie will be set in.
From here, I'll be working on rewriting the story, in two ways. First, I am working on rewriting the story in "script" format, so when we've finally chosen our voice actors, they'll have an easy-to-follow script, and it will help itoril in the long run when it comes to syncing everything and helping the movie to flow smoothly. Secondly, after much discussion with itoril, I've decided to extend this storyline to give more character development and plot to the production. We both agreed that we want to give the fandom more than just some tasteless smut, but rather an entire story, with a healthy balance of sexual and nonsexual scenes and dialogue. Don't worry- for those of you only interested in the "fap material", itoril and I have planned on putting a "special feature" on the DVD which will skip to only the sex scenes, where we've also discussed the possibility of "extending" these scenes in this bonus section. It's all too early to know for sure, but I figured I'd let everyone know what we're looking at in terms of the future for this production.
Once itoril works out the kinks on the Bridgett's pelt, he's going to pass it on to me to play with and hopefully wind up with a nice, quality "skin" for her.
I'd also like to make a quick, short announcement to all that we will be holding another casting call for the voice talents to play in "Pumping Iron", though this won't be for some time. Also, we'll be holding an art contest for "Pumping Iron" in the near future, and while we won't release the "prize information" until we officially announce and outline the details of the contest, but I must tell you, it'll be something good... ;) Keep an eye open for updates and future announcements here on this account!
-S.G.
P.S. Once again, thank you, everyone for all your support. Itoril and I are hellbent on really blowing you guys away with this project. With that said, I'll hand it off to the mad scientist, itoril!
Hello everyone,
I'd like to start by thanking all of you for supporting the project thus far. Even if you've just watched the account, this spurs me on and reassures me that we're doing something right. There is a lot of work that has been done, but there's a lot more on the horizon.
First of all, I'd like to detail the process each character is going to go through before they make it to the point where they are presentable. First of all, the model must be made. Somewhat unsurprising, but it's important to decide the structure of the model before anything else can be done - due to the hierarchical nature of 3D Studio, modifiers (or subsystems) are dependent on the systems that lie before them. A good analogy is a building - you need to create the structure before you can put up the walls, and you need to put up the walls before you bring in the wallpaper. I've finished this step, and I'm very happy with the results - it's my most complex model to date, and it's more "true to life" than anything I've ever done. I think I've grown as an artist due to this model.
After modelling, the mesh needs to be textured. When a 2D image is applied to a 3D model, it can't just be slapped on and hoped for the best. There is a set of data described as UVW coordinates (so as not to confuse with the cardinal XYZ planes). These tell the mesh how to receive the 2D data - how it is stretched over the model. It's important to get this right because strange stretching errors could occur, or ugly, harsh seams might happen, giving the character the appearance of some kind of doll. I am currently wrestling with this step - it's easy enough to distribute UVW coordinates to a mesh - the trick is creating something that S.G. (or any cognizant human, for that matter) can work with.
Once the texture is made, then comes the more advanced materials - hair and fur. 3D Studio has a system which accurately depicts these, and I plan on employing it. It will rest over the top of the model, giving it a sort of three dimensional texture that no image could simulate. The system comes with a brush tool - I'll actually end up a hair stylist before the job is done! I think the most awesome aspect of this system is that it reacts to dynamics - the global physics engine. Hair and fur will swish about with genuine volume, and it can even be affected by wind and other forces. I'm very excited about how this is going to turn out.
In order to move the character around, I will need to rig it to a bone structure. There is one pre-made for humanoids, called the biped. This already has IK handles set up. Inverse kinematics is where you can grab hold of a hand, for instance, reposition it in space, and all of the other bones in the link will straighten or bend realistically to accomodate the change. This is opposed to forward kinematics, where I would need to move the clavicle, then the upper arm, then the fore arm, then the hand just to get the character to wave back and forth. A subsystem of the rigging modifier is called bulge. This allows me to modify the mesh so that when bones move, the musculature of the character flexes! Once the targets are made up, this will all be automatic - so for example if the arm was to coil up, the bicep would become more prominent - extend the arm out and the muscle relaxes!
Another system that uses dynamics is the flex modifier. What this does is allow secondary movement - where something lags behind another thing when animated. I will employ this technique to make sure that Bridgett's butt and boobs have genuinely realistic mass - they will react to gravity! The important thing is not to do it - we're not talking Dead Or Alive here. Bridgett won't be able to dribble her tits like basket balls, but every little smidgen we get closer to reality will just make her more appealing.
Perhaps not the most subtle modifier, but definitely one of the finishing touches, is the morpher. This allows a mesh to blend from one shape to another. I've used it on Renamon before, in order to animate her eyes and mouth - yes, this is a vital tool for lip syncing. Bridgett's morph targets will be more numerous and comprehensive than ever - I will have full control over the expressions and emotions she can pull off, no matter how subtle. This is achieved through a number of smaller and more subtle morph targets - each component of the face will be worked over to provide ultimate control of her facial muscles. The expression sheet that S.G. has made will be vital - there were so many revelations made to me when I first looked upon it!
So, that's more or less what's required to create a character that genuinely feels like a character. I believe that it's going to take some time until the model is in a presentable state, but I'm sure it will be worth it. After the characters and scenes have been made, pre production will finally be over, and it will be on to the actual animating.
Thanks for reading (if you haven't fallen asleep already) and watch this space!
itoril.
First off, thank you, everyone for your support! 100+ watches in the first 4 weeks! I must say, I'm pleased you all chose to watch us, and I can promise you that you'll NOT be disappointed that you did.
Itoril and I just want to give everyone an update and announce our current progress and near-future plans with the "Pumping Iron" project. Right now, I just finished and uploaded the floorplans into our 'scraps' directory for the last of the main scenes which will be modeled in the movie. There will be a few other "scenes", but the gym and apartment complex are the only ones that will be very detailed, as they are the two locations where nearly all of the movie will be set in.
From here, I'll be working on rewriting the story, in two ways. First, I am working on rewriting the story in "script" format, so when we've finally chosen our voice actors, they'll have an easy-to-follow script, and it will help itoril in the long run when it comes to syncing everything and helping the movie to flow smoothly. Secondly, after much discussion with itoril, I've decided to extend this storyline to give more character development and plot to the production. We both agreed that we want to give the fandom more than just some tasteless smut, but rather an entire story, with a healthy balance of sexual and nonsexual scenes and dialogue. Don't worry- for those of you only interested in the "fap material", itoril and I have planned on putting a "special feature" on the DVD which will skip to only the sex scenes, where we've also discussed the possibility of "extending" these scenes in this bonus section. It's all too early to know for sure, but I figured I'd let everyone know what we're looking at in terms of the future for this production.
Once itoril works out the kinks on the Bridgett's pelt, he's going to pass it on to me to play with and hopefully wind up with a nice, quality "skin" for her.
I'd also like to make a quick, short announcement to all that we will be holding another casting call for the voice talents to play in "Pumping Iron", though this won't be for some time. Also, we'll be holding an art contest for "Pumping Iron" in the near future, and while we won't release the "prize information" until we officially announce and outline the details of the contest, but I must tell you, it'll be something good... ;) Keep an eye open for updates and future announcements here on this account!
-S.G.
P.S. Once again, thank you, everyone for all your support. Itoril and I are hellbent on really blowing you guys away with this project. With that said, I'll hand it off to the mad scientist, itoril!
Hello everyone,
I'd like to start by thanking all of you for supporting the project thus far. Even if you've just watched the account, this spurs me on and reassures me that we're doing something right. There is a lot of work that has been done, but there's a lot more on the horizon.
First of all, I'd like to detail the process each character is going to go through before they make it to the point where they are presentable. First of all, the model must be made. Somewhat unsurprising, but it's important to decide the structure of the model before anything else can be done - due to the hierarchical nature of 3D Studio, modifiers (or subsystems) are dependent on the systems that lie before them. A good analogy is a building - you need to create the structure before you can put up the walls, and you need to put up the walls before you bring in the wallpaper. I've finished this step, and I'm very happy with the results - it's my most complex model to date, and it's more "true to life" than anything I've ever done. I think I've grown as an artist due to this model.
After modelling, the mesh needs to be textured. When a 2D image is applied to a 3D model, it can't just be slapped on and hoped for the best. There is a set of data described as UVW coordinates (so as not to confuse with the cardinal XYZ planes). These tell the mesh how to receive the 2D data - how it is stretched over the model. It's important to get this right because strange stretching errors could occur, or ugly, harsh seams might happen, giving the character the appearance of some kind of doll. I am currently wrestling with this step - it's easy enough to distribute UVW coordinates to a mesh - the trick is creating something that S.G. (or any cognizant human, for that matter) can work with.
Once the texture is made, then comes the more advanced materials - hair and fur. 3D Studio has a system which accurately depicts these, and I plan on employing it. It will rest over the top of the model, giving it a sort of three dimensional texture that no image could simulate. The system comes with a brush tool - I'll actually end up a hair stylist before the job is done! I think the most awesome aspect of this system is that it reacts to dynamics - the global physics engine. Hair and fur will swish about with genuine volume, and it can even be affected by wind and other forces. I'm very excited about how this is going to turn out.
In order to move the character around, I will need to rig it to a bone structure. There is one pre-made for humanoids, called the biped. This already has IK handles set up. Inverse kinematics is where you can grab hold of a hand, for instance, reposition it in space, and all of the other bones in the link will straighten or bend realistically to accomodate the change. This is opposed to forward kinematics, where I would need to move the clavicle, then the upper arm, then the fore arm, then the hand just to get the character to wave back and forth. A subsystem of the rigging modifier is called bulge. This allows me to modify the mesh so that when bones move, the musculature of the character flexes! Once the targets are made up, this will all be automatic - so for example if the arm was to coil up, the bicep would become more prominent - extend the arm out and the muscle relaxes!
Another system that uses dynamics is the flex modifier. What this does is allow secondary movement - where something lags behind another thing when animated. I will employ this technique to make sure that Bridgett's butt and boobs have genuinely realistic mass - they will react to gravity! The important thing is not to do it - we're not talking Dead Or Alive here. Bridgett won't be able to dribble her tits like basket balls, but every little smidgen we get closer to reality will just make her more appealing.
Perhaps not the most subtle modifier, but definitely one of the finishing touches, is the morpher. This allows a mesh to blend from one shape to another. I've used it on Renamon before, in order to animate her eyes and mouth - yes, this is a vital tool for lip syncing. Bridgett's morph targets will be more numerous and comprehensive than ever - I will have full control over the expressions and emotions she can pull off, no matter how subtle. This is achieved through a number of smaller and more subtle morph targets - each component of the face will be worked over to provide ultimate control of her facial muscles. The expression sheet that S.G. has made will be vital - there were so many revelations made to me when I first looked upon it!
So, that's more or less what's required to create a character that genuinely feels like a character. I believe that it's going to take some time until the model is in a presentable state, but I'm sure it will be worth it. After the characters and scenes have been made, pre production will finally be over, and it will be on to the actual animating.
Thanks for reading (if you haven't fallen asleep already) and watch this space!
itoril.
Worry not, we'll not let this one burn us out. In fact, we're already talking about future projects once this one is completed... :)
-S.G.