Hi everyone, just a note to make sure everyone's heard - the animation has been reuploaded here.

I'm not really sure what was up with the original submission, I can't even seem to edit that. It will remain a mystery forever.

NOTE: We may be picking the project up again. This role we're trying to fill is for a character that was going to be in the movie. No promises though!

Hello everyone. I'm doing a casting call for an erotic animation, created in 3D. It's a birthday gift for my friend, and once it's finished it will be released on FA. It features a female character giving a blowjob to a guy in public (in a park).

We're looking to fill the role of one female character. Her name is Brooke. She's a black wolf, promiscuous and playful, with bright red hair and crystal blue eyes. Her voice is bright and bubbly. She sounds cheery, peppy, petite. She's in her early 20's. The role is erotic, so you must be over 18 years old. The part is not very large, just a handful of lines.

Don't think you're right for the role? It's so difficult to find good talent, that if you'd like to take a stab at it anyway, I'll keep your information on file in case I want to cast you in a different role.

The important thing to note here is that if you would like to fill the role of Brooke, there is the opportunity to do commercial work in the future. While the commercial work is not guaranteed to be carried out (I'm about 80% sure I'll go through with it at the moment), in the event that it is, the person who played Brooke for this animation will be asked to return first. The reason is that we want the same voice for the same character. The current project is non-commercial, but since we've talked about it in the past, we want to make it clear that anyone auditioning for the role of Brooke has a chance at eventually landing a part in a feature-length movie (this may be a few years later). A commercial project will of course confer royalties, but as I'm always running on a shoestring budget (it's mainly a hobby) I can't offer an advance.

Here are a few sample audition lines. They cover many bases, because I'd like to work again with whoever gets the part in the future. It should be enough to tell us whether or not you're right for the role...

(depressed)"I get kind of lonely at times."
(unconfident, yet hopeful)"Do you think I could ever be a star?"
(joyful)"Everything's just super!"
(satisfied)"Ahh, I really enjoyed that."
(fearful)"what was that noise? Please, hold me close."
(angry)"I'm gonna make you pay for what you've done!"
(shocked)"Oh my god! Did you see that?!"
(smug/cocky)"Ha! Those other athletes didn't stand a chance!"
(confused)"What do you mean by that? I don't understand."
(seductive)"Oooh, I'm hot! I need to get out of these tight clothes..."
(seductive) "Mmm, I wanna taste you..."
(seductive)"You gonna cum for me?"
(whispering, seductive)"Mmmm, cum for me, baby..."

We also need some moaning, heavy breathing, noises that a woman would make as she is aroused and enjoying herself. Of course they should sound convincingly genuine.

Please record your auditions in wav or mp3 format, compress them in a zip or rar archive, and email it to itoril [at] mail [dot] com.

The deadline is the 17th of May17th of May. I'm sorry for the short notice, but that's when pre-production ends, and the final lines will need to be recorded and sent shortly after that. According to my schedule, the actual lines will need to be delivered within a week after I have sent you the full script (approximately the 24th of May).

Recording Quality

The quality of the recording does not need to be absolutely professional, but it must be free of background noise (including buzzing and hissing) and wind. When you force a sharp gust of breath out of your mouth, sometimes you may rattle the microphone, causing a noise in the recording. This must be avoided. If you are having problems with this, place a pop guard between your lips and the microphone (you can make one by stretching a pair of tights over a wire coathanger and speaking through it). This diffuses sudden gusts of breath while allowing the sound to pass through.

If the recording is somewhat lacking in "presence" or "depth", don't worry. itoril can remaster the audio, but the removal of artefacts (buzzing, hissing, etc.) is much more difficult.

Thanks to a couple of our watchers, we've learned that Bridgett's BJ animation has become unavailable to viewers. This problem appears to be happening with everyone, and we have contacted the admin about it.

We don't want to just delete the submission and reupload it. We'd lose all of those generous comments and it may leave a redundant message in everyone's account if it turns out that this problem can be solved.

Has anyone heard of this happening to anyone else? Whether yourself or another artist, we'd just like to see how widespread this problem is.

Here are some alternative links to the animation, in case you would like to download it again...

http://fchan.us/src/s_1218304597294.....owjob_dist.swf
http://lulz.net/flash/src/Bridgett_.....owjob_dist.swf

 iwanttobeheard

A new directory on FA has been started for animators seeking vocalists for their projects. If you'd like to do voice work for animations, watch the account. Then an animator may discover you and you can negotiate with them!

You don't even need to sell your vocal talents - they work in the same way a commission does - ask for money, do it for trades, or for free!

All you need to do is put a little about your work, your rates etc. in your commission information page. Hopefully this can become a valuable resource to both vocalists and animators alike.

 iwanttobeheard

Thanks for your concern everyone, we now have a few patrons and will start doing work for them.

1. HorseFurHire (Modelling)
2. Rithnok (Modelling)
3. C-Rex (Modelling)

Ever wanted your own sexy animation, starring your character? Please check out the auction.

http://www.furbuy.com/auctions/1006189.html

The money is going to a good cause - buying hardware so that we can make more free animations.

What a wild ride this project has been. Creating the characters was one thing - getting them to interact was something completely different. Considerations needed to be made for the complexity of the characters - each one a jenga stack of modifiers just waiting for an excuse to say "I don't want to play today!" Once everything was set up progression was reasonably steady. It all seems worth it in the end when we look back on what we've achieved though.

This flash uses an experimental "loop pool" system whereby there are a bunch of loops in each stage, and one is picked at random - against a few percentage values for the sake of a little order. So it uses fuzzy logic to go from loop to loop - each one being a variation on the current stage. This breaks up the monotony of the same loop playing back to back forever.

The events are run-once loops you activate manually. They give a sense of involvement with the character. When you activate one, it plays once before going back to the current loop pool.

The quick menu allows you to jump to a stage immediately. This is in contrast with the keyboard shortcuts, which play to the end of the active loop before progressing via transition to the next stage. So if you want to jump around quickly, use the menu. If you want a more cinematic, fluent experience, try out the keyboard.

Sounds were scavenged from the 'net, as usual. We still don't have someone to do lines for Bridgett.

We tried simulating physics for the hair objects, but the simulations didn't work and time was too pressing (the deadline was S.G.'s Birthday) so they were omitted. We look forward to implementing physics in the future.

Photorealistic lighting was not available due to incompatible technologies. To rectify this, we're dropping one solution in favour of another - thus we should be able to create even more realistic-looking animations. Global illumination techniques such as ambient occlusion will be employed to provide a lighting model which closer resembles real life.

Shadows weren't included due to time constraints - it would have taken too long to render. As it was, the animation took a couple of weeks to render, and this was 24 hours a day, 7 days a week. The workstation used to render it only has a single processor at 3.4Ghz and 1Gb of RAM. The largest amount of work involved is in rendering the hair and fur - it bumps up the rendering time by about five times, and that's without shadows. Shadows bump it up about 4.5 times again, as each individual strand needs to cast a shadow, which can hit many more strands before they hit the base model.

We plan on doing more stuff in the near future, though you shouldn't get your hopes up. While it's not so difficult to create the animations, it's the hardware we have that's restricting us. So what does everyone think of the new animation? We'd love to hear from you as we thrive on feedback.

Hi everyone. It hasn't been easy, but now that we've finished Bridgett (really flexing my 3D design muscles along the way) I'd like to talk about animation tests. There are certain technologies I'd like to showcase, each in a separate submission. These will start with run-of-the-mill tests like a walk cycle and lip sync animation, and end with tests describing the nuances of the more subtle technologies, like bulge, flex and dynamics.

First of all I'd like to explore a pallete of emotions. This will probably go hand in hand with a few lip sync tests, to show the character talking. I've scavenged some clips off the 'net which will do fine for a test, but we don't actually have a voice actor for her yet.

Walk cycles can be explored in a variety of ways. There are so many different ways for a person to walk, I'd like to do a few of them to show how suitable (or unsuitable) they may be for Bridgett. There's a lot you can tell of someone's personality by the way they walk.

Something I'd like to show off is the bulge subset of the physique modifier. It allows me to create "joint angles" and modify the shape of a part of the model according to how acute an angle on the body is. This means that Bridgett's muscles will bulge as she flexes them! It's a subtle effect, but it'll look great. Especially with someone who works out at the gym often.

The flex modifier is a subtle one. It allows what is called "secondary movement" - an advanced animation technique that allows certain parts of a character to lag behind. Bridgett's well toned, and doesn't have a lot of fat on her, but her boobs and butt will jiggle realistically, thanks to the flex modifier.

Dynamics are featured in many different parts of 3D animation. They basically allow such things as gravity, wind and other forces to manipulate certain objects. Bridgett will be subjected to a blizzard of a wind machine. Her hair and fur will be blown about realistically, due to the dynamics system.

This will all culminate in a short animation of Bridgett working out at the gym. Tying all of the concepts together in a somewhat more canon setting. I'm looking forward to finally getting some animation done, so watch this space!

-itoril.



I think itoril covered the technical aspects and upcoming agendas with the project quite well, so I’ll just throw a few words in here from myself.

Next on the list for us is likely clothing. We’ve got the full body model done, but we’re not going to release it until we’ve got clothes on her, because we’re bastards like that. Will you guys get to see her naked? Certainly, but in due time. Good things come to those who wait...patiently. Speaking of clothing, we have ideas as to what her wardrobe will consist of, but do any of you guys have anything you might like to see her in? Any possible suggestions? Bear in mind, Bridgett is the shy, introverted type. (but that doesn’t mean she doesn’t have a kinky side!)

Next on our model list will be Brooke, Bridgett’s best friend, and polar opposite, personality-wise. Stay tuned for updates on her...

Although it’s too early to be recording them, we’re always looking for voice talents for our models, so if you think you’ve got the talent, feel free to drop a PM and we can discuss future auditioning. Also, too early right now, but I’d just thought I’d like to mention we’ll be holding an art contest sometime in the near future with some sweet prizes (which you’ll just have to wait to see just what they are...)

Stay tuned for future updates!

-S.G.

Hello all! Itoril and I decided that an update was much-needed and long overdue. First, let me start off with thanking everyone once again for their patience and support!

Things are progressing slowly at this point; however, the development is still looking promising as we overcome each new ‘hurdle’ we stumble across. The project, overall, isn’t progressing slowly, but rather some of the ‘snags’ we’ve encountered have, at times, grinded our progress to a near-halt. Nevertheless, we’ve continued to push onward, and the gains have been nothing short of pleasantly rewarding. We’re very close to getting our first model previews out for your viewing pleasure, but since we don’t want to make empty promises, I can only say it should be -if all goes well- very soon. Keep your eyes peeled!

Currently, I’m working on more model sheets, which are expected to be seen in our planned sequel (getting a little ahead of ourselves, aren’t we?), while itoril continues to work tirelessly with this hair/fur modeling dilemma we’ve ran into. Anyways, I don’t have much more to say, so I’ll hand it over to the technical mastermind, itoril!

-S.G.


Hi again, everyone.

Out of the frying pan, into the fire. That's what it feels like at the moment. I think we both hoped that we'd be able to get some kind of visual stimulus released by now. However, Bridgett is an iron temptress and she gave me a lot of grief. Since I last addressed you all, we've finished the texture map. I've also created the morph targets which will be combined with a few floating bones to enable facial animation. We both remarked on how much humanity Bridgett gained now that I could control her face and set it to a more natural state. She's grown with leaps and bounds.

Rigging is under control, while not fully hammered out I've fitted the skeletal structure, making allowances for the wonderful bits that make a character a furry - expressive ears and tail. I'm partway through assigning the bones to certain parts of the mesh. I prefer to do it vertex by vertex - there's an automatic system to produce an immediate rig, but it bends and buckles horribly. If you want to do something right, you have to do it yourself.

I struggled terribly with the hair and fur modifier. However, there is a workable solution. One big problem was a lack of memory, this is going to be remedied with compositing, blending two separate layers together. There used to be lighting issues, but they were obliterated once I increased the number of passes - it makes the fur look soft and inviting. It also seems quite difficult to style the hair when there are so many guides available. Since Bridgett's body is furry, I must contend with guide lines scattering about in every direction. So all that's left is actually styling the hair and fur to make sure it looks right.

Anyway, thanks for your patience, everyone. We're both really excited to show you the progress we've made, and we plan on finally having a visual update, so stay tuned.

-Itoril

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.