Gooey Kimura Animation Breakdown 🕵️ | Spies in Disguise Highlights | Misha Koplan

Описание: Misha Koplan:

Sometimes a single shot requires more creativity and ingenuity then all the rest. A good example is one of the most entertaining shots I had a chance to work on. Assuming all the necessary CFX preparations for assets are done properly, before production begins, then regular CFX shot workflow consists of three stages:

1. PreSim - at this stage artists work with the character’s body. They check first frame for proper starting pose, clean up character’s body from any undesired self intersections, run skin simulations and create character body caches. This stage may also include rest shape and garment adjustments if necessary.

2. Sim - this is a stage dedicated to running sim iterations and adjusting settings for cloth properties and solver until satisfying results are achieved.

3. PostSim or cleanup stage - time for “point pushing.” Anything goes here - clusters, lattices, softDeformers or any proprietary sculpting and cleanup tools made for moving points. At this stage artists get to really show their creative side. This is the time for polishing shapes derived by the simulation process, make final touches to convey realistic or stylized cloth/hair shapes and motion, frame after frame.

So, what made this shot so uniquely special for me?🤔
In this sequence we were simulating a gooey-like naked body, that was pushed around by other characters 🫣 (nothing dirty here, it’s a kids movie). As such, it required a close Animation/CFX collaboration. Motion, envisioned by directors, was proven to be easier achieved by Houdini solver. Problem was, our CFX department did not have a Houdini pipeline at the time. As a result simulation was to be done in Houdini, while PreSim and PostSim tackled in Maya. 🙄

For this shot Directors were looking for very specific shapes of a compressed shin as a reaction to the pigeon attack 🤺. After several sim iterations, which involved Animation repositioning of characters for better interaction 🤼‍♂️, it became clear to me that simulation alone would not be able to produce anything close to the Directors’ vision 🤷‍♂️. From there on, I was only looking to achieve desired jello/flesh like body reaction with simulation. As to the shapes, I planned to add all of them in the PostSim stage. Tens of sim iterations, hours of molding and polishing of the shapes and playing with timing, finally gave the shot an almost finished look. Something was still missing. The toes looked too stiff and not interesting. Out of the box solution was needed. To achieve precise timing and motion needed for the toes, I built a rig and key-frame animated each toe on top of the simulated motion. Animating five toes while matching motion of the rest of the foot proved to be a bit challenging. Yet, a couple of presented iterations later Directors loved the result.
I had lots of fun working on this shot. The opportunity to put in small intricacies and details by hand-animating them was like a cherry on top of the cake, I mean foot.🦶

Animation: Misha Koplan

Original: https://www.linkedin.com/posts/mishak...

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