Mechka

Theses

Thesis/Dissertation Collections

3-1-1997

Mechka

Somchit Amornvorarat

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Recommended Citation

Masters Thesis

"Mechka"

by

Somchit Amornvorarat

Submitted in Partial Fulfillment of the

Requirements for the Degree

MASTERS OF FINE ARTS

MFA IMAGING ARTS

SCHOOL OF PHOTOGRAPHIC ARTS AND SCIENCES

ROCHESTER INSTITUTE OF TECHNOLOGY

March,1997

Associate Professor Marla Schweppe Chair

FilmNideo Department

Professor Jack Slutzky

National Technical Institute for the Deaf

"Mechka"

I, Somchit Amomvorarat, hereby grant permission to the Wallace Memorial

Library at the Rochester Institute of Technology to reproduce my thesis

paper in whole or part.

Any reproduction will not be for commercial use or profit.

"Mechka"

Table of_Contents

Acknowledgments

1.

My

Goal

2. Thesis Proposal

3.

Storyboarding

and Animatic

4. Design ofCharacter for Animation

5. Animation Production

Combine 2Dand 3D

testing

Background

(3D)

Animation

Scanning

andPencil test

Making

Quicktime

TransfertoAvid

6. Post Production

Avid

Editing

Soundtrack

Problem and Solutions

Thesis Committee Meetings

7. The Final Conclusion

AppendixA Thesis Proposalss

AppendixB Storyboards

AppendixC Color Images

I would like to thank_my

Dad, Mum,

Auntfortheirlove and support

during

graduate school. I also would like to thank_mythesis committee for

their_outstanding knowledge and advice: Maria

Schweppe,

lack

Slutzky,

and Stephanie Maxwell. Notto forget all_my

lovely

friends that made graduate school and

living

abroad a whole lot offun:

Andrew,

Pat, lackie,

Simon, Robin, Tara, Lintz,

George,

Pete, Kent, Steve,

Alex.

Lastly

thepost

production

help

from Sound

Source,

and _{especially Sax Communication} who were essential in giving my film aprofessional quality.

For abetter understandingof_{this thesis paper,} I would like to invite

you to view the computer animation I created for my thesis. A video tape of "Mechka"

is on file in theMedia Resource Lab in the "A" Floor or

Pg.l

1.

My

Goal

I came to

RIT,

because of_my interest incomputer animation. I have a

background intraditionalanimation and so wanted to

develop

_personality in

mycomputer created characters. _Regardless ofthe mediumI wanted the

characters to be understood and enjoyable forthe audience.

For these _{reasons, the} goal I set myself was to

bring

the characters to life

in traditional

2D,

and at the same time use 3D for creating my backgrounds.

2.

Thesis Proposal

I had a character of apolarbear cub in my mindthat Iwanted to

develop

and

bring

to life in a _way that people could understand andhave empathy for

whatwould happen to him.

Initially,

I hadwrittenthree stories and after a lot

Theme

A

baby

polarbear is sleeping close

by

tohis mother. The mother

bear is busy. She has herarminthe water and catches fish after fish. The

cub wakes up, sits _up and watches herclosely. The motherhas caught

another fish. She pulls it up and it flaps it about on the ice.

The cub looks aroundthe glacierthat

they

are _sitting on and sees

another hole in the ice. He looks back at his mother again. The motheris

still fishing. The cub stands _up and walks towards the other holewhich is

located nextto a large boulder. The cub sits

down,

puts his arminthe water

and attempts to fish like his mother.

Meanwhile,

from behind a _{rock, three}penguins are _{secretly watching}

at the cub. One ofthem_{eagerly licks his}

lips,

and the others laugh.

They

look at the cub as an _opportunityto_play a

funny

prank.

They

huddle together

and plot.

The cub sees his mother pull_up another fishwhile he stillhas sadly

caught nothing.

Suddenly,

he catches hold and pulls _up a little fish. It flaps

about. He is scared.

Eventually,

the fish stops _{moving about,} andthe cub

becomes very proud. He puts his armin again and concentrates on_catching

more fish.

Frombehind the boulder sneakthe three penguins.

They

pick_up the

Pg.3

The cub pulls _upa fish again and as he puts it down he discovers his

first fish is missing. He looks _{around, very} upset. He does not understand.

He looks up athis mother who is

looking

down athim. The cub looks at the

hole. He thinks the _{missing fish}must have gotten into the wateragain.

The little cub puts his armback in to the ice hole again and continues

fishing. Again frombehind the bouldersneak the three penguins.

They

pick

up the cub's second fish and trotoffwith it as fast as

they

can. Aftera _while,

the cub turns his head and sees his second fish is now _missing also. He

stands _up and becomes very upset again.

We see the penguins behindthe rock.

They

are all _eating the cub's

fish very greedily.

Meanwhile,

the cublooks aroundto investigate. He sees

the penguins footprints. He follows the footprints behind the rock where he

sees the three penguins _{eating his fish. The} cub is very angry. He starts

growling at the penguins. The _penguins, not at all _scared, start

laughing

at

him. The cub tries to growl

louder,

still thepenguins _{only laugh.}

The cub is _making so much noise and _{concentrating} so lou^d he

doesn't notice that his mother has appeared behind him andbellowed out an

angry roar at the penguins. The leadpenguin stop^s laughing. The othertwo

follow suit.

They

all look at each other.

Towering

above themis the little

cub's mother growls down at themangrily. The penguins panic and

they

all

The cub is still unawarethat the penguins have gone. He is still

barking

and growling. The mother moves off once again. The cub stops

growling. The cub becomes aware that the penguins are gone. And

thinking

he was the one who make them go _away, he becomes _very proud ofhimself

and returns to his

fishing^

feeling

wiserfor the experience.

Treatment

This willbe a two dimensionalcharacter animation with three dimensionalbackgrounds.

My

three dimensional backgrounds willbe

generatedin 3D Studio. It will be rendered in 256 colors and blurred slightly

depending

on the shot. This enables me to

bring

the 2D characters forward. The background (white snow and _sky) is

fairly

similarin color to the

foreground (polar bears etc.). This hadpotential problems of_makingthe

animation difficult to read.

By

_changing the

focus,

color and _using ablack outline around _my characters this problemwas solved.

My

characters were drawn and scanned into

Photoshop

thenexported into Macromedia Director.

They

were kept as _sharp as possible so to

bring

themforward fromthe background. Allthe final layers were then composited in Macromedia

Pg.5

3.

Storyboarding

and

Animatic

Storyboarding

is a crucial part of_planning an animation orfilm.

Storyboarding

allowed meto translate the _{storytelling into} pictures.

Working

out details like

how,

_{what, where,} and when events were to happen andhow

to _{"set up} the

shot"

by

design to communicatethe _story progressively. This

storyboardprocess allowed me to sitdown anddraw atthe lightbox with a clearidea of whatI had to do and whatI had to plan for.

I divided the storyboard intothree sections. The

beginning,

in which the

relationship is established between the cub and the mother polarbear. The

middle, in whichthe action happens whenthe cub starts

fishing

and the

penguins show _up to stealthe fish. Andthe _third, the conclusion in whichthe

cub finds out the penguins have stolen his fishand he attempts to scare them

off.

My

storyboards were often quickrough sketches where I might re-do

each

drawing

until itwas clear_exactly what each shot hadto communicate. I gave agreat deal oftime to the _planning of each shot and how itrelated to the

adjacent shots and to the _story as a whole.

From the storyboards, I started _myanimatic. This gave detail for

timing

of each shot andhelped me see the whole _story together. I decided to do an

the storyboard and put it _{to video,} I did _my animaticin 3D.

Mainly

it helped

me to learn more about 3D Studio. It gave me confidence _{in my} abilities with

the package, and allowed me to test

bringing

2D artworkinto 3D backgrounds

and backagain to get on idea _{of perspective and color.}

After getting a rough animatic together withthe color and 'mood' I

wanted, I showed it to _my committee.

They

pointed out problems aboutthe

timing

in each shot. Some were too long. For _{example, connecting} shots

withlittle action. Others were too short. For_example, the close ups

that showed expression.

Meeting

with _my committee atthis _early timein the

production was _{very important} and also _{boosted my} confidence.

4.

Design

of

Character for Animation

Character is very important in my story. I established the whole _story on

the _{relationship between} the characters. I haveone main character

(Mechka)

who is the male cub age between 2-4 years old. He is _stubborn,

inexperienced and keen to

try

and learn the ways of

living

from his mother.

The mother polar

bear,

who is _{obviously very} protective ofher cub and is

very strong, full ofexperience and wise to the dangers oftheirenvironment.

The three penguins are _greedy, and mischievous.

They

_enjoy

being

mean and

like to

bully

weaker or younger animals. Each ofthe three penguins has a

Pg.7

After

defining

_{mycharacters,} I started a lot of sketching. I drew different

poses ofpolarbears and penguins.

My

references were _watching animals at

the zoo, picture

books,

_{documentaries of wildlife and photographs.}

With alot of_sketches, I started to

develop

the design ofthe polarbear

cub and the mother polarbear.

Drawing

them atthe same time helped me in

the relative size offigure between the cub and themother polarbear. I based

the design ofthe cub

(Mechka)

on ababy. He has a

fatty

body,

fat _stomach,

short

legs,

and

big

head andeyes. The poses I drew showed _walking,

expressions and possible shots ofthe cub. The motherhas a

big

_strong

body

and a _{proportionally} smallerhead. I modeled the mother polar bearto the

figure of a realpolarbear. Ialso wanted to

keep

the designmore graphic and

simple. This helped me to animate _easilyreadable poses.

The three penguins, I found quite difficult to design becausepenguins

look so alike.

They

also show _up together as a _gang and were tobe the same

age. It was _{very important} to show the difference in the _personality of each

penguin, the

hierarchy,

and who didthe thinking. It was difficult to

do,

but

soon became really fun _working the penguins out.

They

were greatcharacters

to animate. I

finally

decidedthatthe clever penguin wouldhave the tall thin

body,

the halfclever penguin the short and fat

body

and the stupid penguin

the

big

_strong

body

with a small, stupid head. I played around with

proportions of each one _changing size and detail.

Eventually

I started to see

the 3D design. I became quite

happy

with the design of all the characters. I

committee,

they

all

immediately

relatedto each character. I knew then that

after allthis preparationI was _readyto beginproduction.

5.

Animation Production

Combine 3D and 2D testing

As I started to _{do my} animatic I began to see potential problems with

the color. The background was _very similar intone to the foreground

(Mechka). I was _{working in Micromedia Director}which although

being

capable of_using truecolor. It also slows the speed down significantly.

So,

I

decided touse a 256 colorpalette. This was a crucial

decision,

I

feel,

that

sped _up the production of_my movie. The white and softblues in the

background were _{automatically} set_up and chosen when I brought my 256

color flipbooks in from 3D Studio.

I,

then, chosetones or colors within this

pallet that were most similar to the colors I wanted for my _characters, and

then changed them to the exact RGB that I needed to floodfill all the

characters in.

For the original penciltest I tried several differentways of

bringing

in my

drawings,

and _using as low memory for eachtoretain the _quality that I

Pg.9

as line art (black and_{white) I} could _{easily floodfill} the character as I needed.

I found this worked _very well. I applied the same technique to the penguins.

After much

testing

I was able to

keep

the _quality and colors I wanted and

retain Director speed.

Backgrounds

(3D)

Creating

the 3D backgrounds was

fairly

simplebut involved many

steps. I tookfirst of all a Corell

"stock"

photo CD ofthe south pole. Itwas

basically

a glacier scene with ablue/white sky.

This tifffile was then_{brought into photoshop} and defocused. I

brought the new tifffile (now

blurred)

into 3D studio as abackground. I

needed to build 3D glaciers and pools in front ofthe background.

Using

the

perspective _{matching feature I} got the correct cameraangle and lens size. I

built up the 3D scene ofglaciers

by

taking

a "viewpoint" desert scene and

changing the red rocks to blue/white ice. With aboolean function I cut two

holes in the ice. To simulate water

holes,

I created a spline meshwhich was

morphed into 6 stages ofa water cycle. These were then litand surfaced to

look like

deep

arctic rock pools.

To position the rock pools _{correctly for Mechka} and his mother was

The 3D Studio scene and 2Dblurred background were nowlit and

aligned _perfectly tomatch up. I rendered 30 frames (The lengthofthe pool

watercycle). These were then_{brought into Photoshop. Each}one was

progressivelyblurred towards the back ofthe scene

(simulating

depth of

field). The final 3Dbackgrounds were brought into Director.

Everything

was lit and aligned perfectly. The soft colors and soft

focus created an ideal backgroundto set off_{my crisp 2D} characters

animation.

Animating

The first sequence I set out to animate was _{the cub,} Mechka. I acted

itall out_{physicallymyself, the way he} walked and otherbehavior that was

typical of a polarbear cub. I started to draw

key

frames and _poses, in very

rough

form,

that I felt hemight do. After lots of

'roughs',

I started to _pay

more attentionto the

details,

such as

body

_movement, weight and character.

I concentrated on _refiningthe

drawing

to its 'extreme'.

Finally,

whenI got

the exact pose that I feltcommunicated the _story

best,

I began to inbetween

and inbetweenagain. I found outthat 15 frame per second was fine _{for my}

circumstances. I was able to calculate how many drawings I neededin each

cycle. I pieced together the motion on an exposure _{sheet, organizing} what

primary and _secondary animation was to take place and when it should

Pg.ll

Also,

I foundthat

having

a

big

mirrorin front of me was _very

helpful to see myself_acting out. The more I drew differentposes the more I

felt comfortable with thedrawing.

I put myselfinside thecharacters.

Drawing

the poses that

communicated_clearly what

they

felt was_{very hard. At} other _times, I would

concentrate on_working out a cyclethatwas

interesting

and would reduce

the amount oftime drawing. Ifthere was an occasional short cutthatI

couldtake to getthatshotdone I tried to take it.

My

movie was a mixture

of straight ahead and cycle animation. The twoblended well.

Scanning

andPencil test

The scanning is onethe mostimportant parts ofthis production. It

is equivalent, in the workflow, of_shooting animation onto film.

Before,

I

started _scanning, I found that _my

drawing

outline hadto _{be very black}and

thick The lines should alljoin up clearly becauseafter _scanning the

drawing

always lost_quality comparedto the pencil originals. Ifthe lines didnot

meet_{clearly it}meant when I started to floodfill color itwould _{seep out,} into

the background. To save time when _working, I found it betterto make all

the outlines thick andjoined up with either adark pencil or pen. I setthe

scanner_up with the

following

preferences.

2. The resolution was 75 dots perinch

(using

this resolution

can save alot of_memory, and works more _quickly since I am not_using so

muchRAM and yet

keep

_myscans high quality

3. I adjustedthe contrastto get the black line as darkas

possible andthe whites as light as possible.

After scanning in all the

drawings,

I saved themin Pict file format.

These Pict files were then imported into Micromedia Director. I began

cleaning up the oddblack pixels around the drawings. Now the drawings

were clean and _{ready for}a pencil test.

The Pencil Test

The idea ofpencil test is to

help

to see what the animationlooks like

before starting to work on details such as

in-between,

floodfill,

and _secondary

motion. One ofthe best features about

doing

penciltests is thatit lets one

play around with _getting the right timing.

I _constantly checked _my animationwith the pencil test previews. For

this reason, the pencil test saved me alot oftime before I started to work in

detail. If I found it was not _working quite right in the pencil _test, I am able to

Pg.13

Making

a Quicktime

Aftereach shot of animation was

done,

including

the 2D/3D

compositing in Micromind

Director,

I made a kind of advanced Quicktime

movie.

Quicktimes involve

bringing

in the individual Director frames into the

Quicktime module, settingthe bit

depth,

compression type and frames per

secondin whichthe final quicktime movie will play. In orderto complete

each partoftheproduction on timeI had to have enough _memory and space

on the

harddrive,

whichdepended on the _complexityof each shot. Icould

have purchased more RAM butthat seemed expensive. Since my animation

was _{only 256} colors and each shot didnothave a

big

_script, the _memory and

space restrictions were not a problem. One real _problem, I did find

however,

was that after _makingQuicktimes was that I lostthe _quality of color fromthe

original Directorfiles. Because I have had some experience withthis

problembefore I found that _using another piece ofsoftwarecalled "Convert

to

Movie"

made a real difference in quality while _{making Quicktimes.}

Basically,

"Convert to

Movie"

is a customized package that first brings in

each rendered Pict file. Then it does a second pass, customizing the palette in

the process to get the nicest _quality possible and stillbe aQuicktime and_play

Transfer toAvid

Each shot was saved on a portable harddrivein Quicktime format.

Once on the

harddrive,

all thefiles were transferred to anAvid. An Avid is

adedicated Mac _{designed fornon-linear editing.}

By

choosing theAvidto

edit_on, I kept the_quality of_my workhigh because it is allkept digitally.

The Avid offered some

flexibility

in the playback speed ofthe shots.

Each shot could beplayed in 'real time', the actual speed at whichitwas

animatedor itcouldbe sped_up or sloweddown. Another helpful feature

was the _capability to pickcertain frames and move themaround. This

helped give me a lotof choice editing.

6. Post

Production

Avid Editing

In this _step ofthe production, it was _{really fun} to see all thepieces

come together. The movie was far from perfect aftersome rough editing.

Some shots I found didnot work the _{way I} wanted.

The criticismfrom my thesis committee was _{very helpful} at this

time. The first rough cut is always a shock.

Seeing

the movieforreal rather

Pg.15

Soundtrack

For the _soundtrack, I wanted music from the 1920's. It hadto befun

andhave rhythm which I had designed_{into my} animation.

My

characters

had a20's appeal andthe 20's 'felt'

right.

I listened to alot of music and soundtracks to get an idea.

Eventually,

I found themusic thatI wanted 'The Little Rascals Collected

Soundtracks'. I had afew choices of music fromthis CD source that I

thought itwouldfit.

By

_playing the whole filmand

listening

to the music

while _watching the visuals. I was able topickthe tunes that I like most.

I mixed _my sound effects on thecomputer _{using Sound Edit Pro.}

The SFX included water, wind, growling, etc. I re-recorded themwith

music on a portable4 track studio. Then after the_recording was done I

mixed the finished4 trackmaster onto a DATtape andbrought theDAT to

the _editing studio to be put onto the edited masterof_my movie. Some

sound effects were still needed so with a microphonein the studio I

recorded the 'voices' ofthe characters myself. This was abit embarrassing

Problems and

Solutions

When Ifinished the production I was _very satisfied. One ofthe

hardest things, and _ultimately the most _rewardingwas

disciplining

myselfto

carry the projectthrough to its conclusion.

Breaking

the enormous project into the workflow I have written about

helped me a great deal. Movies are _{very hard to make,} andthe _onlyway to

pull them offis

by disciplining

yourselfto complete one biteveryday. You

build up momentumthis _way and _eventually see the end approaching.

There was alot ofpre-production whichwas anotherfactor forme in

getting it done. At every stage ofthe production Iknew exactly what I had to

do next. I knew whatthe characters _thought, and what I was _{setting up}to

happen next.

Not allaspects were successful, and some bits thatdid not seem_very

good inthe storyboard or animatic came together _really well in the final film.

You only really know when its completed. I suppose that's halfthe fun ofit.

The final movie is only one part ofthe

learning

process. Almost more

importantly

is the _getting there. For me it was all the different stages inthe

work flow that made it so rewarding. And then at the end _seeingthose

individualelements togetherin the movie is amazing. Too often we forget

it's not

'when'

we get done but

'how'

Pg.17

In _conclusion, I must_say that most ofthe time the actual work came

together_pretty well. People seemto _{really like}

Mechka,

and thatmakes me

happy.

Thesis Committee Meetings

My

thesiscommittee _meeting were a great

help

to me. Although I

was unable to get all three professorstogether at the same _time, their

separate suggestions _{greatly helped} throughout the production of Mechka.

Itwas hard to make all thechanges that

they

suggested. Eachprofessor had

a differentsuggestion for solutions.

At first I was _very worried to meetwith _my thesis committee and to

hear their

differing

opinions about _my work. I felt that this film was

something verypersonal, andI really wanted_everybody to like it. It was

not until I realized that

they

_only ever

'suggested'

alterations that I could

relax and hearwhat

they

had to say.

Eventually,

I had to meet with them to get the film approved and

receive _{my degree.}

They

were _myprofessors fora reason.

They

were _very

knowledgeable in animation and filmmaking. I am grateful for all their

help

throughout _myproject. In

hindsight,

it is good thattheir opinions differed

7.

The

final Product: Conclusions

The production and animation Mechka was an _{extremely rewarding}

experience. I am _veryproud ofthe final version of Mechka. I feel thatI

learned alotfrom this production. I fulfilled whatI set out _{to accomplish,} in

many circumstances, exceeding my own expectations.

Somchit Amomvorarat (TulO

Polar Bear

Maria Schweppe

Jack

Slutzky

Thesis proposition

I have a character of a polar bear cub in my mind that I want to

bring

the

bear to life in _away that will enable people to understand and have

empathy for what is

happening

to him.

I have written three stories that I feel does this and I will propose chosen

my favorite here.

Theme

A

baby

polar bear _{is sleeping} close to

by

his mother. The mother

bear is

busy

fishing. She has her arm in the water engaged in

fishing. The cub wakes up, sits _up and watches her. The mother _has

caught anotlu r fish. She pulls _{it up} and it flaps it about on the ice.

The cub looks down the glacier that _they are _sitting on and sees

another hole. He looks back at his mother again. The mother still

fishing. The cub stands _up and walks towards the other hole. The

other hole next to a large boulder. The cub sits _down, puts his arm

in the water and attempts to fish like his mother.

Meanwhile. Irom behind a rock, three penguins are

looking

down at

the cub. One of them _eagerly licks his lips, the others laugh.

They

look at the tub as their target.

They

have a huddle to plot.

The cub sees his mother pull _up another fish and he still has nothing.

Suddenly. Ht catches hold and pulls _up a little fish. It flaps about.

He is scared. Eventually, the fish stops _{moving about,} and the cub is

proud. He puts his arm in again and concentrates on _catching more

fish.

From behind the boulder trot the three penguins.

They

pick _up the

up his mother who is

looking

down at him. The cub looks

at the other hole. _He thinks the _{missing fish is} there. He~mov&s~to

tire

next

hoU-The little cub puts his arm back in to the ice again to continue

fishing

and again from behind the boulder trot the pack of _penguins, pick _up

the second fish and trot off with _it as fast as _they can.

After a while the cub turns his head and sees his second fish also

gone. He stands _up and becomes _very upset again.

We see the penguins behind the rock.

They

are all

laughing

uncontrollablv whiles _{sounding very} evil. The main penguin who is

laughing

the loudest looks back at the other two penguin who have

stopped laughing, they have stony faces and begin to _{slowly walking}

backwards.

The lead penguin looks around back and in front of _{him, towering}

above him is the little cubs mother. She growls down at them

angrily. Tht. other two penguins point at him _panicking and trot off

as fast as _they can (which is not _very fast).

The mother bear grabs the penguin and begins to taunt _{him, showing}

the penguin what it is like to be picked on

by

someone who is bigger.

The mother bear tosses the penguin far into the water.

The little cub joins his mother and the last penguin runs _away also

leaving the iish and both bears. c

The cub trot-, after him a little stops and squeaks a little bark at the

disappearing

penguins and walk back to his mother proud of himself

once more. The cub returns to his

fishing

feeling

wiser for the

Treatment

This will be a two dimensional character animation with three

dimensional backgrounds.

My

three dimensional background will be

generated in vista pro. A fractal landscape modeled. It will be

rendered in 24 bit color and blurred _{slightly in 3D} studio.

My

characters will be two dimensional in 8 bit color.

They

will not be

blurred so to

bring

them forward from the background. All the final

images I will composite in 3D studio.

Budget Animator Computer Software Bernoulli di-ks Video tapes

Editing

time Animation paper TOTALS

Cost In-Kind Actual

$20,000 $20,000 $0

$2,000 $2,000 $0

$3,000 $3,000 $0

$300 $0 $300

$60 $0 $60

$1000 $1000 $0

$200 $0 $200

October

November

Storyboarding

Animatic

Testing

2D/3D combination

December

January

February-March

April

Ma_y

June

July

August

Modeling

Backgrounds

Rendering

Backgrounds

3/4 of the Animation

1/4 of the Animation

Recording

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References

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