I then imported the skeletons and skeletal meshes for Quinn and Manny to prepare for when Emily imported the characterized mocap data.
From there, I assisted Kate with setting up a first pass of the cinematic cameras in Unreal. To do this, we set up a root level sequence with 23 sub-sequences for each shot. Then, using the video animatic, we set up rough compositions/movements for each camera. Kate mostly handled this part, so while she was doing that, Emily and I cut up the mocap footage to create a proxy animation for each shot. Not all of them were implemented into the video first pass, but they are all in engine and imported in the corresponding sequencer shot.

Finally, one of the last things I did this sprint was figure out a uniform art style for VFX and for the 3D textures with the other leads. This way, the tech artist have some references to go off of when creating their VFX.






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