Add transcription for: week01 01 intro about the author.wav

transcriptions/week01 01 intro about the author_transcription.json

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+{
+  "text": " Let me start by telling you a little bit about my background. I started using Maya around 16 17 years ago version 1.5 a long time ago and Around the same time. I've also been doing rigging in Maya as well. I was always interested in rigging and in lighting so I started I'm studying computer graphics in the At the film Academy in Germany where I'm originally from I started studying between 2001 and I graduated in 2006. It was film and media studies, but the emphasis was on computer graphics. That's what I focused on for a little more than the second half of the studies. When I graduated, I had two demo reels. I was working on a lot of short films and student projects at a time. and I had two demo reels when I finished my studies. I had a lighting reel and a rigging reel and I sent both out and said okay whatever you know gives me the first job that's what I'll start doing and then maybe I can always switch later on and the first job that I got was in Berlin at a small company called Chris Creatures and they worked on Rudy Return of the Racing Pig and they offered me a rigging job and I just kept on rigging after that one job after the other and kind of never look back. So this is kind of what we did over there at Chris Creatures. We had this, it was a live action movie, you know, feature film, and they had to replace the real pic that it had on set in a couple of shots, I think 20 shots or so. We had to do this digital version of the piclet, because there were a couple of things that the real piclet couldn't or wouldn't do on set. So that's where the CG version came in. And I was the rigger on the project. We were a very small team, just around six, seven people. I was responsible for the rigging. And they gave me pretty much a lot of freedom on the rig. They said, okay, do what you have to do, as long as it moves and can run and a couple of face movements possible. There were two animators on that project. Gave me a little bit of feedback. But apart from that, I was able to do whatever I wanted. So it was a lot of fun working on that project. I worked on this for around, I would say four months maybe, three to four months. And that included, you know, the control rig, the formations, phase rigging, and all this interface. And the whole rig was scripted up so that we could procedurally build it too if we had to rebuild. But it was not a requirement, it was more like that I was interested in doing that. So I did that all in Malescripting. A couple of face controls here. They're probably way more controls than they actually needed, but I just had so much fun rigging it. I can have FK controls, face controls here for draw, custom attributes for tongue. are all joint-based tongue deformations here. Some nose controls. And I worked on this until November of 2006 and that's when I started working at Framester. I got a job offer there to work on my first animated feature film, A Tale of of Daspero. So I went to London in the UK in November of 2006 to join that team over there. Over there we were, I think, 12 to 14 rigors and I was responsible for building this rigging tool again procedural with mouse gripting to build the animation rig or what we call the animation rig, the control rig for the character with all the different controls, closely with the animators seeing what they wanted, like all this wash and stretchiness and all that stuff. And then there were other people in the team that would then take those rigs and kind of build the deformations on top of it, build the deformation rig with, you know, proper skin deformations and so on. This rig was intended to be super fast. You can kind of see here we've used cut-up geometry with gaps in between. Those pieces were just parented under the joints to make the speed or the playback speed really really fast as fast as possible. So we pretty much got it to real time actually when I'm playing back and some finger controls here and custom attributes again. Some of these things I want to show you in this workshop like how you know how I would go about doing those things. And some shots from the movie, like where those rigs were used, as I said, it was a procedural rigging system and we applied these control rigs to all characters then. We just had kind of locators that we could position to say, okay, this is where the wrist is going to be, this is where the ankle is going to be, this is where the spine is going to be, and so on and so forth. And then we could run the script and in a matter of, you know, minutes or seconds we would have the full, fully animatable character rig or animation rig. And then the deformations and the face rig was again was done by different people in the team. They would then take the control rig and kind of build on top of it the face rig or separately from that build the face rig and the body rig, the formation rig. And then at the end of the production I also got to work on some props. I also needed rigging, which was also a lot of fun because with props you always have new challenges, very very short things, you don't have a lot of time for those and you always have to come up with new ideas and think about how would I rig that and what type of controls might the animator need for that specific rig, how do they want to use it or how is it intended to be used in a movie, as easy as possible and as quickly as possible and as intuitive as possible for the animators. So I worked on that for a year and a half until spring of 2008, which is when I got a call from Dreamworks in California. And so I took that job and I went to pack up all my things, moved to California to actually Northern California to San Francisco to work at the PDI facility Dreamworks PDI. And the first project that I worked on was Megamind and let me show you a couple of things from that. The first task that I got on Megamind was or at Remerks was actually rigging this body, the deformations for this jobby guy here, which was also a lot of fun. But since I had done a lot of body work before, I kind of wanted to try something else. So I asked if I could work on face rigs because I hadn't done a whole lot of face rigging before in production and as a day gave me a chance they gave me this this fellow here to rig his face. It remworks just like at Framestore before the team was split into face rigging and body rigging. First of all I think there are I guess there are two reasons for it first of all because then you can become really good at you know you can become a specialist in face rigging with all the muscles and all the nuances that you need for face rigging and then for body rigging the same thing, like it can become really good at knowing all the different muscle groups and muscle parts and really just focusing on that specific thing. And yeah, so I had a lot of fun working on this character and I guess they liked my work because after that it just kept on giving me more faces to work on. So I worked on Megamind for a year and a half, in between there was a small break where this project was on hold and I got to work on Kung Fu Panda for a few months or also did a faith rig and then I moved on after Mega Mind I moved on to Madagascar which was again a longer project for me around a year and a half so let me show you a bunch of faces that I worked on for that project. So I got to work on Stefano at a sea lion. He is probably still up to date one of my favorite characters just because of you know the squash and stretchiness of his face and what the animators were able to do with him. And then her. In the beginning of the production animators are doing these kind of expression tests of the face at least that remarks to see how the face works and getting a feel for the character and also giving us the rigorous feedback on what might need to be changed. Here are a couple of shots from the movie. I worked on the circus promoter here and this generic character, this generic face, that was used kind of all over in the background. You will see it throughout the movie. They used it a bunch of times, just giving him different clothing, different hair, different facial hair. And again the bear here, the face rig. And then Stefano again. He's just great. I mean look at his squash and stretch. That kind of exaggerates his emotional state. He's just too funny. And so I worked on Madagascar for quite a long time, year and a half. And then I had another short-up project. I worked on Peabody Instrument for four months. I worked on the dog's face, Mr. Peabody. I don't have anything to show here. And then I worked on Penguins of Madagascar for, again, year and a half or so. I worked on Skipper's face, and I worked on There is an Owl in the Movie. I worked on the Owl's face and a couple of other characters, again mainly faces. Then I worked on Kung Fu Panda 3, which is coming out I think next year or the year after. And then I worked on another project called Monkeys of Mumbai, I think that's the working title, where I'm not sure when that's coming out. And then after that last summer I left Dreamworks after six years being there to work on some something else. I worked on cartoons for quite a long time, so I wanted to try something more realistic and get into visual effects again, which I had started with, with that pic that you saw earlier. So I joined MPC. I went back to London and the UK and I joined MPC Moving Picture Company to work on Disney's Jungle Book, or I'm at Riot at the moment. And it's super exciting. It's an amazing project. I wish I could share something with you guys already but there's nothing released yet so I'll just have to wait until next year until the movie comes out or perhaps they will have a trailer this year but it looks pretty amazing all these animals are digital and basically realistic for the realistic talking animals it's going to be great so yeah that's a little bit of you know my history and the movies that I worked over the years and all in rigging. So I've done rigging for quite some time. So I would like to take this knowledge now and show you guys how I feel about rigging or give you guys some ideas of how I would approach a rig and what's kind of important to me after talking to a lot of different animators at different companies and different projects, styles and all that. And yeah, kind of just, you know, showing, hopefully, being able to show you some things that you might not have thought about before, or you might not know, there will probably be a couple of, or you know, probably a few things if you've done rigging, depending on how long, there will probably be a few things that you have already heard of, or that you're using already. But then maybe there will be some things that you were not So yeah, maybe let's next look at some rakes for inspiration and just talk about a couple of things there.",
+  "segments": [
+    {
+      "text": " Let me start by telling you a little bit about my background. I started using Maya around 16 17 years ago version 1.5 a long time ago and Around the same time. I've also been doing rigging in Maya as well. I was always interested in rigging and in lighting so I started I'm studying computer graphics in the At the film Academy in Germany where I'm originally from I started studying between 2001 and I graduated in 2006. It was film and media studies, but the emphasis was on computer graphics. That's what I focused on for a little more than the second half of the studies. When I graduated, I had two demo reels. I was working on a lot of short films and student projects at a time. and I had two demo reels when I finished my studies. I had a lighting reel and a rigging reel and I sent both out and said okay whatever you know gives me the first job that's what I'll start doing and then maybe I can always switch later on and the first job that I got was in Berlin at a small company called Chris Creatures and they worked on Rudy Return of the Racing Pig and they offered me a rigging job and I just kept on rigging after that one job after the other and kind of never look back. So this is kind of what we did over there at Chris Creatures. We had this, it was a live action movie, you know, feature film, and they had to replace the real pic that it had on set in a couple of shots, I think 20 shots or so. We had to do this digital version of the piclet, because there were a couple of things that the real piclet couldn't or wouldn't do on set. So that's where the CG version came in. And I was the rigger on the project. We were a very small team, just around six, seven people. I was responsible for the rigging. And they gave me pretty much a lot of freedom on the rig. They said, okay, do what you have to do, as long as it moves and can run and a couple of face movements possible. There were two animators on that project. Gave me a little bit of feedback. But apart from that, I was able to do whatever I wanted. So it was a lot of fun working on that project. I worked on this for around, I would say four months maybe, three to four months. And that included, you know, the control rig, the formations, phase rigging, and all this interface. And the whole rig was scripted up so that we could procedurally build it too if we had to rebuild. But it was not a requirement, it was more like that I was interested in doing that. So I did that all in Malescripting. A couple of face controls here. They're probably way more controls than they actually needed, but I just had so much fun rigging it. I can have FK controls, face controls here for draw, custom attributes for tongue. are all joint-based tongue deformations here. Some nose controls. And I worked on this until November of 2006 and that's when I started working at Framester. I got a job offer there to work on my first animated feature film, A Tale of of Daspero. So I went to London in the UK in November of 2006 to join that team over there. Over there we were, I think, 12 to 14 rigors and I was responsible for building this rigging tool again procedural with mouse gripting to build the animation rig or what we call the animation rig, the control rig for the character with all the different controls, closely with the animators seeing what they wanted, like all this wash and stretchiness and all that stuff. And then there were other people in the team that would then take those rigs and kind of build the deformations on top of it, build the deformation rig with, you know, proper skin deformations and so on. This rig was intended to be super fast. You can kind of see here we've used cut-up geometry with gaps in between. Those pieces were just parented under the joints to make the speed or the playback speed really really fast as fast as possible. So we pretty much got it to real time actually when I'm playing back and some finger controls here and custom attributes again. Some of these things I want to show you in this workshop like how you know how I would go about doing those things. And some shots from the movie, like where those rigs were used, as I said, it was a procedural rigging system and we applied these control rigs to all characters then. We just had kind of locators that we could position to say, okay, this is where the wrist is going to be, this is where the ankle is going to be, this is where the spine is going to be, and so on and so forth. And then we could run the script and in a matter of, you know, minutes or seconds we would have the full, fully animatable character rig or animation rig. And then the deformations and the face rig was again was done by different people in the team. They would then take the control rig and kind of build on top of it the face rig or separately from that build the face rig and the body rig, the formation rig. And then at the end of the production I also got to work on some props. I also needed rigging, which was also a lot of fun because with props you always have new challenges, very very short things, you don't have a lot of time for those and you always have to come up with new ideas and think about how would I rig that and what type of controls might the animator need for that specific rig, how do they want to use it or how is it intended to be used in a movie, as easy as possible and as quickly as possible and as intuitive as possible for the animators. So I worked on that for a year and a half until spring of 2008, which is when I got a call from Dreamworks in California. And so I took that job and I went to pack up all my things, moved to California to actually Northern California to San Francisco to work at the PDI facility Dreamworks PDI. And the first project that I worked on was Megamind and let me show you a couple of things from that. The first task that I got on Megamind was or at Remerks was actually rigging this body, the deformations for this jobby guy here, which was also a lot of fun. But since I had done a lot of body work before, I kind of wanted to try something else. So I asked if I could work on face rigs because I hadn't done a whole lot of face rigging before in production and as a day gave me a chance they gave me this this fellow here to rig his face. It remworks just like at Framestore before the team was split into face rigging and body rigging. First of all I think there are I guess there are two reasons for it first of all because then you can become really good at you know you can become a specialist in face rigging with all the muscles and all the nuances that you need for face rigging and then for body rigging the same thing, like it can become really good at knowing all the different muscle groups and muscle parts and really just focusing on that specific thing. And yeah, so I had a lot of fun working on this character and I guess they liked my work because after that it just kept on giving me more faces to work on. So I worked on Megamind for a year and a half, in between there was a small break where this project was on hold and I got to work on Kung Fu Panda for a few months or also did a faith rig and then I moved on after Mega Mind I moved on to Madagascar which was again a longer project for me around a year and a half so let me show you a bunch of faces that I worked on for that project. So I got to work on Stefano at a sea lion. He is probably still up to date one of my favorite characters just because of you know the squash and stretchiness of his face and what the animators were able to do with him. And then her. In the beginning of the production animators are doing these kind of expression tests of the face at least that remarks to see how the face works and getting a feel for the character and also giving us the rigorous feedback on what might need to be changed. Here are a couple of shots from the movie. I worked on the circus promoter here and this generic character, this generic face, that was used kind of all over in the background. You will see it throughout the movie. They used it a bunch of times, just giving him different clothing, different hair, different facial hair. And again the bear here, the face rig. And then Stefano again. He's just great. I mean look at his squash and stretch. That kind of exaggerates his emotional state. He's just too funny. And so I worked on Madagascar for quite a long time, year and a half. And then I had another short-up project. I worked on Peabody Instrument for four months. I worked on the dog's face, Mr. Peabody. I don't have anything to show here. And then I worked on Penguins of Madagascar for, again, year and a half or so. I worked on Skipper's face, and I worked on There is an Owl in the Movie. I worked on the Owl's face and a couple of other characters, again mainly faces. Then I worked on Kung Fu Panda 3, which is coming out I think next year or the year after. And then I worked on another project called Monkeys of Mumbai, I think that's the working title, where I'm not sure when that's coming out. And then after that last summer I left Dreamworks after six years being there to work on some something else. I worked on cartoons for quite a long time, so I wanted to try something more realistic and get into visual effects again, which I had started with, with that pic that you saw earlier. So I joined MPC. I went back to London and the UK and I joined MPC Moving Picture Company to work on Disney's Jungle Book, or I'm at Riot at the moment. And it's super exciting. It's an amazing project. I wish I could share something with you guys already but there's nothing released yet so I'll just have to wait until next year until the movie comes out or perhaps they will have a trailer this year but it looks pretty amazing all these animals are digital and basically realistic for the realistic talking animals it's going to be great so yeah that's a little bit of you know my history and the movies that I worked over the years and all in rigging. So I've done rigging for quite some time. So I would like to take this knowledge now and show you guys how I feel about rigging or give you guys some ideas of how I would approach a rig and what's kind of important to me after talking to a lot of different animators at different companies and different projects, styles and all that. And yeah, kind of just, you know, showing, hopefully, being able to show you some things that you might not have thought about before, or you might not know, there will probably be a couple of, or you know, probably a few things if you've done rigging, depending on how long, there will probably be a few things that you have already heard of, or that you're using already. But then maybe there will be some things that you were not So yeah, maybe let's next look at some rakes for inspiration and just talk about a couple of things there."
+    }
+  ]
+}