Production Logs
Follow the latest updates and progress on Sprite Fright.
#19 - 26 October, 2020
- Oct. 26th, 2020
Progress on the 3D World cover featuring Sprite Fright, including sculpting, lighting studies, and shading. Additionally, Ellie’s eyes are refined, and a new script addresses possible issues with the Shrinkwrap constraint.
Helped to tweak some expressions of our characters and painted over the cover art to suggest some lighting and color adjustments. Did a few initial spider designs and more work on the ladybug.
More work on the film logo and the 3D World Issue cover. The lighting of the cover scene had to be refined, in addition to that I wrote an article for the magazine which goes over the lighting in-depth.
This week I did most of the shading work for the cover art. Specifically I did a texture painting pass for detail on Ellie's clothing, as well as other things like seams on her boots and the shading of the Sprite.
Some more work on Rex face tech, polishing the CloudRig troubleshooting system, and most of the week was taken up by Blender Conference preparations and 3D World magazine communications.
#18 - 19 October, 2020
- Oct. 19th, 2020
The little things take a lot of work: concept art for snails and butterflies, logo iterations, and Rex’s ever-evolving face rig. Plus all things Ellie, from Ellie’s expressions to Ellie’s shading to Ellie’s buttons.
The design of our forest creatures has progressed quite a bit and I suggested a few tweaks on Ellie's posing and hair. Also I explored some more extreme angles for her expression tests.
We were featured in an issue of 3D world magazine. This is my work on the cover lighting and environment. Again, the logo journey continued and Ellie's hair had to be set up.
I picked up Ellie for shading to prepare her for the cover art, did different iteration on the eyes and started filling in details for the general shading.
Experiments and new CloudRig features to support Rex's face rig.
#17 - 12 October, 2020
- Oct. 12th, 2020
The main characters get more character, from expressions and paintovers to fishnets for Victoria. Art Director Andy Goralczyk investigates logo variations, and Demeter Dzadik preps Rex’s first face rig.
I did another pass on Victoria's shading and picked up VeeJay for some first shading tests. I also did some additional work on our character pipeline tool to allow for selective and proximity based data transfer.
Logo mockup week! For the release on the Cloud we needed an updated logo, even though the final version will be made towards the end of the production. I had several meetings with Matthew on many different logo variations.
This week I got an initial (temporary) rig of Rex's face, worked on some bug reporting features for CloudRig and got started on a similarly temp rig for Ellie.
#16 - 05 October, 2020
- Oct. 5th, 2020
Concept Artist Vivien Lulkowski starts a fight--or at least, paints a fight. Animator Pablo Fournier takes Phil for a walk. Art Director Andy Goralczyk blocks out props for Sprite Fright’s rowdy teenagers. And much more, including node-based bark by procedural ace Simon Thommes.
This week I worked on a proof of concept for the title sequence of the film, inspired by 1980s horror films. Further, I started blocking out some of the assets so we have some material to use for the layout process.
I rigged the most recent temp mesh of Victoria, including a first quick rig of her face, and experimented with particle hair rigging.
I picked up Victoria for some shading tests and experimented with methods to make the hair strands feel less soft in shading. I also made an experiment of faking shader displacement in Eevee with dense layering.
