Bagel 2 in the "Shorts Drawer"

Yes­ter­day I received my copy of 3D Total’s “Shorts Drawer” DVD, which has turned out to be absolutely won­der­ful!
Obvi­ously I’m pleased that my first short film, “Bagel 2, was cho­sen to be fea­tured on the DVD… but WOW, some of the other shorts fea­tured are absolutely stun­ning! Top qual­ity stuff.

Why not go check it out at 3D Total for your­self, they even offer a trailer for online viewing!

Making progress!

This evening I fin­ished writ­ing the script, which is good because I can now start get­ting some real work done. The story has changed from what I reported last time, but the premises remain the same and the pro­tag­o­nist is of course still my lit­tle dragon. Some of the sto­ry­boards are already done, and with just a few left to draw I’ve already started design­ing the char­ac­ters and the envi­ron­ment.
Expect a highly styl­ized appear­ance with a very car­toony main char­ac­ter… lots of work to ani­mate this beast! On the other hand the back­grounds will be fairly sim­ple, I’m still exper­i­ment­ing with a sort of “water­col­ored” look…

A story is born

After what seems like a thou­sand sleep­less nights of telling insipid sto­ries to myself, I think I’ve finally come up with one that I like. It’s the short and fairly humor­ous tale of a lone­some but annoy­ing dragon on the look­out for some­one to call a friend. In hind­sight, I find that Bagel 2’s sto­ry­line was per­haps a bit too con­vo­luted, which is why this one will be very straight for­ward, more along the lines of Pixar’s For the Birds or per­haps Geri’s Game.

Now after some think­ing I’ve come to the con­clu­sion that it’s prob­a­bly unwise to pub­lish details about the plot here on my Plog, because after all, I don’t want to spoil the fun for any­one when the film is finally released. You’ll be left in the dark as to what exactly I’ll be pro­duc­ing, but I don’t see that as a draw­back at all. The gist will reveal itself though my post­ings here anyhow.

First steps...

Since I cur­renly don’t have any con­crete ideas con­cern­ing the sto­ry­line, my next steps will be as follows:

  • *Come up with a story idea!*
    This one shouldn’t take all too long, after all I’ve writ­ten down lots and lots of lit­tle story ideas lately and I usu­ally come up with basic plots rather quickly. Goethe, Shake­speare and the Grimm Broth­ers might need to help me out as well.
  • *Find an enter­tain­ing plot and design that will…*
    a) …suit the story idea
    b) …be work­able in a rea­son­able time frame
    The great­est story isn’t going to be of any use to me if I can’t make a short film from the mate­r­ial, be it because the plot is too com­plex or merely due to my inca­pac­ity to tackle a huge project by myself. This time I’ll try to get it just right and take a good amount of time for this step, mak­ing sure that the story really works before I start pro­duc­ing. _​Simplicity is the key!_
  • *Cre­ate a sched­ule and time-​​line*
    Meet­ing dead­lines can be tedious, but in the end it’ll surely push me to get things done.
  • *Write a script and sketch out the com­plete sto­ry­board*
    As a more visual per­son, the sto­ry­board will be my pri­mary focus.

Obvi­ously my sched­ule will depend wholly on the type of story — the num­ber of char­ac­ters being a cru­cial cri­te­rion — and of course the visual com­plex­ity of the project. I’m aim­ing for a 3 – 4 minute film this time, and it’ll prob­a­bly have the look of tra­di­tional ani­ma­tion, think Disney’s “Jun­gle Book” or “Snow White”. What­ever may come in terms of story and design, I can already state that next sum­mer will be the absolute dead­line, because that’s when I’ll need to get started on writ­ing my diploma for uni.

The Making of “Bagel 2”

The idea for my ani­mated short film Bagel 2 was first con­ceived by my friend and col­league Matthias Koenig and myself shortly after see­ing all the news about the Euro­pean space mis­sion “Bea­gle 2″ in Decem­ber of 2003. We found it quite amus­ing that while all one ever heard of the Euro­pean Bea­gle were mes­sages of fail­ure and tragedy, the Amer­i­can mis­sion at the same time was doing a much bet­ter job.

We soon real­ized that the story could make a cute ani­mated short film and started sketch­ing out our ideas.
Sadly, Matthias dropped out of the project early on due to him work­ing on another per­sonal project.

In the begin­ning, there were sev­eral dif­fer­ent designs for the pro­tag­o­nist Bagel 2, some of which you can see sketched out below. Only a sin­gle day before the modeling-​​phase started, the look for Bagel 2 was final­ized.

Concept art for Bagel 2

Con­cept art for Bagel 2

The Sto­ry­board

For­tu­nately, the story itself was already roughly fixed when I started draw­ing the sto­ry­board, but now the time had come to judge for every sin­gle shot, whether
a) it was required in order to tell the story
and
b) it was pos­si­ble to imple­ment in the rel­a­tively short time­frame of about 4 months.

I was aim­ing for a two minute film, and so I added, removed, changed and swapped shots until I was happy with the story and the length.

The sto­ry­board was then scanned, cropped and inserted into Adobe Pre­miere to cre­ate an ani­matic. This can be use­ful to see if a story really works, in that it helps in tim­ing the length of shots. Also, when peo­ple ask you what you’re doing all the time, it’s always nice to have at least some­thing to show them!

The first shots from the short as envisioned in the storyboard

The first shots from the short as envi­sioned in the storyboard

Mod­el­ing

By early April, all pre-​​production work had been com­pleted and I could finally start mod­el­ling the “char­ac­ters”:

A quite simple model was used for the robot Bagel 2

A quite sim­ple model was used for the robot Bagel 2

As you can prob­a­bly see, the mod­els fea­tured in Bagel 2 are rel­a­tively sim­ple, so the con­struc­tion process didn’t take too long. All ani­mate objects are mod­elled using NURBS, only the ter­rain and rocks are made of polygons .

Take a closer look at Bagel’s antenna (or tail) in the above image: In the film, there was a shim­mer­ing light where here is only a lit­tle green dot. This was done because it’s much sim­pler to add glow­ing lights in post-​​production than to ren­der them in 3D. In After Effects, all I had to do was to fil­ter out that spe­cific shade of green and apply a glow effect there, giv­ing me great con­trol over the look and inten­sity of the light.

Inter­est­ingly, one of the only stored tex­tures used in the film is the body of the Amer­i­can space ship, “Bob”. The flag and the details on him were painted in Pho­to­shop.
Most other tex­tures are cre­ated using pro­ce­dural shaders, mean­ing that they are not stored in image files but are cre­ated only through math­e­mat­i­cal for­mu­las directly at render-​​time. I pre­ferred using pro­ce­du­rals because even though the orig­i­nal tex­ture for the Mar­sian land­scape was huge (around 300MB), it still wasn’t large enough for close up cam­era views.
Pro­ce­du­rals do not lose qual­ity when zoom­ing in, so they were the obvi­ous choice here.

Procedural shaders were used wherever possible

Pro­ce­dural shaders were used wher­ever possible


The detail on Bagel’s tires and Bob’s thrusters are cre­ated via dis­place­ment shaders . These are applied like bump-​​maps, but with the dif­fer­ence that they actu­ally move the geom­e­try instead of just the nor­mals of the sur­face. If you look closely at the depic­tion above, you can prob­a­bly see that the tires on the left are com­pletely flat, unline those on the right.
Dis­place­ment shaders are great when you want to keep your mod­els light and still retain a high level of detail. Beware though, cer­tain ren­der­ers take much longer to ren­der dis­place­ment maps than bump maps! I ren­dered most scenes using the free RenderMan-​​compliant ren­derer 3delight, so ren­der­ing dis­place­ments wasn’t that much of a prob­lem in my case.