Creating Stereoscopic 3D Images

Red/ Green Glasses

Red/Blue

I could do this all night. ^^

Recreating Lights and Cameras in Maya

Original

Maya

Alternate View

Building A Scene in Maya

Original

1 Point

2 Point

3 Point

Second Term Paper

No term paper is being submitted.

Outline for Second Term Paper

I. Intro
The laws of Physics are around us all time, influencing us all the time. Although it does seem appropriate to follow the rules of Physics, the film media allows us to bend these rules, exaggerate them and create a new world for audiences to get encompassed in. Trajectories of objects, or characters, is a visual cue that audiences use to gauge the weight, speed and much more. But in some cases this rule is broken, and so are the arcs of the moving object. 

Thesis: Exaggeration of these trajectories can be used to generate humor, or increase the impact of certain actions all to evoke an emotion from the audience, to bring them into the film's world.

II. Body I

“Shaolin Soccer”

In this scene, some of the players, run, jump and follow unbelievable, yet entertaining, arcs.

1. The first character at 2:18 in the video advances at a very mild running pace then leaps into an action kicking pose that he holds for about a second. In the physical world, he would only be in the air for a much shorter duration than depicted.
2. The character also reaches a much lower apex than is expected when he runs towards camera. He reaches an artificial apex, then continues horizontally forward in a uniform motion.
3. In order to jump higher, or longer distances, moving your center of gravity (CG) up is key. In the case of the jump at 2:20, he jumps and lifts up his legs which should raise his CG a little bit more than shown. Then, he lacks an accurately timed follow through, and the trajectory of his CG is uinform and in a straight line instead of in a parabolic arc.

III. Body II

“Wanted”--curving bullets

Starting at 1:25, a bullet shot by the main protagonist of the film curves to screen right when it is physically impossible.

1. The bullet's forward inertia is much stronger than any force that can influence the bullet coming from the character's movements.

IV. Body III

“Kung-Fu Panda 2”

In the first fight scene of the film, in the video from 1:30 to 1:32, Viper attacks one of the wolves, knocks them back into a drum which then bounces him into an exaggerated arc.

1. They've given many of the characters super human strength and in this instance Viper knocks a wolf back into a believable arc then once it bounces off a drum. Once it bounces off, the wolf follows a flat, horizontal trajectory. Right after hitting the drum, the enemy should have fallen towards the ground.
2. This is a conscious decision, hence an exaggeration, because in earlier and later segments of the fight, whenever the enemy hits a surface they fall towards the ground immediately giving the sense of weight.

V. Conclusion
The emotions that directors and film makers try to evoke are sometimes a result of altering the physical laws, and altering arcs of objects and characters can be both humorous and exciting.

Stop-Motion Character Animation (Group)

"Apeel"

I helped make this film with Holly Johnson and Samantha Lo. Holly constructed the stage and exterior for the shots in our film. We had four main characters: Holly animated the tangerine, I animated the banana, Samantha animated the onion, and Holly and Samantha took turns animating the tomato. Our "studio" consisted of a variety of fruit, arts and crafts supplies, a small table to place all the props and characters on, and a camera on a tripod. The most difficult scenes to shoot were the ones with all the fruit in the crowd. Each character had to be moved, and we switched off between the mango and apple, strawberries, and blackberries in different scenes. Some fruit couldn't stand on its own, but everything we wanted to move through the air was attached to some thread. The blackberries on the strings were spontaneous, making for some sporadic, fun movements. But what worked in our favor was the integrated motion blur in the shots from the fruit moving through the air. The best part was peeling the banana and improvising its movements. While shooting it, I didn't have too much an of idea what my banana was going to do, but every time we looked through a scene we just shot, we laughed for a while.

When everything was shot, Sam, Holly and I edited it in After Effects where we added the music, sounds and timed it out. Overall, it was a really fun experience, and although I didn't know what we were getting ourselves into, it was rewarding to see our idea come to fruition.

That's a wrap! :)

Reverse Video Reference of Walking

Some fun reference exercises. :) We took 2D animated pencil tests and tried to recreate/create video reference from each. Below each of my clips are links to the original pencil tests. :)

Clip A

http://www.youtube.com/watch?v=pkexeh8ucag

Clip B

http://www.youtube.com/watch?v=steIAoUVFNY

Clip C

http://www.youtube.com/watch?v=Q5utYf-PdKQ

Clip D

http://www.youtube.com/watch?v=FEdwyICZJXU

The Laws of Physics in a Video Game Universe

One of the most influential video game franchises distributed by the NIntendo consumer electronics company is the Super Smash Bros. series. First launched in 1999 on the Nintendo 64 home gaming console it was a unique gaming experience that took multiple iconic Nintendo characters from different worlds and brought them into one giant universe -- to fight! The main objective of the game is to knock other players off the screen to rack up points, or to be the last one standing. Each character has a set of moves to help him, or her, stay on the fighting platform(s). In order to keep the characters in the same universe some abilities are shared between all characters, such as “double jump” and a shielding bubble to guard from attacks. Super Smash Bros. Brawl is the most recent installment of the series and refines a the controls and look of the series fans have come to love. Super Smash Bros. Brawl, and its preceding installments, break most physical laws of the natural world to simulate a fast-paced action-packed, four-player fighting game.

Upon the start to each fight, the one of the first elements players notice are the percentages at the bottom of the screen. The game utilizes a percentage system to keep track of damage, and the higher the percentage, the lighter the characters become (Figure 1 & 2). In a “real-life” setting, getting hurt does not equate to losing mass or weight, and in real brawls and fights, people tend to not be able to sustain themselves the more damage taken. The way that the developers established the rule of the percentage system engages the players. The more damage taken, the more likely your character is to fly across the screen and result in losing points, or lives. So, naturally players do not want to accumulate damage, calling upon players’ natural survival instinct. Within the percentage system comes the question of “how much damage can a character take before they fly ‘off-screen?’” Logically, 100% seems to be the point where a character becomes sufficiently “damaged” to be knocked out, but within the game, 150% to 300% is about the average damage range to be knocked out (Figure 3). Interestingly, the gauge does not stop there. It is possible to reach up to 999% damage. The players’ imagination fills in the blanks when they see the numbers start to add up. This aspect of the game starts to become one of the most engaging moments of the experience. A deliberate choice of diverging from real physics paves way for a more exaggerated, yet more intense experience. Veterans of the game know that it is “kill, or be killed” and reaching the 600% to 999% mark leads to some of the most nerve-racking and most entertaining video game experiences. Sticking to the laws of our physical world would mean much smaller degrees recoil and translate into visible damage, and wounds. But since the player still gets the satisfaction of knocking other characters around, substituting exaggerated amounts of force over physical damage is effective.

Figure 1

Figure 2

Figure 3

The “Smash” universe follows the Law of Acceleration with the varying sizes and shapes of characters on the playable roster, but with a twist. When a smaller character, like Mario, attacks one of the heavier characters, such as Bowser (both from the Super Mario Bros. franchise), the first few initial attacks will not move Bowser a significant amount, but as Bowser’s percentage increases, Mario will be able to make Bowser fly across the screen. But according to Newton’s Third Law of the balance between action forces and reaction forces, when Mario attacks Bowser he keeps his ground which means that Mario is exerting a good amount of force on the ground as he punches Bowser. The ground exerts the same amount of force back to Mario’s feet and prevents him from moving backwards. In another instance, Mario does move back as a result of attacks that exert a great force. This recoil is exaggerated to make the attack feel strong and impactful. Newton’s Third Law accompanied by “Smash’s” percentage system create an exaggerated sense of reality that give players an exciting rush in combat.   

In the world of Smash Bros., superhuman strength and abilities are standard, but no blood is involved. This is due to the fact that each character is a stationary action-figure, or “trophy,” come to life. This allows for the audience to suspend disbelief, yet at the same time, it does not cross a player’s mind in the midst of action. At the rate and magnitude that the characters often fly across screen would normally lead to some sort of trauma, and even concussions, but are neglected due to their superhuman, toy-like natures. Contrary to having superhuman strength, when attacked each character is posed with discomfort. They are not completely invincible. Again, the characters do not show signs of wear or tear, and no blood in sight. Characters in the “Smash” universe do not die, but rather respawn. They are come back to life as many times as they are allowed. This sort of instant rejuvenation is inherent to each character, and as a result resets the character’s percentage to zero.

Then depending on the world, there are natural obstacles, such as lava and spaceships in outer space, that show no signs of hindering any brawl (Figures 4 & 5). Magma’s inherent high temperatures would incinerate any living thing, but in the “Smash” universe characters bounce off of the magma and come away with a bit of damage and a temporary burn. This allows a smooth transition for players to go from taking minor damage back into combat. Consistent transitioning from one world to another is dependent on the fighting platforms. Characters are bound to the platforms rather than the actual worlds, which leads players to assume that these platforms create some sort of artificial gravity. In certain playable stages, players are transported around levels through mobile fighting platforms, and the movement does not affect the characters. The game camera is fixed on the platform and the background is the moving component (Figure 6). Characters do not move forward or backwards when the platform is moving. No effects of forward, or backward, acceleration. An accelerating, or decelerating, bus will cause a shift in a person’s center of gravity, but the physics of the platforms do not cause any shifts in centers of gravity. The absence of Newton’s First Law in the moving takes out the variable of characters moving without the control of the players, allowing uninterrupted gameplay.

Figure 4

Stage select screen.

Figure 5

One of the space levels.

Figure 6

A major component of game play is that the falling arcs (trajectory) of each character is controlled by the players with little consideration to their inherent weight. Characters of all weights fall at the same uniform speed. In the physical world, gravity causes objects to fall non-uniformly and, cover more distance as time passes. At the same time, this gives players a chance to think, react, and plan their next move. Players are able to move their character left and right mid-flight if there is ample height, when, in reality they should follow parabolic arcs and match the initial jump. Uniform falls also lend themselves to the idea that the characters reach terminal velocity upon reaching the apex of each jump. This would mean that they reach the maximum speed and continue towards the ground without gaining any more speed. More interestingly, each character follows this rule in the “Smash” universe. Using Mario and Bowser as an example (Mario being the smaller character and lighter of the two), Mario will seem to jump higher, but both fall uniformly after reaching the apex of their jumps. Another aspect of the game that allows more mobility is the ability to “double jump.” Characters jump once off the ground, then can jump again mid-air. There is no visible platform or object that characters are seen jumping off of, but there is a small white disk that appears under their feet upon executing the second jump. This could be a result of invisible, arbitrary platforms, or remarkably jumping off of air molecules. But on a superficial level there is no reaction force to any second jump. Despite the added “double jump” gamers have become accustomed to this ability, adding texture and strategy to many games, including Super Smash Bros. Brawl.  

Super Smash Bros. Brawl follows many of the natural laws of physics, but in certain aspects of gameplay, these laws are deliberately absent from the game to accommodate a gaming experience that allows players to plan and play effectively. The game as a unique invention of a collaboration among franchises lends itself to its own set of universal rules to keep the gaming experience consistent. The rules of the game have been consistent throughout every installment in the series sticking to players since 1999, proving to people that the more the merrier.

Outline for the First Term Paper

I. Introduction

a. Introduce the video game “Super Smash Bros. Brawl.”

b. Basic rules: Smash attacks, damage in percentages, controller, and the camera/television screen dictates the edges where the characters can get ‘knocked out.’

c. Hypothesis: “Super Smash Bros. Brawl,” and its preceding instalments, break most physical laws of the natural world to simulate an immersive, fast-paced, action-packed four-player fighting game.

II. The higher percentage of damage on your character, the lighter the character becomes.

a. Instead of health gauges present in classic arcade fighting games, Super Smash Bros. Brawl uses a percentage system, which usually starts at ‘0%’ in most game modes. The percentage increases whenever damaged and at varying degrees depending on the cause of damage, or attack.

b. Most characters can be knocked out, or sent flying, between 150% and 300%, but the gauge is capped at 999%. A character with only 20% damage will be able withstand an attack and still land within the arena.

c. A character with 600% - 999% damage will fly at an incredible speed with a strong enough attack.

III. Superhuman strength and abilities, but no blood.

a. Each character in the game has superhuman strengths and abilities which can be seen when receiving damage from an opponent. Contrary to a normal punch, a punch (or any standard attack) in the game will cause characters to react with an exaggerated pose showing major discomfort, sometimes even in mid air.

b. Characters are resistant to magma and sharp, legendary blades.

c. Instant rejuvenation is also inherent in each character. No character shows signs of damage, except through the percentage gauge. When a character is knocked ‘off-screen’ their percentages are reset at 0%.

IV. The jumping/falling arcs (trajectory) of each character is controlled by the players with little consideration to their inherent weight.

a. Each character design is informative of the weight of the characters, but when each falls, they fall at a uniform speed when the player does not interfere with the trajectory. The arcs of their jumps correspond to their weight, which is one of the only game mechanics that follow the laws of gravity in the natural world.

b. Players have the option holding on the jump button to gain height in jumps, or of pressing/holding ‘down’ on the joystick  when a character is in mid-air to make them fall faster to the ground. Even the heaviest characters can jump superhuman heights.

c. Arcs of certain moves can be altered by moving the joystick during their execution, which include superhuman spinning, flipping and jumping.

V. Every world/arena is consistent with each other as long as there is a platform to fight on.

a. Gravity is always going down towards the platforms which the player fight on.

b. Nearly each level is on a different world, but the rules of the game apply similarly to each one. Some levels are underground surrounded by lava, and others are located in the upper atmosphere of a world.

VI. Conclusion

a. The game is more about fast-paced action, giving the player control over their character’s trajectory while maneuvering through levels.

b. The more the merrier.

Stop Motion Animation of Falling

I started by cutting out the pier shape out of black paper to scale with the white sheet of paper I used. Then cut out different wave shapes to give variety. The last black shape was of the pier and the water together when the fish comes out of the water. I wanted to keep some hand drawn elements, mostly because I was more comfortable drawing a person than cutting out different poses. The fishing line was string and I used a green circle so that it would be easier to identify the bob and where it was in the water.

As for the camera, I put it onto a tripod and tried to keep a consistent position, which turned out harder than expected, haha. It was pretty cool going through the process

Video Analysis of Path of Action

Full jump video. 

Selected Tracker clip.

Tracker image.

The (t, x) graph didn't come out as expected but it is still a straight line.  

Tracker Video Analysis of Falling

Tracker is a super cool program to play around with. :)

Shooting Reference

It came together so smoothly. :)

Mini-Portofolio

Hi there, my name is Jonathan Apilado and it's my fourth year at San Jose State as an Animation/Illustration major. I enjoy learning about how things work and science has always been one of my favorite subjects in school. As a result, I remember some of the simple topics like the Doppler effect. But one of the coolest things I've come to learn is that anything can be relevant to what we do in the animation/illustration field. Anything from cooking to astronomy to dance. Learning is always so cool, and this class has me really stoked. :) 

#1

'Hero Tree' ideations and final graphite drawing. 

#2

Some traditional and digital paintings from photos and imagination.

#3

I love sketchbooks and drawing in sketchbook. ^^ It's like putting your thoughts in a book.

#4

Some recent paintings I've done in Photoshop. The two on the left are from life and took around 3-4 hours each, and the right is from a photo I took in San Francisco. :)

114 Final: Sack Pantomime

I didn't finish the film, but it was fun making. It also has sound which was half the fun. :)

This just became semi-available to the public, but only through links. I posted this video because I love the short film and it kept me in tears through 80% of the time. And it has multiple kinds of falling! Though with air resistance ;)  haha It tells a story simply and beautifully, the reason I stay in the major. ^^

I'm really excited for the semester, and I hope it goes well. :)

The First Post

Here's some inspiration to start off the new semester :)

Charles Santoso

Priscilla Wong

Sachin Teng