Pixologic make a piece of software called ZBrush, which is used throughout the graphics industry for a variety of tasks. It's particularly suited to creating complex 3D models, being fast, flexible and able to handle levels of detail that most other 3d software would struggle with.  Most of the feature films you see today would have ZBrush in their pipeline to some degree to create all that lovely intricate detail on the monsters and environments you see on the big screen. When it comes to innovation, nobody touches Pixologic; they really are the trend setters for new and exciting ways to do things in 3D. It IS an extremely different piece of software, with the workflow and interface being very ermm... special and it takes a bit to get over the interface, but once you do you can see how powerful it is, and you will actually probably get to like it - or rather - you had BETTER get used to liking it, because they're not changing it, despite years of users asking them to (I know, because I was one of them).

I'd been impressed by the demos online, so when I was lucky enough to attend the Siggraph graphics conference a long time ago in a galaxy far, far away, and saw that at the Pixologic booth they were giving discounts for people buying a copy ($100 off if I remember correctly), I went out on a limb and bought it. That was 8 years ago*. They have pretty much provided free upgrades to everyone who bought a copy since that time, and I've been lucky enough to just be able to constantly upgrade without ever having to shell out extra cash for all those shiny new features. Since then, I've used it sparingly, from time to time picking it up and installing the latest upgrades just to check out the latest features, but truth be told, I never really got to grips with it much. It was a toy, and I had a real job doing real modelling after all...

With the release of 4r2, they introduced a new feature called Dynamesh, which, quite frankly, is mind-bogglingly mind-boggling and totally changed everything. Normally, dramatic changes to models would mean that you would have to carefully plan your model structure. Suddenly - with this single feature - ZBrush solved all that, allowing you to model much more freely without having to worry about modifying the model enough to allow for new geometry where and when you needed it. Essentially, modelling on the computer became as close to modelling with real clay as you can imagine. When modelling on the computer using traditional methods with programs such as 3dsMax or Maya, I normally start off with a primitive object of some description such as a sphere or a cube, and then cut into, extrude, bevel and push/pull my way to a higher resolution model, going from something as simple as a cube to a character, for example. This is time consuming and can be best described as tedious - and is still the way we make most models today! Sculpting in this manner means that you have to pay some attention to the structure (henceforth referred to as topology) of your model as you work in order to make it animation friendly so it deforms in the right places when the animator moves it. This slows you down enormously when you just want to rough out a shape or are just interested in a model which will not animate but will just be used for a still image. With ZBrush, you are freed up to forget about the technical structure of your model, and allowed to concentrate on just sculpting quickly, using the intuitive tools available to you which are much more akin to working with real clay. Dynamesh is the best addition to these new and intuitive tools in ZBrush. It allows you to constantly change the topology as you sculpt with a single click, adding more detail to areas that need it, as they need it. As I said, the structure of the model it produces is far too dense and totally unsuitable for animation, but for a single sculpt, it's perfect!

If you DO decide later that this is a model you'd like to animate, you can always modify it to work for that purpose. After the sculpting is done - and when you're happy with it - you can then go through the boring topology/structure stuff, and through a process called "retopologising" you can change the poorly constructed ZBrush model's topology to allow for animation of your model. Don't get me wrong, there is nothing wrong with the "poorly constructed ZBrush model", it is absolutely perfect for still images, but is considered "poor" purely from an animation point of view. The model is too dense to work with, and the flow of the edges in the model are arbitrary, which just doesn't suit animation.

ZBrush has a timelapse feature which allows you to show the model as you make it, with every click, brush stroke, camera movement etc, recorded as you sculpt, so you can see the development from original sphere (or whatever your start object might be), to final sculpt. What you're seeing in the video here is just such a timelapse video, which is essentially a sped up version of what I was doing as I was doing it. There are some ugly shapes in there as I work that I clean up as I work into the model, so this shows it being built - warts-and-all. As you can see, this doodle took approx 40 minutes to do, but the timelapse video has managed to condense that down to roughly 3 minutes, which to my mind is about right, as my own attention span doesn't normally extend much beyond that and you'd probably get bored were it any longer.

As the software package name implies, ZBrush is all about the brushes. These are the tools you use to lay on, cut into, and define the "clay" surface you're working on. There are hundreds of brushes you can use while sculpting, but I generally just use the Standard, Clay, ClayBuildUp, Move and Dam_Standard brushes as they cover most of my needs (and they are the only brushes used in this video). If you want to get into using ZBrush, I'd advise using a limited set of brushes first in order to understand what you can do with them, and then gradually extend your reach as you grow comfortable with them. You'd be amazed what you can achieve with this limited set! Most clay sculptors are the same, they'll have their favourite sculpting tools, and there won't be too many of them.

Brushes Used:

Brush Samples:

For this particular model, I just typed in "kids pulling faces" into Google images and kept that page of images on a second monitor for general reference as I modelled. I had no plans of what exactly I was modelling as this was really just a sketch, so I just went with the flow as I worked and this is what came out the other end.

Any questions, please post a comment here, I'll be happy to get back to you!

Seán

* And the galaxy may have been closer than "far, far away". A lot closer.
P.s Sorry about the typo in the video...it will haunt me 'til the end of my days...

On a rainy night, a magical jar of hazelnut spread walks over to a toaster and makes it come to life.  But then, a witch flies in and puts a spell on the toaster.  The toaster goes psycho, and pursues an innocent young man named Bob Knucklehead, who lives with his cat, Mario.  Mario is not impressed.

I wish I thought of that scenario.  But I didn’t.  I couldn’t.  I’m a grownup.  That truly imaginative, original and completely delightful idea was dreamed up by a group of kids, aged 9-11.  I was lucky enough to collaborate with these kids to bring the story of a psycho toaster to life as a short animated film.  And now, it’s going out into the world, so everyone can enjoy this twisted tale featuring one Mr. Nutmaster Hazelnut, a colorful snake who can grow wings, and Bob Knucklehead’s aptly named cousins, Handhead and Foothead.

One of the great things about working at Brown Bag Films is the possibility of interesting and unique collaborations.  Late last year, a group of us went to visit the headquarters of Fighting Words, a brilliantly concieved creative writing centre founded by the Irish writer Roddy Doyle and Seán Love.  Fighting Words aims to help students of all ages to develop their writing skills and explore their love of writing.  All tutoring is free.  Doyle was inspired to create Fighting Words after seeing the American writer Dave Eggers’ 826 program 826 Valencia, which similarly encourages kids to express themselves through the written word.

We sat in on a session where a group of kids from Dublin worked together to write a story.  I was inspired by the way kids were empowered by writing, and then had their stories immediately published so they could bring them home.  It reminded me of another wonderful creative organization in New York City, with whom I’ve worked for many years, The 52nd Street Project , which similarly uses theater to empower kids.

The Brown Baggers and the Fighting Wordsters found a creative kinship and we quickly hatched a plan to make something together.  Working with Fighting Words’ resourceful and creative Education Director, Orla Lehane, we would gather a group of kids to write, design, direct, and perform in an animated film, and the Brown Bag team would guide them and provide technical support and expertise.

Soon, we found ourselves at the Fighting Words centre with twelve kids, dreaming up a story.  Led by the dynamic volunteer Úna Kavanagh, they democratically (though not without some loud disagreement) figured out the basic elements of their story, according the Fighting Words methodology:  first, come up with a main character, then give the main character a best friend, a greatest ambition, and a greatest fear.  The ideas were flying fast and furious – a toaster, ninjas, a microwave – no, a witch-microwave! – a dog, a cat – no, just a cat! – a jar of hazelnut spread who can talk – DEFINITELY a jar of hazelnut spread who can talk!

After the story was hammered out, some kids focused on the details of the script while other kids drew images of their characters and backgrounds.  Brown Bag artists Shane Collins and Nicky Phelan encouraged the kids to draw whatever they wanted, and gave useful feedback that was both happily taken and gleefully ignored.  Which was all good!  It was the kids’ project, we were just there to bounce ideas and share opinions.

The kids focused on their artwork, and as they drew and colored, they fleshed out the story even more.  The narrative of the psycho toaster grew more and more interesting.

Then, we took the artwork back to Brown Bag, and a team of volunteer animators, led by animation director Shane Collins, had to figure out how to turn the raw creative output into something that could be animated smoothly and beautifully.  I can’t tell you what they did or how, because I can’t animate myself out of a paperbag (though that might make an interesting short film, hmm…if only I could animate it…).  But through their hard work and sheer wizardry, the psycho toaster and Bob Knucklehead started to come to life.

The next week, the young auteurs came to the Brown Bag studio for the next phase of the project.  After getting a quick introduction to the animation process, it was back to work!  There were voices to be recorded, music to be performed, and more artwork to be drawn and tweaked.  Volunteers from both Brown Bag and Fighting Words provided support, and the kids buckled down, excited to be a part of this process.

Next, the pieces were put back in the hands of the Brown Baggers, who devoted more personal time to putting it all together into a short film.  Characters were rigged for animation.  Explosions were animated.  Music was mixed.  Various things that I don’t understand took place.  And we were lucky enough to have a special guest, the great Irish actor Liam Cunningham, on a break from shooting “Game of Thrones,” come in to record the narration.

At last, the film was complete, and it was time for the world premiere, complete with popcorn.  The kids came back to the Brown Bag studio, along with their parents and siblings, and a hush fell over the crowd.

And then, we watched the film on the big screen.  The best part of the process was watching the kids, eyes wide and getting ever wider, as they watched their ideas come to life, flickering across the screen.

And then, the kids took a well-deserved bow.

When I’m working on a series, I get involved in a million aspects the show, from writing to rewriting to commenting on artwork to rewriting to giving direction on voice acting to rewriting to guiding the music (and oh, did I mention rewriting?).  Sometimes it’s easy to get consumed by the details and fall into certain patterns. 

But these kids had no patterns.  They wanted to see what might happen to a psycho toaster – so they told a story about a psycho toaster.  Their lack of inhibition and self-doubt was creatively invigorating. 

And whatever in the world inspired them to make “The Weirdest Thing in Toast and All of Mankind,” those kids were a total inspiration to me.

Sascha Paladino is Head Writer of 'The Happy Hugglemonsters'

“The Weirdest Thing in Toast and All of Mankind” screens at the Galway Film Fleadh on July 15 at 12:30pm. 

For more information, see: Galway Film Fleadh Programme

We had such a great team on this show – firstly, Chris Nee, the creator of the show who is a a great comic writer. Director Norton Virgien has a fantastic eye for kids TV and never fails to add energy, fun and life to an episode. Norton would always push the bar when it came to giving me notes on the animation in order enhance the believability, actions and performance acting of the characters.

Bronagh O’Hanlon, Art Director on the show, designed amazing characters and made the show look so beautiful. Jean Herlihy, our Animation Lead, was also an integral part of the production, never failing to deliver top quality animation and always looking to surprise us with attitude and agility in the characters. I especially loved Stuffy’s walk – he’s such a numpty! Our TD James Stacey made sure the pipeline was working for the show and was the main man in overseeing the modelling, lighting, textures and shaders.
 
In Animation, our main challenge was to try and create convincing human animation for TV. We spent a lot of time working on the facial blend shapes to achieve a organic appearance to the human faces, at the same time keeping the UI (Facial Controls) controls to a manageable amount for TV animation. We were able to achieve a good result in our time frame as the human designs were stylized and weren’t supposed to look exactly like humans. In other words, the humans never got into the ‘uncanny valley’ zone. For our facial rigs we started off using bones in the face, relying on skinning to get shapes. After some R&D on this we ended up using Blend Shapes instead, as it was a lot easier to direct the modeled mouth shapes through blend shapes than it was with bones and skinning.

In contrast to the humans there were the toy characters. These characters all had to move in their own unique way, taking their designs and real world materials into account. So the Gulpy Gators (plastic alligators) had to move as if they were stiff plastic, with hinges on their head, legs and tails. The Gators had South Carolina accents which was hilarious. Then there is Lambie who is a stuffed lamb, and Doc’s best friend. She had to move around with finesse and her body was to be like a soft cushion. We actually added some squash and stretch to her feet pads so they squashed and depressed as she walked along.

These key animations were essential to establish the traits and personalities of each and every character in the show. Our talented team here in Brown Bag Films created these key poses, walks, runs, acting and dialogue pieces, which provided a solid foundation and reference for animating the rest of the episodes. We worked on the animation for  Doc McStuffins with Sparky Animation in Singapore and they were great to work with. I spent a few months in Singapore working closely with the animation team, particularly the In-House Supervisor Hoong and Brown Bag’s Overseas Animation Supervisor Christian Cheshire. It was important for the Singapore team to understand Western culture - in particular the humour - and feed this into the show. The team I worked with were really into the show, and I remember one girl in particular who always sang the Doc McStuffins songs as she walked around the studio!

I look forward to seeing Doc McStuffins on our screens soon and I know its going to be a huge success!

Progress has been going very well on ‘Bird Food’ and lots of animation has started coming through. We are all getting very excited by it.

I have talked about the living characters in previous posts but there is another character that is inanimate but still very important:  The Set.

Sets and Locations are really important to the story and should not be underestimated. They help put the film into context and inform both the viewer and the actors. All great live-action films have had great set designers and location managers, while in animation you need great background and layout artists. These departments are all working under the Production Designer in both mediums.

Whatever medium you work in, the design of the backgrounds should always complement the characters and the tone of the story.

The characters in Bird Food have a strong 2D style and the background had to be designed to complement them. The design also had to work with the visual style of the film. This involves taking into account if or how the camera moves, and the functionality of the set within the script.

I have worked on every Brown Bag Films 3D animated television series so far, overseeing the cameras and scene layout in every production. Shows like “Noddy in Toyland” and “The Octonauts” have involved lots of dynamic camera moves and have had a real cinematic feel too them. This was in perfect keeping with the style and theme of these shows and was exactly what the directors wanted.

But Bird Food is going to be a completely different style.

Despite being the first animated short I’ve directed, I intentionally avoided falling into the trap of wanting to show off my skills in camera movement because I knew it would not serve the story or style. Having worked in 2D animation before I wanted to take what I knew of backgrounds and layout and transfer them to the 3D pipeline I have become so accustomed to.  The visual language of 2D animation is cuts, pans and zooms and I wanted these limitations to be the same on Bird Food.

It must always be remembered that every 3D production still starts life as 2D drawings. This includes the storyboards. So I knew that if the story could be told in the storyboard panels I could keep the camera moves basic and in the visual language of 2D. Luckily I had the fantastic storyboard artist Andy Kelly working on it so what I got back from him was pure gold.

So once I was happy with all of this I needed to get an artist to actually do the design for me. I chatted to one of our resident Art Director wizards, Bronagh O’Hanlon and explained what I was looking for and gave her these references…

Through being a massive fan of the Chuck Jones cartoons I was introduced to the work of the late great Maurice Noble. I absolutely loved his style and really pushed for this to be referenced in the designs that Bronagh would do.

So in no time at all, even with all of her other deadlines, Bronagh came back with this concept sheet of possibilities…

Obviously I was very happy!

I really like the colours in No. 4 and just asked for a few modifications. She came back with the version below and though not completely final it gives you a really good idea of how this short is going to look.

OK so now I have to stop writing and get back to working on this short. But a massive thank you has to go to Bronagh for the designs and I look forward to showing you more in the future.

PROGRESS  IS  GOOD!!!

Sticky Pictures, Kyla May Productions and Brown Bag Films have today announced they will co-develop and co-produce the animated tween comedy series Dream Factory (52 x 12’).

Dream Factory is a comedy series that follows the adventures of apprentice-dream maker Tommy Winks in the Dream Factory, a magical dream-making studio in the clouds. As an apprentice to the mythical Sandman, Tommy is learning to master the art of dream making. It’s not just about extraordinary ingredients and getting the recipe right; every night Tommy has to put on a showstopper that puts his audience to sleep - and keeps the Bogeyman at bay.

Dream Factory is designed and created by prolific creative director, brand creator and designer Kyla May (Smirk, Flea-Bitten, Kyla May Missbehaves, SheZow). It will be produced by Australia’s Sticky Pictures (Me & My Monsters, Pearlie, Dennis & Gnasher) and award-winning Irish animation studio Brown Bag Films (The Octonauts, Olivia, Noddy in Toyland)

Donna Andrews, CEO & Executive Producer, Sticky Pictures said: “Sticky is thrilled to be working with Brown Bag Films on Dream Factory. The concept has a delicious mix of mischief-making, magic and mayhem. Combined with Brown Bag’s impressive track record in stunning design and production, Dream Factory will be a visual feast and wonderfully entertaining.”

Jennie Stacey, Development Executive, Brown Bag Films added: “We were instantly drawn to the fantastical comedy setting of Dream Factory and are very excited about working with Sticky Pictures to bring these great characters and magical stories to life onscreen.”

The Dream Factory has been developed with the assistance of the Australian Children’s Television Foundation.

Click here for more press information about Brown Bag Films, Sticky Pictures and Kyla May Productions.