SAAT - Academic

Greetings And Announcement...

We Are Shutting Down our Bangalore Operations...Due To Further Developments in Our Academic Strategies... Location will be announced Soon....

Sudarzana Academy Of Art and Design Will Come To an End By  May 16 2017... All students are advised to Keep thier Ears and Eyes Open for the Next Breakthrough Yet To Come....

Beliefs vs Belives

We may have a disbelief in our root of birth, we may have a disbelief in our order of growth, we may have disbelief in our dependencies, we may have disbelief in our relationships, we may have disbelief our national code, we may have disbelief in our country's pride, we may have disbelief in every religious order, we may have disbelief in the spiritual borders, we may have disbelief in every social order, we may have disbelief in classified gender, we may have disbelief in the power of dollar, we may have disbelief in our own beliefs..... One thing that each and every human of you can't afford to have is Disbelief in your own Existence and it's Purpose and it's Values... The moment when you have such....

Cease Your Existence

Your Existence comes to Cease with a Void of Empty Colorless Codes Of Your Disbelief... Standards of yet another... Fallen Faith... Fairly defined as Medicis... Hermites... Alchemists... None turns the soil of war land into gold of Enlightened Ambience... They do thier best to turn the broken souls of perspiration to the inward percutaneous yet... The souls of the retriever must be saved as a sacred form of fire... Else... The Healer must spill his blood on the soil of .... Conflicting States within where there's no progressive state of positive development can be brought in... In order to penetrate the deeper wisdom that lies within the enemy held territory... It's in the hand of the souls that has ever lived Free.... Can achieve... What's those, who sold thiers to the devil and failed during pseudonym factors of EQ Turmoils.... It's indeed yet another theory to that of the Socrates but the final teachings of his mind with the clarity did not interrupt the poison getting into his veins to dissolve it.... Which is obsoletely an order in the carousel of chaotically performed riligious rituals... We may not yet fully describe this Events as methodical foolishness of Lack of EQ... But it has been mentioned in Kybalion as the chapter 6 covers it...

EQ Ritual

Yet another performance, yet another ritual, yet another pre programmed theory of human existence... Which is consiously affecting those who are involved in the process of progression without the awareness of thier existential purpose embedded within thier subconscious connected to the coxy.... Though in Hinduism they describe this function as the Muladhara...(An Act Of The Chakra) by its own rather than a Stimuli of External Influences.... Modern Day Programs such as Pathological Functionality and Tracking it's Root can provide a Workable solutions as a Fate of Belives could not be questioned from the Root itself... Since it has been deeply embedded by the core workings of Kismet... Another Example is that... During the Preachings of such Phenomena... It's much harder to identify the cause of the crisis... Without knowing the Kismet workings... There's only one solution is to that is to work with phenomena of Root which creates the Programmed functions of Root Over Kismet.... What it Decodes and describes is.... Stimulus of Pleasant and unpleasant part of experiences are... Not arising from the Kismet level... But arising from the Ignorance of an understanding with the Root....

Writings of Kismet, Shell and Terminal in your Consciousness

Since as Kismet as word describes what it says...( Note: Though it has been derived from the Sanskrit... It existed even before the Period of 16 AD as the Aryan form of manuscript From Tanjore Musium still holds the Evidence....) The Current Derivative of the same isn't a Exact Copy of the Manuscripts.... Thus nullifying the effect of the Forced Arguments.... Both the existential Aspects of 16 AD manuscript of the same defines Kismet as the written Entity of Pathological Programmes... And they are derived from the Root not by the Identifiers...This clearly distinguishes the need for identification module to any human entity as the identifiers are programmed by it.... My observations are that in any given protocol of where this programmed modules are executed by the Concurrent Events... Let's the Identifier be fully unaware of the backend workings of Kismet.... Thus thier reactive stimuli is controlled by the executor of backend theorists.... Those who work within such organizations aren't Enlightened to be aware of the Subconscious level of feedings... Which makes them a victims of thier own voluntary hosts in thier own circumstances.... Government as we all know has a little awareness of these phenomena exists... This very little knowledge of such in thier functionality makes them gain access over the millions to manipulate it to benefit thier own... Which is is why the unaware Syndrome of it's very own people's intelligences fails to question the the very fact of thier own imprisonment in thier shell... Shell as module we know contains a Terminal... Terminals are the source to running thier Very own perception of thier kismet workings... In which a Terminal executes whatever the perceived Stimulus of perceptions are contrived... Shell takes it into the Subconscious level and stores it.... While the consious awareness of Kismet  is busy focusing upon the practical reality of day to day challenges...

Prisoners and Stimulus

The prisoner has no awareness of the contained shell program executed by the terminal.... When the equalent stimuls is forced by the external factors... The Shell recollects the data of external Stimulus... Which in fact becomes the conflicted idealogy between the Practical Conscience and Shell Subconscious containment... Here again the Perceiver of Shell awareness related prisoners though have a little grip on the external Stimulus thier reactory programmes executed by the Terminal gives a pulse of little or less nanoseconds of time for the perceived to gain control over thier EQ... Kybalion verse on eighteenth chapter recognizes the inner workings of Individuals who aren't Programmed by the Institutional methods by the Insidious modules of the Government Are aware that Freedom can be imparted and not let the Transients bondage of physical stimuls interrupt the Pre programmed Shell... Thus which gives them the greater far sight into the Fields of Intutive Focus and Clarity.... The rest of the unawares Become the prisoners of thier own emotions often which is dangerously making them vulnerable to the external Stimulus and circumstances.... As we noted earlier the manuscript of Kismet was derived from the Root not by the Identifiers the identity of every individual is clearly becomes the source of Kismet Workings While the Identity of Root Compiles the Working of the Group of Individuals who has the similar Kismet Patterns Embedded... Making Them a prisoners of thier own Kind....

Dear Students Parents and Patriotic Prisoners....Here I'm announcing That the Service of Sudarzana Academy of Art & Design Comes To an End as I've decided to Shutting the Company Down and it's Bangalore Operations for The Advancement of Our Long Term Goal ... You May Have To Wait a Little Longer or Be Surprised to get an invitation to join our New International Educational  Center... Keep your Ears and Eyes Open... The Facebook Page of Sudarzana Will Cease to Function from 16th of May 2017

VijaySarathi
Director/ Academic Director

Maya Modling For Production

Modeling for production is always loads of fun and challenging too and sometime its really complicated to finish the model within the deadline. There are certain procedures and responsibilities for modelers to work on the models based on what kind of production they are into. For example the various production needs like, television media, live action film industry and gaming industry each requires different types of modeling methods to keep the model which suits for their requirements.

Another example for this is, A television media production house which can afford a model that has the medium number of poly count with the right mesh topology but for the film industry sometime they require a very high detailed model with the right mesh topology that keeps each and every single detail of the character. For the game production you need to build a model with the lowest amount of polygon count and its possible to keep triangles in it (Note: game engines supports only triangles) but for the other two media mentioned above should not have a triangles it should form a character only with quads so that it will create a smooth surface and provide a smooth and expected deformation result after rigging them. 

Before you begin your modeling process its always better to communicate and consult with texturing and rigging artist and take inputs as to which are the areas that has to be given primary importance. (Note: the prop which is far away from the camera need not have to have more detail on it) and how to optimize them without loosing a single detail this will help to reduce the complications vise versa and it will avoid redoing the work again.

Modeling in production has separated into two sectors, which is BG and character modeling. 

BG Modeling 

(BG is Background or set modeling). Responsibility for the BG modeler is to make sure that each and every props (Note: props are the things like telephone, bottle, coffee cup, table Etc...That interacts with the scene often and is handled by the other characters that interact with that particular scene) in the BG has been done properly with the correct mesh topology. Tracking up with the props is another task too for the modelers if the number of BG’s are more in production it is better to take the old ones and alter them for a change if its necessary. 

Name each and every element on the model and follow the proper grouping order, this does avoid confusion and it reduces the work load for the texturing, rigging artist even for the modelers too. Scaling the props in the scene is an other important task for the BG modelers you need to get the character scale chart and keep the dummy object for character scale reference to do this. Freezing the transformation values. 

 (Note: do not scale your models after freezing the transformation if you do so freeze the transformation again to keep the values 0 don’t set the X, Y, Z scale value to 0 because in Maya the default value is set to 1 for these three axis) and deleting the unwanted history, keeping the outliner window clean will keep everything neat and clean in the scene file. Optimizing the scene reduces the file size 

Based on the time constraint of the particular project sometimes the props will be distributed to one or more modelers. 

Character Modeling 

When you look at the character model sheet for production, which needs to be modeled, First things is to observe is all about anatomy of the character and what kind of clothing’s the character has and what all are the other elements that are there on the character. Take time to understand the sketch, decide what kind of modeling surface that you’re going to use to build the model quickly and easily. 

Well knowledge about the anatomy is a must for a good modeler. If you are new to modeling give yourself a little time to do the study about anatomy of Biped, Quadruped.

(Note: Bipeds known as two legged and quadrupeds known as four legged characters) Remember the relative size of parts in a body weather it’s a human or an animal in order to keep the proportion correct. Some of the new comers to this animation industry never would have done this study for them it is important to learn about this to become successful modeler. 

Anatomical study about the male and female is the must to build a quality model and makes things lot easier in production for example male body parts and forms are more rigid then the female’s. Overall anatomy of the female body has a rhythmic curve flow more than a male The areas, which you have to focus on while building, your male or female models starts from facial construction the neck, shoulders, elbow, forearm, wrist, chest, hip, knee, ankle, toe all of those body parts you need to give special attention to keep the correct anatomy. These are the key points that can be followed even for building a animal models too. 

In production, to follow the clean workflow for your models always make sure your beginning with the blocking stage of modeling process. Blocking is nothing but building your model with the less number polygons using the basic primitive object. This helps you to keep your model simple and makes it easier for you to finalize the anatomy of the model properly also this comes handy when change in the character designs or any corrections needed for that model. Make sure your getting the first stage approval on this blocking stage from your director or your modeling head then go on adding details. 

After completion of the blocking stage focus on detail which are required take inputs from texturing, rigging artists if necessary in this stage mesh topology has to be perfect. While adding detail in your model it has to have enough points on the areas, which are going to get deformed. The area near Shoulder, Elbow, Knee, Wrist, Finger joints, etc.. 

Building a face does require lot of experiments sometimes it becomes really challenging even for the experienced professionals based on the project requirements. Constructing a face model with the right mesh flow is necessary. It makes the model more alive and believable too more than that it helps the rigger to take the control over for creating a facial rig which can make the model does all the possible expressions. When you build a face make sure your concentrating on the areas like eyes, nostrils, ears, inner mouth structures this needs a special attention in details. 

It’s a modeler’s responsibility to create blend shapes, which are required to create expressions. In production you have to create the shapes of the vowels (A E I O U) to animate all the possible dialogue delivery from the character apart from this creating the other shapes to simulate the feelings of the character like Anger, Sadness, Happiness, etc.. in order to create these in detail and as well as without loosing the proportion of the character to do this effectively you need to do lot of research and study about the faces from the people and animals its always good to draw out the expressions how the eyebrows, eyes, forehead wrinkles, mouth shapes coordinates between together to form certain expressions. But its not really matters if you can’t able to draw out the expressions only if have the special observation skill.

Responsibilities of the modeler when modeling for production 

• Set the project to appropriate working directory.
  
• Choose the right kind of geometry, which will suit the need of the model.
  
• Keeping up the file versions in order to avoid confusion.
  
• Fixing up with Maya system unit scale settings based on the project.
  
• Check out for the scale chart before you begin.
  
• Communicate with texturing and rigging artist for model requirements.
  
• Scale down the model based on the scale chart.
  
• Block the first stage model then go for detail after approval of first stage.
  
• Add enough number of points where the deformation happens.
  
• Freeze the transformation.
  
• Delete image planes after finishing the model.
  
• Delete unwanted history.
  
• Delete unused curves.
  
• Delete unused objects.
  
• Delete layers, which are not necessary.
  
• Keep the outliner window clean.
  
• Name the BG prop elements properly.
  
• Delete used deformers if its not required no longer.
  
• Do the poly clean up to get rid off non-manifold geometry.
  
• Group the model properly if it has more number of objects.
  
• Make sure there are no open vertices in the model.
  
• While creating blend shapes make sure your duplicated model has the same number of points as the original.
  
• Organize your blend shape groups and separate them as and name them as phonemes / expressions.
  
• Do not delete or add vertex, edge or face on the blend shape meshes.
  
• Do not freeze transformation after creating blend shapes.
  
• When you notice any mistakes in your model after passing that to texturing or rigging inform about it immediately to the appropriate artist before they start the work.
  
• Do the final quality check by yourself once after finishing all the necessary work.
  

Cheers!

 

 

 

 

 

 

 

 

 

 

For Those about to Rig - Part -3

part-2 continuation..

Responsibilities of the Rigger when rigging for production

 If you want to become well known rigger you need to start thinking from the animators point of view. Understanding the animation requirements and the animator’s requirement is the keynote for the rigger to provide the best rig. A good rig reduces animators stress and gives the best end result.

Set the project to appropriate working directory

• When you receive the model don’t forget to check for proportions, anatomy, mesh topology.
  
• Always look at the storyboard and understand from the animation point of view.
  
• Make sure the Model has the right scale.
  
• Check for the UV’s whether it’s fixed or not if it’s not, pass it to the texturing artist.
  
• Keep up the file versions in order to avoid confusion.
  
• Check up with Maya system unit scale settings based on the project.
  
• Check out for the scale chart before you begin.
  
• Communicate with modeling and texturing artist for model, texture requirements.
  
• Freeze the transformation for the model.
  
• Before you start creating joints for the final rig.
  
• Do the test rig to see your model deforms properly.
  

This will avoid redoing the work.

• Do not create too many joints until it’s really required.
  
• Name the joints in order.
  
• Orient the joints freeze the transformations.
  
• Create the Proper grouping order.
  
• Freeze transformations for the control curves and name them properly.
  
• Lock and hide the attributes, which is not needed for the animation.
  
• Lock and hide unwanted control curves.
  
• Delete unwanted history.
  
• Delete unused curves.
  
• Delete unused objects.
  
• Delete layers, which are not necessary.
  
• Keep the outliner window clean.
  
• Keep the facial UI simple and accessible.
  
• Create Ik handles before skinning.
  
• Create an attribute for switching the model display Low to High.
  
• Organize your blend shape groups and separate them as and name them as phonemes / expressions.
  
• Do not create too many Expressions/Maya Expression system will slow down the performance.
  
• Automate the process which are repeating often to make your work flow easier.
  
• Automate some of the controls, which will make animators life easier.
  
• Create a Brief note about your Rig.
  
• Do the test animations of all the extreme posses.
  

Do the final quality check once you are through with above mentioned points

Thats all folks Happy Rigging!...

For Those about to Rig - Part -2

part-1 continuation...

Before you start doing the rigging process, always make sure that you are communicating with texturing artist too to confirm whether the UV’s are proper. This avoids re doing the skinning part. Because, if you have your UV’s fixed properly on your model it makes the skinning process much easier (you can mirror your weights on the opposite side just like the way you can do your modeling)

There are two types of rig that we get to work on in the projects. One is known as Character Rigging the other is Prop Rigging. Props are the non-living things like a Coffee Cup, Rope, Bench, Telephone...Etc but these props also needs to be rigged properly for the animators to handle them easily. Rigger needs to understand each and every prop and its behavior and how its going to get interacted with the scene and he has to make sure the pivot points and the grouping, naming, all, needs to be done properly for each and every single prop which is getting rigged. Because, some times there will be too many props in one scene so, everything needs to be named and grouped in a right way to avoid unnecessary confusion. 

Props are always fun to rig for the beginners and sometimes even for the professionals too, because some of them are very simple to start up with and some are really challenging. Even for props we can have two ways to do the rigging. For example, to rig a coffee cup, simply we can have a control near the handle to animate the cup. This will be the simple rig and it can be used in the realistic type of animation but for cartoon looking Animations we need to create another kind of rig for the same coffee cup. We just have to add few Deformers to make the cup bend or stretch and squash. 

When it comes to the world of rigging and animation, the rigging or animation process is split into two styles. It can be either realistic or toony. According to that the rigger or the animator will add the necessary controls and motion to it and get the best-expected results. 

When your creating human or an animal (also known as biped and quadruped) rig’s it’s a must fact that you have to understand the anatomy of them well and also how their inside muscles and other elements will react based on the movement of each body parts. This special observation approach provides you the realistic results and makes it more believable when we look at it. 

More than just adding the basic controls for the realistic characters either biped or quadruped provide some extra controls for the area which can give you the realism like muscles on the hand that slides near the shoulder blade when it moves and creating breathing controls for the character so that you can show the detail of the chest area that expands a little when it breaths even for the arms, wrist, elbows, knees in all these area’s you need to provide special attention to it to give such believable deformations and controls. 

Finally providing the facial expressions gives the special ability to your character and more close interaction to the audience more than just moving around, it lets the character to express his feelings.

go to part-3..

For Those about to Rig - Part -1

Hello Folks!  

                Let me say my warm welcome to the folks who enters into the area of Rigging. Almost six more years over for me in Rigging and still working on.. Damn I wish I may work with Binku Mathews in the future.. Who is he..??  He was my colleague My Team Head a Good friend and my Anger Management therapist anyway loads of thanks to this guy I’ve learnt a lot about Rigging from him. I thought this small tutor that I have done could be helpful to the one who is willing to learn about Maya Rigging. Soon I will be posting some interesting rig workarounds..

Hope this helps u in anyways.. Cheers!

MAYA RIGGING      (Character Setup)  

Introduction 

Very Interesting and most challenging and a special subject to work with it requires your creative and technical, Observation skill set to complete this process

Rigging or Character setup is nothing but giving life to the characters provided with some Controls to make animators life easy. Rigging comes just before the animation stage. When the character or prop model is created, it cannot be animated until the rigging gets over because it remains as static model and it's impossible to animate the model just by moving the vertices, it requires Skeleton structures to bend or deform the model. 

Maya Provides Various Rigging tools to get the results that you want. Understanding these tools is very important for the beginners. 

Concepts &Production Workflow

Skeletons (also known as joints and bones) are the important objects that are available in most of the 3d applications to simulate the real human skeletons and also there are different Deformers such as bend, stretch, squash, …etc. to simulate the different deforming effects. 

First key thing is that the person who wants to become a rigger is to understand the Human and Animal Anatomy well (Human and Animal Rigging methods are also known as biped and quadruped Rigs) and he also needs to have in-depth understanding of the muscle deformations and the behavior of the muscle system to get the desired results. It’s also very important for the rigger to know about the mesh flow of the geometry, which is called mesh topology (There should be a good two-way communication between the modeler and rigger). 

It is the modeler’s responsibility to give the right model with right number of polygons and points placed in the right places; for example where ever the surface need to be bent (such as the arm pits, elbow wrist, knee, ...Etc) or deformed, should have the enough number of points to control the deformation in a right way. 

It is also the riggers responsibility to check the model first whether it has the polygon distributed correctly and has the enough number of points to get the right deformation. Remember it's always better to check the model first before you blindly start working on the rig. This avoids re-doing the rigging process especially when your working on the bigger / multi projects in the production houses. 

go to part-2..

I do sketch sometimes

im not a good artist though I do some quick sketches of what iam thinking kind of strange cause sometime i don't even know what iam sketching but sometimes i do ... often it helps me to relax and also helps me to come up with my own character designs.. 

Experiment With Photoshop2

Motivation through Inspiration..... here are some more ...