3D ANIMATIONS
ROOYA
In the depth of an ocean, A plant blasts through the ground and ...
Rooya is an abstract piece that pushes the boundries of organic style of 3D Animation and Motion Graphics, With an Oriental Electronic music to compliment it.
Credits
Ramtin Ahmadi - Art Direction, Execution, Sound & Music
Special Thanks
SideFX for development of Houdini, The most amazing 3D package out ther in my opinion.
sideFX.com
Rebelway for facilitating and support
rebelway.net
Sevish, For his inspiring and boundry breaking microtonal tunes as well as his generosity to share with us his incredible online microtoning platform. His easy to use solution allowed me to micro tune the synthesizers to be able to compose the soundtrack in the Persian "Dastgaah Of Homayoun", Which is quite a popular traditional scale still used in today's Persian musics.
Sevish Scale Workshop:
sevish.com/scaleworkshop
TECHNICAL PRESENTATION
Having a rough idea about the event taking place in the shot, I kick started drawing a simple bent curve.
Thanks to a technique shared by the amazing technical artist "Ali Seiffouri", A series of edits were made to the same curve and all of them merged together to create a nurbs skin surface. Finally a carve node with its "First V" animated to interpolate between all given curves, resulting in a organic and smooth setup that's procedural and quite controlable.
The motion then was mixed with more manually animated layeres, In particular the rolling effects of the stem. To achieve that, A straight curve with a bend node along Z axis which is deformed by a bend node was added animated to the setup, To be then deformed by a path deformer via the original curve.
Vellum simulation was utilized to add some touch of realism to the stem animation, Also the curve had to be resample in a non-uniform way, A simple VEX to interpolate the point positions based of a ramped curveu attribute and primuv functions.
The curve then became equipped with KineFX rigging attributes, plus asimulation pre-roll could easily be generated by the skeleton blend node, Morphing between a rest pose to the first frame of the action visible on screen.
Next, A series of curves were drawn to later build a proxy geometry out of to drive the rendered geometry. It proved to be beneficial saving time later down the line at simulation stage.
From there, I could model the render geometries using procedural as well as sculpting and more traditional technics. Layers of geometry were added as I went along with handful of trial and errors.
The tip pipe was an interesting case since it presented a challenge to solve. The sim behaved right up untill the point it settles down and I was not happy with the shape it was creating in that state. So an animated chain of joints could be created from the existing animation, To be manually animated and posed the way desired and lastly to drive the final tip pipe geometry again. With the new and proper looking animation I could go ahead and mix between the two to have the best of both worlds.
The egg was started with nothing but a single point, Animated manually and layered with procedula noises for a more natural and organic motion. For the burst the flying creature was used as collider to tear apart the vellum egg at that particular moment.
For the flying creature, Again I generally like to start animating with a couple of curves representing the skeleton of it. getting the proportions as well as principles of animation and lines of actions right before any modeling. sculpted geometry then was deformed via KineFX toolset. Additional growing stems were procedurally modeled and simulated on the wings lastly.
The initial ground burst was handled by vellum grains, Additional particles were emitted from the stem to populate the environment and have appear a little denser than what only rain provided. Multiple forces and addvections were utilized to drive the flow of the simulation, Giving it that underwater look I was aiming for.
A series of scanned pebble assets from Visualact.com were used as instance objects, Scattered by grains and particles simulation point clouds.
A volume as well as a flying dust pass were rendered seperately to later be mix with the master beauty render.
Renders were handled using Arnold Renderer each frame taking around 20 to 90 minutes per frames. Texturing was achieved by Substance Designer and Arnold's procedural utilities.