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In the beginning of the project, the texture mapping and 2D painter group already started to gather material and designed textures according to the reference source. This information along with the final model and lighting was passed on to the material and texturing group, where everything would be integrated, then transformed the animatics into 3D model with complete texture settings. Now, the computer will start to render images scene by scene (fig. 10) Every rendered image must meet the client's expectation and approved by the supervisor before moving on to the next step.

Among our 3 teams, the animation team probably had the most complicated work of all. Unlike the other 2 teams, the animation team, lead by Chris Chen, does not always divide into the same number of working groups. For this BMG MTV project, the animation team was divided into 5 group:
1. Camera movement, 2. Character Setup, 3. Motion Capture, 4. Facial Animation, 5. Character Animation.
The camera movement group first took the animatic elements and designed camera movements according to the story board. If there was any interaction between characters or objects, the timing needed to performed those actions must be reserved. The character setup now bind skin the animatics with motion capture data, and adjust the relationship between camera movement and subjects. The character setup group was also responsible for creating each character's skeleton setting; this entire process only took about 1-2 days to complete. By applying the motion capture data and camera movements, the animatic is completed and ready for a rough cut. At this stage, we already have a good idea about lighting, camera movement, and character motions.
The character setup group's next job was to finalize all the character settings (fig. 11). We were roughly at the mid-phase of the project, when the modeling team completed a usable model for each character. Modeler will spend a lot more time in detailing the facial and muscle shapes, to reassures the texture quality is closest to a very human being. However, this does not affect the character setup group. Character setups can be made with the rough models, we will just have to make sure the character's number of polygons and the control points are the same as the final models. All the character setups can be applied henceforth, including skeleton binding, paint cv weight, etc.. ( Chris Chen has developed a program that enabled us to copy a character's bind cv weight on to the final model. ) The character setup group also had to set the interactions between cloth, hair and the character; this would include the dynamic setting of collision and gravity.

fig 11. hair setup

fig 12. hair and body setup

fig 13. hair and body interaction

fig 14. hair and body setup
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