Thank the heavens I saw this. Really well made video and such varied examples from Avengers to The Witness to Mitchel vs the machines. I forgot that this clothing stuff also used in live action stuff not just animation 😂. So much work goes into this stuff! Unless you're a super talented prompt artist that is.
can you make a video explaining how those 2d/3d hybrid animations are made. like i get the materials and backgrounds in alberto mielgo movies are 2d drawn but i still need to know more about the process. how do you make a hand drawn looking material and put it on a 3d model. Then make some half tones like is a comic. is it in premiere pro or is render settings. there are many tutorials but not many of them explain the softwares used in movies or look flexible enough to put in a movie
Its funny that The Witness keeps being mentioned when it comes to simulation, I was the character modeler of the show and since all the clothes were developed with MD and I could load the animations tests and see how nicely it moved, I was pushing to use it for sims and at first the team considered it a terrible idea since the software its not supposed to have this usage. Its been a lot of back and forth until in the end marvelous came out as the winner 😌 (even tho it really is very limited and hard to control) but then Vellum came out so strong and seems to be just the right thing, sims also looks so natural…
Haha that's awesome to hear from you, the character models on the show looked great, good work! It really is a great tool for getting quick natural looking sims out quick, but I've found the same to be true, Vellum is awesome when you need more control
Hey! First of all great work on the show. It's amazing and inspiring. I've a question for you two as character artist and not a cfx. My workflow right now is Marvelous sim-Retopo and wrap to have a clean topology Marvelous sim - Zbrush to create highpoly and then a mid poly to bake the high. So... the real workflow is just to work with the Marvelous mesh?
@@andresprados3D This absolutely depends on the needs of the show. In many cases you'll need cleaner topo than what marvelous kicks out. It's not something I really covered in the video, but it's always a good idea if the task calls for it, to retopo the marvelous mesh and then bake the high poly sculpt details onto the retopo'd mesh as normal/disp maps. Your workflow is solid for AAA work. This video is more of an overview, but I'll likely make a more in-depth tutorial in the near future covering the exact practices
@@andresprados3D thanks a lot man and love the question! So this happened in a very specific time frame in between Ncloth being supposedly the industry standard and the appearance of Vellum as the new Winner. Marvelous at that time gave the most natural looking simulations at many costs, like having to choose to use the meshes from marvelous without clean topology and this affected the renders a little giving us artifacts, not having thickness ( although Im not sure why we discarded skim wrapping the animations onto a clean mesh tbh) and very hard to control simulations as in the scene where she puts up one sleeve and then another and then starts running with her jacket on. We had to use pins to stop the simulation and freeze everything in the nothingness and continue animating it trying to get something smooth. So, besides the software limitations at the time and choosing to do the wrong thing on purpose because it overall looked prettier back then, theres no reason to do it this messy, your workflow sounds much much better ☺️ and if animators want to control anything with the rig they will be forever thankful to you. Also a clean mesh allows for displacements and reesculpting… so yes, keep your pipeline and dont look back I guess 😅
Sometimes digital doubles of an actor are necessary for certain shots. In those cases it's definitely easier to add CG clothes to a CG character. I've worked on a show where I was asked to add a jacket to an actor because they didn't have one on set since it made the performance too stiff. There are cases where they just forgot and need to add it in post. Other cases where they didn't have costume designs ready on time for the shoot so they just added it in post, like the suits in Avengers End Game. It's sometimes cheaper to add in CG clothes than to go back and setup another day of filming with actors, crew and gear that cost millions. And some movies are just completely animated. Hope that clarifies things!
"The massively talented prompt artist" I see what you did there
My favourite TH-cam find this week, love this, masterfully done!
Loved the video. Precise, informative and kept me engaged till the end. Subbed!
Awesome! Thank you :)
Great job: informative, entertaining, well-documented, top-notch. Instant subscription :)
Saving this video to my work playlist for later too
I’d never thought about how studio artists get assigned shots for the day.
I'm a VFX Artist and I can definitely agree on the overly caffeinated part haha great video
Thank the heavens I saw this.
Really well made video and such varied examples from Avengers to The Witness to Mitchel vs the machines.
I forgot that this clothing stuff also used in live action stuff not just animation 😂. So much work goes into this stuff! Unless you're a super talented prompt artist that is.
Thanks @piusdoe8984 ! Welcome!
Massively talented prompt artist.. aye aye captain
Great content guys 🎉
4:15 jesus dude that was uncalled for. watch your bloody levels mate
can you make a video explaining how those 2d/3d hybrid animations are made. like i get the materials and backgrounds in alberto mielgo movies are 2d drawn but i still need to know more about the process. how do you make a hand drawn looking material and put it on a 3d model. Then make some half tones like is a comic. is it in premiere pro or is render settings. there are many tutorials but not many of them explain the softwares used in movies or look flexible enough to put in a movie
Yeah, I'd love to do a video in the near future going in depth on the 2d/3d hybrid approach. It's on the list!
definetly clicking that bell notification then @@crafthive
Really good content, thank you!
Very informative video. Could you do another one about hair simulation pipelines? There is so little info about that
Absolutely, it's on the list!
*Thanks for this*
I'm watching this and I see my stuff in there and I'm like, I need to get back to making 3d clothes
Shoutout to Jayson Fitch (Senior Character Artist at Insomniac) 7:00
cool!
The only youtuber who asked me for subscribe and I subscribed 4:10
Love to hear it! Thank you so much!
Hahahah, you really got me with overly caffeinated.
Nice video, subscribing...
4:20 I'm Subscribed
Thank you! Happy to have you with us :D
Its funny that The Witness keeps being mentioned when it comes to simulation, I was the character modeler of the show and since all the clothes were developed with MD and I could load the animations tests and see how nicely it moved, I was pushing to use it for sims and at first the team considered it a terrible idea since the software its not supposed to have this usage. Its been a lot of back and forth until in the end marvelous came out as the winner 😌 (even tho it really is very limited and hard to control) but then Vellum came out so strong and seems to be just the right thing, sims also looks so natural…
Haha that's awesome to hear from you, the character models on the show looked great, good work!
It really is a great tool for getting quick natural looking sims out quick, but I've found the same to be true, Vellum is awesome when you need more control
Hey! First of all great work on the show. It's amazing and inspiring. I've a question for you two as character artist and not a cfx. My workflow right now is Marvelous sim-Retopo and wrap to have a clean topology Marvelous sim - Zbrush to create highpoly and then a mid poly to bake the high. So... the real workflow is just to work with the Marvelous mesh?
@@andresprados3D This absolutely depends on the needs of the show. In many cases you'll need cleaner topo than what marvelous kicks out. It's not something I really covered in the video, but it's always a good idea if the task calls for it, to retopo the marvelous mesh and then bake the high poly sculpt details onto the retopo'd mesh as normal/disp maps.
Your workflow is solid for AAA work.
This video is more of an overview, but I'll likely make a more in-depth tutorial in the near future covering the exact practices
@@andresprados3D thanks a lot man and love the question! So this happened in a very specific time frame in between Ncloth being supposedly the industry standard and the appearance of Vellum as the new Winner. Marvelous at that time gave the most natural looking simulations at many costs, like having to choose to use the meshes from marvelous without clean topology and this affected the renders a little giving us artifacts, not having thickness ( although Im not sure why we discarded skim wrapping the animations onto a clean mesh tbh) and very hard to control simulations as in the scene where she puts up one sleeve and then another and then starts running with her jacket on. We had to use pins to stop the simulation and freeze everything in the nothingness and continue animating it trying to get something smooth. So, besides the software limitations at the time and choosing to do the wrong thing on purpose because it overall looked prettier back then, theres no reason to do it this messy, your workflow sounds much much better ☺️ and if animators want to control anything with the rig they will be forever thankful to you. Also a clean mesh allows for displacements and reesculpting… so yes, keep your pipeline and dont look back I guess 😅
I expected to see clothes rig+sim, but I only see sim :(((
Fair enough! We could've gone more into that. I'll try to cover the whole process in a future tutorial video
OK I subscribe
Yeah "highly caffeinated"😂
😂😂😂 the pleeeeeeeeeeeeeeaaaaaaaaasssssssssssssssssszzzzzzzzzzzzzzzzzzzzzzz got me. +1 subscriber
Cloths and Hair Simulation are very difficult subject...
ez sub.
“Massively talented promt artist”😂😂😂
what do you need cg for when you can just spare the trouble and make real clothes for a movie?...
Sometimes digital doubles of an actor are necessary for certain shots. In those cases it's definitely easier to add CG clothes to a CG character.
I've worked on a show where I was asked to add a jacket to an actor because they didn't have one on set since it made the performance too stiff.
There are cases where they just forgot and need to add it in post. Other cases where they didn't have costume designs ready on time for the shoot so they just added it in post, like the suits in Avengers End Game. It's sometimes cheaper to add in CG clothes than to go back and setup another day of filming with actors, crew and gear that cost millions.
And some movies are just completely animated.
Hope that clarifies things!