My transcription : (you could download the .doc) here
English : Peach Interviews: Andy Goralczyk
http://www.blendernation.com/2008/02/09/peach-interviews-andy-goralczyk/
(Note : Il y a des mots/bouts de phrase que je n’ai absolument pas réussi à comprendre à cause de la qualité/accent de la vidéo et des personnes (surtout la fin).)
- Today I am talking to Andy Goralczyk . I pronounced that correctly?
- Yeah.
- Andy art director for Peach, and of course you know him, from the elephants dream project. Well Andy have you, hum have you thinks the project… Andy have you compared the two projects
- Hum well first informers, I think this project is about a hundred times more complicated in terms of , you know visual complexity, characters, we have, we don’t have two characters, we have four, five characters; four of them, the main characters, so I, it’s much more complex also in term of animation and just, yeah, the, the details that you’ve seen in all the shots, and everything, so yeah, and… but of course we only have 6 month this time. We are slighty more people but we have although less people animating so yeah it’s still a really really big challenge this one
“And you’re art director and what does at means what does your place in the workflower of them”
Well in the beginning of the project I mostly started doing some small color test and well… Sacha was making the character designs. I did, I explain to turn them into models and later on I did color makeup’s with them and just some simple test to see how the characters are going to look like and then I just, hum well, as soon as snake has done all the rest, I started to, you know, put form on the characters, make the textures and everything and brush then every day. I could not going like okay now we have a little volunteers let me see this hair… Hum very time “” electronic paid off.???????
And yeah, right now, hum ho yeah, after that I also did like, hum, think about half of the plants, some we have like all tree trunks, all the stones and little lights and mushroom see growing in the corner everything like hum I little some that stuff and help them record with the Larmen of course so…
yeah and well now I’m doing mostly en lighting and composting so hum I’m trying to define the look of the movies “surouf” and taking all the scene that those guys make and well and recode something all the scenes just taking important scene like the different layers up and different way of: the tree must to be there, it’s gona be this colors, it’s gona be that light, what’s the time of the day, where is the light direction coming from what mood, doing want to haven’t this shoot and of course, most important thing is to make sure: what Sasha wants us on the screen.
“Giving it the final touch”
Yeah “serious” speak
“hum I’ve got a few questions from the community for him and one is from Made and he said: How did you make the feather on the bird?”
Hum yeah the feather … well I don’t know…
“Because I understand there are real, right?”
Yeah the feather are real and basically we I ask Brench, you know to call a little feature that is the new particle system as a way off duplicating objects on their particule positions and I simply ask Brench to make that work for static particles as well. So basically the feather on the bird are don’t like the form of the characters but instead of a making little strand, it’s just a make instance over feather. And the feather is just basically a plan with alpha texture “on it” and bump map, and normal map, and specular map and hum other stuff. And I just put some guide particles on the bird and define how many, how many parents and childs should have and also how many younger and of course their feathers. Many feathers especially rand the bilk and some areas where it still looks bold and yeah that basically just fird particle system instead of just the feathers
“Okay I was a little bit worried that you had to do all per hands
Yeah well luckily not, luckily we have a lot of great programmers that help us.
- I have a question from Johan. Johan says that the news ambiance the new aproxment ‘’ yeah the new approximation ambient occlusion apparently make global “organization” renderings which the ambient occlusion fast “” much faster ”
Hum yeah pretty much, hum we, well, we basically we wanted it because it was made really easy to, to light all these big outdoors shots that we have and also forest, lighting machine, that kind of stuff because, hum, if you have a huge area you have to illuminate it’s really hard to do that with just a band of spot lights, or lamps. You can’t really do that with, well, the envy lights or the sun lights because everything turns flat and “shaveless”. You don’t really want that so, yeah, we pretty much use that on every shot. Hum, we also well, every wander we just put a separate ambient occlusion part. So usually ambient occlusion just illuminate everything and then some lightening corrections are them of top of that like well I just basically some light, this spot like, light and some of burns light also down spot lights, And hum, in the end, I just take the ambient occlusion part, and just prefind a little bit, and give it more contrast and multiply it on the top to give more depth to the image.
“And I now you only have six more weeks to go. How do you feel about that?”
Ho yeah! Great!
“You’ve been there before.”
Ha yeah I’ve been before, so I think this is pretty much the most enjoyable, or not let me rephrase it: it’s not enjoyable when you’re doing it but after the fact you know how much you’ve done in that time. You’re very productive, you’re very focused. You don’t have that much time to, to just sit down and take car all day and actually you have to deliver works so that it’s really, it’s really interesting and, yeah, I really enjoy that. I mean it’s also really stressful and you don’t really get any sleep in that period and yeah as we’ll be drinking a lot of ???? café to make us fit up, like you sleep so yeah but yet I enjoy and I’m looking forward to the premiere.
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