As an early adopter I enjoy creating not only for, but also in VR.
My two favourite things to do are 2D animation and working in 3D space. I used to think that there is not really a way to combine those two things in a seamless way until I had the Pleasure of trying out Oculus Quill and experiencing the VR-Short “Dear Angelica” for which the software was developed.
I was so inspired by the possibilities that VR-drawing apps like Tilt Brush, AnimVR and Oculus Quill opened up that it did not take long for me to invest in an Oculus Rift CV1.
I took my first steps in VR-animation using the early beta version of Anim VR and later switched to Oculus Quill, as soon as animation capabilities were introduced there too.
This is a collection of my Quillustrations over the time. Both animated as well as simply static 3D-Drawings.
This is the christmas edition of turning one of Ramona Wultschner‘s illustrations into 3D animated characters.
Marvin Podsendek and I set ourselves the challenge of recreating the adorable characters Ramona Wultschner paints in 3D as well as possible. We started on a whim by creating Frog and Dog, a few months later, right in time for Easter we made Pig and Poodle and the third installment of the same exercize was this adorable duo of santa’s helpers.
I chose to challenge myself with a flying character, since rigging wings was an interesting venture to go into. Another topic i wanted to explore was creating the furry texture of the bat’s body.
Just as the last two animations the environment assets were created by Marvin, we both worked on the composition and lighting in Unity. Audio for this christmas special was done by me. The moon in the back is a Pancake i made as a Christmas breakfast and we thought it would be a cute, not pun intended, easter egg.
I had the honor of taking part in the Unreal Fellowship Summer 2020 as one of 100 participants from over 6.000 applicants. An intensive crash course in Virtual Production using Unreal Engine 4.
The Unreal Fellowship was a four-week intensive training using the Unreal Engine for Virtual Production.
The goal was to produce a short video sequence while simultaneously learning to use the Unreal Engines’ diverse set of tools and real-time filmmaking techniques.
The character “Echo” and an assortment of motion capture data were provided to us for our final sequences. I had to tweak some of the motion capture clips, using the built-in animation tools in order to make them fit my story, as well as adjusting the character provided.
Some additional assets were designed by me and modeled by Marvin Podsendek; the majority of the assets were free or paid items obtained from the Unreal Marketplace and Quixel. Using those assets I created the terrain in Unreal and proceeded to set dress and light it.
Behind the Scenes
The way leading up to the final short was paved with lots of fun experiments as well as concept work and glitches. But thanks to a helpful and wonderfully encouraging community, no one needed to walk it alone!
Based on Ramona Wultschner‘s illustrations, Marvin Podsendek and I created this 3D scene. Friendship comes in many colors.
During the Covid-19 lockdown my husband Marvin Podsendek and I decided to do some smaller personal projects. This was one of them.
Based on illustrations from our insanely talented friend Ramona Wultschner we created 3D animals using 3dsMax and Substance Painter.
Our goal was to further our knowledge in said softwares as well as to create fun little animated illustrations that might lighten up the mood of us anbd our friends during the pandemic.
The 3D Assets were composited in Unity 3D and rendered in real-time. This lends itself very well to the cartoon look and allowed us for an easy setup and a few experiments with lighting as well as camera positioning.
Creating VR content always brings up the question “How do you show it to a wider audience?” The answer is simple: Mixed Reality!
prefrontal cortex creates a lot of VR and AR projects and the question that always arises at the end of a project is: how do you document these kinds of projects and do them justice.
One of the first big projects we did on our quest for the perfect VR representation was this trailer for a musical experience called “Into Music”.
Shooting a Mixed Reality trailer meant that we needed to do some adjustments to our application. The technical part was the first part of the process and warranted some heavy testing. In close cooperation with my colleagues at prefrontal cortex I created a storyboard for the trailer, in order to have a plan for shooting day.
For the trailer we set up our greenscreen studio and dove into two full days of shooting. We shot the video using the Sony α7III. and combined it with the 4K output of our Unity app, consisting of four quadrants: Foreground, Foreground Alpha, Full Scene as well as the HMD’s view.
I used a Adobe Premiere to create the cut for the final trailer and then composited the digital footage from the app with the keyed video footage seperately for each shot, using Adobe After Effects. Then I brought it all back together in Adobe Premiere.
My colleague Christian Freitag then touched up the sound.
For easter 2020 Marvin Podsendek and I decided to do something special. For the second time in a row we took the amazing illustrations of Ramona Wutschner and transported them into another medium!
Our self imposed brief was to each recreate one character in 3D. I chose the piglet and decided to make him completely poseable, rather than just modeling the same pose that can be seen in the illustration below.
The goal was to go through the whole character creation pipeline in two days. Starting from 3D-modeling in 3ds Max, then texturing in Substance Painter, going back to 3ds Max for skinning, rigging and animation. The final render was done in realtime using Unity’s HDRP pipeline.
My personal goal with both “Frog and Dog”, as well as “Pig and Poodle” was to expand my surfacing knowledge by adding a new tool to my repertoire: Substance Painter.
Recreating a 2D hand-drawn aesthetic in 3D proved to be a fun, but challenging experience. Certain technical aspects were trickier than expected due to the rendering method we chose. Some rigging techniques i was used to from 3ds Max unfortunately did not translate too well to Unity, but with a little ingenuity and clever workarounds I was still able to achieve the result I was looking for.