Crisis

Introduction

This project draws inspiration from the popular Netflix series Love, Death & Robots, focusing on the fusion of cutting-edge 3D graphics and animation. The main objective is to explore the creative possibilities of 3D animation, pushing the boundaries of visual storytelling through two distinct versions: one featuring full character animation and the other emphasizing dynamic camera animation. Both versions aim to showcase technical proficiency while delivering an immersive visual experience that captures the essence of the series' artistic and thematic style.

Pre-Production

As a dedicated fan of this series, I've always been intrigued by the three robots and their curiosity about the human species. This fascination sparked the idea: What if these robots had an origin story? This project dives into the backstory of Siri 5, one of the robots, as it embarks on a journey of self-discovery. In this 3D animation, Siri 5 explores its past, uncovering its purpose and origins. During its exploration, Siri 5 stumbles upon a long-abandoned facility where it once served humans, and ultimately finds the office of its creator.

To bring this story to life, I gathered reference images of the Siri 5 robot from Google to guide the character design. From there, I crafted the 3D environment, including custom sci-fi props, all designed to enhance the storytelling and immerse viewers in the robot's world.

Story board

Production

Modeling: Based on the images below, I developed skills in polygonal (poly) modeling.. Maya enabled me to create and modify shapes through mesh tools and mesh display features. Additionally, the curves and surfaces tools were useful for generating wireframes and constructing objects by utilizing drawing techniques.

Texturing: Various options for applying images or texture files to objects. However, for this project, the aiStandardShader worked seamlessly with all the textures, allowing me to use standard JPG file formats. Additionally, aiStandardShader is one of the default texture options in Maya, making it easy to apply textures to objects and render them using Arnold render.

Animation: As per the shape of this character, rigging was not needed given the deadline. However, this character has arm which can extended, merge into it's body and rotation therefore small HumanIK skeleton was embedded into the robots arm.

Key frames has been set up as per different sections of Robot's body .

Lighting & Rendering: For Lighting, I have used Spot lights, Area lights and for the environment HDRI image. Due to textured surface of the walls I was able to attract trace of the light from HDRI. Rendering is one of most time-consuming process in 3D graphics generation and animation. This project has Arnold rendering, which is one of the best renderers has been provided by Maya. In order to capture what 3D objects would look like in real-time I have created 2 cameras with aim and 1 normal camera which is an eye (perspective) of robot. After completing, 3 steps for this particular process were really slow also the images that are getting generated had grains which was not up the standard. So, in order to make this process quick and to clear the grains off of the images, I have taken help from the Arnold by making changes in clamping and adding a default plugin known as Optixdenoiser. As you can observe in figure.5 the changes in images before adding denoiser and after adding denoiser.

Post-Production

In the result, I found that with help of smaller plugin makes system process the images quicker ad also saves time. Therefore, I was able to render 1000 frames at 1080p resolutions in 3 days of time. Moreover, learned how to create a hologram effect on the main light with polyTorus.

3D Graphics and Animation - Crisis

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