We worked on a lot of different treatments for them. We went in a lot of different directions right outta the gate. We went dark first and then we went light. Does anyone have an opinion? What did you love that ultimately did not get chosen? I'd say the dark treatments. You know, the always having that nice contrast is always makes up. Things pop. There's not many black labs. Uh, not dogs. That's true. I mean, like, there's not many dark labs I've worked in. Usually they're pretty bright. Also,
we played around with gobos here. Uh, gobo is, is this effect where you project like a window or some off scene light source onto the scene, but it really only gets pulled off very well when you are dealing with dark, darker darkness. Yeah. Yeah. You can't show it on pure white. Like it's, it's very hard to show. You still need to have, have some absence of light to show it. Uh, and I do think they made the right decision for sure. The lead on this project, on the client side, she knows design r
eally well. Kind of great in the sense that like we could like rely on that for our direction too. I challenged, I challenged the 3D animation staff, staff with this, this, I think I came into one meetings, one of our meeting. I said, I would like, show me a way. Watch the needle to needle going into patient's arm. Patient's arm. In a way I, in a way I've ever, ever seen before. The, the great thing is, is that the great thing is that it was, it was one of, one of the post guys where, where it's
just like, why, why don't we just just look back a, the needle and follow it in, in, It's actually actually a practical reason. Everyone would understand why this device, device is like novel and special and why I wanna want see it from this angle if you look, look right beneath where the dot currently is. Yep. Yep. That's seems important because, because would you rather have your tissues tear around a, a big, big needle, needle big, or would you rather rather have, have them have them tempora
rily stretch around a big needle? And Matt, Matt, by the, the way is he's, he's our Houdini expert and does all, all our dynamics, the stuff, stuff that, that would take way too long, too long, maybe even, even possible animate by anti simul simulating dini. So this was the final myosin that rendered. Um, so we started out, uh, just trying to see if it could be done in Houdini. And the first attempt ended up being this like really geometric thing using different, uh, proximity sensors and, uh, s
oft transformations to kind of push these things aside. But it ended up looking way less like the syringe was pushing things aside and more like just the wall was being pushed on either side of the camera, well beyond the syringe reached anywhere near to it. So to make it a little bit more interactive and organic looking as well. Um, I had to go back into Houdini and just start a, uh, process to kind of create more organic looking shapes. So then that was taken back into Maya and then a lattice
system was used to, uh, pass through it and, uh, just parent to the syringe so that as it got closer to the layers, it would just push them aside and then we could scale that much more, uh, organically and more fine tuned to create a, uh, much more natural looking gradient column. So we've got a couple different animations for MSC. Um, we're doing some turntable stuff for them. We're doing some holograms. We're doing a full animation, so we kind of accommodate a bunch of different assets that th
ey would like. And so I'll go ahead and show a couple of 'em and talk about 'em. Okay. So first one I'll bring up is the, um, their vertical, uh, display case setup. Um, this is basically, uh, what was different about this project is that, uh, we're working here with a prism kinda object that has a significant glass refraction capability. Um, in addition to that, we're also breaking reality in some ways because it's a product shot. So, you know, we would don't want excess re reflections bouncing
off of this object refracting through it that are what you'd see probably in real life. But for a product shot, we want the focus to be on just the product. So this is a combined image, but which is actually made up of multiple, multiple layers, uh, in the 3D world. So if I dive into here, I've got a, I've got a box, which is this element right here, which we, as you can see, you've got the prism element. We've got noise, we've got dust, we've got little particulates, which give it a little bit
of detail, a little bit of texture, um, that when it turns, you feel it as it rotates. Um, in addition, we also have the device itself, which this is just one device from this animation, which is being refracted inside of the object, uh, getting distorted. But, uh, we have our own tricks of making it. So things, uh, get to our client as quick as they would like it. And, um, we dive in here. This is actually quite complicated in that it's refraction on refraction on refraction, which that means
glass on, glass on glass. And so in order to edit this, we end up having to use lots of mats that intersect within, within themselves. And so with all of these stacked together, we create the final image that you see here. But these are all made up of, uh, diffusion, subsurface scattering, uh, specular lighting, uh, refractions, which is where your glass comes from, gi, so on, so on. We got depth of field and altogether this creates the final image that we have here. Uh, this is a, um, a shot of
the IV in place and how the liquid is starting to come through. Uh, so this is showcasing. We've got depth of field, we've got, uh, subsurface scattering with the arm. Uh, we've got all of these nice 3D models that have been laid out. Um, of course we're playing with light. We're bringing the light in, focus on the object as that's what we're here to see. And, uh, if we zoom in here, you get a lot of fine detail and texture in all of our materials. And this is all part of the lighting shading r
endering world, which is just to make things look nice. Obviously if you're in a doctor's office, lights aren't gonna look like this. It's gonna look like flat and uneven. But in this we draw the eye to the object itself, which is the product. So as we're inside of the, of the, uh, the body, we're gonna draw the eye to this needle and we're going to add a lot of contrast and dramatic effect so that the, uh, readability and enjoyability is very high Callouts are these things that we put in on top
of the finished animation. When it's all completed in a compositing process, it's faster for us to be able to take things like titles, things we're pointing to and, and put them in after the 3D rendering is complete or on top of the 3D rendering I should say. 'cause even this is, is a preview file that we're looking at in 3D because then if the client says, oh, change this one word, we can just change the, the stuff that's superimposed on top of, and if I'm not mistaken, this is all tracked in
3D. Correct. So it's perfectly lining up with the camera moves we put in in 3D is is completely matching with what's happening in compositing, saving us time, or we'd have to do it manually, which is also a not fun process of manual. Yeah. And the, the changing, the other good thing that he's developed with these things is that he, he's basically idiot proofed it for, you know, the caveman animator to come in and, and be able to, we've got another project that, that has these kind of automated,
uh, callouts where the, the size and width and everything will change on the fly. Awesome. Depending on what you type in there. And that's absolutely lovely to have because, you know, I'm not good enough at that stuff to to, to make it work real beautifully. And he made something that's kind of caveman animator proof. Yeah. Now this makes it easy for us because we're gonna be doing work with this client forever, right? Like probably be working with 'em for a long, long time. Yeah. On, on all of
their products. This becomes their template essentially. It'll look like their stuff and every time they call us back, it's gonna match all their, all their existing branding perfectly and be fast for us to utilize. I mean this whole thing is actually many levels deep, but there's like an animated hexagon block that comes up and we're up multiple levels here even right now. But that I can change the texture of what's in that block original piece that starts it out is, is this hexagon pattern. So
I could change that out and it would automatically update however that fills. Um, and as I go up in the levels, it's replicating it, cloning it out. The great thing is that the, the client liked it so much, it wanted to incorporate it into their branding. Well the, the client's branding is very good. And they used the honeycomb shape, right? Uh, Yep. Put that right in the, in The logo. And so, and we, we were very careful. We didn't wanna overuse the hexagon. And so the fact that you put it int
o the, just the transition is like the perfect amount of using the hexagon. This was a, a great project and a great client. There's a couple things going on here. One, it's a long-term projects. We're gonna be working on a bunch of their projects. We're basically signed on for at least a year to work with them. Two. They have the, the two main people we're working with are really good artists and designers. And it's a company that also has a lot of respect for good art and, and design the hologr
ams. They're rad. We're gonna, there'll be these giant hologram projectors on top of these towers and on this, on this blue kind of this blue grid looking thing, that's where their products are gonna play in the, those cylindrical rotations. And then the main animation plays back here on the screen. Alright, so what it is, is it's uh, it's kind of like a ceiling fan. It, um, it has LEDs on it. And so when this fan spins around these four blades, the span fits around and kind of mid air you can p
roject, you can have this image appear and it's in full color. This doesn't happen to be in full color because, um, it's one of our early, early tests. Yeah, yeah. It was an early test, but watch it pass over my hand, which is by the way, terrifying. 'cause this thing's spinning at, I don't know what the RPMs is, but enough to really hurt you. So you, you can actually have animations in there, like fully featured animations and, and everything. So there you, there you go.
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