Added by on 2016-01-25

Quantum Jump Short Film

The unsuccessful attempt of meditation of Buddhist monk turns into unbelievable expectation.  Director/Animator/VFX/Editing: Hayk Sahakyants

Making Of Quantum Leap

Good afternoon, my name is Ike Saakyants. I live in Armenia, in Yerevan. I work in the studio «Robert Sahakyants Production», which my brother David and sister Nana Saakyants founded in 2010. The history of our studio is rooted as much in 1973, when our father, Robert Saakyants, made his first film “Lilith” and put the beginning of an entire epoch of Armenian animation.

All the principles and intricacies of animation per se, we studied the examples of classic animation, and more recently mastered the art technology, such as 3D-graphics. I want to tell you how to make a movie “Quantum Leap,” and what we all learned during the year of work on it. I will not describe in detail the stages of modeling, texturing and renderina because nothing extraordinary and innovative in terms of 3D-animation, we have not invented.
The idea came from our friend Vardan Zadoyan, who wrote the script. And the Armenian Ministry of Culture has financed the project. By the way, after the completion of the most popular question we asked was why Armenians removed cartoons about the Chinese, and even with the support of the Ministry of Culture? Moreover, these questions were asked, and the Chinese themselves, who saw the film at the festival in Annessi (France).
When the script was ready, I’m an artist and film Ernest Muradyan began working on sketches for the character backgrounds and, of course, storyboard. After a couple of months, with a light hand of our artist has prepared a mountain of drawings and sketches and a prototype of the main character was born next movie.

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And while Ernest finished the concepts backgrounds, we Grigoryan Daniel plunged into the wilds of modeling, texturing and rigging of the main character. Here I will describe in more detail a little this stage of the work. To begin with, I had to determine what technical means are the most appropriate to solve our problem. A short list of the main decisions is as follows:
1.Riging and Animation CAT (by the way, in my opinion, the best tool for 3D- animator, moved into the program 3d max XSI).
2. Texturing Photoshop, Mudbox
3. Rendering Vrau.
4. compositing Fusion.
5. Installation of Adobe Premier

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For facial animation was used Blend Morph. A great lesson in this technique wrote Maxim bowed (article is render.ru). I myself often use it. Even slightly modified this technique (for example, to the mouth, I used 2 dice):
1.standartno for the lower jaw (opening and closing of the mouth);
2.dopolnitelno for mouth movements across the plane of the face. And it so happened that the mouth of the character lives his life.
Many familiar 3D experts have repeatedly criticized us, saying: you and «3Dmax» tormented, cartoons easier to do in the «MAYA», and mostly of «3Dmax» suitable only for interior design, etc. Maybe so, but in order to master the «MAYA» as well as the “Max” (which I have over ten years of study), I would have to spend a lot of time. And so I decided to make a film in the program in which I feel most confident. And I do not regret it.
Most of the time it took to create the interior of the temple. At the end of 3 months of continuous work on it, I could not wait to start the animation had to make enormous efforts to bring to mind iterer (frankly, another modeling the details of the column or tinkering with wooden beams on the ceiling already disgusts me).

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Recommend to import pig character in modeling backgrounds, it helps to scale the different elements so that eventually the picture looked harmoniously (the example is in the below).

Meanwhile, Daniel Grigoryan plunged in Zbrush Sculpting, vytachivaya detail models dragon and a giant statue of the Buddha.

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Animation
I want to boast: I did all the animation one, which, as has been said, I used CAT: the opportunity to work on layers and layers of animated effects individually, as well as Cat motion layer, repeatedly facilitating animation cyclic gaits. As is well known (the animators will not lie), one of the most hated by many multiples of classes – is the creation of the character of gait. Many came to study directly in the process. The fact that I have a bad habit to reach all their own: if something does not work, I’m at random until then I will look for a solution, until I find him, and benefits or tutorials peek only in the most desperate situation. Perhaps it is irrational, because how much time could be saved, but the independent decision of problems, I remember them forever. When to create an animatic is ready, you can safely get to work. One of the most important components of any tasks is the careful planning of the whole project. And there is not the last place is occupied by the storyboard and animatic. Spent the sketches of scenes hours or days required to pay off. Even if you can not draw, it does not matter. Draw as you can. What matters is that you get something like the circuit on which you will be working in the future. But do not try to plan everything to the smallest detail, it makes no sense. There is a saying: “any job is enough to plan only one-third, and the rest can be left to chance.” And so with the animatic: Sketch about, just to represent the scene in the time interval, the rest can be improvised in the process of working on the scene.

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For the animation of woven garments and mop of hair I decided to use the standard maksovsky Cloth (the fact that in early 2012 MassFx only gained the ability to simulate tissue and it seemed to me too abstruse and difficult). Then I could not even imagine how cranky Cloth-to-use tool. Although, if you take that into consideration and not to overload the program complex tasks, work to pull quite real.

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Second plan
The other characters were created based on the main character. Each has been changed and as a result got a unique look. The fact that all Morhp goals have remained the same, even the skin did not have to redo it. Essentially, the stack modifier was added only one EditPoly. Slightly reworked material, and we have already four characters. Had only tinker with the teacher.

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In this case, it was necessary to alter the texture of the face, adding wrinkles and age spots. Besides, this is the only character who has 5 fingers (objective reasons for it no longer so he just came up)!
In the future, one of the sketches was used for the urn, which razbivatsya by failing to main character to test themselves in kung fu.

Render and Composite

Argued that Vray – not the best solution for animation projects, and it is not without reason. Who has ever faced with shimmering spots, he understands what is at stake. I quickly realized that of «Max» s need to bring a simple and straightforward as possible, and to improve its image on the stage of the composite:

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And then comes to the rescue Fusion, for me, the most convenient software, which clearly visible to even the most complex scenes. You can not say about AfterEffects, where an abundance of layers of confusing. Furthermore, powerful tools in the 3D Fusion makes it not with a moving camera, and many scenes of the simple movement of the camera I did exclusively in Fusion. And for a long time, making another scene in 3d max, I plan exactly how it will collect in the Fusion. This saves time, as a result, with proper approach to satisfy even the most discerning artists and VFX-specialists. I’m so used to the node sistmy Fusion, which has long been at the texturing use the same nodes in 3d max.

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By the way, very often (especially for small plans) to create candlelight was used footage. The same applies to the smoke from the urns.

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Installation and Sound
About the final assembly of a particularly nothing to tell, except to say that the installation is necessary to return periodically at intervals of at least 2-3 days in order to identify all the errors, as they say, nezamylennym eye.
In addition, we had to solve another serious issue and the music and noise design of our work. Although already loomed final stage (there were only a few scenes of the past), we have no idea who this could handle. While being held in Yerevan organized by the Fund Rolan Bykov festival of children and youth films. Guests from many countries, and among them was Paul Muntean (CEO studio «ToonBox»). We invited him to our studio, where he saw had not yet finished our cartoon, offered to help with the dubbing. We took advantage of his offer, and once installation has been completed, recommended by Paul Munteanu composer Vasily Filatov started writing music, but after a short time the work was completed: the film was ready!
In conclusion, I still can hardly believe in what we still finished our movie. Moreover, even had heard a lot of positive reviews. It certainly gives us confidence and strength for further work. When the editors «Render.ru» offered to write an article, I was very pleased, but in fact turned out to be quite difficult to describe all that we have done the whole year. I hope I was able to at least partially present our work.

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Director/Animator/VFX/Editing: Hayk Sahakyants
Idea: Vardan Zadoyan
script: Vardan Zadoyan, Hayk Sahakyants
art director: Ernest Muradyan
composer/ sound designer : Vasili Filatov
3D modeling: Hayk Sahakyants, Daniel Grigoryan, Daniel Harutunyan
artists: Ernest Muradyan, Daniel Grigoryan
assistetnt of director: Marianna Aslanyan
special thanks: Pavel Mountyan
line producer: Armine Haroutunyan
producers: Hayk Sahakyants, David sahakynats
Faacebook Page: https://www.facebook.com/Quantum-Jump-3D-147187672131136/
Sahakyants Studio page https://www.facebook.com/RobertSahakyantsProduction/

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