Robin Hood "Memories" and "Teaches Us"

Common Common :: Gallery
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Robin Hood “Memories” and “Teaches Us” are two 30 second, fully computer animated spots created by Redrover Animation Studios Ltd. for Smuckers Canada, represented by Ogilvy & Mather Canada. The spots reveal two children named Andrew and Elizabeth who are being interviewed in a documentary style show about why they enjoy baking with their mom. The table shows various used baking utensils to suggest they have just finished baking muffins and the product, a rolled up bag of Robin Hood flour, rests nearby. The sunny afternoon setting fills the kitchen with a warm inviting sunlight and creates a visually engaging commercial that arouses immediate interest in the viewer. Currently, Andrew and Elizabeth are on the front page of the Robin Hood website (http://www.robinhood.ca).

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Robin Hood “Memories”

For movie and project page please click on the link below:
http://www.richardrosenman.com/project/?cid=72

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“Memories” Redrover Credits:

Director: Richard Rosenman

Creative Director: Andy Knight

Exec Producer: Danielle Araiche

Producer: Christina Helmer

Technical Director: Ben Pilgrim

Animation Director: Kyle Dunlevy

Environment/Prop Modeling & Texturing: Chris Crozier, Mike Oliver

Hair Dynamics: Mike Oliver

Lighting & Rendering: Richard Rosenman

Compositing: Brad Husband

Tag Graphics: Stephanie Dudley

Editor: Trevor Lloyd

Studio Ball Fetcher: Bondi

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Robin Hood “Teaches Us”

For movie and project page please click on the link below:
http://www.richardrosenman.com/project/?cid=73

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“Teaches Us” Redrover Credits:

Director: Richard Rosenman

Creative Director: Andy Knight

Exec Producer: Danielle Araiche

Producer: Christina Helmer

Technical Director: Ben Pilgrim

Animation Director: Kyle Dunlevy

Assisting Animators: Jeremy Salzman, Bruno Tacchino

Environment/Prop Modeling & Texturing: Chris Crozier, Mike Oliver

Hair Dynamics: Mike Oliver

Lighting & Rendering: Richard Rosenman

Compositing: Brad Husband

Tag Graphics: Stephanie Dudley

Editor: Trevor Lloyd

Studio Ball Fetcher: Bondi

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Robin Hood Ogilvy & Mather Credits:

Senior Art Director: Nick Burton

Chief Creative Officer: Janet Kestin

Senior Copywriter: Miles Markovic

Agency Producer: Shenny Jaffer

Robin Hood Sound Design Credits:

Sound Design: Pirate Radio

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Robin Hood Promo Print

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-Richard

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Hi richard!

Cool script, good modelling, illumination and render, superb animation and character design, overall great commercial! :slight_smile:

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amazing and funny stuff! I love specialy the mouth animation of the little boy at the end :smile: lol

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Outstanding!!!

I would love it if you could shed some more light on the lighing setup and placement for this scene. I will be doing a kitchen scene soon and this is the exact light feeling im after.

(yes, pun intended :stuck_out_tongue: )

great work :!:

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superb! well done to your whole team richard!

it would be great if you could shed some light on how long the project took from start to finish etc? did you encounter any problems along the way?

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This is what I’ve been waiting for my whole life. I can finally retire now in the certainty that everything is in good hands…
Great stuff!!! btw:I DO like the little ‘live’ camera movements

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with eyes that big and the sparkles in them its almost 3d anime hehee

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Great work :!:

What the project duration is like ?, from start to finish, just curious..

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WOW! very nice work!

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Congratulations, very impressive . I love the characters’s design.

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Congrats, mate…

My favourite part - the end of second one.. when the boy whispers about the astronauts… :lol: :lol: :lol:

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i like th elip tremble when he drops the muffin

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ahahha, YEP… that was so CUTE.. as well :lol:

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Great job!

This should be added to the gallery page!

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fantaastic!!!

can I come and work for you?!

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As already asked, could you explain how you lit the scene - bacground, characters and composite. You are so cruel leaving us with such a fab piece of work and no explanation! :lol:

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i wouldnt call him cruel. infact there quite a few project he went into detail with including doing a “making of section on his site for some” so more or less i expect we can see the same on this project as well

(psst. the ball is in your court now richard. hehehe )

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I think poor Richard is very busy, as his last 2 posts in this forum have not had many replies by him. As well as the cgtalk thread.

But who knows :smile:

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Hi guys;

Yes, I’m sorry - I don’t mean to ignore anyone, but I am in fact, really busy with so many things right now.

And Elf is right, eventually, when I find some spare time, I will make a ‘making of’ section for these spots but I can at least shed some light (no pun intended!) to some of your questions in the meantime.

About the lighting. Well, it is split up into two major layers - the background (without the table and kids) and the foregroound - the table and kids. The entire scene has a light setup of about 4 VRay lights - the key light from the window, one from the ceiling, an opposite cool color from the opposite side of the window and another opposite cool color from the front of the kids. There is also a standard 3dsmax spotlight from outside the window which casts sharp VRay shadows to simulate a sunny mid-day.

The scene if of course rendered with GI - the background pass with a precalculated irradiance map which eliminates any flickering at all, and is perfect since it is only a camera move (ie. no moving objects). The irr. map rendered surprisingly fast, despite it being for an interioir, and I think it was calculated in less than 3 hours! (Good work Vlad!)

The kid and table layer was rendered with GI single frame - as we all know it has to be when dealing with animation. The min and max samples for the GI have to be quite high if you want to get any quality GI details and this was set to about -1,-1. Because the room is no longer included in the render, the frames rendered fairly quickly - about 30 minutes per frame for the kids and table. The background frames rendered in about 30-45 minutes a frame (since the irr map is already calculated). Since we’re dealing with 24fps/sec, that’s 720 frames for a :30 and with a 30 machine renderfarm, it got done quite quickly.

Volumetric layer was done with VRay as well and as a pass of it’s own, as was a highlight layer. Both were composited together using various modes in Combustion to add the ‘sunny’ atmospheric look. The glows were also added then.

The depth of field was done with my own plugin as it was much faster - but because it is very bright in general, bokeh effects are lacking.

The most important thing out of all this is that GI is used as a secondary addition to the lighting only AFTER an effective lighting setup has been developed. If you use just GI with no lights, you’ll get a really boring, flat scene. But once your lights are set up, the GI takes the colors and blends then nicely together, as well as taking any dark areas and boosting them up to a more realistic level. (Which is further tweaked in Combustion).

Well, hope this answers some questions (at least for now) until I manage to get a making of done. There is one final spot in production for this campaign which will be out in November and that is keeping me quite busy, as well as other projects.

Regards,
-Richard

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ive one question about the 24fps thing. i was working on a DVD and thought that for the hell of it i would render at 24fps (to save myself approximately 6 frames since render times would be high). however i was never able to get a correct conversion to 29.97 NTSC frame rate. can you or anyone else shed some light on this?