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How To Train Your Dragon, Let’s Say Goodbye To It With Smile

2019-09-30

VFX | How to train your dragon | Animated Films

How To Train Your Dragon: After the Hidden World was released in North America, the rotten tomato freshness started at 100%, and it still maintains 92% freshness and has an amazing reputation. It received 98% of the high scores on the famous movie review website Rotten Tomatoes based on 205 professional reviews, and scored 7.9 out of 10 points.

At the box office, it won the best start of the series with a score of 55.52 million yuan in 3 days, and successfully broke the record of the first weekend box office of the North American cinema this year.

Let me describe the mood after watching the movie, it can only be a tear in laughter. Like the sad and full of hope in the movie, it not only makes Hiccup growth up, also teaches the audience to bravely break the fear of the unknown.
As a person who looks at the How To Train Your Dragon series, I feel empathy for all joy and sadness. Ten years ago, the first time the first series of the series landed on the theater, it was amazing for thousands of viewers.

The Hiccup and Toothless stare at each other, and the carefully touched stills have become countless fans who don't become desktop wallpapers all the year round.

For many audiences, the film represents love and courage.

In my opinion, How To Train Your Dragon can become a unique animation series, but also it creates a world of crisis and fun, with a thought-provoking world view.
In other animated works, heroes and villains are usually distinct and can distinguish between justice and evil at a glance.

Human beings often represent upright justice, so the "braves" will be born; while the dragons symbolize destruction and disaster, often defined as "dragons" and will be expelled.

In the world of How To Train Your Dragon, the dragon looks fierce and fierce. In fact, it is pure and loyal. On the contrary, it is human beings. It has an indomitable, brave and good-war side, as well as a temperamental and difficult-to-communicate side.

The Vikings were enemies with the dragon for generations and were proud of the pursuit of the dragon.

No one knows why, no one wants to find out whether a dragon is good or bad, only knowing to do it according to "tradition".

It is in this sharp opposition that a miracle happened.

The legendary Loser Hiccup met a wounded dragon.

He did not hesitate to destroy the tribal tradition of the dragons for many years, chose to help it, and even tamed it.

One person and one dragon establish a friendship that spans the race.
Hiccup also gave the dragon a lovely name, "Toothless"

At the same time, he also realized that the dragons in the world are not all evil. There is no need for humans and dragons to fight for you.

Is it possible to create a world where people and dragons coexist in harmony and understand each other?

And what is the relationship between man and dragon?

This issue runs through the beginning of the How To Train Your Dragon series and leaves a lot of places for the audience to think about and to relish.

If the first two parts, Hiccup and Toothless are from "taming" to "comrades", then the story of How To Train Your Dragon: The Hidden World makes me completely forget the word "taming".

The film is overflowing with the warmth of companionship and the courage to grow.
Hiccup, who was weak in the past, has become the chief of the tribe.

He led the people to govern the "Berk Island", the hometown of the ancestors of the past dynasties, and lived a life far from the world.

Moreover, not only is Hiccup growing alone, but Toothless's growth is also significant.

It is no longer an existence that is considered a pet, but an independent individual that is trustworthy and worthy of dependence. Its friendship with Hiccup is based on equality between the two sides. At the same time, the tribe and the dragon also turned the enemy into a friend and lived in harmony.
They will travel around the world to save the dragons captured by humans.
The film presents an equal and friendly atmosphere between the person and the dragon, which makes it difficult for the dragon to change from a spoiled or mysterious label to a living "person".

Berk Island became a utopia in which the dragons live, but hidden threats are everywhere, on the one hand, humans outside the island are still hostile and fearful of the dragons; on the other hand, Berk Island's target is too big, there are too many dragons on the island, and they have long been eyeing the Dragon Knights.

There is no shortage of cool professional and unscrupulous guys in the Dragon Slayer, which is likely to pose a huge threat.

Nowadays, the island is not safe outside the island. If you want to keep thousands of dragons, you can only find a refuge where the map is not marked.
Hidden World.

This place only exists in myths and legends. It is said to be at the end of the world and is also the place where the dragons originated.

Once you find Hidden World, the dragon on Berk Island will be properly placed.

However, the beauty of Hidden World also means that the returning dragon will not return to the human world.

Have Hiccup and Toothless, who have been with each other for many years, finally have to leave each other?

The story is set to this, the world view is shining again -

It can be said that the most touching part of the whole series is to accept, is to explore a theme of "crushing prejudice, tearing off labels".

How To Train Your Dragon: The Hidden World re-emphasizes the theme.

In the film, all the dragons were born in "Hidden World". From the source, they are not our world, but the "guests" from afar.

They are actually full of personality, master very complex language, and have emotions of emotions, anger and sadness...

People in Berk Island know that they are not terrible and can live together in peace.

For humans outside the island, these natures are irrelevant; many people refuse to communicate with this mysterious creature, simply rudely classifying them as "heterogeneous" and classifying them as "aggressors."

From this point of view, isn ’ t the way in which human beings treat the dragons in the movie is the epitome of the attitudes of the masses in the real society that treat marginal groups, special groups, and dissidents?

Color discrimination, geographical discrimination, gender discrimination, and prejudice caused by the gap between the rich and the poor, different living habits, and different occupations.

Behind all discrimination and prejudice, there is arrogance hidden.
These prejudices will not only escalate the conflict, but also make it more horrible.

In the movie, the humans regard the dragons as deadly enemies and consider them to be evil and devastating. The concept of "the evil dragon must be removed" has been passed down through generations and rooted in the hearts of the people.

Fortunately, Hiccup appeared to break the deadlock between man and dragon.
But why is Hiccup?

The reason is not complicated -

Because Hiccup is also a "heterogeneous" in the eyes of the people.

He is the son of the most brave patriarch of the Vikings, but he is physically weak and slow.

Everyone thinks that he is a waste, has no value, and even he himself is so sure.
Because the body will pass the pain that is not accepted by everyone and cannot be self-identified, the kind Hiccup will try to accept Toothless who has been hurt by the world as a "dragon".

They are also weak and helpless. In this world full of dragons and violent brave, it is difficult to support.

Being able to be a partner, perhaps seeing his own shadow in the other side.
On the other hand, the tribes who have always advocated the use of force and physical strength, witnessed the talent of Hiccup's taming dragon, and his ability to strategize, also showed a convincing acceptance.

Even after Hiccup was still not strong enough, even after lo sing a leg in the war, the tribe no longer made fun of him with physical defects.
The Berk Island people are actually growing up and learning to communicate with people who are not similar to themselves.

In most cases, communication and acceptance are not easy, and even cost a lot –
Hiccup's partner with Toothless means that he is likely to be an enemy of the tribe, even with all mankind;

Berk Island is the world's dragon, and it may be regarded as a "devil's lair" by the world. The people will be treated as evil devils.

Fortunately, the film always has a goodwill.

It allows each person to be willing to let go of their arrogant, understanding other people's roles, and ultimately achieve self-worth, but also tell the audience:

Follow the sound of inner integrity and listen to the voices of all kinds of individuals in the world.

They are not terrible, maybe they are so cute.

The ending of the How To Train Your Dragon novel is that all dragons return to Hidden World and completely disappear from the world.

However, after being adapted into a movie, the masters gently presented the audience with a blank of fairy tale.

How To Train Your Dragon: The Hidden World continues the past style, with many relaxed and humorous plots and brain-opening scenes, but my favorite is also the most impressive, always the details of getting along with the dragon.

Hiccup teaches the soothing bridge of the Toothless sister, the brave gesture of Hiccup and Toothless, and the last hug of Hiccup and Toothless...

I remember that when they first met, Hiccup tried to touch Toothless, but he didn't even have the courage to look at it.

Nowadays, they all grow up, learn to accept, and understand: our hands, in addition to work, battle, and one of the greatest functions - hug, isn't it?
Go hug the one you love, what you feel is the temperature of this How To Train Your Dragon: The Hidden World.

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A Guide to the Career Growth of VFX Compositors (1)

As the leading cloud rendering services provider and render farm in the CG industry, Fox Renderfarm has an outstanding team with over 20 years’ experience in the CG industry. Team members are from Disney, Lucasfilm, Dreamworks, Sony, etc. With professional services and industry-leading innovations, they serve leading VFX companies and animation studios from over 50 countries and regions, including two Oscar winners.In this artichle, we will share a guide to the career growth of VFX Compositors from Zhiyong Zhang, Compositing Technical Director in Base FX(Base Media is the leading visual effects and animation studio in Asia).Part 1: IntroductionWhat is Compositing?There are many different explanations about compositing on the Internet. Since it's difficult to explain, I would analyze compositing from some shots.Like the scene in "Monster Hunt", the foreground is made with a 3D model, and the background is made with a combination of the original paintings and pictures. That is to do some MP, color adjustments, elements setting and real shot adding. Finally, all the pictures are going to be integrated, which is a compositing process.The professional value of compostingCompositing is the last part of the visual effects in the later period. You need to blend and match three-dimensional things with the real shot through compositing techniques and methods. Through techniques and methods, add some 2D or 2.5D elements to make the picture more interesting. Compositing is making the projects that the entire visual effects team makes. Hence, compositors are responsible for the entire team, striving to adjust the project to the final optimal effect. This is the professional value of compositing.The artistic charm of compostingFor me, every adjustment on color, virtual focus, interactive light and others will make the scene more realistic or better-looking. Every step of the operation will improve the scene, bringing the compositors hope and happiness. It is awesome to do better in the time allowed and finally show something beautiful. This is the artistic charm of composting.Part 2: Six Basic Skills of CompositorsThe first basic skill is erasing. Many scenes have tracking points when shooting on the green screen, or there are some things that can’t be removed from the scene. We need to do erasing, which is very basic but important.The second skill is rotoing and chroma key. The chroma key is to keying the green screen. There is also a key called no green screen keying, which is the rotoing.The third skill is to match colors. Adding an element to the real shot to change the color of the material is actually matching the material, not creation.The fourth skill is to match the virtual focus or depth of field. The material itself will actually have virtual focus, so the compositor needs to also be good at photography, otherwise, it may become a bottleneck for the compositor. The ideas of the director and the main photographer will be presented in the scenes. We use compositing to re-express what they want to express in CG. We are doing matching rather than recreating.The fifth skill is tracking. Most compositors do 2D trackings, such as billboards or on-screen patches. And sometimes they also do 3d tracking.The last one is the matching noise. For some demanding projects, it is necessary to switch between red, green, and blue screen, or even zoom in to the local area for comparison. It also depends on the broadcast platform. Generally, if it is broadcasting on a TV platform, the noise is not easy to see the noise. If in the cinema, as long as the brightness of the cinema is large enough, the noise of some scenes can be easily seen. The noise matching can make the picture more realistic.Part 3: Standards for Cinema-level Film Compositing RequirementsThe standards here are not officially stipulated standards but are just some common standards that I personally summarize based on experience. I divided the cinema standards for film compositing into two types: technical requirements and artistic requirements.Technical RequirementsFirst of all, it depends on whether the color of the original material is changed. If you are not careful or have moved other parts of the screen including the color of the material for other reasons, it may cause customer dissatisfaction.Secondly, whether the maximum and minimum values of the screen are consistent with the material or not. Of course, the maximum and minimum values are not for a certain scene, but for all the materials of a project.Thirdly, whether the metadata is correct or not. If the editing requires metadata to be accurately restored, it needs to be correctly restored to the material. Generally, at the beginning of the project, it needs to agree with the previous DI or editing on how to set back.Fourthly, whether the shifting is stuck will also be a technical requirement. The shifting should be discussed with the editor. If the editing does not require any shifting, even if it seems to be stuck, it may be a fast switch of the front and rear scenes. This is one kind of editing methods. if you do something to make it smoother, re-reverting to the clip may cause problems.The last is whether there is any obvious flaw in the picture. The so-called flaw is whether there is a black border on the edge of the picture and whether the edge of the real shot is stretched.Artistic RequirementsThe artistic requirements will be significantly different from the previous technical requirements. We will check whether the details of the keying edges are enough to maintain the authenticity of the picture. In the normal budget, the details of the edges can be kept authentic. If the edges look fake, it may make the whole picture fall short.Whether the bright and dark parts of the screen is matching with the material within the acceptable range? The dark and bright parts here refer more to brightening everything in the viewing facility, to see if the added thing is the same color as the real shot and whether the degree of the color cast is the same. Without considering the budget, as a compositor, the only requirement is to do something better, so try to match it.Then, whether the compositing elements, the virtual focus of the background and the depth of field match the real shot. The depth of field of the real shot sometimes will be very shallow, sometimes it will be very deep. Generally, there will be a range, this range is taken by the lens and the camera. We can add an element in it, and change the depth accordingly.In addition, we must also consider whether the simulation of the lens effect meets the real shooting standard. With a normal lens, the virtual focus is 1:1, and with an anamorphic lens, the virtual focus is vertical, similar to 2:1 circular virtual focus. While doing compositing, it needs to pay special attention to matching.The next thing to consider is whether the addition of smoke, flame and other atmospheres is truly fused. The light and shadow, the virtual focus and the sharpness are matched with the whole, and the things that really melt into it are realistic.The last thing is to consider the interactive effects, the corresponding interaction between the real shot material and the CG elements. When we do the compositing, in addition to shadows, there are some light interactions, we should consider whether to add them.In the process of compositing, we need to give ourselves the opportunity to exercise and do more fine, otherwise, we can't make progress. In fact, the audience is very smart now, watching a lot of blockbuster movies. Therefore, we should try our best to be realistic in the time cost of cinema-level movies. If the audience feels satisfied in the cinema, it will be successful.Follow the leading render farm and cloud rendering services provider, Fox Renderfarm, for the next part: A Guide to the Career Growth of VFX Compositors (2).

2022-07-01

3D Tutorials: How to Make Dogs in Togo (1)

As the leading cloud rendering services provider and fast render farm, Fox Renderfarm will share you how to make dogs in Togo.The visual effects of Togo are produced by DNEG, Lola Visual Effects, and Soho VFX. The most impressive thing in the whole film is the loyal and brave sled dogs and the local weather. DNEG began production after shooting in October 2018. The cycle lasted for about one year. A total of 872 artists from 4 different branch teams completed 778 VFX shots. Next, we will divide the parts made by DNEG (CG Dog and Digital Environment) into three parts to introduce to you.3D scanning of sled dogsThe husky sled dogs we saw in the film are not necessarily real, some are full CG, and some are CG replacements of a dog head. The sled dogs produced by CG need to match the real shots of the sled dogs. It will involve 3D scanning of real sled dogs, collecting reference materials, redesigning hair tools, building muscles and bones, and reconstructing the roaring appearance of the sled dogs.Live shot1. TestingDNEG has done a rocket raccoon with 800,000 hairs in "Avengers 4: Endgame", and has also tested wolves in previous projects, but has not done a dog, nor has it dealt with something like this Such a huge fur/hair production in the film.For the "Togo" project, they updated the internal hair tool Furball. Through some development and optimization work, they first created the largest amount of hair on a single dog as much as possible, and then met the hair of 11 dogs in 1 shot. In addition to the real appearance, it is necessary to simulate the state of hair with water, ice, and snow and its rendering effect.2. 3D scanning of sled dogsDuring the shooting, DNEG performed two photogrammetric scans of 30-40 sled dogs in the studio using Clear Angle, one wearing summer clothes and the other wearing winter clothes. The dog handler introduces a single sled dog into the studio, first familiarizes himself with the environment, and then takes him to the designated C position. The scanning process must be completed all at once, otherwise, there will be no chance to do it again if the dog is scared away.There is a separate shed next to the Clear Angle shed, which is equipped with an animation reference camera, which can capture the detailed dynamics and characteristics of the sled dogs outside of the actual shooting, and provide reference materials for creating CG character bindings and assets.3. From data to sled dogsA 3D scan of a sled dog can get feet, legs, head, and rough body volume data, but not including fur/hair data. Without hair data, it is impossible to analyze the muscle mass and the tissues under the fur. The solution adopted by DNEG is to manually measure the fur on the sled dog’s neck, back, tail, and other specific locations with a measuring tape in the small shed mentioned above.However, this method of creation is more based on the dogs involved in ideal, anatomy textbooks, not necessarily data-driven, and some specific details of the sled dogs need to be added on this basis.Real shotFinal shotThe final creation is to customize the muscular system and the skeletal system, use Ziva Dynamics to create the muscle and fat system, Maya's nCloth to create the skin, the fur tool Furball to handle grooming, and Houdini vellum to handle the hair follicle dynamics.The production team found that a lot of fur movement actually comes from fat. The fur itself is very stiff and will not twist left and right. Instead, fat and muscles move around underneath, forming a feeling that the fur is moving. Of course, it also needs to simulate the effect of pulling the fur after putting on the protective gear for the sled dog.Real shotFinal shotNow follow the TPN-accredited render farm and cloud rendering services provider, Fox Renderfarm to the next part: 3D Tutorials: How to Make Dogs in Togo (2).

2022-07-01

3D Tutorials: How to Make Dogs in Togo (2)

As the leading cloud rendering services provider and 3D render farm, Fox Renderfarm will continue sharing you how to make dogs in Togo.3D Tutorials: How to Make Dogs in Togo (1)The Dogfaces System for Sled Dog Facial CaptureIn order to produce the final version of the sled dog animation, DNEG also explored the dog's motion capture and spent time developing the Facial Action Coding System (FACS) system specifically for the face of the sled dog.1. Research and development of sled dog motion captureIn the early stages of production, DNEG used well-trained sled dogs for motion capture in Animatrix Studios. We usually see actors wearing professional clothing for motion capture. This time the same process happened on sled dogs. The way the equipment is worn and how to set tracking marks on the fur is very technically challenging. Although these motion capture data were not used in actual production, it was still a good learning experience for the production team in the future.2. Research and development: dogFACS systemIn order to have a detailed understanding of the facial muscles of sled dogs, and to clarify the working direction of facial binding as soon as possible, DNEG also started dogFACS research very early. Since there is a human face-catching system, there can also be sled dogs. The researchers categorized all sled dog expressions, and drew facial expressions based on the dogfaces system, including "mouth raised" and "wrinkled nose". For example, a growl is "upper lip lift", "wrinkle nose", "wrinkle lips" "The expression of these three actions combined together. Facial control schemes based on these expressions can enable animators to activate or counteract individual expressions, thereby creating more detailed and believable animations.DNEG’s binding department has re-developed the entire four-legged binding system to simulate higher standards of real performance, including a new front leg module, which has the function of “fixing limbs” so that animators can imitate most animals. The fixed state of the front leg when the weight is on the leg; the reconstructed spine setting is also included to improve the realism and function of the animation. In general, the binding process requires a lot of effort. It is necessary to work closely with the animation department to develop and improve the four-legged binding standard, and always draw inspiration and direction from research references.3. Roaring timeThere is a scene where a little partner named Ilsa in the sled team roars at Togo, and Togo immediately subdues Ilsa. Please note that the seemingly real performance here is actually a CG shot.In the actual shooting, the dog handler used a "snarling device", which uses a rubber band and a prosthesis to open the sled dog's mouth. It is said that the sled dog who plays Ilsa is very docile and very coordinating with the whole process, but its eyes and constantly wagging tail reveals its extremely happy state, and it doesn't look angry at all.Real shot materialThe effect after replacing the CG headThe production team decided to use a real shot of the body + CG head to solve it, and designed some conceptual images of the sled dogs being angry and fierce. This production process is very challenging for riggers, modelers, and animators. They need to accurately grasp the subtle facial animations of sled dogs, and Ilsa's head production is more detailed and precise than Togo. After all, the lens is mainly In performance Ilsa.Real shot materialFinal shotThe most useful part of the dogfaces system is this close-up shot of Ilsa's rant. FACS expressions and mixed expressions are linear, while the sled dog's mouth and nose can be moved at will. In order to have the authenticity of proper micro-motion, the production team added many small details next to its nose. It is said that when the roaring scene animation test was shown for the first time, it was played side by side with the real shot material, and most viewers could not see that it was fake.Real shot materialFinal shot4. Sled dogs skating on iceThere is a plot in the film. The sled dog team braved the snow and cold to cross the unstable frozen lake under the leadership of Togo. When they returned, the ice surface was torn apart, and the sled dogs were moving forward quickly while their feet were slipping.The DNEG team also began to find some materials on the Internet about sled dogs slipping or falling, to provide a reference for finding the unstable feeling of sled dogs standing on the ice. These materials will be put into the rough cut of the animation processed with Time Editor to create a suitable effect for the overall shot like building blocks, and also help them determine the performance of the sled dog in some specific shots. From the perspective of animation quality and details, this method should belong to a relatively advanced blocking.5. Animate multiple sled dogsThe above-mentioned ice skiing. In addition, there are 11 sled dogs in Togo. The behavior of the sled dogs in the team is different from individual performance. For this reason, DNEG has developed a binding system to determine each The distance between the sled dogs in the team, if the distance is too far, part of the system will be displayed in red. Although this system is not super accurate, it can still provide the team with an approximate range.The production team carried out some layout development work when processing the animation, set up many different cycles and different speeds for the state of the sled dog action, and input them into the binding system so that the layout effect can be freely switched and loaded before loading The method of setting animation after binding is much more convenient.The Layout department can set up the sled animation according to the selected sled dog sport Cycles and speed while ensuring the work efficiency while achieving the authenticity of the effect as much as possible. It seems that this part of their work is also very convenient.Now follow the TPN-accredited render farm and best cloud rendering services provider, Fox Renderfarm to the next part: 3D Tutorials: How to Make Dogs in Togo (3).

2022-07-01