The Final Product – Studio 3 – Semester 2

The time has finally come ladies and gentlemen. Thanks to Filipe allowing us to have the presentation last due to the unfortunate event that occured the day before, we managed to have the whole video rendered at EXACTLY 10AM. It makes me happy that we made it eventually. Without further a due, here is PUNISHED SAND.

Punished Sand Logo.png

I would like to take some time to reflect upon the fact that we did not manage to finish all of the scenes initially planned and some assets were eventually scrapped after their completion. Which is unfortunate because of the fact that we spent days making and planing these scenes, but not managed to show them off.

On the bright side, we REALLY proved our research question with the research we have now conducted and the experience we have experienced. The animation industry is slowly moving away from the 2D traditional way of animation due to it’s expensive methods and time consuming process. We can easily agree upon this statement and we can say we have been lucky to be so unfortunate and experience Sabotages, Render failures, Rendering the wrong layers or cameras, Maya crashes, File corruption, File deletion, Slashing models, Slashing scenes, Redrawing 2D animations, Group inactivity, Group arguments, Anger, Pressure, and a lot more.

The reason I am saying we are lucky to be unfortunate is because we have experienced first hand what it is like to be professional 2D, 3D and 2.5D movie animators. It’s not easy at all, and that gives us a ton of information to write in our Research Document for final delivery.

On the bright side, despite all the bad things that has happened, it gives us the opportunity to look back when you are done, be happy about what you have done and think about how hard you worked to get a satisfying product.

From here on out, this might be my last post on this blog depending on if I graduate or not. If I don’t then I might see you next year or maybe not at all? Or if I pass this will definitely be my very last post! Hopefully it will be the last alternative and I will say good bye here to anyone reading this.

This is Martin, signing over and out. Good Bye and take care!


Licenses – Studio 3 – Semester 2

For a bachelor project, any project in particular, it is extremely important to acquire any possible licenses if you are using songs or media not created by yourself.

The songs we picked were from and costed 6.9 pounds each. Our group decided to go for 3 songs of the similar tempo, theme and style. We also acquired 2D effects from, at a cost of 19 dollars each.

Luckily for our group my dad decided to fund our project with these costs and allowed us to take a step further professionally in this project.

The Audio Network Licenses:


VideoHive Licenses:

License 2

License 3

Rendering Accident – Studio 3 – Semester 2

As stated in the previous posts, the animation process took much longer than expect and we find ourselves the day before the presentation and delivery still having to render many scenes and having to leave a little bit of space to the editing process. This is clearly a sign of poor time management by us, we really underestimated both the time the animation phase required and didn’t think of all the little problem that could slow us down in such a long and complicated process as the rendering. How to avoid this? it is never too wise to leave more time than necessary for the rendering and post production since they are what gives juice to the movie in the end.

This is not however the core of my post, but rather a really bad and worrying accident that happened today and that almost jeopardised the completion of our bachelor project:

Due to the long rendering times animators and movie makers often find themselves having to render different section of frames on many pcs, since rendering all on the same pc would take days and would be too risky in case the pc crashes or flaws the rendering.

Keeping this in mind and with the fact that most of the two labs where the Interactive Media students work were full of pcs busy rendering due to the many deliveries closing in for every student of 1st year 2nd year and 3rd year, I decided to render in the labs where the Vocational School students have tutorial. Why did I do this? The rules of the campus, known to every tutor and lecturer state that every student can use any pc of any lab as long as that doesn’t disrupt other student’s lectures. Knowing this and after checking on Time Edit I discovered that no tutorial, workshop or lecture was planned for this day in the 3D vocational school lab or at least that was what was written in the Time Schedule.  This meant I was more than allowed to render my project on those pcs, after all that just meant turning on the pcs, rendering and leaving them on until they’re done and in no way I would have ruined or disrupted other students work, besides being the students as proficient in 3d as we in Interactive Media are they would have known that all they had to do was to log out and no harm would have been done to my renders. Confident with what I knew I decided to proceed and yesterday evening I put my scenes to render.

I decided to spend the night at school, the renderings were too important and on a too strict schedule for me to leave them unchecked so I would check them every hour.  It is when I went to check them at about 9:06 this morning that the damage had already been done, I was especially worried about this time of the day, since it is the time where usually both students and teachers come in the labs and start their daily working.  when I got back to the Vocational lab I found all the pcs off and all my notes that signed down which frames every pc was rendering were gone. In the lab only two students and the tutor David Froholt were present. Really confused by what I saw I started asking to them what had happened, what I received was a really unprofessional answer by David, who simply said he had turned off the pcs and threw the notes his answers weren’t unprofessional only for what he said, but also for the way he said them he seemed almost happy and satisfied about what he had done. I was extremely frustrated and confused by these actions I didn’t see a reason why he would have wanted to deliberately sabotage my work a day before delivery, I confronted him and after a while I got the real reason why he had done it, what he said was that when he had entered the lab he got furious by seeing all the pcs on and being used by a University College 3rd year student and turned them off in anger. This is utterly unacceptable, it is already quite unprofessional when a student ruins another student work, but a teacher, that is even worse and can’t be simply ignored.

Although there was no workshop signed on Time Edit for that day.


I would have been completely fine if the lab was full of students needing all the pcs of the lab to work and follow the lecture and I would have gladly paused my rendering for that, but the point is that only two students were there and even later there was still only those two students present in the lab, therefore it was completely unnecessary to turn off ALL the pcs.

My first course of action, since no Interactive Media staff had arrived yet was to contact Beatrice from 2nd year since she is one of the representatives in the Council and she was present at school, she first confronted him and told him to at least warn the students if he didn’t want them to use the lab. Later though, she told me that that solution was not viable as well since after talking to Mikhaila and Matthew she had been confirmed that every student can use all the pcs on campus when there is no lecture going on, so it is against the rules to close the lab to a single class. (The rule doesn’t apply to Digital Forensics due to legal reasons, but thats not part of this matter matter). David evidently ignored this rule; after talking to Matthew I was told that I could have gone back to that lab after 4 to render my work since the rules perfectly allow it, when I got in the lab though I found a rather unprofessional and unpleasant message:


In english “None of these machines shall be used for rendering of projects by students who are not enrolled in 3DDA course. These machines should be available for only 3DDA students at all times! – David, teacher”

This is unacceptable, the council representatives have contacted Ernst and I hope there will be severe consequences.

Even in this really harsh moment I was really helped by peers and by the staff, the council representatives talked to Mikhaila who was read to give us an extension due to the fact that we had no fault in this delay. Later I spoke to Alexander whose help was extremely valuable he advised me to contact Felipe since he is the Studio 3 leader and maybe ask to be the last to present since that would have given us more time but still allowed us to show a somewhat finished product during the presentation. Felipe was extremely understanding and helpful on the matter and granted us the possibility to present last. I’m still not sure I will finish, but I’m gonna work as hard as I can in order for the presentation to go as smoothly as possible and in order to deliver a professional and complete product.

How could have this been avoided? Was there something I could have done to prevent it? Thinking about it, there really wasn’t something I personally could have done to prevent it, I did my best to check often on the renderings and I couldn’t use the pcs in my lab since most of them were already used by other students, besides I had checked Time Edit and no lecture was scheduled in that lab. The only way this could have been avoided is for the teacher to realise that we are in a professional environment and there is no space for this behaviour and under no circumstances this should be allowed or even conceived ad a possibility.

Animation – Studio 3 – Semester 2

Now that I have gotten all the scenes into place and everything is in order, I can finally wait as I am and have been rendering for quite some time now. All though I fear that our group might now have enough time to render everything because to our surprise we underestimated the rendering time it takes to get all the scenes rendered out into an image sequence we can put in premiere pro and start the editing of our video.

We had some talks with one of the teachers and discussed some potential time savers of how we could save time rendering, and one of the conclusions was rendering over different layers. Where one frame will be rendered and placed on top of other frames in Premiere Pro. With this method it also gives us more freedom to add effects anywhere we want and create whatever we require to make. Such as having flames coming out of a thruster when it’s facing the opposite direction. We just place the 2D flame underneath the model itself. Although this saves us some time, it also means we have to use more computers to render.

Stylized flame board.PNG

We tested out creating a 3D object of stylized flames, but as the group agreed upon we will only use this asset for this specific scene since it’s supposed to be a slow motion and the flames will stay more still than constantly in movement. Our plans are to be placing more 2D effects on top of the still one to make it seem as it’s moving a tiny bit, but still remaining static. This is what the scene is looking like right now. Since we haven’t gotten around to updating the scene at the moment, but we have done More from what we show in that specific scene as it is a bit outdated at this point due to the fact that we work so fast.

The animations Oskar has made are really well done and not to mention he works like an absolute machine.

Knock out Wip2.gifNew knock out scene wip4.gif

Western 1 wip2.gif

Western 2 Wip1.gifWestern 2 Wip2.gifWestern squinting.gifWestern 3.gif

Run animation_WIP2.gifRun animation_WIP11.gif

PS.gifCrow pic up.gif

These are all drawn by Oskar, but dummy animated by myself, except for the piece of cloth. Although the first frame of the cloth was created with a tool in Autodesk Maya called NCloth where you can easily obtain cloth physics on objects.

Why did you not create an animation of the sheet with NCloth in 3D instead of drawing it?

This is due to the fact that in order to get it high quality you need to have a lot of polygons with a high polycount. We are afraid that his would completely slow us down in rendering production, and we asked ourselves the following question: “If we are gonna animate this cloth in 3D, wouldn’t it be weird that the clothes the main character are wearing is 2D?” which is exactly why we chose to be true to continuity and keep it the same way we intended. Where these things are mainly 2D. Some parts like this will have to be 3D, but we won’t animate it so it will rather blend in with the background.


Animation – Studio 3 – Semester 2

How will the group solve perspective problems when implementing a 2D character in a 3D environment?

This was the first issue the group looked into when starting the making of this project in Semester 1, since it’s so heavily centered around our research question.

We got a free academic useable rig called Norman, which is fairly easy and good to animate on. After I have animated a scene with Norman, I export the PNG on our shared google drive folder and Oskar downloads it and draws over it for reference to get the perspectives right.




The only issue we still have to solve if we get the time is how to implement the shadow on the ground, the original plan was to nest all the images from the rendered image sequence and distort them into perspective to represent a shandow, then apply a fullcovered color from our decided color palette.Color palette.png

Sadly this seems quite unrealistic at this point considering how much time we have left.

How could I have fixed this and handled the situation better?

As supervisor might know we have had some group issues about the amount of work being done. I have been overworked for a while now and unfortunately it does not seem like I have any possible way of working even more than 200% of which I have been already working. I try to reflect upon this and it is very unfortunate that it has happened like this. What I can do about myself is to stick to my own stuff and try my best to finish the tasks that are the highest of priority, and let supervisor try to handle the situation for now.

Have the group tried to solve this issue before?

The group has had 4 group meetings regarding this matter, of which all meetings I have been promised to be relieved of my 200% work position in this group since I am the one creating the following: Close to all the models, all the UV’s, all the textures,  Close to most the animations, all of the animation after work and refining, all of the rendering and all of the editing. Instead of following up on these promises I can’t say they have been taken seriously, hence which is why I have been having the same group meeting for the 4th time. I have been patient and now I will let the course leader help out with this issue.

Oskar has been helping me so much with the modeling and uving, even though he is our 2D artist. He knew very little about UVing and barely remembered how to model, but his effort was extremely helpful and his assets are beautiful. He sat several days all in all to create this beauty.


His effort is what makes me appreciate this most of all, but also the matter of progress.

I haven’t talked about this much in my blog because I feel these issues are hard to reflect upon without attacking or blaming anyone. I had to make a statement and try to reflect now in this post because I can’t ignore the issue either and hopes it will go away. But hopefully now things will go more on track as the teacher is stepping in to sort these things out!

Now here is a comparison of the fully animated Meet The Spy parody intro I created.


Animation – Studio 3 – Semester 2

Apologies for the late blog, I have been working on setting up the environments, scenes, implementing the animations and in general making sure everything is going swiftly.

Anyhow, I am now working on the animation phase acording to our schedule. What I have spent a lot of time polishing right now is the walk cycles for the different robots.

Walk 2.gif

Walk 1.gif

I specifically animated this one to look like he is stomping towards the ground with each step, first of all to seem intimidating and second of all he is a big guy.

Is it important to create walk cycles for each character?

It is absolutely important and necessary to create these motions to save as much time as possible at a later date. If you don’t you might risk having to do everything over and over again.

Where did you get your animation references from?

We recorded them in fact. Most of all the references were recorded and edited for this sole purpose. Which can be viewed RIGHT HERE!

Sadly most of the motion in our recorded references were recorded earlier, where they don’t fit the storyboard anymore due to slashed scenes.

However, the walk-references are still very usable and that’s what I am pointing out.


Texturing – Studio 3 – Semester 2

Last post I talked about how my research had gone and about the fact that I was finally ready to start my own textures, during these past weeks I’ve been working really hard on the textures, and I completed most of them.


Working really hard and continuously on a software makes you ofter learn tricks and tips to save time and by doing so allows you to increase your learning curve. Because of the specific and peculiar style of my textures and models I needed each material to be 100% consistent with each other, even the single little disruptive detail could ruin the entire texture “ecosystem”. In order to do so I had to avoid having to create the same materials over and over again, which is rather easy when you use an already existing material and you don’t really modify it, but what happens when you heavily modify a material in Substance Painter both in color and style and you need to use it on multiple models? Simple, you create a shelf with your materials, so that you always have them in the software, even when you open a new project with a new 3d object, this can be done in two different ways: 1) Creating a preset in case the texture is a simple material with no layers or folders 2) When the material created is a bit more complex and it is organised in a folder the matter is different, but as easy, you just need to create a smart material out of it; a smart material is a texture composed by multiple materials and layers usually organised in folders.

In the picture you can see my shelf and in the next pictures I’ll be showing how I applied the textures and how I handled them.  Action shotAction shot2Action shot3Action shot4

This it the first robot along with the overboard and one of the weapons I made from Oskar’s concepts. For the Colors I opted for some warm camp style along with a bright and characteristic orange which I will use for every other robot as a way to recognise them. For the hoverboard I used different tones of brown along with a colder red, the back part had to look inconsistent with the front since the hoverboard is a tech that belongs to the enemy scavenged by the rebels and modified with other scavenged parts, I didn’t want this to look to exaggerated or ridiculous, so I simply used colors that would look well together, but at the same time would underline how the tool is composed by parts different from each other.

For the rifle I used pretty much the same textures as the robot to give a sensation of “default equipment” to emphasise the homologation of the antagonists of this movie.


Baseball bat

Here are some props that will be used by different characters in the movie, here as well I opted for a worn out chunky style which fits well the stylised style and blends it with the dystopian, post apocalyptic world where nothing is newly produced and everything is worn by time and by the catastrophic events that preceded the movie.

Why are these tools characterised by wires? I feel like uncovered wires and this “modded” style fit well with the Junkyard feel of the setting.

Big robotBike

Even though the robots have to look all the same, like they were wearing a uniform I still wanted to give some slight characterisation and difference between each different type of robot, almost transforming them in stereotyped characters. How can that be obtained without breaking the uniform feel of their color combination and texture? Among the many ways this can be done through sound, vex and animation I thought I could aid this differentiation by adding different writings on the bodies of the robots that look like an halfway between tattoos and graffiti, such as the ironic writing “friendly” and a body count on the big robot. At the same time the writing component helped me giving the idea of a factory/ produced in series group of enemies, by putting the Arbak Industries logo on every robot, tool and machine used by the antagonists. Board 2BoardCargo Bot

Board 3

As I stated in my previous post, as easy and quick as it seems to create a stylised texture style the risk of making it look so simple that it’s bland is always there, lurking behind a corner. With the models being already quite stylised and low poly, making the textures too simple and flat would have made the final result look boring and rush, at the same time working too much on avoiding this would have made the textures too heavy and realistic. How to balance between the too dangerous extremes? The solution I found was to accentuate spots of rust, dirt and worn out material on every edge and hard corner of my models, by doing this I sort of “break” the low poly of my models and give them the little bit of depth they need just not to look TOO simple.

Fat boi

As I complete the textures I realise how much I’ve learned from this journey, a style that seemed extremely easy to make proved to be as founded on research and hard work as any other style which may look more complicated and detailed.

I recognise that my textures are not perfect and that I could work on them much much more, but I can say I am rather satisfied with the look, which is exactly how I expected it to be. The models textured fit really well all together and that’s something not so easy to obtain, no matter what the style of the project is.

April is almost over and the delivery is getting close, now that the texturing is completed I will be focusing on the animation for the next weeks.

Texturing – Studio 3 – Semester 2

In the previous post I´ve been introducing to the brainstorming and reflection process I want to put into choosing the textures and I´ve been talking about how I was gonna put effort into researching for inspiration.

In the past week I´ve been thinking about all the animations and games that share with my project even the slightest similarity and I managed to narrow my research down to a couple of interesting examples that will be of great help when I will be texturing my models.

1) Team Fortress 2 – Game

Team Fortress 2 is a multi player first person shooter game, released by Valve Corporation in 2007. One of the reasons of the game´s great success other than the interesting mechanics of each playable character it´s the game´s comedic mood and its cartoony and simplistic style. This game has been for very long time one of my core inspirations and the fact that it shares mood and style with my bachelor project it´s not a coincidence, so it felt more than natural to use it as a reference and inspiration.


The game´s color palette it´s very well thought and each color fits extremely well with the other, although I am gonna prioritise warm tones this is a great inspiration and starting point. The use of the color blue and red as opposites it´s something that has been vastly used in movies and games, for my project however I opted for a different usage of these colors: the indoor scenes are gonna be characterised by colder colors with a majority of blue and light blue to give the feeling of shadow and of a more cold environment, while the outdoor scenes are gonna be full of warm tones which suggest the warm and arid weather of the desert. Why using the opposition between blue and red in this way rather than in the usual bad guys/ good guys way? I really feel like this differentiation has become rather tiring and cliche, but I still want to include the complementarity of the colors, so I figured this will be a good idea to do it.


Team Fortress 2 is also known for its highly various maps, set in different environments; among these maps there is one that will be particularly useful as an inspiration for my project: the Egypt map.

The Colors of this map and the style of it´s textures show how to combine cartoony style and desert in a 3d environment avoiding a too “heavy” landscape and without being boring for the eye. This map has all I can ask for as an inspiration and it will be fundamental for the building of my textures in Substance Painter.

Although this map will help me I figured my textures will be even more stylised than this, since I figured details in the desert are not really too needed, the bloom of the sun makes you blind and doesn´t let you see them anyways, so it´s gonna help giving the idea of an incandescently warm setting.  Regarding the colors I think I´m gonna use brighter colors than the ones used here, both for personal taste and because I think they fit much better with my models. Why using this as an inspiration if most of what I’ll do will be different? When creating something artistic, having a starting point, a standard is always quite useful, but overcoming that standard and the boundaries of our own inspirations is what makes our own work a growing path.


As I mentioned before, another really important characteristic of Team Fortress 2 is its characters, but as interesting and awesome as they are they were of little inspiration for my robots since they are all humans. After some reflection though, I remember about the PVE mode of Team Fortress 2 called Mann vs Machine in which the players have to face robot versions of the playable characters. I immediately decided to make a mood board about these characters and noticed that, although they look very different from my robots the style of the textures and the materials used are extremely helpful for the way I will handle my own texturing process; the point is, the setting of the movie is a desert and if there’s a thing Star Wars teaches, sand and robots don’t go too well together, therefore making a clean robot would make little sense and look quite out of place.

After this reflection I came to the conclusion that my robots will have to be worn out and full of rust, as obvious as this thought might seem it is not as obvious to think about how stylised rust and spots will look, so it is here that my mood board plays an important role, among the characteristics that make these robot interesting there is definitely the simplistic worn out spots and rust. When creating my materials and choosing my textures I will do my best to handle dirt, dust, sand and worn out parts the same way as in the pictures, if not even in a simpler manner, by still keeping them interesting and good to look at, exactly like in these characters.

2) Journey


Journey is a relatively simple game, not too full of mechanics and action, but what hits the player the most is it’s astonishing style, colors and the way they contribute so much to the lighting.  In the deserts of Journey it almost feels like the sky and the sand are one thing, but this continuity of land and sky never gets boring, always remaining so suggestive and pleasant.

The aesthetics of the game are really simple and the colors used are not really too many, but they all fit together in a perfect puzzle.

This game has inspired me in choosing the right colors to give the feeling of a really warm environment, where the sand is everywhere even in the air and where the sun reigns as a supreme king wherever you go. When our viewers will look at our animation we want them to feel the extremely hot weather almost as if it was on their skin ad we want them to feel surrounded by sand and sun even if they’re watching the video on a rainy day.


As it can be noticed in the picture the game not only succeeds for what concerns the color but also in creating a really simple style of textures, with no blending whatsoever, but rather using definite layers of color in a sort of Pop Art resemblance. Using this style can be rather hard, since it is very easy and quick to slam some color on a surface, but it is not as easy to make the shape of the layers and the forms created interesting and pleasant.

3) Firewatch


Firewatch is another game where the developers have done miracles with just a few hues of colors and a simplistic style, very often having something simple looking can make your work look really bland, it is really hard to have the artistic sensibility of finding the right amount of “simple” so that it balances with “interesting”.

Firewatch not only has succeed in this, but has obtain a very peculiar style that reminds of theatre scenografies and recalls of the Renaissance technique called “sfumato” where the artists would use lighter and paler colors the furthest their landscape would go. Although I don’t expect my project to have these same characteristics I do see them as an invaluable inspiration that will help me balance each little detail of my models.

Now that I’m done with the research I will start working on the textures, so in the next post I will be showing some work done.

Texturing – Studio 3 – Semester 2

Today I´m gonna be talking about the beginning of the texturing process.

Textures are the final ´´signing´´of a model and they can vary the style of a project completely, when choosing the right texture, a 3d artist has to keep many factors in consideration: the color palette to use, the material, how the setting and the kind of 3d object can influence that material and also the general style of the model; a realistic texture on a highly cartoony model can look extremely out of place, while a really badly chosen color palette can damage an extremely well executed work.

Keeping all these important informations in mind, I decided to put extra effort in researching inspiration for my textures, I already knew what kind of colors I wanted to use, the setting of our movie is the desert so I will be prioritising warm tones. Regarding the style I´m gonna go for a cartoony/stylised one, why? First of all it suits well with the style of my models and second it is much quicker to complete, making the texturing process not too time consuming and extremely efficient.

Now, even though I already know two important features my textures are gonna have, one thing is having something in mind, another thing is ACTUALLY being able to visualise it in order to make it exactly how we imagine; how do we do that? Simply by researching previous 3d works with similarities to my project, studying them and summarising them into a pattern, a series of rules sort of.

In the next days I will be researching different games and animations that can help me in the texturing and I will be posting about it.


Storyboard and Misc – Studio 3 – Semester 2


20180417_193740.jpgConsidering the amount of printed out papers were quite thick and were at a total of 80 scenes, we wondered how long it would roughly be in a movie format. Which can be found RIGHT HERE!

In other words we have made some other tiny assets in the spare time we had.

Abashi circus.png

Abashi circus fennec.png

Some promotional posters of a circus in Abashi which is the continent where the story takes place in.

I have created some Alphas that really helps with texturing.

AAG alpha.png

Built to kill.png

Cargo bob.png


Friendly Alpha.png

Fuck you 1.pngFuck you 2.png

Hag unit alpha.png

Grin 2.png

Eat shit cunt 1.pngEat shit cunt 2.png

Bandage.pngObey qr code.png

Target Alpha.png

Unit 32.pngUnit 63.pngUnit lay-z.pngWest side 1.pngWest side 2.pngclock alpha.pngAlpha 1.pngCount to five.pngWattmetro.png

In one of the Alphas I had to design the logo of the Mayor “Albatatis” who controls the robots, his factory firm is called Arbak Industries.


Does the logo have any meaning behind it?

Yes as you can see the second A in ARBAK is shaped with an underline is to symbolize about the eldertree from our early drafts of the story. Because the Citadel where the mayor lives is created out of the biggest tree in all of Abashi, said to have connected and been the source of all the other living trees and grass on the continent and was blessed by the sun god. When Albatatis cut the majority of this tree down, he cut down the life support of all the other nature around him dooming the civilazation to forever live in a fading environment, inevitably leading to a desert as everything god dryer and dryer.

The sun god got angry with him and decided to punish humanity to forever live in this environment they had created themselves. He punished them by promising to always be the burning hatred in the sky who would dry out everything and make it inhabitable to regrow nature there. But as the climate changes, so does nature. So the humanity survived on water from cactuses and natural rain water. Until Albatatis manage to create synthesized water which he would obviously use as a power stance. Promising to end the water support of every citizen if anyone ever stood in his way.

His office is a giant citadel which is where the old gigantic tree stood, and it is built to look like the old tree. As it is quite symbolic of how he punished everyone for his actions and rose to power.

Now back to the logo, the shape of the old Tree kind of resembles of the letter “A”. The connected underlines are meant to represent the vines going through the earth connecting everything.

To implement this logo into the project as not only in the shape of a texture, I recreated the photoshop made logo in Illustrator as a Vector file which is not made out of pixels but rather lossless lines.


Then I imported the vector file in to Maya and created a beveled object out of the curves the program provided for me.

All I had to do now was some initial cleanup and then I had a 3D model of the logo.

Arbak model.PNG


Some additional Modeling for environments I have put together.


This is the scene where most of the alphas with words will go on each template to signalize whenever something occurs in the field such as “Intruder Alert” “Breach” “In Sector B” or “Emergency” “Lay-Z” “Is Eating Lard” for example. Just a couple of the combinations to put together.

Mts1.png  mts28.png  mts3.png

This Scene is a parody from the opening of a Team Fortress 2 animated movie called “Meet The Spy”

Image result for meet the spy board

Which we are really forward about, so that no one thinks we are deliberately trying to rip off  a scene from another film without giving them the credit for it, because that’s what you have to do when you are making a parody about something.

Which is why we included a tiny easter egg to kinda poke fun about this in the alphas we are going to put on the board itself.

mts35.png   mts47.png   mts59.png

Which is why we decided to address this and poke fun at it.

Could this project be in potential problems about breaking the copyright of Valve Corporations IP for making something very similar to the opening scene in “Meet the spy”?

Absolutely not. It’s heavily referenced and inspired but has some differences here and there. Even though it is not entirely similar we still looked in to the matter legally, and conducted research. What we found out which greenlit us to go for this funny idea of making fun of Team Fortress 2 and kind of referencing it in our animated short, was the fact that Valve Corporation actually endorse all of it’s consumers to make parodies and use their IP for whatever they want. In an issued interview, Head of Valve “Gabe Newell” even stated that their engine “Source” is being used by their consumers to mainly make pornography which they have no problem with.

In every Team Fortress 2 animated short, they have a title card with the title of the video. At the bottom, it says on every single one of them “Copyright LOLOLOL” which means LOL a common online term used as “Laughing Out Loud”.

So what this means is that they are not protective about their IP. In fact several fans have made several projects based on Valve IP’s for free, one of the biggest called Garry’s Mod, which is a modded version of their engine where you can pose assets and make pretty much anything your mind can come to.

To endorse this even more, they even specifically released their animation software for free on their platform called SFM, so that fans can use their assets to create free animated movies without having to worry about any sort of licensing.

All of these movies are monetized on youtube without any issue.