Liminal Sleep is a short film I created with six other classmates during the last three semesters of my animation program. It is an animated horror short film that follows the story of an elderly Korean woman who sees spirits.
At the beginning of our filmmaking process, organzation and story were crucial. I worked as project manager, creating spreadsheets, assigning tasks, and setting the schedule and deadlines. I was also very involved with our storyboarding process, organzing the boards, reworking the story, and providing additional drawings when needed.
I was the head rigger for our project. After trying several different rigging programs and running into issue after issue, I fully committed to building the rig using Advanced Skeleton as it worked best with both Maya and Unreal Engine: the main two softwares we were utilizing to create the film.
I worked on modeling and texturing as well during the making of the film, sticking to minor props for scenes such as lamps, boardgames, or a vacuum. We wanted to create a painted feel for our film, so we used a specific oil paint brush in Substance Painter to create the effect. It was lots of fun working with our texture leads to adjust the look until it was just how we wanted it.
Lots of the animation for our film was made with the aid of motion capture. I added lots of facial and hand movements post-mocap, as well as adjusted the motion capture data in Maya so that everything moved smoothly and could be imported to Unreal Engine. I also animated most of the scenes that needed to be brought to life from scratch as they had no motion capture data to work off of.…Liminal Sleep is a short film I created with six other classmates during the last three semesters of my animation program. It is an animated horror short film that follows the story of an elderly Korean woman who sees spirits.
At the beginning of our filmmaking process, organzation and story were crucial. I worked as project manager, creating spreadsheets, assigning tasks, and setting the schedule and deadlines. I was also very involved with our storyboarding process, organzing the boards, reworking the story, and providing additional drawings when needed.
I was the head rigger for our project. After trying several different rigging programs and running into issue after issue, I fully committed to building the rig using Advanced Skeleton as it worked best with both Maya and Unreal Engine: the main two softwares we were utilizing to create the film.
I worked on modeling and texturing as well during the making of the film, sticking to minor props for scenes such as lamps, boardgames, or a vacuum. We wanted to create a painted feel for our film, so we used a specific oil paint brush in Substance Painter to create the effect. It was lots of fun working with our texture leads to adjust the look until it was just how we wanted it.
Lots of the animation for our film was made with the aid of motion capture. I added lots of facial and hand movements post-mocap, as well as adjusted the motion capture data in Maya so that everything moved smoothly and could be imported to Unreal Engine. I also animated most of the scenes that needed to be brought to life from scratch as they had no motion capture data to work off of.WW…