Success Story
After transitioning from a comparable workflow in Adobe After Effects a few years ago, they experienced measurable improvements in process speed and final quality. Lucan studio also ensured that Maya was set up to work seamlessly with their pipeline tools, enabling us to iterate much faster without any complications.
Autodesk Maya played a crucial role in almost every phase of production. They began loading image planes in 3D space as early as the storyboarding phase to build a basic layout using primitives, enabling us to assess the camera moves and scale of the environment. Once the final matte paintings were completed, they refined the proxy layouts with accurate volumes and cards for the camera projections, which were then polished with Nuke's compositing tools. The characters and props were also modeled and rendered in Maya. It was a challenge creating a believable appearance for the animals' fur while adhering to the established painterly art style. The sharp outline of the geometry created an artificial appearance and hindered the animals' integration with the backgrounds. They opted not to use a conventional fur solution as it could result in a CG appearance. Their goal was to achieve a traditionally painted aesthetic and have the 3D blend seamlessly with the painted 2D environments.
Maya has always been first choice software when it comes to character animation. For Terra Nil, the animation team dealt a lot with walk and fly cycles. In order to keep the animation style and quality indistinguishable across the board, it was essential to make use of Maya's ATOM in combination with animation layers to tweak and make each individual character's animation unique to the project whilst keeping that harmony. - Moe Govender (animator)
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