Example case:
Example errors:
Solution:
Customize ruby version in .circleci/config.yml:
Reference:
CircleCI 2.0 > Testing iOS Applications on macOS > Using Custom Ruby Versions. https://circleci.com/docs/2.0/testing-ios/#using-custom-ruby-versions
Thinking about GI again. Found a paper online for understanding the core of global illumination, light scattering:
Lars Øgendal. Light Scattering Demystified Theory and Practice. https://www.nbi.dk/~ogendal/personal/lho/lightscattering_theory_and_practice.pdf
2019 is a much unexpected year. I felt lost at a point with too many turn arounds that I am actually incapable to handle.
Right now is the Saturday right after Thanksgiving. I’m sitting in a cafe in south Boston, in front of fire, with summer fruit herb tea and salad, my little notebooks and shiny new 16” MacBook Pro. Nice relaxing cool Christmas music. Still feel drained from the burnout before holiday. But I can think normally, now.
To not be shy, I feel like thank myself.. (I do thanked everybody else in Thanksgiving). 2019 is the year I “confront” my passion for painterly animation. I took serious actions to be a good researcher. Animation is such an unlimited realm that what’s out there in the market is just a touch of a tiny point. The old saying.. the more I know, the more stupid I feel I am. I know so little. My perspective of animation creation is changing . As I study more animations, I realized my initial vision becomes a question: I’m not sure if it’s possible to democratize animation creation with formulas. Or, more accurately, I’m not sure if I am willing to democratize animation creation. Largely because, the creation process by itself is simply beautiful. It’s always changing. Inspirations come from nowhere. Would a formula catch such dynamics that has a lot unknowns? Would any formula give the experience and feeling of crafting an animation? Maybe I will know when we finish the short film.
The short film keeps changing so much that I am excited and tired to a point that I don’t want to look at it. Yet, there’re still a lot work. I think at this point I can’t afford any waste of time and energy for anything but finishing this film. I don’t know when would it be finished. I think actually it’s possible to estimate the amount of work with detailed script, character design, character relationships, and art directions. Even that we’re working with another studio, we still must know the transformation between script and production. Still haven’t done open sourcing sky rendering.. O_O
I’ve been concerned about my visa status; whether to move back China. I miss China.. Everything, so much. But right now, the film is No. 1. So many distractions so many pulling away that I also feel tired to focus.
I hope 2020 would be more stable. Things to keep up:
Based on IAN FAILES’s article of ‘Klaus’ technique [1], I feel the tool SPA studio uses for “Klaus” gives a lot controls to artist to surpass 2D hand-drawn limitations. The control is created from artists’ lens. Because of that, it cultivates the artistic creation process.
Lighting makes the 2D drawing 3D like. This is because applying lighting is based on physically-based lighting – how Pixar does lighting for their films. The artist would specify areas for different types of light in the 2D drawing, the tool then automatically apply 3D lighting to the specified area.
Following are some thoughts of the article:
The quest to do something different in 2D
? Lack of technical details of limitation of 2D hand drawn animation.
It looks like the limitation is intuitive artistic control.
A production solution
Seems the solution is a tracking system to hand-drawn lines. I guess the tracking system helps convert the snapshot of the film – hand-drawn lines – to the final film. The tracking system makes artistic details consistent for finalizing artistic details for a static frame and moving artistic details between frames.
The process before lighting
The lighting breakthrough
Lighting (automatic, or theoretically could be to artist): break down the lighting of a scene in a convincing way, the same way that concept artists do every day.
Texturing: level of grain
Comp: texturing to corresponding lighting
References
[1] IAN FAILES. HERE’S WHAT MADE THE 2D ANIMATION IN ‘KLAUS’ LOOK ‘3D’. Before & Afters. https://beforesandafters.com/2019/11/14/heres-what-made-the-2d-animation-in-klaus-look-3d/
Happy Thanksgiving.
I never know how this fucking world works and how the fuck people communicate.
This drives me to nuts.
时间 静静地流淌
那些若隐若现地轮廓
或已消逝
或未呈现
宁静
像一片月光海
清澈明亮
Write a song
Put a smile
Play the guitar
In the sun
一滴 两滴 三滴
点起些许涟漪
会议结束了
有一件事是明确的：对思维世界曼妙的无限向往
Even in research community, innovation falls off when researchers follow pattern without questioning to root.
More exciting is perhaps in, where raw creativity come out. It doesn’t necessarily fully come from research papers.
Bearing cross on the back
Being vulnerable
The shining star in heart
..
Cry it out
All out
Leaving pure and tenderness
..
Forget
