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And We have a quick interview with the team behind Poilus
Please Introduce about your team who made POILUS
-The team "Poilus" was composed of seven CG students and six sound designers. It took us two years of hard work to make this film, but We did it!
Everyone was specialized in differents departments, but We had to cover every parts of a film production (from modeling to rendering) so we had to be polyvalent and efficient.
The team behind Poilus short-filmPlease tell us about the meaning of story of POILUS 2016 Animated short Film. Where did you got the Idea!
-Two years ago, when We began this project, the centenary of the beginning of World War I was commemorated in France. The memory of this terrible conflict, which has marked history, inspired our film.
Indeed, this reminder of tragedy gave us the desire to make a film that talks about war.
It wasn't easy to deal with this subject because a lot of films about WWI had already been made. Our intention was obviously not to make a realistic and historical documentary but to question the inhumanity behind all wars. To illustrate this conflict between humanity and animality we choose anthropomorphic characters.
The choice of hares was natural to us. Indeed, hares live in burrows which are similar to the trenches. Furthermore they are fearful and lively animals that are not renowned for being aggressive or dangerous. It highlights the monstruosity and absurdity of war, We really aimed to point out the dehumanisation of the soldiers, that's why our characters all look the same.
How Maya, Mari, Yeti, Zbrush, Marvelous Designer, Guerilla Render tool help you to bring the characters and this film to life
To bring those characters and this film to life we had to think about a real pipeline of production. We worked on maya for modeling, rigging, animation, and set dressing. We used a housemade tool to rig automaticaly one character. From the latter we used another tool to generate different clones in order to make the soldiers.
We used Yeti to groom our characters quickly because it was a really intuitive workflow. But it was complicated to set up so we had to make a procedural version of the fur for the wide shots and keep the yeti version for the close-up. Marvelous Designer was also an important part of our pipeline because we designed all the cloths of our charaters with this software and made a lot of cloth simulations with it.
Finally, we used Guerilla Render for the rendering. It was pretty useful because we worked separatly the assets (texturing in Mari, shading in Guerilla, animation in Maya, groom etc.) and we exported everything to Guerilla as alembic with referenced environment and characters scenes to do the lighting and send shots to the renderfarm.
What is most challenge your team had? How your guys to overcome those challenges ?
We had several challenges to make this film. Working with fur wasn't easy, it was a lot of exports, of problems to fix and time to spend to and obsiously render times were challenging due to the number of characters, textures, shaders, fur and fog. About 12000 hours of rendering were required to render this film!
3D Animation : Guillaume AUBERVAL, Léa DOZOUL, Simon GOMEZ, Timothé HEK, Hugo LAGRANGE, Antoine LAROYE and David LASHCARI
Music & Sound Design : Aina ANDRIAN, Paul BARRET, Gabriel DALMASSO, Auriane FATON, Elio GERMANI and Lesly VERDEROSA
Join the page on : facebook.com/PoilusLeFilm
About Reel of the Month Sponsors
Main Sponsor: Rebus Render Farm
The Sponsor for Reel of the Month - Rebus Farm is leading render farm service which instantly provides you with 3,000 XEON CPUs to render your animations and still-images. Start your Rebus Render Farm trial for free. Just create a new account and use your starting account balance of 10 Renderpoints, worth 11.02 USD. After downloading the Farminizer Software, you can immediately start working with the Rebus Render Farm. Winning Reel of the Month means you will get 350 Render Points from Rebus Render Farm.
co-Sponsor Real Displacement texture
The Real Displacement texture are produced by using highly detailed 3d-scans to get accurate color and depth informations from a real location with polycounts up to 20.000.000 and native scan-resolutions over 16k. Using a image-based-lightcancelling-process to reduce the light and shadows in the diffuse-map. All maps are provided with layers for glossyness, roughness, ambient occlusion and more, so it's prepared for physical rendering. Most maps are leveled to set it to 100% and it fits - so you save time setting up a material. Normal-maps is provided as a alternative to the displacement, or to support it. With these textures you can reconstruct the original surface incl. the geometry with a minimum of resources and a maximum of speed and flexiblity. Winning Reel of the Month means you will get 03 Free Collection of Real Displacement texture.
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