 Čakaj. Čakaj, da sem tukaj, na prezentacij. To je zelo za mene na prezentacij na Belendem konferenciju. Je Andrei Giro in tukaj zelo tukaj zelo za vse studio počke, na tukaj na tukaj na tukaj na tukaj na NPR in tukaj na realistice. Srečno, ki sem ino, ki je primostar, sem Andrea Giro. Zelo sem bi biologist, površenji ljudi. Vse je bilo vznik, da je bilo vznik v prveh reližje, ki sem vznik vznik v prveh reližje. Vznik vznik vznik vznik v prveh reližje, da je bilo vznik vznik v prveh reližje. In sem se vseh dobral profesionalne animacije, da sem v 15 leto, nekaj, iz vseh. Zato sem vseh vseh pravih produkačne, TV-svrst, vseh komersijov, vseh filmov, in, da bo se početno vratil, sem vseh vseh pravih robil vseh, več vzvej, v moj povedu, Tako, da sem vsega, da je sponzebo, bo je sponzebo in blendor vznikaj v sej ljube. Zato se izvah v sponzebo in vznikaj proječ, ki sem vsega, da sem vsega, da sem vsega, da sem vsega, da sem vsega, da sem vsega, da sem vsega. Zato sem več jaznjela, In v 2018 sem vsega primaršače, in da sem izgleda, da je to vsega. Zelo, da sem pričel, da sem pričel. Zelo, da sem pričel, da sem pričel, da sem pričel, da sem pričel. zadovnjeli smo spremati kljah in tudi časno je kot z 2018. Vstajali smo priživati, kako smo ne gediko, nekaj jih so vse projekti zreživali, nekaj smo je diaphragd sleepyj, in ti ne vse, da poživam vse napotaklji, da ja bil odnačen iznam. in we started to do some small short movie for Christmas, you know, to greet our client and followers on social media. Today, I will show you some videos, sorry, but maybe it's better than listening to me, so I put together some short, so that we did some example, here's another video. Be practically... We did a close... Mostly 99% in Blender using mostly Evos And sometimes cycles, for example that is a cycle We had a lot of fun Those experiences really after we thought it was very important We could test our capabilities in artističnih kapabilitih in tekniki kapabilitih v površtnih produkciju. Zato smo prišli inimatičnih, kjer smo prišli v projekti kljenju. Zato smo prišli materijali in izgledali to. Tudi smo prišli skripti in površtno všeč. Musim da se poživati, da je nekaj nekaj prišli. As you know, we love a lot using EVI. I have to say that when EVI came out, it was really, start again, was really blowing our mind for his potential. Last thing about primal shape, and after we get to our project, in end of 2020, we became also a production company. This means that when you become a production company, you are not involved only in the execution of the projects, but also in finding money, funds, and organizing everything. So it was a nice step. And since then, so far we realized the two production. The first one in collaboration with Mad Entertainment, Zocotoco, and Rai. And primal shape was at the beginning of this field, so we were just associated producer. Our friend from Mad are here, even Kappiello spoke about this project last year at the Blender conference. We were happy to work to this project. It was completed in Blender, and the primal shape was in charge of the animation. So we animated 26 per 11 minutes in Blender, and it was really funny. First time that we did a big project like that in Blender. And this is the production I will talk to you today, is our first IP that was finished this year in March. And the title is Venetiala Piantica Cittadello Futuro. Venetiala is the most ancient city of the future. 100% primal shape production in collaboration with Rai Kids. A few words on this project. It is a 26 minutes movie for kids meant to be shown on TV, on the channel of Rai Kids. Still is not out. It will be released I think next year. I don't know, sometime next year. It is about a journey of our protagonists through time in the city of Venice, and they will solve challenges. It is an entertaining adventure, but with also an ecological meaning. Actually the morale behind it is that the children needs to act in a first person and start to take care of the problem of ecology and our environment anyway. The script is from Jacopo Martinello, Andrea Ziro, myself and Roberto Zincone. Direction is myself and Roberto Zincone. Let me show you the trailer. I have one good news and one bad news. The good news is that I am very honored to show the trailer for the first time worldwide here at the Blender conference. The bad news is for some reason is only in Italian without subtitles, so I'm sorry. Probably most of you will not understand what they are saying. There is no one below! Nanna! The city is in a bad condition. The lagoon is no longer excuseable and the canals are filled with immorality. Nanna, if we don't hurry up, the city will be destroyed. Give me a balloon! Look! Donato! Let's go! If you want to solve the problem, you have to turn it in a decisive way. And immediately! I don't understand anything. Two time? I promise this is the only slide with a little bit more of text, but it helps me to remind why we choose Blender to do this production. Obviously because we love Blender and this is true, but also because we got a limited budget just to do a fast math compared to Hollywood movies, per minute our project could have cost 70 to 80 times less than Hollywood movie, but for us it was still a good budget anyway. I'm not saying that this was without budget. Because of the NPR capabilities of Blender and obviously EVI, which we love so much, anybody knows, I think, looking on internet, there are so many tutorials and whatever with the NPR shaders done with Blender. There are many techniques and we were putting a lot of expectation on this technique. EVI, as I told you, blew our mind because you can previsualize things and then render and then you get more or less exactly the same result, but better and allows you really to be very fast and economic also. Because of the premade rig that we find in Blender, Rigify and Cloudrig, allowed us to do great rig, I have to say that they've been working to feature film, that the quality of those rigging are very, very good. And just following some tutorial, we were able to do very great rig, especially because of Alfonso Naruma sitting here. It is a software that, in our experience, is easy to customize with scripts. Obviously any company needs scripts to automatize certain tasks or to avoid that animators save strange things on lighting shots, so I'm an animator so I can do jokes about animator. But pipeline scripts are very important for us and Blender was a good place, allows us to script easily. Geometry nodes. When we started this project, I think the geometry nodes were still at the beginning, so we didn't use massively, but we did use them to procedurally create some part of the city of Venice and also the water that needed to have contact with objects. Obviously the community. We love the community of Blender and I think one of the greatest power of Blender itself is the community because you have something in mind, you need inspiration, you go there and you find a lot of stuff, so thanks a lot to the community. Our know-how, as I told you before, we were using Blender for projects done by ourselves and also because we want to be part of this journey of the success of Blender to rule the world, as has been said. And for sure because it is free and I want to thanks to Tom Rosendal for his speech the first, the welcome speech the first day where he said how much is important that this software, it is free and it will be free forever because a company like us that we are not a huge company can rely to a tool that will be supported in the future and it will be free without bringing strange surprise in the future. So we rely a lot on Blender open source software and it is very important for us. Ok, I did a little bit introduction, now I will show you other videos but more let's say not technical mix of technical and artistic on how we wanted to work to the aesthetic that we wanted to achieve with Blender in this project. We have been inspired by artists and in the end we have been working with very talented Elonora Ferretti. She drew a lot of the visual development background for the movie and she actually did the color key as well and the painting of the map painting of some background. So we took inspiration from those painting and we wanted to achieve as much as possible the same quality on our movie. So she uses a lot of vibrant color very saturated color. Yesterday this word saturated didn't come to my mind but today I remember. Very saturated and very vibrant color and she has as you can see very painterly and brush strokes. So we wanted to bring everything of this inside our project. As you can see here it is a color key of a sequence where something, a big fluid happen in the city of Venice and as you can see here the color are less saturated and more tired because we wanted the color keys to be in service of the storytelling. Right? And remember this because later I will show you final part of the movie where we use actually this background probably is not exactly this we really did it but we tend to use a lot of 2D backgrounds integrating in with the 3D where this was possible. So OK, and these are the character design by Ilarias Positi of all the character of the show. OK, so ah sorry, the color script of the entire movie as you can see there are always those saturated colors except for as I told you before the part where the city were flooded but all the rest is very vibrant and very saturated and we want to give this emotion to the viewer, to the people that would have seen the movie. Now I'm going to show you three comparison between color keys and the final frame of the movie just to show you how much we care about this so you can see the color key on the upper left corner and the final frame of the movie now we will see the same room but in the flooded period color key and the final result and this one is a very iconic place of Venice is the Rialto Bridge and here I want to show you how in external sequences we used a lot map paintings and actually 2D drawing from Enora Ferretti I will show you something more in video later ok so now we wanted to do this project with this painterly style but on the same time we didn't want to be more on a lower budget we didn't want to use too many texture because also too many texture brings a lot of problem in the production I'm not explaining why because it's too long but when we have roughness, metalness normal map whatever it starts to be complicated even because of the weight of those textures so our goal it was to produce a shader that was looking good with less texture as possible I recorded a video it's a bit fast I realized actually but I will try to keep the pace this is our main character Elena with just the color base color texture so we painted just one texture for all the characters with a painterly style as you can see there are some brush strokes here and there and then here you see her without no lights so with the shadow just a little bit of ambient light so now I will show you adding lights so we start with the sunlight and as you can see the shader starts to break the mid tones between the little part and the part in shadow and also another important thing is that as you can see the shadow is flat is not it doesn't it doesn't have 3D gradient and this was very important to achieve the painterly style obviously with the shader we could change the color of the shadow I don't know if in the video already passed this part probably not as you can see the shadow there is exactly the same color of the shadow here and it is flat after you have other attribute to make more contrasted to make the color more saturated et cetera et cetera as you can see I was more fast than the video and also there was a controller to change the u of the base color but we didn't use that too much then we added an highlight and the highlight act as a normal light but in the shader there is a ramp where with different tones and in the last tones we make the power of the last part a bit higher this way it could react more strongly than the rest of the shader and you could anyway work on it and change the intensity with the shader panel after that all the other tools are about the changing let's say the tweaking of the mid tones part so we could have bigger scales simpler with broken edge because we broke the edges of the Voronoi with other textures some were generated some were just scanning of painting textures and also there was a general intensity and general contrast to go more 3D and less 3D this because it was important depending on the camera if she was very close sorry, I need to stop this if she was very close or very far, you need to tweak those because the perception of the same shader on different distance from the camera is different in particular when she was very close to the camera this didn't happen in all the character but maybe because of the normals or the modeling when she was too close to the camera and I don't know how to call those big scales of shadow, sometimes when she was speaking were a bit distracting like if she had a beard so we just used sorry, I will put in play we just used the modifier normal edit is called by a control to turn it on changing the intensity to clean the face when we needed that to happen and this was very useful because sometimes otherwise we would have put light directly in the face to clean the shadow this way we could use less lights and be more fast and more economic so backlight is a normal light that you can color and one last thing I wanna say about the rim light I don't know if someone of you already use this technique but we wanted the rim light to be for example yellow in the world character but if we put yellow light in the air it would have been yellow in the jacket it would have been white in the trouser because that shader uses a lot of shader to RGB a lot of emissive shader so the color doesn't mix very well so we used a negative very powerful very powerful negative light to mask an emissive shader and the emissive shader you can give the color that you want actually so this allowed us to have rim light the same for any shader in the environment, sorry in the camera, in the shot obviously you could change the color and copy it on different shaders ok, last thing all the lights that we use were without specularity because as I told you we didn't need specularity we didn't have a specular texture so when we need the specularity we add lights just with specularity and using a lot of the custom distance we could affect only that area ok oh ok and then we had to do the same thing for the environment but that shader for the environment was a bit too much heavy so we simplified it and ok we simplified it because in the environment there were so many objects, so many props so many stuff to be shaded so we took out painting strokes but actually it is the same and you can now see the result of the viewport of blender we didn't use texture here it's just shading apart the paintings and the carpet obviously where there is something like that a picture obviously there we use the texture but everything else is not texture and this was usually time saving for us obviously you could tweak all the attribute of the shader like I showed you before, for example for the bottle in our opinion was very painterly and very good it is just a simple Voronoi and that's it, in our opinion it works quite well now it's finished I guess ok, so now we have the shader we had some paintings that we could use as a background we did obviously some parallax to achieve the final result and we actually we thought since the beginning to use the cameras that wasn't obviously too much 3D where there was so many 2D involved and also I will show you also this is a nice touch in some shots we added also with grease pencil some 2D effects and using the grease pencil in a project like that inside blender is another wing another important wing of blender because you don't need to track the 3D and then go in another software you can just attach the grease pencil to the geometry and then the trick is done so, let me show you another video and this is I will stop here this is a shot where we used the parallax let me see if I can do this ok we used the sky is in 2D it's a painting, the cloud is another painting the bridge is another painting the houses are another painting and we used a simple camera pan from top to bottom and that's it, in the foreground the characters are in 3D we had the only technique that we had to use here on top of this simple setup it was we had to add some geometry to make the panel with the texture cast the shadow and the reflection on the water don't ask me why because I don't remember oh no, ok so now we will not stop anymore but this is an example this is the same place 3D in front and 2D in the background and this is the church that I was telling you before oh the mouse is a bit ok anyway, you got it the church is 2D paintings and 3D crowds using our shader, integrated same things here and here in the canal here of Venice we used in those shots as you can see our painting and 3D in that part we used the geometry in order to create some buildings of Venice easily, because those were very fast and so it was easy for us to do like that ok, here some grease pencil with 3D as you can see here all the little drops of T would have been difficult to attach to the 3D geometry in another software but here was a pretty straightforward so, I think we are almost there the last touch was a bit of compositing not too much we added some fog to make the character the touch a little bit better from the background but mostly we used this place to break the edges of geometry to give even more painterly style masking the character inside, because otherwise everything would have been so blurry and very strange so, I'm gonna show you the last 3 shots that we are pretty proud of them those are set in different places of the city of Venice without music ok, whoops thanks so, that was the fun part but there was also a less fun part because we encountered so many problems but mostly those are are because of our experience our limited experience if you want so, for example we had big problem with the content shadow when things are pretty close together the content shadow are not reacting as you expected so, we had a lot of those kind of problems then we we find always a turn around so, it is possible to achieve a better result but sometimes we forgot some part and you can see this in the movie the lack of light linking in EVI in our opinion this will easily turn around doing several view layers for the shadows using a lot of the custom distance of the lights to affect less geometry let's say oh as we wanted to render everything in EVI we bought a super computer it was the most powerful at time and it was the only computer that crashes with the shots all the laptops or all the other computer were finalizing an entire shot that one were crashing after 8 frames mathematical each time it crashed after 8 frames we tried all the solution it was impossible we read all the internet but no results so, we as a turn around we wanted to use that computer obviously as a turn around we scripted render farm that were sharing a bunch of frames with different computer just 8 frames for each computer this way that machine was doing his job but that was his limitation the difficulties in scouting blender artist actually we trained a lot of animators and lighters in blender but sometimes you need that help that can save you in fast and sometimes it's not easy to find the help of blender artist if someone want to apply maybe not tomorrow but in the future for sure we will have need of people and the one last thing is that we based all the shader in blender 3.1.2 at the center point during the lighting there was a lighter that were giving us a completely strange result then we discovered that it was using 3.2.2 and node of node 3 has been fixed for some bug so all the production would have lead to another aesthetic so we sticked to the bugged version and we force everybody to use the blender 3.1.2 and that's it thanks a lot for your attention thanks a lot of people worked on that project we saw the credit titles in the end of the movie because it's very long but I want to thank you I want to thanks all the great artists that worked on the project because we did in our opinion on a very good job in limited budget and limited time there was some moment that we thought that it would have been it wouldn't have been possible but in the end we did it so thanks everybody thanks for your attention