 Hello. Hi. Hi, guys. So, I'm Luca, and here's Nicolas. And we are working on this TV series for RAI. It's the Italian television. And it's a series for kids. So let's see the first video. It's a TV-admitted series, 13 episodes for two minutes. And it's a small target for two years ago. Two years ago. And we are two different formats to give to our client. Flats and VoA also. So we are trying, because I'm the pipeline director and technical director, to combine a great production with a small budget. So let's go. We are light and color, and we are in Rome. And this is a frame. We work, obviously, with Blender. And we are trying to match the 3D with flat draw. So who we are? Nicolas, come here. Now, we work in Rome. We are a great studio in the center of Rome. And these are our work, always with Blender. Utopia, it's a film that was in cinema. We made 12 minutes in CGI. And like a game movie inside the film. This one is a short movie made in Blender, with a cut-out style. With migrants team. And about, sorry, in a building where there are different culture. And with the music, there are good duration. And the author of this series, Giudan Nido, is Anna Giudicicic-Dato. And she wrote this series. This is the screenplay in Italian, of course. And nothing. Nicolas, I want to say about the team. Hi guys, I'm Nicolas. I'm from Argentina, and I live in Italy. I work remotely. They are the lucky guys who live in Rome, in the most beautiful city ever. So look at those happy faces, because they really live in Rome. I work remotely. So we have Umberto, who is the supervisor. He's a super awesome animator, really. Stefania, super awesome animator as well. Fabio, who is the brother of Colin Levy, because he literally looks like Colin Levy, but he's not the art director. Guys, if you are watching, because they told me that we are watching. So, ciao Francesco, ciao Stefania, Umberto, Fabio, Catalina. Okay, that's all. I did rigs and animation. I'll talk about that later, because it could be a little bit annoying, so I would try to not do it. Then we have the musician, the author, that's it. This is an early test. I came to the production afterwards. I didn't do this. Luca did the model. It was the first trailer. The first plot. It was the first trailer. The story is, Lidlberg is too afraid to go out of the net. He doesn't know how to fly, so he never goes out, and his family tries to convince him to fly, and that's the story. It's all about it. All about those things. Now, we have some concept art. Okay. As a responsible of pipeline and modeling, I try to combine the draw of the art director with a 3D ACCI movie. So, we start, of course, by drawing, and he is the art director, Fabio, Colin Levi-Sosia, and nothing. This is the environment, so the mode of the series, of course, for kids. And it was so difficult to translate this style in an ACCI movie. So, we tried to combine and tried to make a lot of tests. So, these are the poses and the shape of the main character, Tino. And, of course, there are a lot of different shapes. Also, in the rig, there are a lot of work to do. And things to do, and things not to do in animation. And also in the rig, in the alley. And also, this one is the parrot, who's like the mentor of the movie. And nothing. After the screenwriter, the screenplay, we made with Fabio the storyboard. And the difficult thing was, and this, because we are now also producing this series, is to combine the flat version and the VR-flat version. So, when we are making the layout, the layout file, we have to find this file. So, modeling. This is Tino, the main character. Mother of Tino. And Fabio gave us some advice also for animator. And these are the turnaround modeling of the character. So, the brother, the parrots. At the end, we didn't use the texture for character. And this one is Tino. We make up the animation test, Nicholas. Okay. I'm one of the animators. I'm the rigger and one of the animators. So, these are our early tests. Here we were trying to find the personality of them, because they all find model and picture, it's all awesome. The act director was really precise about how they had to walk, how they had to fly, what about the takeoff, what about the landing. So, the awesome animators at Rome were... I'm sorry, did the early test. I came after that. I didn't do these animations. After the first trailer, we had to redo all from scratch. I mean, look at, redo the model. And I had to do the rigs one by one from scratch. I'll talk a little bit about that. This is a standard flight, with a little bit of overlap in the wings. Yeah, he's taking off. Okay. This is some jumps and ways of closing the eyes and eyelashes and all those things. I don't have a laser here. We had to do some overlaps in the tail and the hair as well, to make it more organic, of course. Okay, she's singing. We're going to see that later, better. The mouth changed, it shaped into a trumpet because they sing. That was very tricky to do in the rigging phase. I'll show you later. His brother, okay. Her brother are trying to tell him, come on, come on, let's go, fly, fly. These are his brothers as well. Little brother. Okay. Yeah, these are not renders, of course. These are open gel, play blast test. Early test. Okay, I'm sorry. Okay. Rig, now. And that guy, animator and rigger. The rigs, I will try not to annoy you because this could be very technical things. I start with Tino. We have some special requests in the fit. We have, okay, full roll. The ankle has to point towards the body all the time. The knee has to be very flexible. The knee has to point where the pole is. This is always painting. I'm not using Bendy bones here. The FK, I'm sorry, the IK has two special options that are a follow body and a stretch. The stretch on and off, like the rigify one. But then we have the follow body one. Because when he flies, it comes handy for the animator to have the fit following the body. We have to counter animate or animate twice. Here we have an FK system, but it's an advanced FK because we still have the stretch, the stretchy option, and the knee, which is very flexible. So it was really hard to achieve this kind of thing. This is all I'm trying to find a pose for the flight. This is the FK method. So the animator can switch on and off IK FK as he wants. The tail has an overlap system automatically. So you have with two controls, you can move the entire body. So you can go down and you can make the tail follow the body on and off. It's an isolate rotation, basically. So with two main controls, you can achieve almost every position you want. Then you still have the control's head next. The tail has the same thing. You can do things like that for a quick posing of flight. It doesn't give us a right overlap. You have to do it by hand. The rigs are very flexible. We have the bone disconnected. Achieving those kind of things is not so hard. The face was very tricky. Maybe it was the most difficult part to do, because I'm using shape keys, and that's fine. But we're going to see in a bit that kind of constraint was really hard to do. The mouth is flexible as well. You can achieve almost every position. But now you're going to see the trumpet, the little trumpet, when the mouth changes shape, because he sings in some moments. I'm using two shapes here. Okay, this is a shape here. Two shapes, animating the visibility with mask modifiers and drivers. So at the center point, he starts to sing, and the trumpet changes shape as well. These kind of constraints are very weird. To pose space, to local with barn. This was really difficult, but gave us a lot of more flexibility doing location rotation and scaling as well. This is too tricky, so I'm not going to explain in detail now, because I could talk one hour just for this. But you can do almost whatever. I think we have the... The hair has to point every time towards the camera. So I put a bone with a constraint. The bone is always near to the camera, so it's always facing pointing to the camera. You still can animate it on top of that, of course. I think we have squash and stretch, the very first principle of animation. This is all shape keys. This is the fun part. The art director asked me to put some drawings when he closed the eyes, some different drawings. So I made a panel, I dedicated the panel for the animators. Then he made a graph of the given bone, put it up, and that specific draw appears just when he closed the eyes. It was really hard to do with drivers, because he has two eyes, of course, and the correct drawing has to appear just when the eyelid is touched, and not before. Thanks to Gustav Wilson and his awesome training series about drivers, using some tricky maps, the things, very complicated. Not that hard, but not that easy. So the animator has to have the possibility of doing whatever he wants in a given moment, as you can see now, and with all the shape keys working as well at the same time. It was hard. It really was hard. But it was very fun to do this. The most fun part was this one. Yeah, just in the rig. His drawings. I think, yeah, he knows over. Now we have the mother. I have two challenges here, because the rig is basically the same, but the neck place has to follow the neck and the hips as well. So I have four bones in the background here, and as an Israel rotation, I have follow neck on and off. So the animator doesn't have to counter-animate any time, because the necklace, you can adjust it at any given moment. Here, the eyelashes. That was the very, very difficult part. I'm not kidding. I'm using 150 constraints. 150 constraints. 150 constraints! I'm really doing it, because the eyelashes are separate meshes. But the eye is controlled by the shape key. So I literally got mad about it. Each bone has like 30 constraints. That was really hard to do, but it works. So the animator doesn't have to animate on top of the eyelid any time. You can do it if you want, but you don't need it. The father. The father was fun as well, because his eyes are on top of the eyeglasses. So I'm using bullions here. I'm not using the shape keys. Bullions are working really, really nice in the 2.8. And we have a special level of hierarchy here. Sorry, because you can move the entire body, the head, the neck, the head, the eyeglasses, the eyes, and bullions. You can scale it, rotate it and so forth. And the bullions are still working properly. I really like this part, because it was really fun to do. A lot of trial and errors, of course. But it works. The drawings are not like before, because the eye, I don't have an eyelid, so I had to put the shape key towards the drawing. Sorry about my voice. Okay, that was for the father. His brother has this hair, this stuff, and I built an automatic overlap system, because 12 control bones are too much to animate. We have very little time to do. So moving that slider gives you an automatic overlap. And every time that bone reaches a line, the whole bones are getting back to the initial position. So you don't have to counteranimate that. You can still animate on top of that, of course, but just moving that slide, that bone, you get an automatic overlap system. How does this work? This is a little demonstration. I'm using action constraint. First, I built an animation with a nice overlap. You can see all the key frames here. When you're happy with your animation, you add another bone, one more bone, and put an action constraint on each bone. Put in that animation. Then here I have an overlap amplitude with drivers. Tricking that overlap amplitude gives you more overlap or less overlap. So I'm turning it down here, and the overlap now is less, even less, almost like it's appearing. This is a very interesting way of having an overlap for free. You do it once at the beginning of your animation, and then the animator has not to tweak 12 bones because there are 12. You can still animate on top of that, because with action constraint you can do it easily. Okay, I think that's it. Luca, Marco? For the renders, we reached the core width. Marco, can you reach us, please? Marco from Core Width. Thanks, Nicolas. Yeah, the technical note about rendering, just very quick. At Core Width, we always want to give a powerful tool to creators like Nicolas and Luca to achieve their result with the least number of clicks possible and destruction possible. So what we did with their project for Judal Nido was to have one of our tools embed in Blender with just one button to send all the renderings automatically so that you don't have to be distracted from the project with all the texture packed by them or automatically by the software. And we ran their frames over 500 GPUs simultaneously, and I think we achieved 1,200 frames in four hours. That was the timing, more or less, yeah. So that was our ultimate goal and we worked hard to provide those kind of tools to have literally just one click and the things goes along and those guys were able to see the result immediately. And I hope we achieved that. Thank you so much. Okay, that's it. We thank you all. Thank you so much for coming. Thank you. Bye.