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About Klakwa

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  • Birthday 12/11/1985


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  • Occupation
    Character Animator/Game Designer/Maya Instructor
  • Biography
    Worked on some animated movies, commercials and few big games. Now working on my own game.
  1. I also do feel encouraged and inspired, because it's a dream like project and I love to see all the people want to do their best because they love what they do, and not because they are told to or forced to do so. But they are all working together and everybody tries to put something of their "own" into the game. I've been working at few game studios before and from my experience creative input like that was always smashed on sight, by the studio's head or publishers. It's very heart-warming to see that such a company may exist and people are so enthusiastic about their work. I went into this industry because I love games. I am playing games since Atari 2600 and I have always wanted to create some by myself. But years of working in the "biz" showed me it's not so easy to do, and video game production isn't aimed at creativity but rather at meeting the deadlines at all costs without any respect for the people who actually make those games. Watching those videos shows that you can create and run a team of creative and happy people working together to create something outstanding that have never been done before, with Tim aiming to get the best out of everybody by respecting their ideas and providing the best environment for each individual to work in. Seeing all of this great work gives me strength to go on.
  2. Problem with that is the lack of actual volume. While in traditional animation or 3d volume of the character is solid and constant, the skeletal animation on planes with different textures swapping looks very limited and flat.
  3. If you haven't seen the actual notes about creating the game - they hired 25 professional traditional animators from top notch studios to create animation on paper. I guess there is no such a budget for that (considering animators like that get paid around 500$ per day of work or more), that's why they are experimenting with blending skeletal setup and sprites. Depending on the Maya setup and the number of sprites/meshes they use the animation quality may be very good and combine best of both worlds. I guess the real challenge will be to keep the hand animated textures swaps consistent with much more fluid joint animation. Since the engine will be interpolating the joint animation curves it may be a visual hiccup to see the sprites not being smooth enough. There are some games that handle it well, but they use very snappy animation timing to get away with it, and hide the time in-between the poses with some sort of transition image suggesting the motion. @DF How are you planning to handle different head shapes and body shapes? In example while seeing the character from the profile or from the back you need to swap the entire thing (and also do that for the actual animation of turning around). So will each head turn image will have it's separate joint setup(like back of the head, profile, 3/4) ? Adding additional joints to the facial shapes in example may enable the animators to get better control over them (i.e. deforming the lips in some different ways than they have already drawn on the texture) and you may just use Driven Keys within Maya to swap the visibility of the meshes. But I guess exporting this data to the engine would be a bit painful when it comes to managing the animation clips later on.
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