relative.berlin
Relative.berlin started, like many successful studios, as a joint of friendly freelancers working together out of someone’s living room. Over the years these friends have gotten closer, welcoming new additions to their team, in an effort to create a wholesome visitor with a passion for creative output at a upper stimulating standard. In less than 10 years, the team created video productions for global brands such as Universal Music, Mercedes, Honda, McDonald’s, and Kinder.
The relative.berlin’s cadre family consists of 10 creatives. The perfect mix of aesthetically minded pixel pushers and playful tech nerds, who rencontre each other to stay up to stage with the latest looks, trends, and tech innovations. Building on the foundation of motion graphics and 3D animations, relative. berlin has evolved to wield its expertise in photogrammetry, body motion capture, and facial motion capture to real-time animations, VR/AR, digital fashion, and pretty much anything CGI.
Q: Greetings Anders, and welcome to our Reallusion Full-length stories. Please introduce yourself, relative.berlin, and your music project.
Hello, we are a creative studio in the heart of Berlin, so rave culture is part of our DNA. During the pandemic, lockdown required isolation, which was very problematic for everyone. Those working in art and culture were faced with profound existential fears. As a studio, we were very fortunate to have had the opportunity to protract working on projects through those nonflexible times and we felt like we wanted to requite something when to the community.
So it was an exhilarating pleasure to make a music video for our good friend DJ Taube and his song “Where To Go?”. The video shows a madman raving in a padded lamina while imagining stuff on stage in front of thousands, and a lonely dancer expressing their feelings through movement in undefined serving spaces. It is an expression of our joint feelings well-nigh the lockdowns of the past few years, and it was a therapeutic exercise to turn those feelings into art.
Q: There is a lot of software stuff used and integrated. Can you tell us how long it took for your team to familiarize themselves with iClone, and Weft Creator, and icon out the whole volatility pipeline?
We began our journey with Character Creator (CC4) in 2021 and supervenient started combining it with iClone (iC8). As we come from a traditional 3D pipeline we knew we had some challenges we would have to solve in terms of developing a pipeline for this project. We needed both flexible and fast tools for the weft animation, as we would have approximately 4 minutes of motion-captured data. After some days of trial-and-error, we found multiple ways we could integrate both Character Creator and iClone into our pipeline with unconfined effect.
Q: Can you share some of the latest iClone features used inside Taube’s ‘Where-to-go’ music video?
Sure! There are several features that we found powerful during the production process. First, we used Character Creator to build the model that fit our photoshoot dancer. This moreover made it a lot easier for us to uncork the next step in our pipeline, applying the movements in iClone.
“We have previously tested other software for cleaning Motion Capture data, but in this case, it would not have be an option considering of the complexity of this project. The biggest value we found in the Reallusion tools was the sufficiency and variety of options to wipe motion-captured data in real-time software.”
Anders Mortensen | 3D/2D Generalist in relative.berlin
For doing the motion clean-up and preparation, we used several new features from iClone 8 such as motion correction, foot contact, flexible frame rate, and other variegated wind-up tools. This was super useful in order to make sure we could maintain a fast weft volatility working pipeline without losing too much time on preparing the motions for the later steps of the pipeline.
Motion Layer System
What came in super useful for us was the newly widow full-length of accessing our recorded data at both the part level and unorthodoxy level, this way we could correct plane the smallest things on all bones. And it made it possible for us to quickly ensure high-quality cleaning in our pipeline.
Reach Target Integration: foot contact and correction
As we had a lot of shots that included feet interacting with the floor, this became an essential and stable full-length during production compared to manually having to correct this. There was a lot of floor stomping inside this project, so this full-length really helped us to fine-tune the movements of the madmen.
Flexible frame rate features
As flexible frame rate was introduced in iClone 8 we were sure it would be a perfect match for our pipeline, as we could now combine resources from variegated parts of the pipeline in one place instead of having to convert to each asset. Especially, the recorded motion capture data and reticulum simulations we now could handle without any big hassle and plane see in real-time if there were mistakes.
Q: The suit of the notation played a big part in this project. Can you share what value you found in Reallusion tools?
Importing reticulum simulations to trammels for possible mistakes surpassing sending them to the next step in the pipeline saved us a huge permafrost of time, as we could combine everything in one place. By using this part of the workflow we were worldly-wise to moreover retread the motion data to requite largest and increasingly interesting reticulum simulation results. By seeing where there was an opportunity to get an uneaten “swing” or create room for the simulation to requite uneaten details.
Another big point was utilizing the Smart Gallery so the people working in this step of the pipeline could hands share and update files without losing time on import/export.
Q: We love the way you create. Would you tell us a bit well-nigh what we can expect from you in the near future?
In the future we see ourselves working in many variegated areas of the animation/media industry. As we proceeds increasingly and increasingly wits within weft volatility and motion capture, we finger confident to take an plane worthier step in that direction. We believe that the minutiae of the Metaverse will bring a upper demand in weft minutiae for avatars and fields like digital fashion.
Currently, we are in collaboration with a big game company, providing high-quality turned-on notation for their products. As we are constantly walking the line between philosophy and new tech, we are sure we will stay relevant and rencontre the limits of what is possible in these heady times.
Follow relative.berlin
Website:
https://relative.berlin/
Vimeo:
https://vimeo.com/relativeberlin
Instagram:
https://www.instagram.com/relative.berlin/
Facebook:
https://www.facebook.com/relative.berlin/
Behance:
https://www.behance.net/relativeberlin
這篇文章 Combining club culture, techno music, and weft volatility with iClone & Weft Creator – relative.berlin 最早出現於 Reallusion Magazine。
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