B is for Ben: Environment concepts by Rok Andic

Time to share a few concepts I created for “B is for Ben”. At this time I am still playing with color palette but for now I think I will go with the colors you see on the concept images below.

The planet

Our hero has landed on a desolated far away planet. That is why I went with the rocky, dry environment where there’s nothing but rocks. The planet is very analogous in colors as well, making it not so interesting and a bit dull environment to spend time in. Basically the idea is that our hero doesn’t have much to do in this environment. He is there but would rather just pack his bags and go someplace where the party is.

Our hero on a desolated planet.

Our hero on a desolated planet.


Design wise I wish this film to be more graphic rather than photorealistic. That means I am going to experiment more with texture and shapes. The rocks and clouds would get more graphic quality and everything would be a bit simplified. I am still experimenting with this so if it works or not I will see once I make the first 3d models and renders of the environment.


The color palette

Below are two images to show what I am considering in terms of color for this film. I am shifting colors here and there to see what works and what not. The orange/green is what I’ll most likely go with for the environment though I have been playing with the more purple/pink version as well. As I will make 3d rendered images I will play with colors again until I get the final look I am looking for.

Ben: Character design by Rok Andic

I am sharing some work in progress character concept images from “B is for Ben”. I have a pretty solid idea where I want to go with this one, not so sure about the outfit though. I want to keep it simple and not overdo it with the details. It’s easy to get lost in smaller parts so I am constantly adding and removing something from his outfit.

Finding rough shapes for the character and costume ideas.

Finding rough shapes for the character and costume ideas.

Rough sketch with pencil on paper just to get a feel of the character.

Rough sketch with pencil on paper just to get a feel of the character.

The character will not be grumpy but for some odd reason I just had to draw a grumpy version of him :)

The character will not be grumpy but for some odd reason I just had to draw a grumpy version of him :)

I usually draw on anything that’s at hand at the moment of drawing. I like colored pencils (in this case Faber Castell Polychromos) for quick sketches but I really love Procreate on iPad for more detailed work. Together with Apple Pencil it’s truly a great tool and I’ve found I am using it more and more lately.

Below are also some costume design studies. I decided to draw him from different angles and performing various actions just to see how they would differ one from another.

Different costume design from various angles.

Different costume design from various angles.

As you can see I have not touched the color scheme for Ben. With “A is for Al….” I have learned that it is easy to create a color scheme for the character only to see later he doesn’t fit the environment. This is why with Ben I have decided to do it later when I will design the environment, making sure they fit together well and avoid constantly changing colors.

As far as this character design goes I’ll probably go straight to sculpting him in ZBrush and fine tune the shapes and details there. I find it easier to sort those things in 3d where I can see him from every angle instead of drawing everything on paper. But this comes later, right now I need to storyboard the film to see how the whole film works.

B is for Ben by Rok Andic

It’s new year and for me it’s time to start working on the next film in “The Mellifluous Peculiar” series. I have been thinking a lot about which film to start after “A is for Al….” and have decided for a comic, easy going sci-fi story I have written a few years ago. The title of the film is “B is for Ben” and the script is more or less finished. I’ll start preparing some concept art which I’ll post on this blog.

I should also note that with this film I’ll post as the film comes along. I started blogging at the end of “A is for Al….” and thus I could only present finished material of the finished film. With “B is for Ben” you can expect more “work-in-progress” material which means more raw material as it happens. Hopefully you will find this interesting and get a better look at making these short films.

Happy new year to everyone and hope you already work on some wonderful project. And if you don’t, why not make it happen by starting one of your own :)


Making of “A is for Al….”: The Computer Room by Rok Andic

The idea

The second set in the film is the computer room. The idea was that the computers were extremely old tech with lots of blinking lights. When I was a kid I watched a lot of sci-fi movies and all of them had these giant machines with lots of blinking lights. There were only a handful of controls but lots of blinking lights. They were simple sets but looked so elaborate with all those buttons and lights in it. I started designing computers with that idea in mind.


The idea sounded fun enough but to build it required some planning. A single computer required different elements or building blocks: buttons, lights, gauges, switches, cables… and a few variations of each one. Also, each element had to have its own control to allow it to switch on/off, light on/off or simply change gauge level. To build every single button separately with control was simply too much work and would take forever. I used procedural approach in Houdini to create larger groups from smaller pieces and control them through a simple set of controls. To have a grid of light buttons, they would be procedurally build from a grid plane and the attributes were added to each element in order to know its color and light properties. This allowed to populate computers with smaller elements in a reasonable amount of time and still have all the elements animatable.


To keep things more old school I decided to put in a power generator in the form of a bicycle which the main character has to use. The shape had to be a little too small for him so I changed it a few times until it was right. This was done by posing the character in position and see how everything fit together. Then I changed the size of the front wheel, seat position… Going back and forth until it all fit together.

The bike was also a fun rigging exercise. I wanted it to be soft instead of rigid so it would bounce when the character would jump on it. To achieve this I used a series of deformers in Houdini (bend, lattice, transform...) so that each element (seat, handles…) could be controlled separately.

Texturing & Rendering

Most of the elements were textured in Substance Painter. Some materials were first built in Substance Designer and used as a base in Painter. For some smaller elements like buttons I built procedural shaders in Houdini. As in the study room set I tried to reuse as much as possible, especially for smaller elements since we can see and feel how they look but we cannot really see any finer details on them.

Making of "A is for Al....": From storyboards to final film by Rok Andic

In this video you can see sequence progression from storyboards to final film from “A is for Al….”.

The storyboards as you can see are pretty simple. Since I only draw them for myself and not as a presentation for somebody else I keep them very simple. I know in my head about the rest of the scene so I don’t spend too much time on drawing elaborate sets and backgrounds, just the main action. The boards were drawn with pencil in a notebook, scanned on the computer, cropped and put into sequence. I like drawing on paper. It’s fun but it can also be slow because you can’t copy & paste parts of the board like in the computer. Thus every board must be redrawn. This is the main reason that in the future I’ll probably draw everything digitally. Simply because it’s much faster.

For the layout I focus on camera, space and timing. I don’t worry about anything else.  The most challenging parts for me are the first and second pass of blocking. I define the whole animation here. If it’s not working here it definitely will not work in the final film. I usually draw a few key poses on paper or film myself on camera to figure character acting and actions. When drawing I usually don’t draw every inbetween or overlap, just the main poses. I found that for this film I drew key poses just for a few shots. Mostly I filmed myself and used that as a reference.

When filming myself for reference I usually split it into smaller specific chunks or actions (typing on buttons, jumping, grabbing something…). The main reason being that it is rare for the whole filmed action to be usable so I rather focus on smaller parts and connect them together later. Sometimes there’s also a problem with lack of space. If I film myself in a small room I simply don’t have enough space to perform everything in a shot. So splitting into smaller segments makes a lot of sense.

Spline animation and polishing are usually the fun parts for me where everything is already defined but the details have yet to be made. I enjoy it especially when working on my own projects like “A is for Al….”, because I already know I will not make any major changes to the shot so I am allowed to make a mess with keyframes when making overlaps or creating additional keys. When working for a client I usually try to keep this stage clean as possible in case there are any bigger changes to the shot made later and I have to go back to spline or even blocking.

As you can see the light also plays a big role in the film but I don’t create it in phases like I do  animation. I spend most of the time to set key lights which in this set are from the top. When I am finished with those I set highlights or rim lights to accentuate the forms. Then I setup the fill lights if necessary. Sometimes I create the fill lights before rim lights depending on the situation but I always start with the key light. I first set lighting globally per set. Once I am satisfied how that looks I adjust it per shot accordingly.

As for rendering I try to render as few layers as possible. I usually have just two layers - the character and the background. I don’t do any heavy compositing with these shots so it is not necessary to have more layers. In compositing I mostly just fix render problems or add glows if necessary but otherwise just put layers back together and push them forward to color grade where final images are rendered.

A is for Al....: The final film by Rok Andic

Finally finished! It’s been fun working on this one and a lot has been going on during the production. I learned a lot by trying new things: choosing Houdini as the main 3d software which proved to be a great decision, new rigging techniques I’ve never tried before, experimenting with the way I approach animating shots… all really makes me feel even more happy about the whole film :)

I’ll write more about these topics in detail in the coming weeks on this blog but for now let me just share the film with you that I hope you’ll enjoy. And if you would like to learn more about the film you can check the project page where you can see additional production images and background information about the film.

Making of "A is for Al....": The Study Room by Rok Andic

“A is for Al….” has three sets. Study room was the first I designed and modeled. The reason I started with the isometric layout for the concept is that I wanted to see how the whole space would look like and where everything was. I didn’t want to accidentally build models that will not be seen or couldn’t fit the set.

Once that was clear, the shelves and table had to be populated with props. I made these quick prop sketches which were used to fill large pieces of the set. I drew them all on a single page so I could see which ones were too far out in design and whether or not they are too complex too build. Since they are space fillers I really didn’t want to spend too much time on them.

Prop list that needed to be built to fill the shelves.

Prop list that needed to be built to fill the shelves.

Set modeling was all done in Houdini. Bigger props were modeled and textured as solo pieces. More care was needed for smaller shelf props. I just couldn’t build every single one of them nor have 100 copies of a single prop as that would just seem boring.

I used Houdini’s procedural approach to build one universal bottle that allowed me to have one base model that with different parameters could look like 100 different bottles or flasks. The flasks on the left shelves are basically all one model with different parameters. If I didn’t like it I just changed the parameter and I would have a different shape. This allowed me to have a full scene without having to build every single little detail or spent enormous amount of time modeling them.

Universal flask.

Universal flask.

Texturing work for the main pieces was mostly done in Substance Painter. I recycled materials whenever possible. Exception was the chalkboard which was painted in Affinity Photo. I created different masks for washed parts & chalked lettering and then build a material based on those masks in Houdini. Smaller elements had procedurally generated materials made in Houdini where the final images were rendered.