Bárbara del Pino Blog

With the Pezzio direction and initial previs established, I wanted to test one of the biggest potential production risks as early as possible: character animation. The film is not intended to become a character animation piece, but the current opening depends on a human and a dog. Before developing the storyboard much further, I needed… Continue reading Character R&D and Moving to Blender

Once I decided to move forward with Pezzio, the first challenge was to define what the new FMP actually needed to communicate. The original Pezzio project already had a clear identity and interface, but the audience for this film could not be expected to know any of that. The advert therefore needed to introduce the… Continue reading Developing Pezzio as a 3D Campaign

By the end of August, the scarf project had developed significantly, both conceptually and technically. I had established the narrative structure, designed the pattern and its four main areas, developed the spatial world, created an initial previs and completed several technical tests involving cloth, stitching and the Cinema 4D to Unreal Engine pipeline. However, the… Continue reading Reasessing the FMP direction

By mid-August I began building the first previsualisation. At this stage, the purpose was not to develop materials, lighting or final design. The previs was deliberately very rough. I focused on: The environmental blocks were mostly positioned at their final heights without finished animation. After reviewing the first previs, I realised that the Discovery stage… Continue reading First previs (first scenes)

Another important part of the concept was the idea that the scarf could progressively appear to be stitched as it travelled. I began researching ways of generating visible threads on the cloth. I explored Redshift tutorials that used procedural systems to create thread-like surfaces and close-up textile details. This was the tutorial I followed (in… Continue reading Stitching and thread experiments

Because I intended to use Unreal Engine for rendering, I spent a significant amount of time testing how different Cinema 4D systems would transfer into Unreal. I tested: I started with very simple tests, such as an animated cube, before gradually increasing the complexity. A useful discovery was that many Cinema 4D deformers could be… Continue reading Cinema 4D to UE pipeline testing

Alongside the visual development, I began technical R&D in Cinema 4D to understand how the scarf could move through the environment. The main challenge was combining believable cloth behaviour with a controlled path. I tested several different setups involving: Initially, directly combining the cloth object with the spline-based deformation caused problems. The setup that eventually… Continue reading Cloth & Scarf R&D

One of my main concerns was avoiding a world where every element simply extruded vertically. Because the pattern contained four major zones, I started developing different behaviours for each area. I went back to the sketching and started writing notes and ideas: Some of the ideas included: For one zone, I explored an almost circuit-like… Continue reading Developing different Animation Behaviours

Once the pattern became clearer, I began translating it into a three-dimensional environment. I wanted the result to feel like an open sculptural landscape rather than architecture designed for humans. The main restrictions were: Each line or boundary in the pattern could become a raised sculptural partition, while each enclosed shape became an open spatial… Continue reading Translating the pattern into 3D

Once the core idea became clearer, I started organising the film into a sequence of narrative beats. Beat sheet translates to: What does the handkerchief do? How does the world respond? What does the camera know what does the viewer discover? The scarf begins in a relatively inactive world. Once it crosses the first threshold,… Continue reading Narrative structure & camera dev