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Renner paints - A very animated can

Final frame

A very animated can To make a can of paint, animated in
3D, with an existential crisis, confide in a psychoanalyst about its emotional complex of having the highest standard of quality at a low cost.
This was the challenge for the team at Animaholics, who had already been working for more than four years in the area of advertising animation and had in its portfolio several examples of 3D characteranimation, among

them The Monsters and fantastic scenery for The Health Tonic as well as the star of Babysul, all utilizing 3DS MAX. After the creation of a character that had just a hint of Bart Simpson's traits with the personality of Woody Allen,

a technique of modeling called Meshsmooth was used which made it possible to generate a complete character without amendments and maintaining the model light enough for animation, and only increasing details at the time of final rendering.
" The new resources of Max 3.0 allowa completed commercial to be made in twelve days, whereas before

Character's Wireframe

it would not have been possible in less than one month, and yet still maintaining the same quality standards as before".
Rodrigo Washington, director of Animaholics and the person responsible for the animation in the commercial,points out, The animation was done in three parts, first Character Studio was used to give movement to the body and to make the character " speak " with its hands to give a convincing and expressive performance even before animation of the face. In the second stage, the lips were made to move, or were lip-synced, using the

Rendering and mask for final composition

new tool xmorpher, where it is possible to create basic facial expressions and then to mix them together to get an almost infinite number of variations.
Last of all, final details were added such as animation of the eyes, teeth and tongue and overall fine tuning of

the scene. At the rendering stage, special consideration needed to be taken with regard to the process of filming and the accompanying set as well as the lenses used
for each shot, the distance from the camera, quality and direction of illumination and the background scenery, enabling us to generate a reflection map for the can.
The shadows were generated in Max, using matte shadow material and the final composition was made
in Flint * from discreet.

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