![]() ![]() Once we have that, the training and machine learning takes new animation, runs it through the setup and comes up with a cloth simulation specific to that animation, but trained on our initial stuff. In this case we did a lot of training calisthenics to try to encapsulate the possible range of motion inside of cloth settings that have already been established and work. “We still did a traditional cloth rig on top of that. “We still do traditional setups and rigs with certain types of muscle and volume control to get the underlying body to move the way we want it to,” states Jay Barton, Visual Effects Supervisor at Digital Domain. “What we’re doing is learning how a specific asset deforms.” There is no web scraping involved. “We don’t have a general trained model that knows how cloth works,” Gibbons notes. When it comes to the training dataset, everything is customized. We’re excited with the outcome of that and to see it progress into future shows.” We were hoping for success, and on Blue Beetle we got a massive success. “It was too confusing for animators to use, so we threw away most of the workflow from She-Hulk and reimagined it as artists being the centerpiece of the tool. ![]() “What we found is that the implementation didn’t take in account animators’ preferences, so it was almost like software engineering for software engineers,” explains John-Mark Gibbons, Associate Lead Software Engineer at Digital Domain. The initial tests for ML Cloth began with She-Hulk: Attorney at Law. The goal was to have the rubber-like superhero suit fold and wrinkle in accordance with the actions being performed by Jaime Reyes (Xolo Maridueña), who has been fused with a scarab created from alien technology. He lives in Los Angeles with his wife, Melissa Bachrach, and their dog, Rocco, while their son continues his studies at USC and comes home when the desire for his mom’s cooking becomes irresistible.Pushing the boundaries of digital humans has become standard practice for Digital Domain, with the title character of Blue Beetle providing an opportunity to fully test a cloth system driven by machine learning and a custom neural system known as ML Cloth. Michael is currently a Visiting Professor at the School of Cinematic Arts at the University of Southern California, and continues working as a supervisor and consultant on visual effects and 3D projects. He is Chairman of Ilibrium LLC, a cloud- based production software company. Michael is Vice-Chairman of the Board and founding member of the Visual Effects Society, and a member of the Executive Committee of the Visual Effects Branch of the Academy of Motion Picture Arts and Sciences. He has since worked on over 50 films, including Buckaroo Banzai, Batman Returns (Academy Award Nomination), Braveheart, Mars Attacks!, X-Men, X-Men 2, Constantine, The Golden Compass (Academy Award), Tropic Thunder, Avatar, Tron: Legacy, Sucker Punch, and Tree of Life. He “cut his eye teeth” on films such as Star Trek - The Motion Picture and Blade Runner before becoming a Visual Effects Supervisor on War Games, in 1982. Michael began working in film on China Syndrome in 1977. Michael has earned degrees from California State University Northridge, San Francisco Art Institute, and California Institute of the Arts, in an attempt to leave behind a checkered past that included stints as an Army officer, a money manager, and a studio artist and photographer.
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