Marketing overview

The Marketing Plan is a highly detailed, heavily researched and, hopefully, well written report that many inside and possibly outside the organization will evaluate. It is an essential document for both large corporate marketing departments and for startup companies. Essentially the Marketing Plan:

-forces the marketing personnel to look internally in order to fully understand the results of past marketing decisions.
-forces the marketing personnel to look externally in order to fully understand the market in which they operate.
-sets future goals and provides direction for future marketing efforts that everyone within the organization should understand and support.
-is a key component in obtaining funding to pursue new initiatives.

The Marketing Plan is generally undertaken for one of the following reasons:

-Needed as part of the yearly planning process within the marketing functional area.
-Needed for a specialized strategy to introduce something new, such as new product planning, entering new markets, or trying a new strategy to fix an existing problem.
-Is a component within an overall business plan, such as a new business proposal to the financial community.

Psychedelic Synesthetic Gaming

Ido Hartogsohn

What if you saw the world with your ears?" Devil's Tuning Fork is a psychedelic synesthetic first-person exploration/puzzle game "in which the player must navigate an unknown world using visual sound waves. Inspired by M.C. Escher’s classic optical illusion and the echolocation of dolphin." So this is how it is to see with your ears.

Time Management

Briefing - 14th Jan

-Brainstorm
-Moodboards
-Research - Level ambience / Different games and levels
- Textures
- Backdrops
-Floor Plans
-StoryBoards/direction
-Perspective drawing
-Concept art

Crit - 18th feb

-Schematics/Scale drawing
-Construct shell in Maya
-Construct in Artefacts and objects in maya
-Textures into maya
-Ableton for sound design
-Import to Unity to test for scale and feel/ First person aspect
-Unity Beta test

Final Crit - 11th March

-amalgamation in Unity
-Add sund and other artefacts to Unity
-Finalize and tweak textures
-Time allowed for suggestions from Crit.
-Evaluation

FINFINFIN

VFX/Shamans and illusion within art

Storyboard / Sound Direction

Sketches for illustrated backdrops

I have been thinking about having a 'sketched' look to the visible backdrops on the edge of the level that cannot be reached. The outside world, visible from inside the building will be decimated sketches that look something reminiscent of the AHA video...
I dont know why but i would like to experiment with this in Unity. Placing planes behind the walls of the building and seeing what surreal effects and illusions that can be created.

Conceptually this might be fun to play with.

Attempted Floor Plans - its not even drawing

LISTEN!

http://www.bbc.co.uk/iplayer/episode/b00yj887/Bleep_Bleep_Bloop_Music_and_Video_Games/

Came across this. Really interesting and ideal for research. Beginning to think about sound aspects to my level. This was the perfect thing to listen to for inspiration, ideas and fact.

Backdrops

Textures/Tones

These are images, textures and tones that i would like to incorporate into my level. They suit the dystopian feel im trying to achieve.
The pictures on the bottom are a few of the sort of artefacts that my character might potentially be collecting..

Doom/Heretic/Heretic/Duke Nukem - Textures and Colour pallets - Ambiance and atmosphere

These images from Heretic have the perfect texture for flooring. More so than The floors looked at in Doom. I like this washed out stone look. Its clean and simple. However in my level i would like a bit more randomness to some aspects of the flooring. ie, gridding, rubble, general metal and steel structures.

These to images are from a later version of Heretic. The general ambiance of these two images is more akin to the dystopian theme id like to incorporate. I really like the haze and the mist, adds an eery atmosphere without that necessarily being the focus.
The noir feel of the light cascading through the window really adds a dynamic to the room. Brings a conceptually dull room to life. So lighting is what i would like to take away from looking at these images and remembering this game.

This last shot is from the original Duke Nukem. This, a game out of the same era as doom and heretic, but had a much more macho/slapstick feel to it.. But its the dystopian feel to the game that captures my imagination.
What i was realising in previous posts about this illusion of space in games is illustrated perfectly here. The buildings in the background feel like simple 2d drawings or digital drawings of buildings, attached to a plane or an object. I want to use this effect in my level, however the images need to be much more dilapidated, ruined buildings and rubble everywhere (depending on what can be seen from the first person view).

On from this i have been taking photos, collecting images and putting them into a folder of textures that i might like to use. The next post will be a few examples of these textures that i intend to take into photoshop and fine tune so there is continuity within concept.

Initial Level design scribble

Looking at games

In looking at game levels, deconstructing them and learning about how they are comprised, there are several factors/illusions that can fool the player into believing it is an authentic world they are playing in. Things such as invisible barriers that mean the objects behind cant be reached. If this is the case, it can often be that it is a single plane or cube, with a single 2d photo/texture on it. This provides the illusion of multiple buildings and huge levels, without lots of designing.

The first game i want to look at is the original, floppy disk format, dos DOOM on the pc. Being released early 90s, it was a greatly received game that has a huge following. (the Doom franchise is still making money today with titles for xbox and ps3 available)
The original has charm, great narrative, maximum game play and most importantly is simply constructed using basic shapes and great textures.
This first image, has such simplicity to its layout. The floor texture in a basic repeat pattern of rock made seamless, the walls just basic planes with a juxtaposed texture to it, making it stand out and define the edge of the floor.
But its this 'illusion' bit that i find most interesting. The buildings and sky in the back are just one big image or plane, with an illustrated dystopian sky for the rest of the first person view. Its very clever. As a child i never noticed this. But recently this sort of 'magic' i find fasinating. There are so many aesthetic suggestions that can be made using abstracted images to create a great atmosphere within a game.

This is from Doom 2. The grey texture on the walls and the floor is something akin to the type of aesthetic effect im after for the interior of my game level. These arn't even seamless textures. You can clearly see the repeat in the walls highlights and shadows. But this doesn't take away from their effect.
I also think the dashes of colour coding that are used to represent that different colour keys open different colour doors.
Within the context of my game level i would like to use this juxtaposition of colour to highlight the objects that my robot has collected.

This is an Image from Ghost Town 2. Not a lot about this game appeals t me. It was just one of the few examples (in game) i could find of the steel stairs and corrugated iron effect that i am after.
Its this sort of texture...

Im just after something a lot more metallic, rusted and broken down. Photoshop and illustrator will most definitely be used. However there are many functions within Unity that will allow for manipulation and texturing to.

This is a grab from Fallout. This game has the perfect dystopian vibe that i want to try and create within my level. It seems to have partical effects and barren landscapes that are open and free roaming.

There are others like Bioshock, Stalker, Half Life 2, Unreal tournament, Quake.. that all employ similar techniques. Especially in the earlier editions.

Imagery / Backdrops / Context - Game level

General scene grab from games that i feel have beenn inspiring my thoughts on how to manufacture my game level.
Dystopian, barran, industrial, noisy, dirty...
Earlier games such as Doom, Cyberia, snes Mario are prevalent, looking at them through a new set of lenses has opened up seeing the layers and textures to artefacts and terrains that i had never previously payed attention to.
The illusion of 3d is an interesting theoretical point as much as it is incredibly clever within games. 2d images emphasising 3d space that surrounds them.

These images are mainly my thoughts on textures and the ambient ethereal feel to the level. Lots of steel, industrial noise, smoke and steam, old machinery and spurious radio signals, (military and distress signals that filter through the robot at staggered intervals) Reverberated sounds....

The sound is, for me the most integral part. I feel i can potentially be quite clever and experimental with it (coding dependent!!!!) and it will be incorporated to the best of my ability.

There will also be shiny artefacts, left behind from the now extinct human race. This such as coke cans, marbles, toys, hubcaps. As well as neatly piled computer chips, almost as if the robot is inadvertently seeking the meaning of his existence in a world where he does not have to be subservient to man.

Tone and colour pallets will be defined at a later date, but in summary, browns greys and metallic surfaces, broken buildings and destroyed infrastructure, broke pipes and steam'smoke billowing from far away objects.
Everything you would imagine a discarded robots home to be like....

Initial Thoughts and brain storm in the context of my Character

Evaluation

There have been so many upsets and niggles with this project I hardly know where to start. Issues out of my control have meant that the project has dragged on for a very long time, with sporadic bursts of work when I have been fit and able. Illness, lack of sleep, stress, money issues, major family issues and to top it all off a mugging that left me mentally, emotionally and physically drained of all energy. That being said, it is finally finished.

To begin, I had to re learn a lot of the fundamentals of Maya. Such as the icons and terminology, basically everything down to the interface had to be re-learned or attempted for me to be reminded how to do it. Once again proving that little and often is far healthier than switching off from something for any extended period of time. Really starting to see the mind as a muscle. If not exercised frequently, it wastes away. New information appear to replace the old if it is not revisited on a regular basis.

I decided to research games that I had enjoyed in the past to get a feel for the sort of character I wanted to create. These included Abes Odyssey, lemmings, Crash Bandicoot, Ray man, Croc. My decision was already predetermined in as much that I knew my Maya skills were lacking, so creating anything with any detail or with ‘human like’ qualities was unrealistic.
I persevered with a couple of designs that I managed to salvage from pathetic doodles and ended up with an alien like creature. Develop it, made turn-arounds and concept art, attempted to model it in maya and it was instantly apparent that this would be unachievable. The second re-design was much more simplistic in its form. It was supposed to be a number one (1) with a split at the bottom to act as the legs. This I took to the same level, beginning modeling, but then felt I had to stop due to the fact that I didn’t think it fitted the brief accurately enough to gain the marks needed. This is where this idea stopped. This was a shame as I liked the ideas simplicity, making use of simple geometry and suggesting archetypal human traits and characteristics, without being to obvious.

This was when illness and family issues really took a grip. Over the Christmas break and three weeks into the easter term. This meant an extension on the deadline as next to no work was completed.

Returning to the modeling process, I settled on a robot design. Simple geometry, all extruded from 4 planes, enough human features to fulfill the brief and easier to model in the animation software. This still took mammoth amounts of time that I hadn’t accounted for in my time management table. In future projects I will be making an allowance for much more time to be taken at this stage of the process. Beginning with image planes, a slow and methodical approach meant I was actually able to create a character that I was relatively happy with. It exceeded the expectations of my ability in maya and gave me the boost I needed to see the animation through.

Once the model was complete, it was time make the rig, comprised of skeleton (joint chains) and controls.
For this I followed the tutorial videos Mat made available on Moodle. Without these tutorials I would have been lost. Every book on maya techniques has a different way of tackling the same issues which made it very time consuming and confusing. I was mixing the process explained in one book with another and it never quite turned out right.
An amalgamation of IK and FK kinematics and parented joint chains were required. Most of the joints only needed a ‘rotate’ control, however the hips_dislocate needed a ‘twist,’ movement and rotate to allow for more detailed animation. The part that caused me the most grief was definitely the reverse foot set up. After hours of attempting this set up and moving joints microscopic amounts, it clicked and everything came together. I am so pleased that I managed to overcome this problem, again giving me the confidence and motivation to finish the project.
Attaching the controls was relatively simple, but again very time consuming.
All in all a painfully methodical process, but exponentially rewarding upon completion as there is a model that operates and moves according to the set up and controls added.

Painting the weights that movement would effect meant that the character further looked and acted in a human-like fashion. Flooding areas that didn’t need to react to movement and delicately painting in the bits that did. It was really a case of logically going through and thinking about how parts of my own body reacted to different movement. I should have taken more time over this but due to time restraints, I had to get on to animating, otherwise I would have fallen even further behind.

The jump I found to be the easiest of the 3 animations. Almost uniform animation of both foot controls. Altering the rotation of the feet to look more akin to a human jump.
The rotate on the hips dislocate I added for further dynamic. Think it really helped with the smoothness of the jump and lessened the rigidity of the character. The same process with the arms. I physically did the jump a few times myself and paid attention to how my arms moved. A static jump like this, my arms stayed loose by my side, raising a bit on the descent. These features were exaggerated and heightened for effect on the robot.
The final tweaks came by using the graph editor to manipulate the tangents. Mainly breaking the tangents to affect the flow of the animation.
Doing it again I would have a much longer time slider, allowing for more frames and a much more flowing animation.

The idol animation consists of a foot tap, side to side weight shift and a lean forwards.
Being a robot it took a while to decide on what to do with the character in terms of animation.
In thinking about the 2nd part of the brief, i wanted an idol animation that would work as an interactive animation. So this is the animation for when another character comes close and interacts with the robot.
Foot tap to initialise the interaction, then a weight shift and then a look down and up over the 3rd party character.
A similar process to before but more features on the robot needed animating. More rotates. More logic and consideration of the process is required before beginning to set keys.
This animation took 4 restarts before it looked anything like a smooth idol pose. I would have liked to think about another idol pose for moving into Unity, as im not sure if the gestures animated are exaggerated enough.

This was by far the hardest of the 3 animations. Requiring precision adjustments over 24 frames to create a (nearly) seamless loop. I watched numerous tutorials on walk cycles, and like with most outcomes in creative software, there are hundreds of different ways to go about it.
I decided to use this image as the base for my cycle. Ignoring the represented frames, and just using the static positions of the avatar.

The loop is by no means seamless as it should be. The right leg causing me so many issues. Every time I tried to remedy it, I made it worse.
Upon reflection, I feel this was due to the technique I used. 25 frames down to a 24f loop. I understood the logic of this technique, but could not see clearly enough how to apply this in Maya and went ahead with it anyway. A big mistake. Making a seamless loop is an art unto itself and requires patience and practice. Luxuries that were not available to be due to time restraints.

The last thing that is fundamental to any process in Maya is remembering to name everything. This caught me out numerous times in the early stages of modeling and from now on, I will be trying to ensure I attempt no shortcuts or dodges as it just wastes time.

Therefore, apart from the obvious difficulties and barriers I had to overcome, I am relatively pleased with how it’s turned out. Nothing like originally planned but then everything I try to make ends up like that so I don’t view it as a negative thing. This has been by far the most difficult and time consuming project of the course so far and I thought at one stage it had completely turnd me away from Maya. However perseverance wins out again as finishing the project has reinvigorated my enthusiasm for Maya work, but also animation in general.

Touching up the scene - Hypershade, lamberts and blinns / Render settings

In designing the environment/backdrop for my maya render, i wanted to experiment and make use of different settings within the hyper-shade menu. ie Different blinns, lamberts, textures.... Playing with attributes such as Ray-tracing, incandescence, reflectivity, refraction translucence.... But most importantly, different lighting and camera positions.
This was the most fun part of the animation. I think this is the most akin to music software such as ableton of Logic that maya gets. Really feels like your modulating a signal, or playing with effects. Basically experimentation with settings is the only way to go about it. Direct results, checking the render view, both in maya software mode and ray-trace mode, to make sure everything was in order.

To begin with, the reflectivity and the incandescence of the turquoise walls was far to high. In the render window it completely blew everything out to a white glow. This was also due to the Directional lighting being too bright. To solve this, i decided to go with an ambient light from the top left of the screen, at about 0.5 brightness, so there was just enough light to allow for shadows and clear reflectivity. For this i used a lambert with high reflectivity.

I really like the texture on the floor and the reflection that is kicked off it. This was hard to get looking right. I wasn't planning on it looking how it does now. Keeping continuity within concept meant that originally i was going for greys and metallic colours. But when these were applied, the animations looked dull and lifeless. The experimentation with colour then commenced. There is no reason for any of the background of floor looking the way it does. Just trial and error till i found something that i liked, then tweaked for effect.

Rendering out meant going into a bit more detail. Detail that i had forgotten from last year but is imperative for the animations to be right, especially in taking them into after effects.
The animations were rendered as lossless JPGs, with the file output being set to; name.number.extension...
Care taken over setting the right frame padding - whatever the last frame is at (eg 150f) that would need a frame padding of 3. or for 25f it would need a frame padding of 2 and so on)
Lastly it required a batch render of images and then importing int after effects for composing and rendering into a quicktime movie format.

Animating

Jump

The jump i found to be the easiest of the 3 animations... Almost uniform animation of both foot controls. Altering the rotation of the feet to look more akin to a human jump.
The rotate on the hips dislocate i added for further dynamic. Think it really helped with the smoothness of the jump and lessened the rigidity of the character.
The same with the arms... I did the jump a few times myself and payed attention to how my arms moved. A static jump like this, my arms stayed loose by my side. Raising a bit on the descent. these features were exaggerated and heightened for effect on the robot.
The final tweaks came by using the graph editor to manipulate the tangents. Mainly breaking the tangents to affect the flow of the animation.

Idol

The idol animation consists of a foot tap, side to side weight shift and a lean forwards.
Being a robot it took a while to decide on what to do with the character in terms of animation.
In thinking about the 2nd part of the brief, i wanted an idol animation that would work as an interactive animation. So this is the animation for when another character comes close and interacts with the robot.
Foot tap to initialise the interaction, then a weight shift and then a look down and up over the 3rd party character.
A similar process to before but more features on the robot needed animating. More rotates..... more logic and consideration of process before beginning setting keys.
This animatio took 4 restarts before it looked anything like ready.

Walk

This was by far the hardest of the 3 animations. Requiring precision over 24 frames to create a (nearly) seamless loop. I watched numerous tutorials on walk cycles, and like with most outcomes in creative software, there are hundreds of different ways to go about it.
I decided to use this image as the base for my cycle. Ignoring the represented frames, and just using the static positions of the avatar.

This process required so many starts and restarts. Getting the positions right, moving the hips up and down as well as remembering to alter the foot controls and rotates. The bend and action of the legs required specific detail. Keying the frames in was ok but a lot of easing in and out with the keyframes made for a lengthy ordeal. (mainly the integers, the frames that Maya fills in for you between the keyed frames - these all needed adjusting and re adjusting multiple times.
The seamless loop was the most difficult challenge of them all and still is not quite right.
The tutorial suggested doing it over 25 frames, but finish on the 24th to allow for the correct positioning and 're-entry' to the initial frame position at frame 1. This method appeared logically valid, however it was still a frustratingly hard method of achieving the desired result.
The right leg really held me up. For some reason, i still cant figure it out, it skips and he has a bend at the knee towards frame 23 thats not supposed to be there. I tried and tried to iron this out, but whatever i did (adding more frames, setting more or fewer keys, graph editing) it just got worse and worse so i left it in its most basic state.

Essay notes - Utopia/Dystopia - Plan/ideas

George Orwell - 'The decline of the english Murder" (BOOKREVIEW)

Billed as some of Orwells' less accessible material, Decline of the English Murder and other essays contains ten texts on a strange variety of subjects, but in which his potent insights into the flaws of man and society remain constant as well as a biting wit. The title piece is a case in point, drawing an unflattering, and humorously cynical, comparison between the popular contemporary (post-World War II) crimes making the headlines and those doing so between 1850 and 1925 what he refers to as Our great period in murder, our Elizabethan period, so to speak.

Describing a downward slide from a time of middle-class murder, when to poison one's spouse was considered less shameful than the ignominy of divorce, to one of trivial 'Americanised' slaughter (effectively the thrill killing of films like Natural Born Killers, to which his war years British example is remarkably close), Orwell narrows the field down to what a News of the World reader would consider the perfect murder (like the one depicted on the cover of my copy, reading about MORE CRIPPEN DISCOVERIES), and establishes for us the petty, small-minded nature of the culprit and most likely his tabloid voyeur as well, along with his social standing, political leanings, career, motivations and modus operandi.

The next, A Hanging, is one of three more autobiographical pieces. In this case it is almost a short story, describing Orwell's witnessing of an execution in Burma, and the observations of the condemned, his condemners (Orwell included) and the layers of social nicety that exist around so morbid an event are quite fascinating. The second of these pieces, How the Poor Die, recounts a period spent in a French hospital in 1929 as a non-paying patient. Suffering from pneumonia, the treatment he receives is frighteningly severe, as is that of the other state-supported individuals around him. Nurses with a minimum of training and no emphasis on or expectation of a caring attitude; rarely spoken to or even looked in the eye by doctors and their students; treated as subjects for study and even experimentation or student pranks. A death in the night is routine, as is for the body in question to remain in situ for hours until someone can be bothered to haul it away. As soon as he is able Orwell flees, and although he discovered later that this particular hospital had a reputation, he notes that all such institutions have similar ghosts in their past, that even their architecture echoes it; and that for many ordinary people the belief that a hospital is a place one goes to die remains strong, even if times have changed for the better.

Between these two, and off the subject of his own past, comes Benefit of Clergy (Some Notes on Salvador Dali), more specifically on Dali's autobiography, Life.

Some of the incidents in it are flatly incredible, others have been rearranged and romanticised, and not merely the humiliation but the persistent ordinariness of everyday life been cut out. Dali is even by his own diagnosis narcissistic, and his autobiography is simply a strip-tease act conducted in pink limelight.

Orwell proceeds to tear strips off Dali for the self-serving nonsense he spouts throughout the book, along the way examining the quality of art appreciation he has provoked amongst the public and critics, critiquing them in turn. He examines social changes that have transpired which may reveal some of Dali's most powerful motivations and why aristocrats should buy his pictures instead of hunting and making love like their grandfathers, and registers his own disgust with some of Dali's work without in any way demanding it cease.

Short of the dirty post cards that used to be sold in Mediterranean seaport towns, it is doubtful policy to suppress anything, and Dali's fantasies probably cast useful light on the decay of capitalist civilisation.

Seaside post cards are clearly of some interest to Orwell, as three years previously he wrote about The Art of Donald McGill, the man who would be King of the saucy post card. Perhaps there was a sea change in his thinking in 1944 as his earlier opinions come out decidedly on McGill?s side unless the Mediterranean product was less wholesome.

All in all a fascinating window into the workings of Orwell's mind. Clever, witty, concise and analytical. A Brilliant read.
The book is not in print anymore and relatively difficult to get hold of for a reasonable price.

Time Management

Briefing : 14th January 2011 – 9.30am
- Due to illness and external issues, i started the project on..1st Feb... The case study of 1000 words, i have been given an extension till the monday after reading week...28th Feb........................

1st Feb - MoodBoards/initial reaction to brief.
5th Feb - Brainstorm of environment/Base research/contextualize character and level.
7th Feb - Further research - sound within games - aesthetic styles of other games and how they are achieved/Conceptualize - narrative and themes
8th Feb - Colour pallets
10th Feb - 17th Ideas - dvelopment -/Concept art/reasoning//Further analysis and conceptualization/Basic Unity tutorials
POWERPOINT PRESENTATION

Intrim Crit : 18th Feburary 2011 – 9.30am

a Portfolio of Concept Art and Idea Development for Unity based Prototype & Project Planning – ie GANT Chart / production timetable – either as .pdf or powerpoint Graded Outcome D10 / D11

Reading week - 1000 Word - Case Study of Contemporary Video Game Development – Graded Outcome A10

25th Feb - 18th march - Unity work - Making the proposed level

Deadline : 18th March 2011 – 4pm

Game Prototype – Developed in Unity – outputted as webplayer and mac executable versions
Graded Outcome B10 / C7 / C8

1000 word or 5min Video – Critical Evaluation – Graded Outcome D9

More walk Cycles

Moodboards and Initial Imagery

Thinking about level design and shaping a world/level for the character is an interesting challenge.
I chose images for inspiration based on their Dysopian content, but also, i like the vast, barren, empty wasteland that comes with games such as Heretic, Doom, Killzone...
I've have also had my first real look at Machinarium art. This has a great mood inspiring feel to it. Often crammed with information and visual stimulus that is cleverly disguised within the features of the piece. ie, walls made subtly out of crying faces or bones..

As my character is an old radio robot, i think greys, bleak imagery, steampunk esq, 'manual machinary' Lots of steam and mechanical noises.

I would like the level to be comprised of sound experimentation. Really industrial, techno, blips and blops, lucid reverby minimalist noise.

Reverse Foot set up - palaver!

This is the method that worked for this model!

1) SETUP
Create Joints and Label: Hip / Knee / Ankle / Ball / Toe
Create Reverse Foot: HeelCntrl / ToeCntrl / BallCntrl / AnkleCntrl
Create Curve Box: Create Poloygon Cube > EP Curve Tool > Resize and name this controller

2) SETUP IK's
Create an IK set (select ikRPsolver) hip > ankle / ankle > ball / ball > toe
Set center pivot main foot control to be around HeelCntrl

3) FREEZE TRANSFORMATIONS
Modify > Freeze Transformations

4) PARENT IK'S TO REVERSE FOOT
In Outliner (shift +) to see children > select ik's in outliner and middle mouse drag to corrensponding foot control found on reverse foot.

5) PARENT HEEL CONTROL on REV. Foot to FOOT CNTRL

6) ADD ATTRIBUTES to Main Foot CNTRL
Modify > Add Attribute "Heel_Spin, Heel_Roll, Toe_Roll, Toe_Spin, Ball_spin". Z=roll, y=spin

7) SET ATTRIBUTES
Window > General Editors > Connection Editor
Select Main Foot Cntrl > Load Left > and scroll down to the bottom > select attribute
Select Joint > Load Right > Under Rotate the corresponding Y or Z
Close

8) EDIT ATTRIBUTES
Select Ball Roll / Select Toe Roll
Select Minimum

9) SET POLE VECTOR
Select Box
Shift select IK (Ankle)
Constrain > Pole Vector


Select main foot control, select the attribute, middle mouse drag on the screen to test.

Making the model - Notes/transcript/process

Skinning was done using photoshop. The grill of the old radio was taken from google images. Went for the oily grey, almost matt finish. Kept simple as to not waste time and fits the theme and background of the character.