Wednesday, December 28, 2016

Visual Development: Creating A Still Life with Mila Layered Materials from Scratch with Maya


The following images are representational of the work flow associated with creating a properly lit, textured and rendered scene in Maya 2016.  This post serves to explain a simplified process for taking three dimensional geometry from simple shaded objects to fully rendered life like realizations from real world reference.  



 This image shows the original geometry in Maya 2016 followed by the proper placement of lighting.  There is a key light placed to the left and a warm light for subtle rim light and highlights placed on the right.








These four images show how the filter and the scraper were laid out in the 0-1 UV space withing Maya in order to get the real world texture to properly wrap around the object.  Careful attention was paid to hiding seams and stretching.  Each texture was generated from a mila_material and various layers were added to create depth and gloss within the final render. 




This image is the final product for my visual development class.  Mila materials were utilized in various ways to generate the texturing on the filter, scraper, shelf, books and glass.  Material layers were utilized to add the image for the sticker on the wall, the label and dust on the glass and the mold on the wall.  Alphas were utilized to add gloss to areas that needed to have shine such as the painted surface of the pulley, the scraper handle and the areas of the sticker that are not rubbed away.  This utilization of glossy layers within a mila material served to add a touch of realism to the otherwise flat scene.

Monday, November 21, 2016

Character Design and Creation: A look into what my future will be.





This month at Full Sail University served to test my ability to balance work and school to the extreme.  Throughout the month We were given the opportunity to model characters from 2D flat and boring images to 3D lifelike creations with accompanying assets.  

I think what worked in my favor above all else is the time that I have dedicated to studying Z-Brush prior to taking this course.  I have taught myself many techniques and gained various insights from other artists in the creation of 3D characters.  I was able to progress steadily throughout the month by progressing from one step of the creation process to the next.  (Blockout to secondary to simple form to finalization ).  

What did not work for me is the same issue that I always have.  As we are supposed to submit our assignments in stages I work fast in the first stage and the work feels unfinished so I progress to what I feel would be a reasonable next step.  This, almost always, is not the case.  I tend to do too much and then coming into week 2 of assignments I have to back track on what I had previously done.  For example:  Working from week 2 to week 3 of the class we were to create clothing and accessories for our characters which I had done week 1 as conjoined assets.  This proved to make the process of creating clothing assets painful, as I had to recreate the model or spend time cutting it up so that I could create clean and "separate" assets.    

The major problem that I encountered did not come until the final turn in.  My files were far too detailed as the majority of what I have learned in the past did not have me deconstructing the form to submit for small file sized turn ins.  This created a major issue as the assets were degraded severely due to the poly-count loss associated with the directive.  I think next time I would specifically ask what the final output size needs to be in order to generate models at that resolution so that the final is not a mere shadow of the original file for output.  







Each of these images looked fantastic in zbrush... However, when I had to import them into maya I had to degrade them from 18 million polys down to a minimal 200k each.  This of course destroyed the integrity of their structure and in some cases punched holes in the asset where there was not enough information to fill the size variance.  I feel that the final images came out spectacular.  However, the final turn in was complete minimalism.  It looked as though I did not spend much time on them and the assets, if needed for a game or render would be unusable.  I don't feel that this was entirely my fault as I was not given a guideline from the beginning and all of the files were turned in a different way throughout the duration.  Finally, it took far too long to import the assets and there were no lessons on how to minimize my geometry within zbrush.  I had to spend hour upon hour scouring the internet for insight into the proper way to lower the poly counts of my geometry.  Sadly, the tutorials still were not sufficient and my final turn ins were very weak assets.  

The class however, and instructor were fantastic and I cannot wait to progress in future classes.  I will however, remember to ask what the final turn in size will be when I start the first assets.


Tuesday, September 20, 2016

Project and Portfolio 3


Final Walk Cycle with emotional content texturing and lighting


Final Lift and Toss Cycle with texturing and Lighting



This month was a test in utilizing the skills that I have learned up to this point in my educational path at Full Sail University.  It was an eye opening experience as I discovered that I have not even begun to graze the surface of what animation is or could be.  I have found that, although very skilled at modeling and other 3D and 2D digital art areas, I have a long way to go if I want to make animation a career.  It is going to take a lot more than doing the simple lessons provided by the school as they provide little to no instruction on how to get from point A to point B.  I will have to look deeper into this art path and discover this information for myself so that I can one day have a "dream" career.

Friday, July 29, 2016

Wine and Cheese: A Rendering of Learning and Light


During this project I was given the task of rendering an outdoor scene that was set during a specific time of day.  In this case the time was supposed to assimilate 10am to 2pm.  I found this project to be one of my favorites because it gave me the freedom to experiment with all of the techniques and skills that I had learned during my Rendering and Lighting class at Full Sail University.  I am particularly fond of the weathering to the table cloth texture in combination with the staining that is present.  I feel that it was a good lesson in getting objects and textures from various locations and resources to fit your scene.  It taught me many things about "mental ray" manipulation and usage and helped me to gain a better understanding of CG rendering.

The following is an article that was very inspirational and helpful in my understanding of 3D rendering and helped me to grow and learn

Kronander, J., Banterle, F., Gardner, A., Miandji, E., & Unger, J. (2015, November 02). Photorealistic rendering of mixed reality scenes.Computer Graphics Forum, 34(2), 643-665.

http://search.ebscohost.com.oclc.fullsail.edu:81/login.aspx?direct=true&db=a9h&AN=108645051&site=ehost-live

The article that I chose to read, " Photorealistic Rendering of Mixed Reality Scenes ", discussed various types of rendering with concern to virtual objects  that are to be placed in real world scenes.  The authors mathematically broke down how light can be captured from a real world image and transferred to CG via software programs and the different methods therein.  One such method discussed was High Dynamic Range Imaging ( HDRI which we have used in our IBL for final renders ).  In order for this method to work however the authors spoke of the need for, "perceptually consistent illumination".  Basically stating that you must have a scene that has similar lighting throughout in order to achieve a proper sample that can be utilized to light an object that is created and placed within a realistic scene.This made me think back to the video lessons where we were using the HDRI image for the ground and how the shadows would work in the scene for a short period of time but then we would have to augment the ground plane by creating a virtual plane.  This is where they began to break down Image Based Lighting and its inability to capture how light varies from one location to another in the real scene.  The authors went on to talk about how this can be compensated for ( as in our lessons this week ) through the use of Bi-Directional Reflectance Functions ( BRDF ) and the usage of environmental mapping.At this point there are a majority of us that have not utilized applications like keyshot but this program uses environmental lighting and a lot of the aforementioned principles to adjust lighting properly to the object files we create and export with Maya, ZBrush and 3DS Max.  There are various methods that can be utilized for the generation of light in environmental mapping and the article does a great job of explaning how each works and the differences.  Two methods mentioned that we have used thus far are Monte Carlo Rendering or averaging large numbers of random samples (final gather) of light in the scene and Conversion to directional light sources or placing lights in the scene in the direction of the lighting we are trying to create.In all, the article was an intelligent and in depth look at what exactly is going on under the hood of the functions we have used this month in Maya.  I would suggest, if you have a mind for mathematics and a bit of will to sift through the technical jargon, that you spend a few moments to read this article.  It is not a short read by any means as it is written in the form of an experiment in lighting, but it is very thorough and will leave you with a better understanding of how things are working and quite possibly why that area light you just placed is making little to no change on the surface you just aimed it at.Why is this important?This is a look into what is happening for still imagery and poses the question of what happens when the realistic HDRI is then adjusted in real time?  Everything changes.  It gave me, as an animator, a lot to think about as I have spent countless hours getting this one image to look correct.  Now what happens when I rotate the camera or the scenery around it?Why was this motivating?It gives us an understanding of what we are doing as artists.  It allows you to understand that you are doing much more than just moving an object to set highlights and shadows.  You are creating a universe of lighting within an otherwise dark "world".Why was this relevant?

It is relevant because it is what this class is all about.  It just gives us the how to compliment our why is this doing this or not lighting that properly.


Monday, March 14, 2016

Jump and Run Cycle

Run and Jump Cycles on 2's Enjoy

Silhouette: Recognition of a Chacter

Silhouette: Siren Quietus

All good characters can be immediately recognized by their silhouette.  This is an example of Siren and how you can tell who she is in varying dynamic poses with silhouette.

Character Turn Around Sheet: Concepts and Development

Character Turn Around Sheet:  Siren Quietus