From the list:
- UV mapped and painted the large HVAC pipe
- Fought with Mudbox and crashing problems :/
- UV mapped the floor
- Refined the glass breaking
- Picked a camera position
- Organized my scene file into groups and layers
- Imported the toy
- Switched to Sun-and-Sky, which is what I’m hoping to use for the final. Started refining light settings.
The floor texture is strictly temporary, but I wanted something for some contrast/perspective in my test render. The only object that’s actually textured so far is the curved HVAC pipe in the right middleground.
I suspect I’m going to have to re-do the UV mapping on my toy, since I did the UVs originally thinking I was going to have a normal standing-running kind of character. So the UV seams are on the bottom, and unfortunately, I think that’s the part I want to have facing the camera.
Here’s the progress render:
Spent pretty much the whole day in the studio. From the list:
- Finished destroying the base
- Cleaned up the base geometry so I only have what’s needed in the scene
- Created lots of debris…tiny debris, medium debris…
- Modeled a ground plane
- Positioned, repositioned, and positioned stuff some more
Here’s a quick software render – no materials to speak of except a transparent blinn as a placeholder for the glass. I like how it’s shaping up.
Stuff I did:
- Modeled more environment pieces
- found and tested scripts for creating rocks and for scattering them
- started destroying the base
- found more Mars references
I had originally assumed I’d use a backplate for the Mars part of the image, but I’d really like to try a time-lapse effect here. For that to work, the shadows on the rocks in the background are going to have to move, which means they need be included. I figured that if I could find a rock-generator and a scatter script, that would just about as fast as cutting out dozens of rocks in 2d and putting them on image planes. Plus, if the rocks have 3d geometry, I won’t have to deal with any shadow/transparency issues that might arise with 2d plane solution.
The scripts seem to work well. It will take some time to generate the rocks I need and distribute them, but that’s the way it works sometimes.
Here’s a quick sun-and-sky render. Obviously I haven’t finished destroying the base yet, and I haven’t even broken the glass wall. And I need lots more smaller debris. My approach there I think will be to create a bunch of little shards and then use dynamics to let them fall on my larger pieces that are already in place.
In an abandoned Martian base, a child’s toy is slowly being covered by sand.
I’ve already posted my character, and I’m still in the process of modeling my environment.
Moving along the to-do list:
- Collected pipe/HVAC references
I’ve made a master to-do list, which I put into Evernote (best note app ever). From that list, I’ve:
collected references for
- the toy texture
- the pipes/industrial parts of the base
- the big windows
- the airlock door (note: I may not need to do this feature. I’m not sure it adds to the implied narrative. It would be fun, but that’s probably not a good enough reason to include it.)
I also finished the UV map for the toy and started sculpting a normal map and painting it. I found a neat stitch stencil for Mudbox that I think will work well on the normal map, and I started painting the diffuse map in Mudbox. I suspect the toy will end up being a mixture of Mudbox and Photoshop work, since lining up and distorting the bump map correctly for the cloth seems easier for me to do in Photoshop. Or possibly I’ll use a procedural, but since I have multiple materials in this mesh, that may not be the best approach.
I’ve also started some lighting experiments using an unexposed Mental Ray feature called Environment Lighting Mode that I found at Elemental Ray (here). Very cool – in my tests, it’s really fast for IBL, and if there’s sufficient complexity of surface textures, the noise fades very nicely. That means that I can use FG like it’s supposed to be used, just to smooth out the render and add that little bit of extra realism, and hopefully this will keep my render times in the not-ridiculous range. (Note: see also djx at http://www.djx.com.au/blog/ for great Mental Ray content.)
I’m using some HDRI images from http://www.hdri-hub.com for testing. My lighting test renders are really basic and not that interesting, so I’m not posting any of those. The blog post I linked to above is a great resource, though.
Based on feedback from our group critique, I refined the syringe/stinger area of the wasp in a sketch.
I’ve been meaning to upload this for a while. I started this model in Maya and then used Mudbox to sculpt details, which I exported to a normal map. Mudbox is a joy to use.
The network was down at WCC last week, but Photoshop was still working. This is a quick Photoshop painting, no reference. Just thinking about light and gradients and occlusion.