ANM220.1 Wk09

In this blog post I will be talking about lights in 3Ds Max and highlighting its uses. Below are some of the main uses of lights in 3DS Max.
1- Improve the Illumination of a scene.

2-To enchance the scene’s realism through realstic lights.

3-Strengthen the realism by having lights cast shadows.

4-Cast projections.

5-Help the illumination of a model’s scene such as a flash light.

In the lights option we have several types of standard lights which consist of :

*Target Spotlight.

*Free Spotlight.

*Target Directional Light.

*Free Directional light.

*Omni light.

*Skylight

The uses of each type of light are broken down below.

1.Target Spotlight:

The target spotlight is used to have it follow the target illuminating the target that you set the light on and trace that target, and it can also be used like a flash light for the model.

2.Free Spotlight:
The free spotlight is the same as target spotlight but their only difference is that in free spotlight you have no target and you can move your target light freely in a fixed area’s you want.

3.Target Directional light:

Target Directional lights are considered to be the sun of 3Ds max, which means that this light particually used to illuminate in a way the sun does.

4.Omni light:

The use of Omni light to fill in the areas that the original lights don’t reach, you can consider Omni light to be a back up light and that happens because the omni light illuminates in all directions but it comes from a fixed direction of light.

5.Skylight:

Sky light is quite simple yet helpful, with the help of sky light you can set the color of the sky and you have it as a dome covering up your scene.

6.mr Area omni light:

mr Area omni light’s spciality is in directing the light in a sphyrical or cylindrical volume, and the you set it would only appear if you render it using Mental ray render.

7.mr Area splotlight:

It is the same as mr Area omni light but the only difference they have is that instead of a sphyrical or cylindrical volume the, mr Area splotlight goes with the rectangular and disc-shaped area volume, and both of those lights shoulder be rendered on Mental ray, because if you use scanline it will be treated as a regular omni light.

 

ANM220.1 Wk08

Ptex is a texturing technique developped and used by Disney Animation Studios. It was first presented to the public in 2008 and the first animation to feature this technique was Bolt a year later in 2009. It has also been released as a free open source a year later (“UDIM UV mapping”, 2017). One of the key traits of the Ptex pipeline is that it eliminates the UV mapping process which is seemingly something out of every 3D modeler’s dream.

Contrary to the traditional approach of UV assignment, a separate texture is applied to each polygon face and a single Ptex file can store hundreds of thousands of texture images(“Ptex”, 2017). Not only does a Ptex map only take a few seconds to create but it also completely abolishes texture seams! (“Understanding Ptex – Is It the Future of Texturing?”, 2017) This methof works with rendering engines such as V-Ray, Mental ray and Render Man but is not supported by Mudbox or MARI, for example. It also requires the model geometry to be very tessellated otherwise resolution will be lost. Currently, Ptex has become more widely used by the movie industry but has not yet been integrated into the video game industry pipeline as everything is rendered real time.

Since Ptex requires you to paint directly on the mesh rather than in a separate program such as Photoshop, it might not be very beneficial for the creation of simple textures for video games. However, that is not to say that this method will not be utilised by the video game industry in the future and with the advancement of hardware, it may soon be eassily paired with real time rendering.

 

References

UDIM UV mapping. (2017). fxguide. Retrieved 13 March 2017,

from https://www.fxguide.com/featured/udim-uv-mapping/

Ptex. (2017). Ptex.us. Retrieved 13 March 2017, from

http://ptex.us/

Understanding Ptex – Is It the Future of Texturing?. (2017).

Pluralsight.com. Retrieved 13 March 2017, from

https://www.pluralsight.com/blog/film-games/understanding-ptex-is-
it-the-future-of-texturing

ANM220.1 Wk07

The mascot model that I have been working on is finally ready for unwrap and I am quite satisfied with how it turned out. I will mention some issues that I faced during the modeling process and how I handled them. Firstly, and as per usual, I was having trouble with the arm modeling. Originally, our character was designed to have three fingers but it was decided to model him with four to later facilitate the animation and visual style. I had to remodel the hands a few times as the topology wasn’t right. The head topology, however, came out well surprisingly, but I did have to tweak the area quite a bit to achieve the eye crease look. The wing design had to be altered to make it more realistic. I used images of bat wings for references to get the structure correct.

Screenshot (12).png

Although the model is seemingly simple, I tried to make is as clean as possible so it took some time to perfect. Since it is the main model of our animation, I felt the responsibility of dedicating enough time to make it look appealing and easy to work with.

ANM220.1 Wk06

In the last blog I talked about some of how the water was created in Disney’s Moana. Moana is a movie revolving around a Polynesian “princess” who sets on a journey to explore the oceans and save her island. As already mentioned, it is directed by the same people who made Aladdin and The Little Mermaid, who felt a necessity to give it the same artistic feel the 2D animations had, because unlike 3D, it doesn’t have any simulators and everything is made artistically, whereas 3D has plugins and hair simulators, so there’s no need to add any extra effects. Therefore, the team felt inspired to animate the hair as they would in an original Disney film.

Disney is known to have extremely realistic hair and fur in their movies, being among the most difficult tasks, this time they decided to take a different approach. With their new program, Disney aims to give Moana the feel of a 2D animated movie, so they made their own hair program.

Quicksilver (the new hair program for moana) combines rigging and grooming controls for freedom of artist-friendly posing, The animated hair in the 2D animations directors previously worked on were choreographed and they invented their own tool to allow for the same type of expression and artistic creativeness. “The greatest thing of hand-drawn is the expressiveness and the animators were happy to push it with tricks to break the CG and make it bend more,” Musker told IndieWire.

“Quicksilver is the engine dedicated to hair simulation. In the past, the animation department would provide a drawing of what it wanted the hair to do. With Quicksilver, it can now put the hair in a starting pose for scenes and let the engine handle how it moves around.” (“‘Moana’: 10 things to know about Disney’s most effects-filled movie ever”, 2017)

Desowitz, B. (2017). Meet the ‘Moana’ Producer Who Helped Disney Animate Female EmpowermentIndieWire. Retrieved 15 April 2017, from http://www.indiewire.com/2016/11/moana-producer-disney-animation-female-empowerment-1201742720/

‘Moana’: 10 things to know about Disney’s most effects-filled movie ever. (2017). CNET. Retrieved 15 April 2017, from https://www.cnet.com/news/moana-10-things-to-know-about-disneys-most-effects-filled-movie-ever/

References
Desowitz, B. (2017). ‘Moana’: How Disney Innovated Water and Hair for a Greater Hand-Drawn AestheticIndieWire. Retrieved 15 April 2017, from http://www.indiewire.com/2016/11/moana-disney-hand-drawn-aesthetic-1201749025/

}}, {. (2017). Wave of Animation: Disney’s Moana Ups the CGI AnteRedshift. Retrieved 15 April 2017, from https://redshift.autodesk.com/moana-animation/

ANM220.1 Wk05

In this blog I will be talking about the technologies used in Disney’s recent animation Moana. The new Disney fantasy movie relied heavily on water and hair, in regards to both, Moana and Maui’s long silky hair and the ocean’s relevance throughout the entire movie. The directors of the movie, being very passionate about their animation, decided to upgrade the tech for water and hair significantly, they wanted to give the hair realistic physics and make a convincing ocean character. This was actually  their first CG movie since “Aladdin” and “The Little Mermaid” so they insisted to give the movie a 2D aesthetic.

MoanaPortrait.0.jpeg

During production, they ran into a small conflict ;”The idea was that the toddler would meet the ocean and they would become friends, but didnt know how we were going to do it” (Clements told Indieware) so for their idea to work, Disney’s tech team made their own water solver (Named APIC) combining naturalistic effects with performance and allowing data sets to be allocated more efficiently. They named the tool-set Splash. This solver was created because there were so many things to do individually regarding animating the water and they needed a layout that defines the behavior of water within a given sequence.

Making the ocean a character in the movie caused Moana to be twice as challenging, since the ocean had to act like real water and needed to have a personality which the real ocean lacks. “Water’s a pervasive part of the movie, Moana and Maui are on a boat . . . in the middle of stormy seas. We have shoreline water, deep water, swimming, big storm-cresting waves, lots of water interactions. The water is an important part of the movie.” (Driskill)

References

Desowitz, B. (2017). Meet the ‘Moana’ Producer Who Helped Disney Animate Female Empowerment. IndieWire. Retrieved 15 April 2017, from http://www.indiewire.com/2016/11/moana-producer-disney-animation-female-empowerment-1201742720/

Desowitz, B. (2017). ‘Moana’: How Disney Innovated Water and Hair for a Greater Hand-Drawn Aesthetic. IndieWire. Retrieved 15 April 2017, from http://www.indiewire.com/2016/11/moana-disney-hand-drawn-aesthetic-1201749025/

}}, {. (2017). Wave of Animation: Disney’s Moana Ups the CGI Ante. Redshift. Retrieved 15 April 2017, from https://redshift.autodesk.com/moana-animation/

ANM220.1 Wk04

As the weeks pass, we are becoming more and more excited by our project, and have high hopes for it. This week we were working on our allocated tasks and mine included the modeling of the hot sauce bottle itself. For the design, we explored various bottle designs and labels and came up with a list of ideas for the name of our product. This included ‘Cheeky Dragon’, ‘Dragon Tail’ and ‘Tongue of Fire’.

We are also thinking of a tagline for our product but are still in the process of coming up with something solid. For the shape of the bottle, after researching different designs, we decided to stick to the traditional bottle style. Below is a Keyshot render of the final bottle model. Keyshot is a real time renderer which allows you to see the final result of your models in the viewport (“KeyShot – 3D Rendering and Animation Software”, 2017).

sauce bottle.1

It is a high poly model and since it is the central asset of our animation, I tried my best to make it appealing and aesthetic. Our professor showed us a very useful technique of creating the look of thick glass which adds to the realism of the model.

 

 

References

KeyShot – 3D Rendering and Animation Software. (2017). Keyshot.com. Retrieved 15 April 2017, from https://www.keyshot.com/

 

 

ANM220.1 Wk03

This week I’m going to talk a bit about motion capture. Mo(tion) cap(ture) is a method that controls human movements without the need to animate the entire animation by hand. An actor is used to record the movements needed for the animation (e.g. throwing a ball, dancing). This method not only makes the animation look a lot more realistic but also saves the animators a lot of work, making it time and cost friendly. Mocap is often used in games and film industry for ultra realistic human movements.

Mocap saves time and provides simplicity for the animation process, especially on realistic and complex character animations. Mocap uses body suites with rig points attached to them, a mocap camera is needed for the process and every time an actor moves one of the rig points on his body, the animation will as well.

Recent facial mocap technology has allowed us not only to move the body, but copy facial animations of the actors and using actors who have similar features to the characters makes it more natural and helps with marketing the product. Facial motion capture works differently, since instead of wearing a suite, a camera tracks the rig points on the actors face(usually represented by small dots made by a marker). there are other technologies that dont require marker points, but they are very limited and aren’t as realistic, mostly used for indie projects and unity users.

references

the fascination for motion capture – xsens 3d motion tracking. (2017). xsens 3d motion tracking. retrieved 15 april 2017, from https://www.xsens.com/fascination-motion-capture/

motion capture | 3d game design, animation and vfx company in dubai. (2017). pixelhunters.com. retrieved 15 april 2017, from http://www.pixelhunters.com/motion-capture

motion capture – xsens 3d motion tracking. (2017). xsens 3d motion tracking. retrieved 15 april 2017, from https://www.xsens.com/tags/motion-capture/

what you need to know about 3d motion capture. (2017). engadget. retrieved 15 april 2017, from https://www.engadget.com/2014/07/14/motion-capture-explainer/