During one of my tutorial sessions, my tutor introduced a feature of Blender where you can add animations and effects to the 3D model you are working on. The following footage is a time-lapse of my experiments when using this function.
Towards the end of this tutorial, we were encouraged to play around with the rigid body options and see where we got. I decided to set myself the task of creating a flag, however, I did not have enough knowledge about the modifier to problem solve my way to a final project. Had I had time, I would have liked to have brought this up with my tutor during the session, but for now, I intend to follow online advice and experiment during my modelling process.
Whilst experimenting with Blender, I discovered a difficulty when beginning to model. One thing I had not yet tackled was creating something irregular, such as natural rock. My creature will be blending into multiple environments, so it seems only appropriate to have their material be earth-like.
To tackle this, I took advice from the following tutorials on how to create a low-poly rock in Blender. Doing this helped me to randomise things I have modelled a bit more, making them seem less uniform.
Here is a time lapse of my experiments.
This tutorial introduced me to the idea of using the sculpt tool to create detail in the rocks that didn’t look uniform. When modelling in Blender, it is quite hard to be tempted away from using modifiers such as the Boolean and Subdividers to make things uniform, however because my creature is going to be made out of all natural materials, it is interesting to work with a tool in blender that gives me that freedom.
Not only did the above outcome lead to a more in-depth knowledge of the sculpt tool, but I was also shown how to use the material node option in blender to create realistic textures and surfaces to my models. Whilst this was done on smaller and what would most likely be a more random background asset, I had not before seen this function in too much detail. Whilst I do intend to use Substance painter, I may be encouraged to dive deeper into what blender has to offer in the texturing of my project.
Sources:
Alexandrov, G. (2017). Sculpting stone in Blender with Dynamic Topology. Available at: https://youtu.be/sl5EvG4x-bM [Accessed 13 Nov. 2017].
Geek, CG. (2017). Available at: https://www.youtube.com/watch?time_continue=2&v=xRDFMYfsIcU [Accessed 13 Nov. 2017].
The main aim of this project is for it to eventually be part of a showreel that will be used to attract the attention of people seeking CG generalists for their line of work. The project will show how quickly and willingly I can learn to work within a software, as well as broadcast the range of skills I have within the engine I decide to work with.
When looking into the job description of a CG generalist, the requirements not only included software knowledge, but he ability to work with supervisors and problem solve within VFX tasks. They also expect generalists to work well and even thrive under tight deadlines.
My media project for semester 1 will help to fulfil these requirements by presenting the following:
Working under guidance. Throughout this project I will be consulting tutors and online tutorials in order to problem solve and move across an efficient timeline.
Deliver work within expected timelines. As this project has a short time period 3 months between initial ideas and a final output, the quality of my work will prove to potential employers my ability to do so.
Problem solving. As part of my development process I will be discussing and addressing any problems that I have found during the creation of my project. These will be backed up by research and reasoning behind how and why I chose to solve a specific problem a specific way.
The ability and willingness to learn new pipelines. My development process will document learning processes I encounter, and comparisons between softwares will prove I have learnt basic functions within other softwares to come to the best conclusion possible.
Strong sense of composition, lighting and colour. The final output will showcase my ability to consider these elements within a project, and show the intended my ability.
The ability to work in a variety of areas such as 3D modeling, texturing, animation, lighting and rendering. Again, my final output will prove my ability to work in each of these areas.
Sources:
Prime Focus World. (2017). VANCOUVER – 3D Generalist. [online] Available at: http://www.primefocusworld.com/vancouver-3d-generalist/ [Accessed 16 Nov. 2017].
JobScore. (2017). CG 3D Generalist job at ITEC Entertainment in Orlando, FL. [online] Available at: https://careers.jobscore.com/careers/itecentertainment/jobs/cg-3d-generalist-bukk8gUN8r56hZeMg-44q7?jpid=d36IKCUN8r57yOeMg-44q7&name=Indeed&sid=69 [Accessed 16 Nov. 2017].
In order to personify the creature I am creating, I chose to break his characteristics down and create a brief biography for him, without doing so, I would will have little sense of how they should act and react to what is happening around them in any given scene (Chapman, 2017). This would also help me to create a character that has depth, and can be transcribed into different environments without changing his personality.
Name:
Unknown.
Age:
1000+
Gender:
Male
Personality Traits:
Shy, quiet and gentle.
Likes:
Peaceful scenes. He like to people watch and watch the world pass by.
Dislikes:
He doesn’t like to attract the attention of people he doesn’t quite trust.
Where do they live?:
Currently, this creature is wandering the earth looking for other like him, with no specific home. During his quest, he blends into his surroundings in order to avoid detection from unwanted people in fear of being misunderstood.
Where are they from?:
This creature was created on earth but animated by an unknown entity.
Appearance:
He is large and stocky with the ability to change the colour and appearance of his skin to match his surroundings. His eyes are hollow and he doesn’t appear to have any other features to his face. His large size often has people mistake him to be dangerous, however he is extremely gentle natured. He doesn’t speak any language known to men on earth, and appears to communicate through deep and soft purring and cooing.
Sources:
– Chapman, H. (2017). How to Create Character Profiles | Novel Writing Help. [online] Novel Writing Help. Available at: https://www.novel-writing-help.com/create-character-profiles.html [Accessed 13 Nov. 2017].
Following my first modelling sessions, I wanted to learn more about the sculpting tool in Blender, and move past just using edit mode to design my character, so I dedicated some research into the tool.
What is Sculpt Mode?
‘Sculpt mode is similar to Edit mode in that it is used to alter the shape of a model, but Sculpt mode uses a very different workflow: instead of dealing with individual elements (vertices, edges, and faces), an area of the model is altered using a brush. In other words, instead of selecting a group of vertices, Sculpt mode automatically selects vertices based on where the brush is, and modifies them accordingly, as if you were sculpting clay.’
Brushes:
Blenders sculpting feature provides users with a set list of brushes, each causing a different effect when used, all indicated by the thumbnail and the name they have been given. Some have the same basic principle, but differ in the settings they offer. The settings can be altered to achieve the outcome desired. Those with two names have an option to perform the same effect but in reverse.
Blob ~ Pushes the mesh in a spherical shape.
Clay ~ Moves vertices inward or outward.
Clay Strips ~ As above, but uses a cube test to define the brush area of influence.
Crease ~ Creates sharp indents or ridges by pushing or pulling the mesh.
Fill/Deepen ~ Brings vertices below the brush plane upwards.
Flatten/Contrast ~ Pulls the vertices towards the Sculpt plane.
Grab ~ Selects a group of vertices and pulls them to follow the mouse.
Inflate/Deflate ~ Moves vertices inward or outward.
Layer ~ Moves vertices inward or outward, but the height of the displacement layer is capped.
Mask ~ Lets you select mesh parts to be unaffected by other brushes by painting vertex colors.
Nudge ~ Moves vertices in the direction of the brush stroke.
Pinch/Magnify ~ Pulls vertices towards the center of the brush.
Rotate ~ Rotates vertices within the brush in the direction the cursor is moved.
Scrape Peaks ~ Pulls the vertices towards the Sculpt plane., but only brings vertices above the plane downwards.
SculptDraw ~ Moves vertices inward or outward, based the average normal of the vertices contained within the drawn brush stroke.
Smooth ~ Eliminates irregularities in the area of the mesh within the brush area.
Snake Hook ~ Pulls vertices along with the movement of the brush to create long, snake-like forms.
Thumb ~ Flattens the mesh in the brush area.
Relevant Tutorials:
Too complex, need background on edit mode. Interesting brushes to download.
