April 27, 2017

Mental Ray Part 1, 2, 3, 5

Mental Ray Part 1: Samples & Quality Control

Mental Ray Part 2: Final Gather


Mental Ray Part 3: Linear Work Flow (Currently being updated for 2016)

Mental Ray Part 5: Portal Lights (Updated for 2016)




April 23, 2017

ADAPTATION B: Paint Tests and Colour

Sculpture Painted over in Photoshop to test colours and face structure before I paint
Photoshop colour over

Colour Options
Colour Options





ADAPTATION B: Detailing Model




April 15, 2017

ADAPTATION B: Updated Model #2



Here I have added detail and more elements to my model. I have added roses and vines to the robe, which were not in my orthographs or drawings. I still have a while to go before I can paint, such as sculpting the face and completing the hands, hair and robe.

ADAPTATION B: Updated Model #1


  
Here I have blocked out detail, rough shapes and fabrics with super sculpey. I have put in temporary hair and clothing so that I can see how the body underneath is effecting the way the clothes look,

ADAPTATION B: Creating an Armature



I created this wire armature for my model out of floral wire, using my orthograph as a guide for how big the skeleton should be. I then assembled separate hand armatures and two stainless steel rods through the legs and up the spine so that my model can stand freely on its own without the need of another support. I then drilled into a block of wood and threaded the bottom of the wire through, and using a clamp secured it to a table to be able to sculpt from.


ADAPTATION B: Modelling #1








Here I have started modelling the body of my character in maya (from 26th March). In the past few weeks I have ran into a few problems with it, and have realised that modelling this character and making it suitable for 3D printing will take too much time and be very expensive, so I will get the same result from sculpting it in 3D instead. I will use super sculpey and various other materials to make some scenery. However I will carry on with this maya file and match it to my sculpture, but not 3D print.


April 14, 2017

Film Review: Waltz with Bashir


Figure 1: Movie Poster
Waltz with Bashir (2008) is directed by Ari Folman, who also wrote and starred in this animated film. This film is autobiographic, and tells the story of a man who is suffering from PTSD and memory loss after a night in 1982, when Christian militia members slaughtered more than 3000 Palestinian refugees in Beirut. The director, Folman was one of the soldiers who was there, and he goes on a journey to seek out others who were there so that he may be able to recall what happened that night and restore his memories.
“The flatness and stiff, jerky movement of the drawing contribute to the dreamlike, increasing dread-filled atmosphere of the visuals, which burst finally into actual filmed images of devastating impact.” (Richards, 2009)
As Richards describes, the animation is not smooth and realistic, or appealing. The animation is lifeless and flat and often leaves you wondering whether these characters are three dimensional or 2D, as they are inconsitant in movemment but also turn naturally for a 2D drawing. The film is outlined all over with think black lines which make you wonder what you are looking at, and all of these qualities together make you aware of the dream-like haze the director is describing, but also makes it very uneasy to watch.
Figure 2: Film Still
The end of the film is most shocking and frightening, when we see real life footage of those massacres, and we see real men, women and children dead in the streets on Beirut. The change from animation to real life represents many things, that these things are real and did take place, and also we are seeing a vague animation and then suddenly real life footage, just as Folman recovering his memory and suddenly going from a haze into reality.

April 06, 2017

Maya Tutorials: Texturing #1-8


Part 1: High & Low Res Modelling for Normal Maps



Part 2: Baking Normal Maps


Part 3: Rivets




Part 4: Body Base Colours


Part 5: Head Base Colours / Sub Surface Scattering






Part 6: Head Texturing




Part 7: Body Texturing


Part 8: Finishing up the Scene