A Production Process Sharing Of The 3D Works "Redemption" By Arnold For Maya

A Production Process Sharing Of The 3D Works Redemption By Arnold For Maya

I am very happy to share with you the production process of the work of Redemption. I have shown a way of thinking and process of making this work. And I also learned something new from the project, I hope everyone can learn something from it. The software used in this work is Maya, Zbrush, Marvelousdesigner, SubstancePainter. Collection of materials Collecting the information you need is a very important part of the project before it is started. This is a very important part. I have been collecting enough information before I start the next step. But some of my friends, they will look for reference materials while making this way, it will take more time and effort, and the effect is not very good. I think that while doing the reference, it is better to take a day or two to collect and classify the required materials, so that you can also collect your own database.

A Production Process Sharing Of The 3D Works Redemption By Arnold For Maya

Production

1. Composition

The composition of the work is very important, directly affecting the final effect. I use a relatively small composition of the work of "Redemption", which is very interesting in the composition.

2. Model

At the beginning of the production, I will quickly build a simple model, not too detailed, all models are as simple as possible, the sooner the better. This stage of production I try to control in one day. At this stage, I need to complete the simple and fast, then determine the angle of the camera and arrange the lights.

A Production Process Sharing Of The 3D Works Redemption By Arnold For Maya

3. High poly workflow

The high poly workflow phase is a very important part. Whether it is game production or film and television model production, the high poly workflow stage is very important. After the large shape and the composition of the screen are determined, I will start from the main body of the character and proceed progressively according to the composition and the primary and secondary relationship. According to the principle of subject, local, subject. Some common brushes and some post-production texture aids used by individuals as follow,

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4. Texture

I used the more popular PBR process in drawing the texture. Substancepainter is the most common drawing software for this type of texture drawing. The character face and skin use Mari. Character skin replacement, skin color is made in Mari, Mari is a very powerful software.

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5. Render and post-synthesis

This work uses the Anorld for Maya, and the entire rendering process takes about 4 days. In addition, a separate AOV layer is rendered to facilitate further modification of the color and scene atmosphere in the PS.

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The above is the whole process of the project of "Redemption", I will introduce it to you here. I also found some deficiencies in the production, I hope that my production can give you new ideas, we can all learn new things in the project.

A-Production-Process-Sharing-Of-The-3D-Works-Redemption-By-Arnold-For-Maya-12

BY: Qi Gong

Interested

Maya 2018 Arnold's Method of Making Motion Vector Blur in AOV Channel
Maya 2018 Arnold's Method of Making Motion Vector Blur in AOV Channel
Yesterday, I found that the Arnold of Maya 2018 has a directional error for the motion vector blur method made in the AOV channel. The motion blur method I wrote earlier applies to Maya 2016 and earlier versions, so I spent a little time studying it today. The problem has been solved now, and will use a small case to explain the production steps. Step 1: Creating the ball as a simple animated scene. Step 2: Turn on motion blur: Render a reference to motion blur. Step 3: Follow the method given in the official Arnold documentation: Change the camera's Shutter Start and Shutter End to 0.5 (why changed to 0.5 because my motion blur type is Center On Frame). Step 4: Create a channel for AOV motion blur: Here I will create two motion blur channels: The first is the motionvector channel that comes with Arnold. The second is to use the custom motion vector AOV of motion vector shader (giving the aiMotionVector material in the AOV channel). note: MBlur is named according to your preference. The setting of aiMotionVector was wrote in the previous article. Step 5: Render this image to see two motion blur conditions. It can be seen that both the motionvector and MBlur motion blur channels in our AOV channel are in the wrong direction. Step 6: Next I will officially explain how to solve this problem: From the beginning. A: Turn on the Motion Blur button in the render settings: I chose the Center On Frame mode here. B: Change the Shutter Start and Shutter End in the camera Arnold attribute to 0.5, respectively, corresponding to the Center On Frame mode. (Note: When rendering the motion vector AOV, the camera Shutter Start and Shutter End should be the same value.) C: Create a new MBlur_2 channel in AOV (to compare with the previous MBlur.) D: Open the material editor and find the two nodes aiMotionVector and aiVectorMap under Arnold's material panel. 1) Connect the outColor of the aiMotionVector node to the input of the aiVectorMap node. 2) Then connect the outValue in the aiVectorMap node to the DefaultValue in the Shader property of the MBlur channel in AOV. Change the XYZ mode of the Order in the aiVectorMap node to YZX mode and remove the hook of the tangentSpace. 4) In the aiMotionVector node, enable Encoding Raw Vector. E. After the above steps are completed, start rendering the image and view it in Nuke. As shown in the figure: Maya's default motion blur is basically the same as the MBlur_2 channel we made in AOV, and the motion blur adjusted by Nuke is basically the same. Of course, I also found a bug in the Arnold renderer, its motion blur channel does not solve the shadow of motion blur, there can be seen in a big picture that attached below.
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2018-12-26
Animated Short Film "Survival" Scene Production Analysis
Animated Short Film "Survival" Scene Production Analysis
This time, our . It also encourages outstanding artists to make good works and promote the production of their works, and let more people know them and their excellent works. This article brings about the production and analysis of the animated short film "Servival" produced by CG artists Li Yicong, Sun Ningning, Xing Luyue, Shi Tao and Li Yongcong. The software used is Maya, Arnold, AE, Nuke and so on. A brief introduction to the short film The short film tells that in a city where energy is exhausted after the end of the world, a lonely little robot relies on finding a waste battery in the city every day to live alone, until he finds that the city has no more disposable batteries to use, but he has no choice but to go home. Packing up the luggage, reluctantly pulling his own stroller, leaving the city, embarked on the road to find new energy. The specific production process Previous period The script is written by members and then determined through multiple discussions based on the technical level and conditions that can be achieved, and then the character design and scene design by the pre-art. Memories Modeling I found a lot of references during modeling, and I used to make up for a mechanical principle for a while. However, the animated character and mechanical design are not exactly the same. Consider the functions of action binding, emotional expression, and plot. Figure 1 is a partial reference of the character. The mapping is mainly used for Ddo and Mari. Role model Light rendering Scene one One of the scenes is the home of the robot, which lives in an abandoned train station. This lens acts as an empty mirror to ease the rhythm and explain the living environment. The robot looked for a day's battery, and the harvest was not much. Because it was far away, it almost lost a life on the way home. The lighting is set in the evening, except that it feels very dull, and it also implies that the small robot has lived in this city for a long time. On the other hand, the evening light effect, the light ratio is strong, the angle between the light, the camera and the object is relatively small, and the surface of the object will produce a beautiful Fresnel reflection. The figure below shows the material properties of the railway. Here you can use three or more textures to represent an object, color map, reflection map, and normal map or bump map. If it is close-up, you need to add a roughness map to make the object produce more rich changes. Backlighting also works well for translucent objects, such as the dirty old glass on the bridge, the grass on the ground, and the semi-transparent effect of all the plant leaves on the vine. In addition, the grass adjusts the wind output in SpeedTree and then imports it into Maya for material adjustment. Special plants need to be created in SpeedTree. Add force field to shape the plant into the shape and growth trend that you want, and then export. Creating plants in SpeedTree allows you to export wind animations to Maya, and plants can move to increase the authenticity of the scene. SpeedTree Software Plants imported into Maya Create a render layer in Maya, put all the objects into the new render layer, and then add the Arnold base material for layer coverage so that the entire scene is the same material and the texture is ignored. Benefits are, First, when lighting, it can be not affected by the texture of the surface of the object. It can observe and adjust the position of the light and shadow well, and use light and shadow to compose and shape the volume of the object. Second, remove the texture, refraction, etc., the test rendering speed is fast, the adjustment can get feedback quickly. Here you can see that this picture is not completely retrograde, the light source is to the left. At the time, when lighting in the scene, I hope that one side of the locomotive can produce a bright surface, and the lower left corner is too bright, so that the light of the whole scene is too average. Adjust the lights and start making material adjustments and renderings. If you find that many places need to be adjusted after rendering, you can reduce the sampling of all aspects, in order to save rendering time, after many adjustments to the screen you want, if you want the work more realistic and reduce the rendering time, you can use a . In Arnold, it is generally necessary to separate several layers, Scene 2 In the home of the small robot, this is a parting scene, where the warm shades of light are used to make a warm and sad feeling, so use the Maya spotlight to simulate the sun's rays, let it produces a light fog to simulate the atmosphere, which can increase the drama and authenticity of the scene. Scene 3 Post-production and composite editing The short film uses Arnold to render a multi-channel synthesis scheme with a total of 13 layers, which is finally synthesized in Nuke and AE.
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2019-09-06
Using Arnold For Maya To Make A Work "Empress"
Using Arnold For Maya To Make A Work "Empress"
This work was invited by 3D Artist Magazine, and then according to a portrait of a Chinese ancient queen, the following will explain the whole process of production, using the Maya, Arnold renderer, ZBrush, Photoshop, Nuke and so on. 1. Collect reference pictures Finding reference pictures is a very important part, and this part has cost a lot of time. 2. Making Model The model is first built in Maya and then placed in ZBrush for engraving. Except for the more complicated models (such as decorations on the hair, chairs, etc.), the other ones are first carved in DynaMesh in ZBrush, and then Decimation is used. Master reduces the number of faces and then exports. 3. Making maps All textures are done in Mari. Face skin first finds a female face projection, simply remove the pores, because the pores wrinkles are carved in ZBrush, so you can export the ZBrush displacement map to Photoshop and turn it into a High Pass image as the skin texture is superimposed on the skin. The hardest part of the clothes is to look for references to the above patterns. Once it is determined that the production is very simple, first put the shading and then cast the pattern. Remember to divide the layers among Mari, so it is very convenient to adjust later. 4. Making materials Here we use the gray mold to adjust the displacement and bump, then adjust the highlight, and finally the color and SSS. 5. Making hair The hair uses the Xgen that comes with Maya. After combing the hair, comb it with a comb and adjust it with several different tools. Eyelashes use another method of creating Xgen, creating a guideline and then generating eyelashes. 6. The final rendering This work uses the Arnold renderer, set as follows, The rendering output format is EXR, and finally, the Nuke compositing is imported. First add all the colors, highlights, and sss together, then use Mask and various condition layers to adjust the brightness, color, saturation, gamma and add atmosphere. Translated from an article written by 3D artist, Lu Ang
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2019-08-20
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