How to Import Sequence Maps in Maya
How to import sequence maps in maya? When the camera is projected, the projected video is converted to a sequence map. Now the best CPU&GPU cloud rendering service provider, Fox Renderfarm, will talk about how Maya adds sequence maps and their points of attention. 01. Identify the texture mapGo to the Material Editor and give a texture file "masterLayer.0001.exr" file on the Color. Here, why not identify the sequence map. (Note: The Property Editor window in the Maya Hypershade is incomplete.)Two solutions:The first method: display the property editor, check Use Image Sequence. Identify the sequence map.The second method: in the Direct Property Editor window, change "masterLayer.0001.exr" to "masterLayer.<f>.exr" (in English input mode)Note: If your sequence format is: "masterLayer.1.exr;masterLayer.2.exr;......;masterLayer.10.exr;" This mode, you can use the second method directly. Checking the “Use Image Sequence” option is still not recognized. 02. Window display modeAfter the map is identified, pressing the 6 buttons in the window still does not display. Because Maya displays the window, they clicked on the Maya default material display. (use default material) Solution: Remove the default material display mode and press the 6 key.We hope this will give you some inspiration and help to import sequence map in Maya. Fox Renderfarm is an excellent cloud render farm for Maya, so if you need to find a render farm, why not try Fox Renderfarm, which is offering a free $25 trial for new users.
The Usage of Maya 2018 Attribute Spread Sheet
Prior to the Maya 2016, it is automatically created a layer selection (Create Layer Override) when opening or closing object properties in bulk. But since Maya added the Render Setup layering settings, the automatic creation of layer selection features has disappeared for the layered approach of older versions of Legacy Render Layers. This is confuse many people who don't know the existence of the Create Override for Selected feature. Today, the best cloud rendering service provider, Fox Renderfarm, will tell you that if the automatic layer selection disappears, how to use the Attribute Spread Sheet tool. For example, I want to make a layer selection of the object's Primary Visibility property. Step 1: Select the object you want to make the layer selection and open Maya's Attribute Spread Sheet tool. Step 2: Select the Primary Visibility property in the Attribute Spread Sheet. Step 3: Click Layer - Create Override for Selected in the upper menu bar. Step 4: Change on to 0 (off). Step 5: Check the Primary Visibility under the Object Properties and you will find that it made the layer selection automatically. However, the best CPU&GPU render farm, Fox Renderfarm want to note that, in fact, the previous version of this feature is also available, but the Maya automatically created the layer selection in the previous version, and now you need to manually click it.
Maya Tutorial: How to Make An Axe (2)
Maya Cloud Rendering
In this part, the best CPU&GPU render farm, Fox Renderfarm continues to tell you how to make an axe.- Maya Tutorial: How to Make An Axe (1)")When I feel that there is no problem with the overall shape, I can start the middle mold of the detailed blade part. Continue to refine the three structural parts that were just split.We have refined the structure of the three parts. At this point, the basic shape of the entire model has basically reached the structure in the concept map.!Maya Tutorial How to Make An Axe!Maya Tutorial How to Make An Axe!Maya Tutorial How to Make An Axe!Maya Tutorial How to Make An AxeIf these details are attached to the basic structure, if it is not easy to make in Maya, you can use the advantages of ZBrush's rapid sculpting for quick sculpting.!Maya Tutorial How to Make An Axe!Maya Tutorial How to Make An AxeThis stage is just a transitional model, there is no need to sense volume or sculpt, like some smaller details, I just quickly generated the basic shape attached to the details on the whole.These are very time-consuming if they are directly modelled in Maya or 3ds Max, so what we need is to use the advantages of each software to quickly achieve the final effect. The software used is not important, the effect is the final.The specific operation is also very simple:- Masking- If the generated thickness is too thick, adjust the thickness and generate again- Separation model- Then adjust the shape according to the original painting.!Maya Tutorial How to Make An AxeWe need to take the topologies of the models planned in ZBrush into low-polygon models and import them into Maya for further mid-model refinement. Finally, some detailed models such as nails and ropes are put on, and then the models are merged, and the preparatory work is done for the model carving. At the edge, I deliberately added some notches and bumps to make this axe look like it is often used.!Maya Tutorial How to Make An Axe SummaryWhen making this model, there are more cumbersome parts. Don't be afraid. Just break the 2D concept map into many small parts, and then distinguish the priority and make it step by step according to the previous plan.Then sculpt some worn details to the model in ZBrush. Then you can go to ZBrush to carve some broken details. In this process, you need to pay attention to the overall structure and don't make too much detail. Do it first, then do it again, otherwise, the model will look too trivial.!Maya Tutorial How to Make An AxeThere are no details everywhere because they will distract the viewer. We only need to have relatively large damage in the distant view, middle-level details in the mid-range, and close-range views to see the texture of the details, and all the things can be combined to form a very beautiful model.When making a model, you will need to make the main character first, and then other accessories. The overall model's picture needs to be coordinated, instead of focusing all the energy on a broken sculpture. We need to use damage and details to set off the subject, not to make those details too attractive.!Maya Tutorial How to Make An Axe!Maya Tutorial How to Make An AxeBy now you should know how to make an axe in Maya. We hope you can learn something from it. Fox Renderfarm is an excellent cloud rendering service provider, so if you need to find a render farm, why not try Fox Renderfarm, which is offering a free $25 trial for new users.
Maya Tutorial: How to Make An Axe (1)
In this article, Fox Renderfarm, the best cloud rendering service provider in the CG industry, shares a tutorial from 3D artist G on how to make an axe with Maya.G is a 3D artist and has been engaged in model making for the game industry. Before entering the CG industry, he also made many mistakes that the beginners would make. In the process of making some 2D concept drawings into 3D works, he gradually realized that as a 3D artist. From flat thinking to three-dimensional thinking, it is necessary to have a good analysis and judgment ability for the understanding and grasp of the sense of space, especially when the 2D concept map is produced in 3D.G will mainly show the production process of the model and explain how to decompose the 2D drawing into a 3D drawing. I hope this article will be helpful for beginners. ReferenceI looked for a cool weapon concept map as a reference. The concept map of this axe has beautiful lines and a simple structure, which is very suitable for 3D.!Maya Tutorial How to Make An AxeBefore making it, I will observe the concept map first, and then have a blueprint in terms of structure, proportion and colour scheme. Take the following picture as an example. This axe looks very sharp, and the middle position is thicker, forming a strong contrast. Moreover, we need to infer the thickness and curvature of the side from the ratio and contrast of light and shadow, which is very important.!Maya Tutorial How to Make An AxeCompared with the two weapons, the first one I personally feel is that it is not a knife, because it does not have a sharp blade similar to figure 2, so it must have a heavy texture. In addition, there are sharp thorns on both ends. I can imagine the way this weapon is used. It should first stun the opponent like a hammer, and then pierce his vitals with the spikes. It's bloody to think about it. Since this weapon is very heavy, I would imagine that the person using it should be very strong and domineering!Preparatory work is very necessary. If you need more, you can find more reference pictures, such as the thickness reference of the side, otherwise, the model will be unreasonable. ModelingMy habit is to decompose the weapon according to the structure of the original concept painting before making the model, especially for this very complicated weapon, this step is more important. No matter how complicated things are, as long as they are broken down step by step, they will not be so complicated.The important point is that you should not directly make it on the basis of the concept map. If one of the structures has a problem, then a lot of repeated modifications are required, so that you need to redo it. This will be a waste of time and will lengthen the production cycle. Therefore, the early disassembly analysis is very important.In this project, first of all, we need to determine the main shape, which is basically divided into two parts: one part is the definable thing, the handle, etc.; the other part is the main body of the blade.My principle of production is the structure must be made with the least amount of surface in the early stage.!Maya Tutorial How to Make An AxeWhat can be determined is that some parts of the above picture, such as the handle and the bottom of the lower end, are cylindrical, so you can make all these simple things first, and give a reference to the width of the blade.The main body of the blade is as follows:!Maya Tutorial How to Make An AxeThe main structure of the blade is composed of two red areas as a basic structure, and other details can be ignored. Therefore, the structure of our first step is as follows:!Maya Tutorial How to Make An AxeThe model of the blade must be made with the least number of faces, and the whole structure must be made first before the other things. This production step requires a lot of patience and time because we need to modify the shape as much as possible to be similar to the concept map in a small number of faces. Because this low-profile model will be a draft of our final effect. Of course, you can also import the reference image into the background image as a reference.!Maya Tutorial How to Make An Axe!Maya Tutorial How to Make An AxeNow follow the leading cloud rendering service provider, Fox Renderfarm, to the next part of the tutorial: Maya Tutorial: How to Make An Axe(2)").
Behind the Scenes: 3D Game Scene
Maya render farm
Today, as the leading cloud rendering service provider, Fox Renderfarm will share a production process of a 3D game scene. This project uses the standard PBR process, and uses 3ds Max to complete the basic modeling, determines the proportion of objects. Finish sculpting in ZBrush for high poly, topology in Maya, baking in Marmoset Toolbag 3, finish making PBR materials in Substance Painter, and finally use Marmoset Toolbag 3 for rendering.!Behind-the-Scenes-3D-Game-Scene 1The production is divided into three parts:1. Modeling2. Material production3. Rendering ModelingBefore production, determine what materials, objects, and overall proportions are in the scene, and then determine the production order according to the proportions. Most of the scene in this scene is walls and stones and wooden furniture, so they are the focus of the production.Quickly set up their approximate proportions in 3ds Max.!Behind-the-Scenes-3D-Game-Scene 2Complete the medium face number modelAfter establishing the proportion of large objects, continue to build the remaining objects in the scene. And further enrich the details of the model. There are a large number of repeated objects, and several different shapes can be made.!Behind-the-Scenes-3D-Game-Scene 3Taking the above book as an example, many different types have been produced, which can reduce visual repetitions very well.There are two pieces of cloth in the scene. Here we take the pillow as an example,!Behind-the-Scenes-3D-Game-Scene 4This production uses the cloth calculation that comes with 3ds Max. The specific process is as follows,!Behind-the-Scenes-3D-Game-Scene 5Create blocking objects:!Behind-the-Scenes-3D-Game-Scene 6Create a pillow base model (the higher the number of segments, the better the simulation effect),!Behind-the-Scenes-3D-Game-Scene 7Squash and find the cloth in the modifier,!Behind-the-Scenes-3D-Game-Scene 8 Simulation!Behind-the-Scenes-3D-Game-Scene 11 !Behind-the-Scenes-3D-Game-Scene 9 !Behind-the-Scenes-3D-Game-Scene 12The end result is a simple pillow model. (The shape of the wrinkles of the fabric should be well organized, and the top is a simple demonstration. Similarly, curtains may have better effects).Finally in 3ds Max medium face model,!Behind-the-Scenes-3D-Game-Scene 13Next, import the model into ZBrush for sculpting. High Poly sculptureHere is an example of a house's walls and stones:!Behind-the-Scenes-3D-Game-Scene 14The medium face model was imported into ZBrush because of the irregular shape of the stone. You can use Dynamesh (dynamic mesh) in geometry editing to edit the model.!Behind-the-Scenes-3D-Game-Scene 15Brushes 1, 2, and 3 are used for large-scale carving of stones. Brush No. 4 adjusts shape to prevent penetration. Finally, brushes 5 and 6 are used to flatten some edges and corners to make the structure hard. Thus reflecting the texture of the stone.The big ideas on the wall are the same. Finally, use the surface noise, adjust the curve, and the noise ratio to simulate the graininess of the wall and stone surface.!Behind-the-Scenes-3D-Game-Scene 16Finally, add some details such as cracks and bumps to enrich the picture. Use the brush No. 6 mentioned above to suppress it again for better results.Take the wooden table as an example below, first determine the material to be carved, and then look for the corresponding reference picture. Because the wood in the scene is too old, you need to find some pictures of old wood when looking for reference pictures, for example,!Behind-the-Scenes-3D-Game-Scene 17The sculpting process needs to be combined with actual life, so as to achieve a more realistic effect. In this scene, the wooden table is a little bit decayed, so the edge of the table will not be made into a hard, right-angled structure, so when carving, you can use the brush to make the right-angled portion of the edge more rounded, so reflect the texture you want to express. With appropriate deformation, it can increase the visual impact more vividly (adjust the place with the Move brush a little).!Behind-the-Scenes-3D-Game-Scene 18 !Behind-the-Scenes-3D-Game-Scene 19The wood in the scene needs to have an old feeling, so cracks are a good way to show that the objects are worn out. At this time, you need to use the reference picture. For example, a crack on a window plate can be carved according to the crack in the reference figure. This can better and more realistically and quickly reflect the material.!Behind-the-Scenes-3D-Game-Scene 20 !Behind-the-Scenes-3D-Game-Scene 21 !Behind-the-Scenes-3D-Game-Scene 23 !Behind-the-Scenes-3D-Game-Scene 22The final High Poly display,!Behind-the-Scenes-3D-Game-Scene 24Low polygon model and bakingThe final low-poly model was reduced using ZBrush, and then imported into Maya for final low-poly model production. This can get Low Poly models faster, but the wiring will be relatively less neat. Note that it is important to distinguish between the smooth group and split UV where the angle is close to 90 degrees.!Behind-the-Scenes-3D-Game-Scene 26 !Behind-the-Scenes-3D-Game-Scene 25The final baking uses Marmoset Toolbag 3. 2. MaterialAfter baking all the normals and IDs, import Substance Painter to make the material. It is worth noting that the normals baked in Marmoset Toolbag 3 and Maya use Opengl mode in Substance Painter, and the normals baked in 3ds Max use DirectX mode. After successfully importing, bake the rest of the textures in the texture set-baking model textures.Wall material basic processFirst of all, we make the natural color of the material, and the natural color layer can add filters appropriately to increase the details.!Behind-the-Scenes-3D-Game-Scene 27Add a dark color and use the Dirt generator. Partially unsatisfactory add a drawing layer to fix it. Add bright colors and color variations to create the approximate effect of wall decay. Here, it is mainly modified by hand-drawn layers. Continue adding color changes and roughness changes. Try to be as close to real effects as possible.Finally, you can add an adjustment layer to increase the brightness. The material made in Substance Painter should be imported into Marmoset Toolbag 3 and the brightness will be a bit lower than that seen in Substance Painter. The wall material production is complete.!Behind-the-Scenes-3D-Game-Scene 28And because the furniture in the scene should reflect the old feeling, the overall color is grayish and dark. The damage and abrasion are to reflect the original color of the wood, so the color saturation will be higher than the surface color.!Behind-the-Scenes-3D-Game-Scene 29 3. RenderingFinally, before importing into Marmoset Toolbag 3, you need to set up the lighting, the main light establishes the main light, and the auxiliary light supplements the light source to maintain the brightness of the picture. And to turn on high DPI and oversampling, turn on GI global illumination and AO environment occlusion.!Behind-the-Scenes-3D-Game-Scene 30The explanation of the production process of a 3D game scene is over. We hope this sharing will help you. Fox Renderfarm is an excellent CPU&GPU cloud render farm, so if you need to find a render farm, why not try Fox Renderfarm, which is offering a $25 trial for new users.Source: Thepoly
How To Rebuild Avatar With Arnold For Maya
Arnold for Maya
In 2009, a sci-fi film Avatar swept the world. This film won a lot of honors, but as a CG enthusiast, the greater fun is still exploring the production process of this film. In Avatar, many characters and scenes are made using Maya. As the leading cloud rendering service provider, Fox Renderfarm will introduce the Avatar as a case by Arnold and Maya to introduce the software. Part 1. Collection of materials Material collection is an important step, and the more time you spend collecting material, the less late errors will be. When making the Avatar model, I used the web to collect a lot of real material and video reference. You can add some of your own understanding during the production process. You can also try different brush strokes when post-production in ZBrush, and finally unify the whole character. Here are some of the materials I collected. Part 2. Maya basic modelUse Maya's own box as the basic model, first adjust the general proportion, and then start from the large-sized model parts, so that you can grasp the overall feeling of the character in a relatively short time, and easily modify the scale. As far as possible, the wiring should be as clean as possible. It is not necessary to describe too much detail. In particular, pay attention to the structural turning of the head to facilitate engraving later. Step 1: This role, gives me the feeling is a combination of feline and human face, the upper part of the face is a lion, the lower part is a human. I decided to put more effort into her lower half of the face and tried to understand the upper half of the cat's face. After analyzing these things, we can grab some of her characteristics to start modeling. I made a simple model, this time there are very few lines, it is very convenient for you to adjust the feeling. At this time, the proportion and position of the character's lower jaw and facial features were fixed. Step 2: Add one line while adjusting and perform local detail processing. Eye, eyebrow and cheekbones, here are the low mold and final wiring diagram. Part 3. Adding ZBrush DetailsAccording to the previous reference to determine some of the details of the role structure, subdivision in ZBrush, improve the number of faces of the model to add some details to the model. For example, pores, texture of the lips, etc. Step 1: First perform Maya's cleanup to check if there are more than four sides. Export the obj model without problems. Step 2: Import ZBrush to add details. Use a few skin brushes. Detail breakdown and detail addition. Part 4. Mapping the TextureBecause there is already a film and television as a reference, the texture is closer to the content of the film. Here are some of the material I collected. You need to make sure the uv is correct before drawing the texture. I am using the UVLayout plugin to split the model UV. Pay attention to the position of the tangent at the time of splitting, try to put it in the place where it can't be seen, so as to avoid the seam problem. The mapping of the texture here is made by combining Mari and ps. In order to quickly grasp the process of drawing textures using mudbox here. These are the uv splits using plugins. It's worth noting that sometimes splitting out is not ideal and needs to be re-edited in the Mayauv editor. The overlapping parts in the red part of the figure can be adjusted in the uv editor. The final result is as follows. After the UV editing is done, it is necessary to draw the texture and draw it here using the mudbox.Firstly, subdivide the model and then export obj. The second is to open the mudbox and import the model. Select a brush. The shader looks at your personal habits and can switch between viewing highlights and non-highlights. Select the brush and click New Layer on the model to select the map size and format as needed.I am here to choose 4096*4096 size for clarity. And named as the background color, in order to put the background color on the model, to prevent the back when painting the map. The new layer adds the pattern, which can be adjusted in conjunction with the layer blending mode. To achieve the right results. Generate textures and export them after making multiple adjustments. And add textures in ps. And the root layer is created to generate the corresponding 3s highlights and bumps. Part 5. RenderingLight setting: The first step, we basically use the most basic three-point lighting principle to first adjust the intensity of light to achieve the required intensity. Note that this is the arnold renderer that is utilized, so the default light is attenuated with light. The lighting test of the advanced model (the model without the map) pays attention to the contrast of the cool and warm of the light.The three-point lighting is generally the primary light source auxiliary light and contour light, pay attention to the contrast between the main light source and the contour light. There is also an application with skydemo light to simulate the surrounding environment. Setting of the shader ball: In order to better express its texture and skin characteristics, we will use the corresponding skin material.The first step: Since the texture has been drawn before, the respective skin layers whose inherent color is blue are also adjusted according to the inherent color. Connect all the textures to the corresponding properties of the shader and adjust the parameters. Here, five textures are connected to the skin's three-layer highlight and normal map. Then adjust and test the lights. Render channel output: Render the corresponding channel, which is more convenient to adjust later. They are id, normal, highlight, ao, sss, etc. Channel synthesis: The rendered layer is synthesized in ps, the ao channel is synthesized by the method of the film stacking, and the highlight channel is synthesized by the screen method. The normal channel can be synthesized in nuke to re-adjust the light. It is possible to directly adjust the eyelashes and adjust the background lighting effects and color in the ps. Adjust the desired effect with the final adjustment. That's all there is to explain about the making of Avatar, we hope you've been inspired. If you are looking for a render farm, why not try the fast and TPN-accredited render farm, Fox Renderfarm, who offers a $25 trial.
How to Quickly Create an Object ID For Arnold in Maya
When a friend is working on a project in the company, he has a problem. There are four or five characters of the same material in the scene. In order to facilitate adjustment, each character needs to be distinguished by a different ID. Each of the characters has its own materials and displacements, so let Fox Renderfarm, the best CPU & GPU cloud rendering service provider, tell us how to quickly create object IDs and distinguish roles of the same material.To create Arnold's object ID in Maya, you need to assign the material ball separately. If you consider the Displacement, we need to manually connect the displacement to the SG node of the ID’s material ball. Below are the steps of how to quickly assign an object ID:1. Switch the Arnold Translator property under the Arnold menu in the Object Attribute to Mesh Light. 2. Change color in R, G, B value you need.Exposure changed to 20, considering the brightness of self-illumination, you can increase it.3. Check Light Visible.4. Remove the Cast Shadows’ hook (do not let it produce shadow)5. Change the parameters such as Diffuse, Specular, sss, Indirect, and Volume to 0.Everyone knows that this is the self-illuminating property of the object, so first we have to let the object show its intrinsic color, all need to check Light Visible.Secondly, since it is self-illuminating, it will definitely affect the surrounding environment, so we need to turn off the self-illuminating Diffuse, Specular, sss, Indirect, Volume and other attributes, while not letting it produce shadows, remove the Cast Shadows hook.This method also fully considers the displacement, Normal and Bump. (This method may not be used in the new version of Arnold and layering with Render Setup. The new version of Aronld has a crypto method for distinguishing IDs.)SummaryThat's all the solutions that Fox Renderfarm has brought to you. We hope you were able to create the object ID for Arnold in Maya successfully. As an excellent cloud render farm, Fox Renderfarm will continue to bring the latest and most complete information to 3D artists.
Maya Tutorials: Production Process of 3D Artwork Batman(2)
Maya render farm
Armor modelling When making the armor model, it needs to pay attention to some places. Adding two more lines at the edge, especially the corner, so that after smoothing, it will achieve a better final effect.!Maya Tutorial Production Process of 3D Artwork Batman-6The heads of the characters are all done in ZBrush, which can sculpt out tiny details. Its delicate brush can easily shape skin details such as wrinkles, hair strands, pimples, freckles, etc., including the bump models and textures of these tiny details. ZBrush can not only easily model the shapes and textures of various creatures, but also export these complex details into Displacement and normal maps. There is a principle to follow when carving objects: from simple to complex, from whole to part.When drawing with a brush, I use move brushes, standard brushes and clay brushes. The move brush is used to adjust the overall head shape, the standard brush is used to adjust the shape of the facial muscles, and the clay brush is used to shape large areas. I prefer to use the Layers function in ZBrush when drawing the model. It can record the details of the painting very well. When you change the details of a certain layer of skin, it will not affect the details of other layers. Strength of each layer can also be adjusted according to the final effect of the model. Three brushes !Maya Tutorial Production Process of 3D Artwork Batman-7!Maya Tutorial Production Process of 3D Artwork Batman-8When sculpting a character's face, you can first sculpt it in ZBRUSH, draw the texture and then perform the rendering test. If there is any problem, you can directly adjust it in ZBRUSH. Note that when making this adjustment, you can't make too many changes, otherwise the texture may change. Because this is just a personal project, there are no restrictions on the use of textures, so in order to show more details of the skin surface, I try to use 4K textures.!Maya Tutorial Production Process of 3D Artwork Batman-9 UVI usually use Unfold3D to make the UV of the model. Its UV splitting function is easy to use and the speed is fast. However, the character models of this project are all split UVS among Maya. The face of the model uses Maya's Cylindrical Mapping tool. Cylindrical Mapping is convenient for creating UVs on the faces of the characters.!Maya Tutorial Production Process of 3D Artwork Batman-11!Maya Tutorial Production Process of 3D Artwork Batman-12!Maya Tutorial Production Process of 3D Artwork Batman-10 Texturing and renderingIn terms of the texture of Batman's armor, I want to be more modern, so I didn't make the pictures very old, and there was almost no hand-painted texture. The main reason was to modify some realistic materials.The hair is made using Maya’s Shave plug-in. In order to make the hair fuller, I added several layers of hair, because a layer of hair is difficult to cover everything, like a hairdresser, slowly comb until you are satisfied with the effect.!Maya Tutorial Production Process of 3D Artwork Batman-13!Maya Tutorial Production Process of 3D Artwork Batman-14 The lighting is a combination of global light and three-point light sourceThe three-point light sources include the main light, auxiliary light, and backlight. I mostly use area light and parallel light for lighting. The basic method is that the brightness of the main light is 3 to 5 times that of the auxiliary light, and it slowly transitions from warm light to cold light.!Maya Tutorial Production Process of 3D Artwork Batman-15The rendered image was completed in Photoshop. The visual effects of the snow were done with Maya particles, and the motion blur was turned on for more realism.Final effect:!Maya Tutorial Production Process of 3D Artwork Batman-16
Maya Tutorials: Production Process of 3D Artwork Batman(1)
Maya render farm
CG character artist Nealxia shared his "Batman" project and explained in detail the production process of models, UVs, textures, renderings, etc.. Your TPN cloud rendering service provider, Fox Renderfarm hopes these experiences can be helpful to you. IntroductionBatman is a superhero under DC Comics, and in my heart, he has always been a shining image representative who grew up with me. The first time I knew Batman was the Batman game. I was immediately attracted by his mysterious, cold, dark temperament. I still like this role very much now, and I always look forward to the opportunity to do memorable work for my idol. Finally, I finished this work in my spare time last year, I hope you like it. ReferencesBefore I started, I collected a lot of material about Batman. The styles of the picture materials are both realistic and cartoon. In the end, I decided to use Nolan’s film "Batman: The Dark Knight" as the model since I really like this movie.!Maya Tutorial Production Process of 3D Artwork Batman-2 Modelling:After determining the appearance of Batman, we must determine a basic model. I found one from previous projects as a basic model. If it’s too time-consuming to make from scratch, the best way is to use the resources at hand to apply what is suitable, and do it yourself if it’s not a proper one. Displacement pump or normal can be used in the production process to show the details of the model.The process of making Batman armor is done in Maya. After determining the approximate shape, the armor is added to the character model. Building these hard armor models in Maya is quite quick and convenient: first, create a plane, and then continue to extrude the edges of the plane model with the Extract Edge command, and continue to cut until you achieve the effect you want.!Maya Tutorial Production Process of 3D Artwork Batman-4!Maya Tutorial Production Process of 3D Artwork Batman-3
"Coffin Dance" Produced by Peru Animation Studio According to Ghana’s Dancing Pallbearers(2)
V-Ray for Maya
The TPN-Accredited Maya render farm will still share the production experiences of the CG artwork "Coffin Dance" and "Cookie Cat" with you. Hope that helps you.How about other artworks created by your studio?Marsha Pavlich: "Cookie Cat" is also a social short film with a similar purpose to "Coffin Dance". We hope to produce eye-catching animations to attract more people's curiosity on social media. So I thought of the character created in the past-cat biscuit, if I use it to imitate human actions, it must be very interesting. After that, we chose to reproduce the most popular scene in the classic movie "Flash Dance" in the 1980s-the dancer starring Jennifer Bells, dancing with water while stretching out the chair. So we wrote a short story for the film, let the cat biscuit go through the sweets production line, and sprinkle chocolate and dragees to make it look more delicious.The animation is mainly produced using software such as Maya, After Effects, Substance Painter, Phoenix FD, and V-Ray. The biggest challenge is mainly the fluid simulation of chocolate. In order to make the flow of the chocolate natural and at the same time look delicious. We tested it back and forth several times. In addition, we want to make the behavior at each stage appear organized and tell a story smoothly. Just like the first cat biscuit is topped with chocolate, it can't reach the second stage. The scene still has chocolate sauce. So we cleverly used the characteristics of the conveyor belt to solve this problem, so that the picture looks like the character is leading to the next stage and let the things leftover from the previous stage disappear. Another important point is music. We chose a classic and interesting singing style. After all, the rhythm of the music will affect the action and speed of the character, so we must first confirm the style of music.!Cookie Cat ClayCan you share with us your production experiences?Marsha Pavlich: Every project can always bring us new inspirations or learn new technologies. For example, in "Coffin Dance", in order to create a cyclical character dynamic similar to that in the hit movie, we tried many new techniques to make the characters dance in their respective positions to create a perfect loopit animation. In addition, different ideas were created in cooperation with Studio Uku. We shared different views and knowledge in the process learned from each other and inspired each other. This experience is great!Where did your inspiration come from? Marsha Pavlich: In the studio, we want to create stories or animations whenever we have the opportunity. The inspiration is based on personal experience, favorite animations or movies, special days, and even some factors of Internet popularity. For example, we created a simple animated story on the eve of Valentine's Day and released it on the day of the show. At that time, the cat Cupid, who was different from the cute image, was designed with a bit of rebellious and rogue character, and the story developed in an interesting direction.!Cookie Cat ModelingCould you share your creative skills with us?Marsha Pavlich: - Only exaggerated actions can show the cartoon style. The most important key to making cartoon style is the "exaggerated" character dynamics, which is also an interesting part of the animation. After all, animated characters are not limited by the physical rules of the real world, so as long as the movements are natural, the audience will pay. Therefore, when creating, you can ask yourself if you can make the character's actions more exaggerated to show your style.- Extract creative nutrients in life All-natural characters are inspired by real life. The best way is to observe in life and begin to pay attention to minor movements and details that are not normally found, such as raised eyebrows or bent fingers. You can also search for references on the Internet, or shoot videos to watch your actions.Could you share with us the CG industry in Peru?Marsha Pavlich: Peru’s animation industry is booming and has gradually become one of the competitive industries. Many large-scale projects have been made public, such as animated films, albums, etc., and some are in progress. However, due to the impact of the epidemic, the animation industry has also been affected to a certain extent. It is just that our country has gotten rid of the worst moment. I believe that Peru's powerful creative energy can attract the attention of the world.Would you share with us your next step?Marsha Pavlich: We hope to become one of the most important local animation studios and show our creative strength. Therefore, we set our goal on the development of original animation and look forward to attracting young people through films, albums, or short films.
Maya Tutorials: Game Props Modeling
Maya render farm
Fox Renderfarm, a leading cloud rendering service provider in the CG industry, will share with you the game props model produced by Maya. In this Maya tutorial, we will introduce how to create a game-style 3D model based on conceptual design drawings, from ZBrush carving to high poly and low poly UV texture production.The following is a brief description of the process of making 3D models of games. I hope that you can have some understanding of the models used in games.!Maya Tutorials Game Props Modeling ConceptBefore making a model, there are usually some conceptual drawings as reference for making. In this case, you can directly put the reference drawing in the production software Maya as a reference. ModelingBefore importing into ZBrush for sculpting, you can first do some preparation work in Maya. If the model is relatively simple, such as stone, tree trunk, floor tiles, etc., they are relatively simple. You can use ZBrush to sculpt High Poly directly without making a Low Poly model. If the model is more complex, such as a biological model (animal or the like), you can make a Low Poly export OBJ file in Maya and sculpt it in ZBrush.!Maya Tutorials Game Props Modeling ZBrushImport the low poly model into ZBrush for sculpting. From Blocking, make sure that the scale is appropriate. The most important thing is that the model does not deviate from the conceptual diagram. It is necessary to determine the overall ratio first, and then it is the part of some accessories, and finally the detail part. This process only uses the basic brush.!Maya Tutorials Game Props Modeling RetopoThe number of model faces sculpted by ZBrush is very high, which may be as high as hundreds of thousands of faces, or even millions. Such models cannot be used in-game engines. Therefore, the high poly model sculpted by ZBrush needs to be topologically a low poly before it can be used in the game engine. The topology process uses a topology software TopoGun, TopoGun can help the model Resurfacing and Maps baking, and the details of the model will not be lost. If you are making a single static map, then the model does not need to rig bones, it is not necessary to make low-poly and Normal map. UVSAfter the topology is completed, it is the job of the UV. Normal maps can be baked after the UV is split. The UV can be organized using some plug-ins included in Maya, or can be produced using other software. You just need to expand them and adjust as needed. Try to be as reasonable as possible.!Maya Tutorials Game Props ModelingSchematic diagram of UV deployment and placement Normal mapBefore bringing the model to Substance Painter, you need to bake the details of high poly onto the developed UV to make the texture. Baking and texture can be made using Substance Painter or Toolbag, especially Substance Painter has many tools and functions, which is very suitable for realistic and cartoon-like texture production.!Maya Tutorials Game Props Modeling!Maya Tutorials Game Props ModelingThese textures represent different information such as Normal map, Specula, Hight, and Gloss. The higher the accuracy of the texture, the better the final display effect of the model.!Maya Tutorials Game Props ModelingImport the baked texture into the most commonly used Substance Painter software to create PBR textures. Some parts can be adjusted using some preset textures, and then output different textures according to different needs.!Maya Tutorials Game Props Modeling!Maya Tutorials Game Props Modeling
Behind The Scenes: Sagittarius(2)
Maya render farm
Scene refinement!Behind The Scenes Sagittarius 14Three main buildings were built according to the position in the original painting, and then the entire background was spliced out with these three buildings. This step is relatively simple.!Behind The Scenes Sagittarius 15Then put the objects made at this stage into the main scene, adjust a few materials, such as metal, leather, SSS materials, give the corresponding model, add an HDR skylight, and test the entire scene. Biological refinement!Behind The Scenes Sagittarius 16Now it's time to break the symmetry between the character's head and the monster's head model. This step needs to enrich the details on the skin, such as adding some wounds or something.!Behind The Scenes Sagittarius 17At this time, you need to split the head UV. Use ZBrush to export the displacement map to view the effect in Maya.!Behind The Scenes Sagittarius 18!Behind The Scenes Sagittarius 19The ZBrush export displacement method is as shown above: first connect the displacement map exported by ZBrush in Maya. You need to open the subdivision level in the object properties. In this way, the object can restore the display effect in ZBrush. LightingWhen the model with refined objects is put into the scene, you can start to adjust the lights. Decrease the intensity of HDR light and use it as a secondary light source, with a film light source as the main light source, and adjust the effect of the light and dark boundary line in the sun with parallel light. The effects at this stage are as follows.!Behind The Scenes Sagittarius 20 Use of character XYZHere you can start to try the smallest level of detail processing on all objects, such as the XYZ replacement texture of the skin, the metal texture and damage traces of the equipment itself, and the skin after the XYZ replacement, as shown below:!Behind The Scenes Sagittarius 21 Equipment refinementThe effect of making detailed equipment:!Behind The Scenes Sagittarius 22!Behind The Scenes Sagittarius 23!Behind The Scenes Sagittarius 24!Behind The Scenes Sagittarius 25!Behind The Scenes Sagittarius 26!Behind The Scenes Sagittarius 27!Behind The Scenes Sagittarius 28 UVThe model is almost finished. Now it ’s time to split the UV. Here, UDIM is used to facilitate textures, a set of UDIM, a set of background, a set of skin, and then the cumbersome UV process. SP texture production!Behind The Scenes Sagittarius 29After splitting the UV, the textures are created. All textures are made in the substance painter. A set of UDIM models are directly imported into the Substance Painter. As long as the options shown in the figure above are checked, they will be automatically recognized. When making textures, it is mainly due to color changes. The color changes should be rich but they cannot cover his original main color. Of course, the roughness changes are also very important. The following picture is the effect of Substance Painter.!Behind The Scenes Sagittarius 30!Behind The Scenes Sagittarius 31The skin needs to be color maps, roughness maps, and rough range maps in the Substance Painter. The color maps are obtained by mapping the real face skin (the same method as XYZ). The roughness can be converted using the previous XYZ three-channel conversion then overlay some random ALPHA textures. The rough range is to control the position of the highlight, and it is hand-drawn. Generally, the forehead, the tip of the nose, and the highlights on the cheeks are more obvious.!Behind The Scenes Sagittarius 32 Maya texture connectionAfter the three pictures are drawn, you can add the rough range in Maya, and paste the roughness below:!Behind The Scenes Sagittarius 33The color map is attached to the arrow in the figure below, and then radius gives a red color (light transmission effect).!Behind The Scenes Sagittarius 34We also need to apply the XYZ displacement and ZBrush-derived displacement that we created earlier to the displacement channel,!Behind The Scenes Sagittarius 35After the first pass of the texture, you can test the rendering, and then you need to adjust it according to the picture effect. Then the monster's head also needs to draw a map. Just like the human head, it needs three pictures of color, roughness and rough range.!Behind The Scenes Sagittarius 36The next step is to replace the wings. The method of wings uses patch stitching. First, make a single feather map in three or four different positions, and then stitch it. What it looks like at this stage,!Behind The Scenes Sagittarius 37 Xgen hair productionLet's start adding hair, XGEN for hair, each part should be separated into different Maya files when making hair, and then integrated into the main scene. Mainly how to import into the main scene, first clean the Maya file of the Xgen hair that is made separately, leaving only the growth bodies and the grown hair, and then directly import the cleaned Maya hair file in the main scene, and the imported file will be prefixed with a name. The prefix cannot be deleted, otherwise an error will occur. RenderingWhen rendering, you need to add AOV channel as a later auxiliary layer.!Behind The Scenes Sagittarius 38The entire scene is divided into the foreground and the background for rendering separately, and the later scenes are stacked together to facilitate the final effect adjustment. Finally, the final picture is rendered,!Behind The Scenes Sagittarius 39White mold,!Behind The Scenes Sagittarius 40And the detail,!Behind The Scenes Sagittarius 41 !Behind The Scenes Sagittarius 42
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