Tag Archive for '3d'

Moddler & Rapid Prototyping


So, John Vegher, founder of Moddler (among other things), has generously offered to rapid prototype the props for our 1:24 scale outdoor sets.  Above is our first prop, a bench which we modeled in Maya, detailed in ZBrush and then sent on to Moddler.  Below is a turntable of the ZBrush model.

The idea is to ship the props over here and paint them before they integrate into the sets.  We have about a month left before the outdoor shoot, so we’ll be spending some time putting all of the parts together.

Clearly from the pictures, the results are fantastic.  This process saves us a tremendous amount of time building the props at the small scale, and also, having to re-build versions of the props in 3D in order to match to.  More photos below.

Color, texture, and a making of



At the top is a version of the test with some color/texture, and simple shaders.  I’m also posting a “Making-of” so people can follow some of the integration process.  These are both roughs – there are comp, animation, and render errors, but are nonetheless interesting for us.

While I think the test got the crew used to the general pipeline/workflow, aesthestically we’re still a bit off.  At the moment, this hits closer to something from Monster House, or Polar Express.  I’d like to move more towards stop-motion, and we hope to get in some animation studies over the next few weeks, spending time with some shots from the fantastic Madame Tutli-Putli.

At the moment, the textures are mostly without detail (both in the diffuse and specular), so we’ll be working to increase some of the sophistication.  We might also spend some time with the shaders, although I’m not yet convinced we need anything more than a blinn, some fresnel, and hi-detail textures.

3Delight & rendering


A more complete version of this sequence is here.

A lot of things have happened in the last month – one of which is that we’ve been sponsored by DNAsoft, developers of the renderman based 3Delight renderer. The character in the rough test above is rendered with 3Delight, which we – myself, Aske Dørge, and Nicolai Slothuus – spent about a week and some working with.  I’ve included some images below on the various stages of the process.  We took extensive set measurements to determine the camera position (although I think we’ll be trying out some image based modeling methods for the next test), shot chrome spheres, matte balls, and foreground bluescreen elements.  As always, there’s a fair bit of compositing in Shake as well as some sound mixing in Final Cut Pro.  Most of the sounds in this clip are downloaded from the great online resource freesound.org.

For the renders, we used 3Delight’s point cloud rendering methods – which meant that at small HD resolution, we could output our character with motion blur, displacements, depth-of-field, and occlusion (along with a range of other secondary passes – or arbitrary output variables) at under 1 minute a frame.  Our next test is to try and come up with a global illumination process, using our set survey data, and light emitting surfaces baked into a point cloud, and rendered using some custom shaders.  One of the great features with renderman based renderers is the simple shading language (RSL) which, in 3Delight, we can access through the Maya interface.  This means we can test and write custom shaders in the interface, before converting them to standard .sl files, which we then compile through 3Delight’s shader compile utility.

For the animation pipeline, we decided to rely on Maya’s geometry cache features, which allow us to isolate the animation and lighting pipelines from each other.  This means that the lighting scene references only the models (no rigs) and the layout, and the geometry cache imports all of the animation information.  As the animation updates, so do the lighting scenes.

We also implemented some custom spotlights, with falloff regions, and on-screen visualisation.  For this test, since we used spotlights to mimic all of our direct and indirect illumination, the falloff regions gave us more granular control over attenuation.  At some point, I may look into a linear workflow, at which point Maya’s standard decay types might be more useful (or not).

Concepting heads


I’m trying to work out a visual vocabulary for the level of caricature in the film.  This is one of the tests – above is the turn around of the high detail version, and below are some shots of variations.  One of the concepts in the film is that the characters are imprinted with some of their personal histories – kind of like scars.  It’s not clear here, but I’ll keep posting examples of what that means in later posts.  These examples are also a bit conservative – I’ll be trying to push a bit more in the next couple of iterations.

Again, these are done with ZBrush.

Bang & Olufsen commercial


This is a recent HD commercial I directed for Bang & Olufsen, produced at Mark Film.  Thanks to the great team I worked with: Tore Rex, Jesper Bentzen, Jimmy Levinsky, our producer Claus Toksvig, and the really fantastic guys at Mark Film.  Thanks also to Lawrence Marvit, who worked on the matte paintings and background design.  We had about two actual weeks of shot production with the full crew, and some additional time for pre-production, asset building, sound and finishing with a much smaller crew.

I got to try out a number of production ideas on this spot – which proved to be a good test bed for the film workflow.  I also locked the storyboards well before the crew came on board, and we relied heavily on the 2d animatic to plan out the schedule, focusing our time on only what the camera would see.

At some point I’ll try to put up a “making of” and some additional images.

Reclining man: ZBrush test


This is a test for some of my process ideas.  I’ve gotten recently back into using ZBrush, and I thought I’d see how far I could get starting from just a polygonal cube – above is the result of about a day and a half of working with the mesh.  In production, I’d expect to have a posed (possibly) higher resolution base mesh, with a nicer topological layout, but this was an exercise in figuring out how much mesh resolution I really needed to start with.

I expect that the majority of secondary characters in the film will have very little movement on a shot by shot basis, and rather than fully rigging/modeling/texturing these characters, I expect to work predominantly from the camera’s perspective.  It’s an idea I tried out on a recent commercial project I directed and supervised (which at some point I’ll put up here).  The storyboards and 2d animatic were locked down (after many revisions) well before production, which allowed us to really economize the production time on only what we would see.

Below are some progression shots.

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