fifty3dragons: Aww… damn-it! It does show too much, don’t it.
I was affraid that someone might pick that up… well, that’s one more glitch to my “obvious to do’s” -list.
It was all too simple rig for the star-plate anyway, I guess I tried to sneak it in and hope for the best - didn’t get away with it this time
fifty3dragons: Aww… damn-it! It does show too much, don’t it.
hehe, I know what you mean. Some days I feel like I’m trying to sneak stuff in every other shot. Seriously though, it’s fairly minor, and I had been letting it loop over and over again when I picked up on it. As a quick shot in the course of the whole trailer, I doubt it’ll really be noticeable.
Software: 3ds max,Photoshop
Quick reference update:
This is a still-image mattepainting workflow chart for 160-200 frame animation sequence to be used in the trailer.
(Since the last workflow image paid off for some helpfull ideas, maybe this one will as well.)
This shot is going to come out really nice Cofi! Really! The way you’re dealing with waves is great. The only little suggestion we could post is about color saturation, that maybe could be a little bit lowered, and the contrast of the terrain wich seems to be a little high. little details of course.
We love the breakdown you posted. Things like this really help understanding a workflow and surely share knowledge, so thanks a lot. :buttrock:
Wow, another great breakdown! I already used your previous one for helping with the workflow on a shot I was working on this week. Thanks again for taking the time to put these together. The shot looks wonderful!
I had a couple of questions:
Are the Texture and Highlight/Specular layers for the water stock textures or did you hand paint them specifically for this shot? Mostly just curious. I haven’t done a lot of texturing and so I’m quite interested in the whole process.
For the ground texturing, I’m curious about having the highlight, shadows, and texture layers all on spearate layers. I assume that’s to give more control over each aspect, but would it work just as well just to have them all on seaprate layers in, say, Photoshop or Painter, and then import them all as one simgle image, or are there other things you do with those separate layers (i.e. bump maps with the shadows, etc)?
My last question is will this be a still image or will there be some animation of the water, etc, as well?
Great work, and again a great breakdown of your workflow! Very useful!
fifty3dragons: Good to hear, that those breakdowns are really working.
I guess I’ll be posting more of them, when a nother tight spot comes along, that requires trickery… or just something.
The textures are mainly photoshopped from various different reference materials or images and/or photos from my own library or from web.
I usually group together those shots where I use similar types of materials. I create a main texture plate (4000x4000) with all textures for one group. It’s pretty straight forward archiveing form that point on so you don’t get mixed with your plates.
From one general textureplate you can get as many specific textures as you like without having to do all the texturing from scratch each time + the unwrapping becomes much more pleasurable experience.
The different layers have multiple purposes; on one hand they conserve much needed resources from my not so powerfull machine and they speed up tremendously the rendering and shot producing time.
The other point is the possibility of more accurate post production in color correction and depth perception and what ever comes to mind.
Then there is the animation and tweaking of it; you can easily take a photoshopped image apart to color and effect layers and animate them with different aspects of light behaviour.
In the case of my shot, yea, I’ll be animating the ripples, waves and washes, but I’ll leave the color-layer of the ocean untouched 'cause from that distance you wont be able to see any distorsions from the bottom.
- …whew, did that clear anything…? *
ThE-ShiFT: Thanx a bunch, guys and gals! I’ll tweak the color details down when I get this scene setup into AE. I tend to over do all the contrasts and colors in PS and then notice it all only after the scene is done.
BTW: your own breakdown is far more advanced and innovative than these little trickerys.
I think we ought to aim to your level of expertiece on things.
OZ: Thanx, dude! Same to you!
Software: 3ds max,mental ray
sigh Okay, so this is how far I’ve managed to get Patricia in few days since I scrapped two older versions (I just didn’t seem to make them work somehow - don’t know why)
This I made from the scraps of those two and so far everything is working quite nicely.
I have some troublesome issues left to battle out with the proportions to fit the readymade animation rig into this version of the model and the second set of clothing.
Beautiful model. Too bad about the earlier versions, but your hard work and persistence has definitely paid off. She’s very captivating.
Thanks too for that detailed explanation in response to my questions. I was especially interested about your comment that you put all similar textures into one large file. I hadn’t thought of that, but I can see the benefit of such an approach.
Just a few days left now. It’s looking great. Keep at it!
Wow! Pretty girl! Nice model!
I have some problems with Patricias model…
ittrium: Thanx, man! I kinda like her too… and I guess I’d better like her since I used my girlfriends face as direct reference to the models features - outcome is pretty close.
Sorry to hear you got problems with your character. Anything I might do to help you out?
fifty3dragons: Thank you! I had a little pressure to make it work, since it was my first completely self-made character. I’ve done plenty of editings and modifications but never a straight out of the scratch - well none that I’d say could claim full credit for, but she is a different story all together. I’m glad you like her.
Onto the overal trailer it looks like I might haveto do some damage control and hope that won’t be with the cost of the story.
You have pretty girlfriend
I wait with impatience animated model!
I need only a lot of time for long-year practice in character modeling in Maya
Software: After Effects
Here’s the finalized soundtrack.
Still missing one crucial render… and I can’t make my machine move any faster. It’s definately gonna be a race against time … like Jay says in the track - " before time runs out "
I wouldn’t like to use the prerenders for the final competition version, but if it comes to that - so be it.
Can’t wait to see it done. Any tip on recording voice. How the h-ck did u get that DEEP sound on the voice. We have been struggeling with our voice track and had to leave it, it works but could have been done much better. So please share. Great voice to, give him a hug
Good luck, see you in a couple of hours. Now sleep.
It sounds like a basic pitchshift but very slight. When you pitch things too much, they start to sound obvious, which is always a problem. If it is a pitch shift, which I think it is, compared with the same voice doing the other roles, it’s pretty well used. (I also hear some reverb on the pitchshifted narration voice, strangely…)
Peter, if your original recordings didn’t have enough depth in the bass you can EQ it up, but you need a decent mike, too. There are also other plugins that add in more of the frequencies lost when pitchshifting. Those can come in handy.
coolkonrad: I’m glad you liked the soundtrack I’ll relay your message to the sound masters.
I’m not yet so fluent with the “sound-language” that I could talk you through it…
but it goes alot along the line that khu explained - and yea there is a reverb present in all of them
Shigeki-san is useing very professional looking and sounding basement studio, which provides good and clean soundbase i.e. studio has a “quiet-room” - there’s no unwanted interferences when recording.
I guess I posted this once already, but this is the setup what the guys are useing:
-Various acustic/electric/virtual instruments
All these + a really good mike goes along way for glory.
(…Still waiting for the machine to spit my precious scene out…)
Cofi, All very cool. I’m waiting very anxiously for all the final renders to come in. I’m actually a huge fan of the book and have been for years, and I only found the forum from Greg Bear’s site. As it turns out I do sound design and music (mostly for videogames) and I wish I had a chance to contribute to some of these projects because they are absolutely inspiring. If in the future you do more of these things and need anything in the audio arena, let me know. I love to work on very inspiring projects.
Again, looking forward to the final movies, (go CPUs, go!)
Software: 3ds max,After Effects,combustion,mental ray,Photoshop
Finally here’s my entry for the contest… not a moment too soon… I hope
khu: Thanx, bro! I’ll keep your special skills in mind - the videogame genre is kind of close to my intrests as well.
Thank you everyone for boosting me through this… It has been certainly very intresting indeed.
Good luck to every challenger!
Time to rest… I am not satisfied by my trailer, but i like feeling of deadline