Frames Of A Neckling, Timur Baysal (3D)

#41

[mortal kombat ending voice] Flawless Victory! [/mkev]

#42

mann mann mann du musst uns aber auch immer wieder zeigen wo der Hammer hängt :slight_smile:

echt geil gemacht:applause:

#43

Ok, here’s the bit where the modelling noob comes and lowers the tone with their lack of knowledge! :blush:

I was always under the impression that Displacement maps still required bugger-loads of mesh to be able to describe all that detail. I’ve only ever looked briefly at Displacements within 3ds Max and have never seen Z-Brush at work (nor Messiah for that matter).

So where the hell does all that detail come from? I’ve clearly totally mis-understood the logic (and potential) behind this process.

#44

Its called sub-pixel displacement. The tesselation can be determined by resolution, proximity to the camera, etc. and subdivided multiple times per pixel allowing for extreme amounts of detail while having a minimal performance hit, versus the old way of just displacing a tesselated surface. (this is of course a really crappy explanation. I don’t actually KNOW what they are, I couldn’t implement them or anything like that in a renderer)

This is fantastic! But it seems far too minimal to actually animate with. With such a light mesh, and render-time only feedback, the animator would be unable to see what he’s doing, unless a lower poly cage was set up, mirroring the displacement blendshapes. So how did you get around that Taron? Did you just animate, render, tweak the animation, and so on, or do you have a system for feedback so you can tell what you are doing?

#45

he might do that just to make us all cry :slight_smile:
…
man i think i just wet my pants … twice… 3 poly for a ear and you get that with displacements maps :’) :’) so beatufully

#46

the low poly count and displacement render itself is just incredible…but then animating it is just mind blowing…i had to keep replaying it out of disbelief…fantastic and innovative work…
looking forward to finding out a bit more about what youre doing to achieve the animation part…:applause:

#47

I originally saw this at the ZBrush forum. The interaction between the skin and tendons in the neck is awesome. Was that acheived using the new feature in Messiah you mentioned…“TextureDeform”?

#48

Hi Pascal! All is well in montreal?
I’m coming home for Xmas, we should hookup! :slight_smile:

Ok, Back to the topic at hand. I’ll be more specific:

let’s say this character is saying:
“Very nice work!”

Breakdown would be:
V-eh-o-ee N-ah-ss W-uh-k

We end up with roughly 10 shapes.

On a basic shape like “m” it can pass fairly easily, but I find it very hard to see how one would nail down more complex shapes like F,V, L, N which involve the teeth and tongue be placed in very specific shapes.

Considering the video you sent me, if you compare the HIgh to the low poly, you notice that the closed mouth on the high mesh doesn’t coincide with the low poly version.

Animating shapes that consider lower or higher percentages of one shape need to be seen instantly when animating to know if you’ve got it right. For example, most animators will “flip” back and forth between 3 poses to see if the flow of the mouth corners is working correctly. You couldn’t do that with such a low poly character.

Also concidering the nuances between lipsynch poses, even more so on “realistic” characters such as this one, it would be extremely hard to work with a character that cannot give you specific feedback on the fly.

But again, and I must enforce the fact that I do believe this is great work.

I hope this is more clear old friend :thumbsup:

#49

What’s the workflow?

This is what I understand so far:

  1. Create the base mesh in Lightwave.

  2. Paint deformation in Z-Brush.

What about texture coordinates? Are they made in Lightwave before importing it into Z-Brush? What did you use for painting textures? Photoshop, or do you paint textures in Z-Brush? What did you use to render the final image?

#50

Check the thread at the zbrush forums: http://206.145.80.239/zbc/showthread.php?t=022061

#51

yeah… now i’m the one who talk too fast :wink:
k… but im sure that having somewhere pretty renders attached to the morphs of the different phonems could help bypassing this probem…
btw mista lipsink,did you have the chance to animate something on Madagascar?

#52

This is stunning!

If I had four thumbs, they would be all up right now. Are two enough?

Stefano

#53

I’m animating my brains out as we speak… :scream:

#54

Dude… i realy dont know that to say… the modeling looks terribly crap but the result is super outstanding.

  Is this thing animable ?
  Is it possible to make a human face with just a box ?
  Will modeling skilled peoples fall into an end ?
How did you do the eyes ?

How did you do the noze ?
How did you do the ears with only 4 polygons ?

#55

Impressive :thumbsup:
Could we have a look at the bump map?

#56

Wow! Awesome work man! Excellent stuff! :thumbsup:

#57

WOWOWO,What a nice surprise!pretty good! Awesome work!

#58

Yo Taron, model a demon from that same base mesh then morph that old guy into it;).

Oh and maybe you would be kind enough to upload a screenshot of the neck area sans tendon map. Just wondering what it looks like without those texture deforms in it.

Thank!

#59

To make more precise visime, he would only have tp t o detail the mouth shape more,s o instead of 340 polys, he would have 356 polyus. Still a efficient rig.

#60

If you really want to impress us, please show a video of the animated displacements at work. That way, you can really advertise and promote this new software Messiah, and at the same time prove the animated displacements do work and it was not just something you tweaked in the aftermath. We want to see some ‘in betweens’ to see the deformations are reasonable.