Modeling A Advertising and VFX Film

Modeling A Advertising and VFX Film

Modeling A Advertising and VFX Film

  • USE DEFORMERS: Modelling parts straight and bending them into shape later can allow much faster workflow during creation. Deformers work great for repeating meshes such as weaving, rope, and chain. For example, use a Non-Linear Bend deformer to bend a flat tiled weaving into the shape of a basket, or a Wrap deformer to move detailed meshes when a character pose changes. Sarah Bromley
  • USE LEVELS OF DETAIL (LOD): Create a simplified version of your final mesh by duplicating and removing detail like seams, buttons, and thickness. Use this lower mesh to drive the higher detailed one.
  • LOD: helps when animating dense meshes or moving a detailed mesh without skinning. Wrap deform the high mesh to the low and manipulate that instead. Sarah Bromley
  • CREATE SMOOTHED MESHES FOR SIMULATION PROGRAMS: When simulating, like in Marvelous Designer, small projections such as fingers, eye sockets, nostrils, and toes will often snag simulations. Make a duplicate of your final sculpt, run a DynaMesh on it and smooth out any visible projecting parts. Use this as a sim collision mesh object instead of the detailed sculpt. Sarah Bromley
  • BUILD COMPLEX SHAPES ON A FLAT SURFACE: Use the Quad Draw tool in an orthographic view to play with shapes without worrying about the 3D aspect just yet. Extrude and add depth later. Create a ‘canvas’ by using a Polyplane as a live object. This allows you to model fast over an image plane. Sarah Bromley PLAY AROUND WITH BRUSH ALPHAS A square alpha in brushes sculpts sharp-edged strokes suitable for rock surfaces. Try the Mallet brush in the ZBrush Lightbox. With an aggressive, chunky application, it works well combined with the Planar brush to create rock surfaces and planes. There are many great brushes hidden away in the ZBrush Lightbox but don’t overdo it. Sarah Bromley
  • SAVE AN A-POSE OR T-POSE VERSION OF YOUR CHARACTER: You can use this A-pose model to help with simulation and clothing creation. Sometimes it is much easier to sculpt and sim clothing -ยท on an A-posed character and then wrap or sim them into place for final detail using a blend shape. Sarah Bromley
  • WORK SMART TO ACHIEVE THE DESIRED RESULTS: Making art takes a lot of time and effort. Use custom hotkeys, scripts, and find lazy techniques and automation to basically reduce the number of repetitive tasks without sacrificing quality. Do this and you’ll become a speed demon. Kai Du
  • KEEP LOW-POLY TOPOLOGY CLEAN AND EFFICIENT: For me when I’m baking my game assets, I love to spend time keeping my low poly as clean as possible. This allows for minimal UV distortion for baked texture maps. Saves time and frustration.
  • BUILD UP A MATERIAL REFERENCE FOLDER: Sure we have scan data and smart materials but it’s still always best to look at references as an aim for what you’re trying to achieve. You really don’t want to make your materials look procedural, so go the extra mile to hand paint wear and tear. That extra effort will really show.
  • RESEARCH YOUR SUBJECT MATTER: Go as far as looking at blueprints/ schematics of the life-size model and figure out the mechanics and design. A function always depicts designs, and that is especially true for weapons, props, and product design.

Shortcuts: CTRL + MMB Move selection along its normals, CTRL + SHIFT + H Unhide last selection, SHIFT+< OR> Shrink/grow selection, C+ MMB Slide vertex along an edge. RIGHT-CLICK Context-sensitive menus, USE THE LAYOUT DROPDOWN To select the MODEL layout.

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