Every asset for this project I made it myself. I didn’t use any resource from Bridge.
▶Compositing
I edit the video in Premier Pro for the final outcome. I think I did good in both Blender and Unreal Engine for this project, especially considering I barely used this two software before.
In this edit, firstly I showed the first character (I name her Regi-bagu), she turned around and saw the whimsical creature (Chibi). She got curious and want to know where it is from. Chibi just show the “hometown” to Regi-bagu the vision from its head. Because I want to show that Chibi is from another dimension, I use Unreal Engine to present a different style in Chibi’s mind.
▶WIP VIDEO
This is the work in process video I made for project 2, showing the whole process of production for this animation.
I mostly use material editor and particle system in Unreal Engine to work on the scene. Because previously I had experience using particle system in other software such as Cinema 4D and Blender, it was not very hard to understand. Also the material editor in Unreal Engine is similar to other software but more powerful in my opinion. I really enjoy the process of learning and work with Unreal Engine, I think I will progress with it in the future study.
This time I didn’t set up the camera to make the video looks like a cinematic. I want the final result to look more interactive and raw, that’s why I only record the screen. I want the unreal part of the work to look different from the previous Blender footage.
I use target to animate the camera in Blender. I create a constraint which makes the camera always points towards a special object(such as an empty target). I set up two empty objects in total. One of them is for rotation, another one is for location.
▶VFX IN BLENDER
Also I use emitter in Blender to add some VFX for the scene. It’s very useful tool, I can use it to create things like smoke, fire etc.
▶NOTES ABOUT DEPTH OF FIELD
F-Stop”: This setting simulates the aperture size of a camera.
“Focus Distance”: This parameter determines the distance at which objects are in focus.
“Max Blur”: This option controls the maximum amount of blur applied to objects that are very close or far away from the focus distance
For the second character, I want to do something whimsical that looks totally not from the world. In this way I can present the connection between two different species.
I made a moodboard first as usual then sketch the character. With the design and moodboard, I have a guide for the next few process(texturing, scuplting etc). I used ZBrush to sculpt the high poly model and then move it to maya to do the retopology and UV. Finally, I set up camera and scene in Blender.
I use accurig for the character rigging. I don’t need a very complicated animation so I want the rigging process to be quick and simple.
▶Asset creation and preparation
Fews things to keep in mind when prepare the asset:
First thing is to set up the correct project scale. Maya has a very small scale compare to unreal engine. Also it is necessary to lower the polygon count for all the asset. Last thing to do is to position the pivot of each mesh nicely and place the mesh in the center of Maya.
Material wise, I used Photoshop and Substance Painter. To save the space on the overall amount of texture input, I use targa format with multiple channels.
Retopology if the process of creating a new and clean topology for a 3D model which allow the mesh to perform in lower polygon count while preserving the overall shape and details. Also with lower polygon is easier to do the UV unwrapping.
I prefer to use Maya for retopology. Normally, I define the major edgy loop and connect them all together. In the end, I use smooth to smooth the topology. Also it is necessary to check if there’s any bad topology in the end.
▶UV and texturing
▶MOODBOARD FOR TEXTURING
I think about crystal when I was texturing the character. I want to have a similar visual on the character.
At this stage, I proceed to refine the features of the character and start with the sculpting of the body.
I did two variations of the character and choose the last one in the end as my final design for this work. I think the first outcome looks too cyberpunk, the second one fits in better with the fantasy background I want to have for this project.
This week I prepared my foliage cards in Maya. First I create a new plan and apply the texture. Then I separate each foliage and position the plan. Also I need to duplicate each card to create a larger quantity of foliage so they appear more appealing.
▶Fern
▶Flower
▶Branch
▶Character
Blocking face
I start blocking the feature of this character’s face at this stage. Like foliage sculpting, I use brushes like Clay Buildup mostly to build the major forms of the feature. Because I want to make a stylized character, it is necessary for me to focus on the balance of the overall proportions.
For this project, I want to every assests myself. which means I want to go through every process…
Notes on creating rock in ZBrush:
First use clip curve to shape a cube into rock. One of the golden rules of sculpting rocks is to make sure that there is a sense of non-uniformaity.
▶Foliage reference list:
bristlecone pine southern live oak
•Some Shrubs for Shade. Boxwoods. Yews. Rhododendrons. …
•Some Perennials for Shade. Lady’s Mantle. Astilbe. Ligularia. …
•Bulbs to Plant in Shade. Daffodils. Snowdrops. Crocus.
•Ground Covers for Heavy Shade. Ajuga or Bugle Weed. Silver or Yellow Archangel
REFERENCE:
▶Sculpting in ZBrush
I sculpted every foliage asset in Zbrush. For more complicated shape like branches I start by creating a base mesh using a zsphere tools. For small asset such as leaf and flower I usually star with a sphere or a cube. Because I have a reference it work as a guide for me during the sculpting process. Then I use sculpting brushes like Clay Buildup, Move and Dam Standard shape the base mesh and add more detail, giving the mesh the desired look.
Baking is the process where the information from a high poly mesh is transferred to a lower poly mesh. In this way, it saves a lot resources when place the mesh in the engine. Normally, there 4 types of maps being bakes. There are normal map, ambient occlusion map, roughness map and colour map. Normal map captures the high resolution details which allow the low poly model to appear with more detail without high polygon counts. Ambient occlusion maps are used to simulate the shadowing effects caused by indirect lighting.
Baking in 3D refers to a process where the information from one object or surface is transferred or “baked” onto another object or surface. It involves capturing various attributes such as colors, textures, lighting, or other details from a high-resolution object and transferring them onto a low-resolution object or a texture map.
For this project, I decided to make a short demo in different render engines(such as redshift/unreal engine/cycle) around an original worldview of my own. The story revolves around the encounter between two different creatures in fantasy world. I want to show the moment when they connect to each other. That is why I name it Sincerely for You.
▶Storyboard:
This project is not going to be too much character animation. It is more about building an atmosphere, so I will probably focus more on the special effect for the environment. I will still rig the character because I want the character to do a suitable pose for the set.
▶Research:
For the art style, I get my inspiration from The Southern Reach Trilogy. The story has a very detailed description of the decay of man-made architecture and the growth of nature. It is very close to the atmosphere I want.
▶Milestones:
What are the challenges?
This is the first time I’m going to rig a character and render the project in a new engine such as redshift/unreal engine/cycle(blender), and there are a lot of new things to learn.
What to do next?
Next, I will finish sculpting the model and do the retopology and texture.
Also, I will process the environment following the layout I have. I need to do around the process as I do for the character, which is to sculpt first and then bake it for the texture. Then finally, move it to the engine to render.
