Image and Data Visualisation

Head Modelling

So, Head Modelling.  In this post I’ll basically run through my research, process and experimentation with this project. Let’s start at the beginning. My partner is Alistair, and this is both a good and a bad thing. It’s good, because he has a very defined head shape and allows me to see clearly how to form my model. It’s BAD because his head is so well-shaped that it kind of just looks like a default head shape tool. I began working in Maya, as opposed to a sculpting software. This allowed me to get a decent understanding of head topology and shape before going nuts with digital clay. I was following this tutorial:

In the beginning I used my reference images to create the basic shape, and I think that I got the lower facial region to look decent. Then as I got fed up and finished the rest of the scalp and forehead it became a Star Trek character:

Ali

(This version is included within the submission)

It was at this stage I decided I needed to take the head to ZBrush, so I added a neck and exported it as an .obj file. After quickly learning how to basically navigate ZBrush, I started playing around with the head. The results were…interesting:

Blob.png

I even ended up with a version that looked like Voldemort from Harry Potter.

Voldemort

Eventually I got a shape and level of detail that I called finished. Had I more time, I would have liked to add finer detail. I had also lost the “Alistair” in the sculpt, which I tuned up a bit back in Maya.

Sculpt.png

While transferring back to Maya, I knew that I would lose the sculpt detail. I’d been sitting in with Gianni from second year a lot and learning about sculpting and topology from him which is how I found out about Normal Maps. I decided to give it a go using some tutorials:

This was the result of my normal map attempt (below). It looks less flat, but the details are in the wrong places and jumbled so I must have done something wrong. Still, something to play about with over summer.

Nrom

The normal map looked really off, but I could see levels of depth in the skin. This was included in the submission file.

 

Then it was time to start topology. I had seen Gianni do this on his other models and this was my first time getting really hands on with it. I realise I could have used the mesh from my first maya model as the topology on this head but I wanted to re-do it properly. The relax tool became my best friend. I looked up several references for this, and was shown a good example by Becca:

 

Mouth.PNGTopo.PNG

 

Retopo

A progress image

Here you can see the Before and After topology:

 

I didn’t want to try an ear because I was running out of time, a project for another day.

I realise that there are most likely a few problems with this such as (well, the ear or lack there of) and maybe a few poles that could have been avoided. I used reference and advice from Gianni on where to position a lot of the poles that would cause problems for animation.

This was the final result:

*Pic of final render*

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Floating City – Maya Modelling

So I began modelling in Maya, using my initial concept as a base. I wanted to capture the towering perspective of the city, with a sort of blend between Tokyo and New York city, but set in the future. The idea was that instead of building outwards, the city expanded upwards in to a towering spire. This is shown pretty accurately in Dermott’s concept art, inspired by some of James’ sketches.

 

shot-of-people-on-shibuya-crossing-in-city-at-night-calgary-alberta-video-id160230696 (640×360)

I essentially wanted to make this on steroids.

Photo Credit:

http://www.gettyimages.co.uk/detail/video/shot-of-people-on-shibuya-crossing-in-city-at-stock-video-footage/160230696

I started with creating basic blocks in the rough shapes, sizes and positions of the buildings in my concept art. I then was modelling each building separately and importing it in to the main City scene.

Above are the four main assets I used when creating my scene. A few of the background buildings I used to populate the scene were modelled by James, which I had exported before the tragic loss of his first file so at least his effort was not all in vain. I created an advertisement model that I could stretch, resize and flip to populate my scene with that busy Tokyo night-time feeling.

Board

Nearly all of the wire assets in our scenes were modelled by Matthew, which can be found here: https://matthewduddy.wordpress.com/2017/03/03/building-assets/

Cheers wire boy 😉

In the early stages, the scene looked like this:

I felt it looked quite close to my concept art, but it didn’t look busy enough. Compared to Dermott’s scene, it was too clean. I wanted these scenes to blend aesthetically and so I went further in to some detail to mimic Dermott’s. In my scene I only had a total of two area lights. All other lighting was made using the ’emission’ effect on billboards and windows with occasional use of ‘light mesh’. The main skyscraper had a very reflective front surface, and so to show that off more I duplicated some of the other buildings and placed them off camera to reflect in the building. I also added a “Hologram” advertisement that would make the scene look more futuristic, busy and add an element of movement to the scene. I modelled some more buildings, added some advertisements and this was the next set of results:

At this stage, the reflection in the window was showing a lot better than before, and with the addition of some of James’ buildings as well as some more of my own the scene definitely began to look like more a city. I still felt that it was too bright, and so I tweaked a few more of the lights to tone down the toon-ish feeling and made the lambert for the buildings a darker shade of grey. I was initially going to texture the buildings but in the end decided against it because I felt the lights did a well enough job of providing atmosphere and any in-depth texturing would have over-complicated the scene and the file. To contrast the now darker atmosphere I added a lot more bright white polygons to create a chiaroscuro environment of heavily opposite values.

Initially, I was tempted to leave the billboards the colours they were because it had a more abstract effect but in the end decided to change a few of the key ones to actual advertisements to add authenticity and lighting. The ads I chose were

Pocari Sweat – A popular water brand in Japan and other Eastern Asian countries

Pokemon Go – A worldwide phenomenon with Japanese roots

Pocky – A simple snack from Japan that has been commercially successful in the West

Razer – Due to the large fascinating culture of gaming e-sports that is exploding from the Far East.

And finally decided to add my own logo (Locko) in with an Anime character (Because Japan) for some not-so-subtle branding, along with the Japanese Kanji for “Art”.

The final HD Rendered result looked like this:

Render HD 2.png

I made a few adjustments to billboard angles and sizes in order to suit the perspective of the camera a little more and make them more visible.

Locko

I added some cranes looming overhead, modelled by Dermott, to add some more animation in to the scene. This is a view of the scene from an alternative angle:

I also thought the city looked interesting from angles that were flipped upside down:

AltRender2

For the final render, I added some slight movement and rotation on the camera to keep the scene flowing as well as timing it with music. The music was suggested to the group by myself due to the traditional/electronic blend that represents the culture of Nipon so well.

Music Credit: RUDE – Eternal Youth

Here is a link to my scene in the first draft of the final video:

I wanted my shot to last for 10 seconds, so at 24fps it took 240 frames. Each at a respectable render time of 3 minutes per frame, it took a total of 12 hours to render this scene.

Process Breakdown GIF:

output_kztdsr

To see my post on the initial concepts for this piece, click here: Floating City – Initial Idea

To see a portfolio of my assets for this project, click here: Portfolio

To watch the final video including the infographics, click here: Final Video

Credits:

James Goodwin: Research, Modelling

Matthew Duddy: Research, Modelling, Infographics, W I R E S

Dermott Burns: Research, Modelling, Title Card, Team Leader

Ryan Loughran: Modelling, Editing

Floating City – Initial Idea

So the Floating City project has come around, and looking at Jakub’s group’s Rome from last year we have a certain standard to meet. Some of the examples Alec has shown are interesting as some are a lot more abstract than I would have imagined.

We began with brainstorming which City we would choose, as we were a group that wanted to be outside the box so we didn’t want to stick with Belfast. And what’s far away from that box? We were stuck between two different ideas; ancient Mayan civilization (appropriately named) and Tokyo. I liked the idea of Mayans, with large stone idols and Macchu Pichu-esque designs. However after further discussion, the group decided Tokyo would be the best for flashy design as well as statistic gathering.

As soon as we decided this we started with some research. James discovered that the crest of Tokyo looks like this:

Image result for Tokyo Crest

(Kinda looks like a species of Unown [Pokemon] which is also Japanese….hype?)

Image result for Unown

James then had this idea that around the base of our city we could have energy generators laid out in this formation that would represent Tokyo as well as giving our city a power source and some funky looking designs. With this in mind, I decided to do a quick concept sketch:

Tokyo_Concept.png

In this sketch I wanted to capture the different sides of Japan. The Japanese are very in touch with their religion and spiritualism as well as being one of the most technologically advanced civilisations on the planet. I thought this was an interesting juxta-position and tried to replicate it within my drawing with the topside being a rural landscape and the flipside being busy and built-up. After further talks, we decided to just focus on the city area as this was a ‘Floating City’ project.

Shortly after this I decided to look at an environmental concept art walkthrough by Alex Ruiz which came with a specialized set of photoshop brushes. This is the promo image for the download:

Environment Design 3 poster

 

While skipping through the video to get a basic understanding of the process, I picked up a few tricks that allowed me to build the base concept art on which my scene would be built. I started by playing around with the brush kit and seeing what sorts of shapes I could make:

Scribble1

…which then developed in to this:

Bridge.png

…and then finally resulting in something along the lines of this:

Concept.png

 

In the final image I experimented with some photo bashing for texture on the buildings. Normally I’m not comfortable with painting environments, especially non-organic architecture, however I am very pleased with how this turned out. You can see other concept work along the same lines on Dermott’s blog where he gained an obsession with photo bashing that we keep him going about: https://dermottburns.wordpress.com/2017/02/27/concept-work-for-tokyo/

With approval from the rest of the group it was time to begin modelling.