For the interior material, I gave the sp normal map material to the brush on the table where the ship was docked and then adjusted the shape of the brush to a screw so that it could be painted to simulate a three-dimensional modelling (but actually a mapping) effect, and so on for the grooves and bumps in the metal plane. Create more smiling but more realistic details such as scratches with a bumpy feel.
So I created these yellow cautionary details on the main objects of the scene, especially the two things that the young boy is not allowed to touch in the episode – the dock of the airship, and the exit door.
Referring to the design in many sci-fi works, I found a point that adds very interesting detail to the metal sci-fi scene: the yellow cordon. Or other similar decorations with bright colours and specific symbolism. The yellow colour distinguishes the different objects in a metal scene very well and suits the mood of the whole scene.
This week we had another unexpected treat in our search for a reference, the display of the airship.
We wanted to make something similar to the hovering transparent display in Iron Man that could be moved and changed in size. Next week we will be exploring how to do this.
The ship passed through the tunnel to the outside world, so next week I will also create materials for this tunnel, which is modelled on the open source website.
Columns (sides replaced with darker colours) Columns and beams differentiated by colour, grey and white (similar to the launch pad), with a colour, a little colour.
The launch pad, the cross is replaced with a yellow colour scheme.
Tunneling, UV and mapping (self-luminous) 2. after all the stuff in the room is done, integrate the resources and put them in maya to package, (simply a light), area light or parallel light
1.Mapping of the scene (to be modified, refine the table and the door a bit, to solve the problem of resolution)
2.differentiate the colour of the beams and handles and so on to dark.
But there is still plenty of room for adjustment to the scene and we met together to discuss this, including the following points:
We discussed the material of the floor, which was originally done as a realistic rusty iron floor, but it was difficult to distinguish it from the most important table in the picture, so we considered a wooden floor and I experimented with it, but it didn’t seem to match the overall atmosphere of the scene and we continued to look for more references. The picture below.
the floor
We again considered whether different lighting would have an effect on the scene. Because of the two walls of the indoor scene, with the luminous material on one side and the window on the other, we needed to see how the light coming in from the outdoor scene would affect the scene, and if it was a reflective metallic material, it would be too affected by the outdoor light to see the inherent colour. I therefore decided to replace most of the material with something similar to metal, but with a reduced reflectivity, by hand painting the reflective mapping to mimic the details of the metal.
I Tried out different kinds of light.
Blue colour scheme.
Yellow light from the right.
The focus in the picture. On the right,This is the wall facing the window, when the sp is changed inside this material will be done with Arnold.
I was responsible for creating the textures for the interior scenes and this week I used unflod3d to expand the UVs and then used Substance painter to create the initial textures.
2. current progress sp doing material
Optimising the door part of the scene by adding a metal depth map, Don gave me good advice to change the door material to a more non-reflective one. I would also like to add more colours to this version of the scene, which is currently on the grey side.
This week’s we made spline. We split the action into sections and changed them one by one from blocking plus to spline. I changed the character falling to the ground at the end so that the character notices the danger in advance and turns to save his head from the crisis. Then I added the part where the character slowly looks up.
This week we creating blocking and breakdowns from sketches:
To summarise some of the tips : Rhythm is a very important part of making the action look sensible and interesting, apart from the action itself, it is also important to have a sense of rhythm, which action stays for a long time and which action happens quickly. For example, the character quickly pounces on the butterfly, but the butterfly slowly flies away. Contrasts make for interesting images.
Blocking plus is the intermediate stage between blocking and spline, adding intermediate frames and character detail to make the character move more naturally.
moving hold：
A moving hold is a small movement, including breathing, a slight swaying back and forth, etc., that makes the character seem more alive. One of the tips is, when the character’s chest moves backwards, the hips will move forwards, which is a good way of keeping the body’s weight in balance in the moving hold.
Production process
Adjustments:
Based on the original version where the protagonist fell twice, I removed the second fall and replaced it with the protagonist holding his head and therefore dodging the fallen stick.
The protagonist turns when he finds the stick falling down and changes the orientation of his face
Remove some of the redundant movements and keep the most critical ones
Change the position of the hips and legs to stabilise the character’s centre of gravity during the part where the character is trying to get up
Facing diagonally towards the camera during the walk
The character slowly looks up after the stick has fallen
Detail：
When I try to add detail to the character’s breathing between the two frames of the blocking, the character should breathe very little, when the upper body is leaning forward, the lower body should be leaning back slightly.
The character catch the butterfly, the character accidentally falls and the butterfly slowly flies away. Then as the character tries to get up and chase the butterfly, the column that happened to fall hit the character, leaving the character lying on the floor.
Process: Recorded reference video
Recorded the reference video to get a better understanding of the action firsthand, for the later part where the character falls, I referenced a video on the internet of a man trying to catch a ball.
Challenges:
I encountered some challenges, the plot lacked twists and turns, to make the plot better, George suggested to add turns by Finally the character holds his head to avoid the fallen stick, by doing this make the short action into a story.
Sketching in two dimensions:
I drew a two-dimensional reference from it, labeling what each action was, I liked following this workflow, it made each part clear and helped me to clarify what the next step was. This has helped me a lot with the next step of both blocking and breakdown.
I really value the opportunity to learn about mechanical surfaces and how these skills can be used in many scenarios. We have learnt more than just modelling techniques this term, the professor has also given a systematic talk on 3D animation as a whole, including bone binding and controllers. All of this has improved my skills in producing animations.
There were some difficulties in the production process, but they were eventually solved after continuous attempts, for example, the robotic arm looked a bit out of place at first when placed in the reference video. The reference video was in warm colours and I tried a warm parallel light source, but it didn’t have the desired effect. So I tried ambient light and assigned a warm hdr map to the light source as a material, and finally changed the autoluminescence and exposure of the light source to achieve a relatively harmonious effect.
