Dis­cover the best new dig­i­tal art from the CG com­mu­nity,

3D World - - CONTENTS -

Architectural vi­su­aliser, Si­mon, spent roughly two months re­search­ing and cre­at­ing this in­cred­i­ble im­age. The ma­jor­ity of the im­age was mod­elled us­ing 3ds Max with V-ray, plus ad­di­tional Ob­jec­tid and Depth passes. As Si­mon ex­plains, “Ob­jec­tid was very im­por­tant in or­der to iso­late dif­fer­ent ar­eas for var­ied treat­ments in Pho­to­shop (es­pe­cially with the glass) and then Zdepth was used for ad­di­tional scene depth with those treat­ments. The scene is ren­dered us­ing a V-ray phys­i­cal cam­era with a small amount of dis­tor­tion ap­plied. I didn’t like the dis­tor­tion on the high bal­loons so they were ren­dered sep­a­rately and with­out dis­tor­tion and then com­pos­ited back into the scene later in Pho­to­shop.”

With a scene of such mag­ni­tude, you’d ex­pect some ar­eas to cause is­sues and for Si­mon, it was the 160 peo­ple that tested his en­durance. To cope with the task, he started each char­ac­ter as a sim­ple ‘T’ pose avatar rigged with a de­fault biped skele­ton from 3ds Max. These were ex­ported out as obj files into Mar­velous De­signer as an ‘avatar’ to be clothed and mor­phed into shape us­ing the 3ds Max posed obj – see how he did it on page 60. After ex­port­ing, the ma­te­ri­als were re­as­signed to V-ray in­side 3ds Max. Si­mon de­signed five cos­tume types for the char­ac­ters, with var­ied tex­tures and colours depend­ing on the scenes they were in.

As to be ex­pected, such a large scene started to drain his com­puter ca­pac­ity and Si­mon found nav­i­ga­tion and graph­ics be­gan to suf­fer in 3ds Max. But he had a fix; “I split the whole into three sep­a­rate mod­els and then xrefed two of these back into the main model again. The build­ing has a good deal of rep­e­ti­tion so many el­e­ments are of course in­stanced to keep mem­ory is­sues at a min­i­mum.”

ARTIST Si­mon Edwards Soft­ware 3ds Max, Zbrush, Mar­velous De­signer Onyx­gar­den, V-ray and Pho­to­shop

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