HAN­DLE DIF­FER­ENT MA­TE­RI­ALS

ex­per­i­ment with Mari’s pro­ce­dural nodes to get lots of re­sults to play with

3D Artist - - BOOST YOUR MARI SKILLS -

Can you tell us a bit about your back­ground as a CG artist?

i ex­per­i­mented a bit with early ver­sions of Maya and 3ds Max in grade school but my first se­ri­ous foray into com­puter graph­ics came when i de­cided to take an elec­tive course in visual ef­fects at the Florida state univer­sity Film school. i was there study­ing bi­ol­ogy but i had such a good time learn­ing com­posit­ing and visual ef­fects at the film school that af­ter i grad­u­ated i de­cided to pur­sue a Master of Fine Arts in visual ef­fects at sa­van­nah Col­lege of Art and De­sign (SCAD).

since leav­ing SCAD, i have worked as a free­lance com­pos­i­tor, 3D artist and tech­ni­cal di­rec­tor with clients in sev­eral coun­tries to cre­ate visual ef­fects for in­ter­na­tional film and tele­vi­sion projects. in ad­di­tion to my free­lance work, i am con­tin­u­ously work­ing on per­sonal 3D projects to ad­vance my skills and ex­per­i­ment with new tech­niques.

How did you ap­proach the tex­tur­ing of the im­age above?

i be­gan by break­ing down the ve­hi­cle into its var­i­ous ma­te­ri­als – such as rub­ber, fi­bre­glass, and metal – and cre­ated a layer group for each ma­te­rial in each tex­ture chan­nel. Each layer group re­ceived a layer mask in or­der to block out the parts of the ve­hi­cle made from that ma­te­rial, and this layer group mask was shared to the cor­re­spond­ing layer group in each chan­nel so that a sin­gle mask could block out each ma­te­rial across all tex­ture chan­nels. From there i was able to start with a flat colour for each ma­te­rial and grad­u­ally build up more and more de­tail by adding lay­ers to each ma­te­rial’s layer group.

Can you give us a cou­ple of cool tips for get­ting the most out of Mari?

use pro­ce­du­rals as much as pos­si­ble! i used the Tri-planar pro­ce­dural to get quick, seam­less cov­er­age across the ve­hi­cle for things like grunge map over­lays as well as sev­eral Noise pro­ce­du­rals for dirt and scratches.

i also utilised the Cube pro­ce­dural to cre­ate the head­light de­sign and the Oil pro­ce­dural to achieve the heat-dam­aged, an­odised look on the bike’s en­gine metal. Ex­per­i­ment­ing with Mari’s pro­ce­dural nodes can get you a lot of dif­fer­ent, in­ter­est­ing re­sults very quickly and can make your project look bet­ter for it.

are there any ex­ten­sion packs that you par­tic­u­larly like and would rec­om­mend to other 3D artists?

Mari Ex­ten­sion Pack 4 pro­vides many use­ful ad­di­tions, the most valu­able to me be­ing the ex­tra pro­ce­du­rals and the edge wear func­tion­al­ity. While i didn’t use the Ex­ten­sion Pack on this project, i would def­i­nitely rec­om­mend it to those look­ing for some ex­tra op­tions in­side Mari.

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