PIPE­LINE TECH­NIQUES: Reim­age an An­i­mated Char­ac­ter with notch

3D Artist - - CONTENTS -

Tricks for mas­ter­ing Notch Builder

Work­ing in real-time en­ables artists to fo­cus on their cre­ative ideas all through the cre­ation process. in this tu­to­rial, notch’s par­ti­cle engine was used to re-cre­ate the sur­face of an an­i­mated 3D char­ac­ter us­ing 120,000 cubes, as well as mo­tion-track­ing fea­tures and post-pro­cess­ing ef­fects to pro­duce a high qual­ity shot. This tu­to­rial uses an an­i­mated deer from True­bones Mo­cap stu­dios: true­bones.com/free-demos. We will also be ad­just­ing light­ing and post pro­cess­ing ef­fects to taste. For brevity, these steps are not cov­ered in the tu­to­rial, but can be seen in the ac­com­pa­ny­ing DFX file when opened in notch Builder.

01

Im­port and place your 3D model notch can im­port mod­els and scenes in FBX, c4d, ABC, LWO and OBJ for­mats. Drag the model from the re­source panel to the node graph and con­nect it to the Root. ex­pand the node to show the con­tents of the im­ported FBX scene. Add a Di­rec­tional Light into the scene to get a bet­ter sense of the form by drag­ging a Di­rec­tion Light node from the node list. Let’s also add an Or­bit cam­era node to look around.

02

Add a Cloner node to the Mesh next, add a clone To Mesh node, with a Ran­domise ef­fec­tor and a 3D Prim­i­tive (in this case, a sphere) as its chil­dren. con­nect your 3D Ob­ject from within the scene to the clones To Mesh’s source Ob­ject in­put. Ad­just the Ran­domise ef­fec­tor prop­er­ties by set­ting uni­form scale to ‘On’ and scale X to -1.15.

03

Add the par­ti­cles Add a Par­ti­cle Root, Mesh emit­ter, Mesh Ren­derer and a 3D Prim­i­tive. con­nect the 3D Ob­ject you wish to emit par­ti­cles from to the Mesh emit­ter node’s Ob­ject nodes in­put. set the num Par­ti­cles prop­erty on the Par­ti­cle Root to 125,000. in the Mesh emit­ter node, set spawn Mode to ‘Poly­gons’ and set the Max Par­ti­cles count to 120,000. in the Mesh Ren­derer node, set use colours to ‘On’ to colour the par­ti­cles us­ing the colours of the deer tex­ture. set the Ro­ta­tion Mode to ‘nor­mal’ and play around with the Par­ti­cle scale and size Ran­dom­ness prop­er­ties.

04

Bring the par­ti­cles to life Let’s make those par­ti­cles come alive through the use of a Ve­loc­ity Af­fec­tor node with Ve­loc­ity Amount set to 1.8 and a Tur­bu­lence ef­fec­tor with Ve­loc­ity Amount set to 3.8 and noise scale set to 5.0. in ad­di­tion to that, let’s add a Fluid FLIP Af­fec­tor node with the fol­low­ing prop­er­ties:

• solver Mode: FLIP

• Ve­loc­ity scale: 2.4

• in­com­ing Ve­loc­ity scale: 0.07

• sur­face Ten­sion: 41

05

Add ground for the deer to run on Add an­other Par­ti­cle Root, Prim­i­tive emit­ter (type: Plane) and a Ve­loc­ity Af­fec­tor, as well as a clone To Par­ti­cles and a Ran­domise ef­fec­tor and an­other 3D Prim­i­tive (cube). Par­ent the emit­ter, Ve­loc­ity Af­fec­tor (Ve­loc­ity Amount 3.0, Ra­dius 100) and the cloner node to the Par­ti­cle Root, and par­ent Ran­domise ef­fec­tor and the cube to the cloner. set the num clones prop­erty to 15,000, and mess with the ef­fec­tor Trans­forms in the Ran­domise ef­fec­tor and scale. use the Ve­loc­ity to move par­ti­cles to cover a ‘ground plane’ un­der the deer.

06

Mo­tion tracked HUD Add a Par­ent To Ver­tex node and par­ent it to the orig­i­nal 3D Ob­ject (we’re us­ing ver­tex #43 which is near the eye). Add a Ring 3D Prim­i­tive to the Par­ent To Ver­tex node. Re­peat this step for ver­tex #118. hook up the Or­bit cam­era into the tar­get in­put on the rings which will make them al­ways point to­wards the cam­era. us­ing the steps de­scribed in this tu­to­rial, you can do any kind of hud.

You can cre­ate them di­rectly in notch or im­port ex­ist­ing as­sets. in this tu­to­rial, i’ve used the built-in 3D Prim­i­tives (Ra­dial cloner and cir­cu­lar Text).

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