Master cos­tume de­sign with Im­age en­gine

3D Artist - - COMTENTS -

Sean Frandsen’s CG cloth­ing for Fan­tas­tic Beasts

Marvelous De­signer has be­come a valu­able tool for cre­at­ing re­al­is­tic-look­ing and mov­ing gar­ments in the dig­i­tal world. Ap­proach­ing cloth­ing from the stand­point of a real-life tai­lor or fash­ion de­signer re­sults in clothes that look and feel nat­u­ral. im­age en­gine de­cided to go down this route when it was time to put to­gether shots of dig­i­tal char­ac­ters and cloth­ing that needed to blend seam­lessly with ‘real’ shots, many of them close-ups, in the seven-minute in­tro for Fan­tas­tic Beasts:

The Crimes Of Grindel­wald. This is an over­view of the cos­tume build for a car­riage driver.

One of the first things VFX su­per­vi­sor Mar­tyn cul­pitt did was re­quest the phys­i­cal pat­terns used by the cos­tume de­sign team to make the cos­tumes worn by the ac­tors. We pho­tographed the pat­terns and recorded their real-world mea­sure­ments. We also had a num­ber of pho­tos of the cloth­ing from all an­gles and a 3D dig­i­tal scan of the ac­tor in cos­tume to mea­sure against. This was re­ally help­ful in de­ter­min­ing how folds should form later.

01

Use phys­i­cal pat­terns The first thing we did was to paste up the pat­tern pieces on a wall and then pho­to­graph them so we could im­port them into Marvelous. A char­ac­ter mod­eller took the scan of the car­riage driver and cre­ated the clean, un­clothed ver­sion we would use for an­i­ma­tion and fi­nal ren­ders, as well as the avatar for cloth­ing. Be­cause this model per­fectly matches the ac­tor, the clothes would fit the dig­i­tal char­ac­ter in the same way as they do the real one. Ob­vi­ously, it’s not al­ways pos­si­ble to get the phys­i­cal pat­terns. in these cases, try get­ting a pat­tern-mak­ing book or look­ing up pat­terns on­line.

02

Draw pat­terns Pho­tos of the pat­terns can be im­ported right into Marvelous De­signer. The mea­sure­ments are dis­played in cen­time­tres, so you can make sure they match the ac­tual pat­terns. One very cool fea­ture is that as you draw your pat­tern pan­els, you’re also lay­ing out your uvs at the same time. There is also a uv ed­i­tor where you can have the uvs laid out dif­fer­ently to how the pat­terns are on the 2D ‘ta­ble’.

03

Fit and sew With the pat­terns all drawn out, they can now be sewn to­gether in much the same way real pat­terns would be. There are handy fit-points where

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