Digital Mayhem 3D Machine Techniques: Where Inspiration, Techniques and Digital Art meet
Format: PDF / Kindle (mobi) / ePub
Inspire your own creativity with Digital Mayhem 3D Machine Techniques. Compiled by Duncan Evans, founder of 3D Artist Magazine, this book is the next installment of the Digital Mayhem series. Explore, page after page, spectacular machine images created by the industry’s top talent.
With over 500 stunning images, Digital Mayhem 3D Machine Techniques is not your basic software manual. It is where technique and inspiration meet – a detailed and innovative guide to great machine images. Each chapter contains vibrant images and an explanation of the artist’s workflow, including a step-by-step tutorial to help you achieve similar results. From pre-viz to post production, this book takes you through the whole process of creating your very own machine masterpiece!
- Get inside the minds of the artists with breakdown overviews and supporting imagery to explain what went into their piece.
- Expand your digital canvas to include a variety of software techniques, tools and workflows.
- Visit the companion website for additional resources to help you develop your machine technique skills.
all. For an animation project like the one I did for the R8 animation (www.ak3d.de), you have to ﬁnd a setup with all scenes possible that you have in mind. This can be really time consuming. In my case I wanted to have this u-turn at the beginning of the animation. So, I had to deal with the weight of the car and all other parameters of the car until this scene was possible. I made the animation without any landscape ﬁrst, and then created the world around this trip. For me this was the most
32-bit and leave the values as they are. Then switch the projection mode to Hemisphere and close the Material editor. In the exposure settings choose the Mental Ray photographic exposure tool and click on checkbox for “Affect maps and environment”. Then click into a viewport and press Alt-B to open the viewport background menu to see the environment map. Material Editor - Map #34 Select Bitmap Image File Environment and Effects HDRI Load Setting STEP 22 RENDERING AND FINE TUNING Now to
mud heaps, middle with the mobile crane and background with the blocks of ﬂats. The whole render time in the 5000 px resolution was 17 hours. The RAM usage was approaching 50 GB, mainly thanks to detailed displacement on the ground. An important part of rendering was exporting the black and white e masks of objects which were going to be worked on during post st production. One of the methods is the application of white material on n the object which we want to have in the mask, while the other
them with a convenient and useful free script called Welder. You can ﬁnd it here: http://jokermartini.com/2011/08/10/welder. Then I started to create the spoked wheels and in this case I preferred to exclude the original version and the drum brakes brand of Fontana, which was very common in motorcycle racing at that time. It’s easy enough to change them back by looking on the net for photographic material for this brand. I used splines for the spokes and a circular array for positioning them
of the machine from this photo. The front end which has a towing eye, blackout lights and toughened glass for the cabin. MODELLING IN MAYA The modelling for this project was all done in Maya 2014. The project was started by creating a very basic blocking model with as little detail as possible to ensure that the part relations and proportions were correctly assembled. Next the vehicle was built in detail, constructing it as I would have done if I were assembling a model in real life. The base