Week 17 -18 (2018/01/15 – 2018/01/26)
Technical and Artistry
I tried to match Reymonds textures in Substance Painter to my previous concept art of him. We’re trying to keep with Reymond’s scene being a mix of warm oranges from Reymond and cold blue moonlight.
These textures might need more work if they make the facial expressions too flat. Alec suggested using an ambient occulsion pass to help define features.
For Reymond’s leaves I modelled one branch of tertiary/smaller branches and leaves and then distributed this using the MASH placer node. MASH is somewhat fidgety in that it doesn’t always distribute geometry near the cursor or if I create a selection set of geometry it sometimes only distributes across the first few members of the set. I’ve also had trouble with getting the MASH network branches to move with Reymond’s geometry. There might be a setting to fix this in Maya 2018 but for now we’re doing all of our setups in 2017.
I tried adding a small amount of animation to the MASH repromesh by animating each of the original leaves. Animations can be easily looped, offset or scaled by using a MASH time node. This node can only be used on MASH copies (repro) rather than instanced meshes though. My result is a little too subtle but it’s something I’ll come back to if we have time to add environmental animations.
In semester two, week one I mostly concentrated on trees before Kerry and I started a full asset list for proxy models and set layout. I finished off the tree models that I had started before Christmas, UV unwrapped them and then textured them in Substance Painter.
I tried a different approach to leaves with groups of leaves on an image plane instead of every leaf being on one plane.
I tried using a blue texture plugged into emission to control the shadow color.