rain delay
Didn't have a chance to post yesterday. Really shouldn't today, but my attention span is waning. Regardless, all I had to chat about yesterday was just some waxing over modeling styles. I've got even less today, so here's more of the same.
I'm working on a head model for a music video right now. It has a weird shape, almost horse like, but with a dragonesque flair at the end of the snout. I want to use patches to model it. The first step, as I was taught, in patch modeling (in Maya) is to mold a sphere into a pretty close copy of the real model. From there you draw your curves on the model and start making your patches. Now, personally, I hate molding a sphere into a more detailed model. Not sure why, really, but I do. That's probably why I haven't tried sub-d modeling.
So anyway, I did a brief sphere manipulation to act as a guide, and now I'm working on a sock loft. The main types of non-patch modeling of a head (as I was taught) are the breadslice method, sock method, and radial method. With breadslice, you draw the profile of your model, duplicate the line, move it over, manipulate the line as needed, and repeat to the edge of the object, then "loft" the lines/curves in order, wherin the software interpolates a surface from curve to curve. Radial is similar, exept you rotate your curves along the Y axis (so the rotation goes from right to left or vice versa). The sock method is like radial only you rotate along the Z axis, which usually runs through the head's mouth.
So, the plan is, sock method, then draw the patch curves on the that model. Why? With the sock method, you get a lot of unnecessary geometry in the cheek areas to the side of the mouth. You can eliminate that geometry with the patch method, making the model easier to rig for animation.
Actually, though, I'm tempted to skip the sock step and just start freehanding curves for patches. Especially since I have the upper 1/3-1/2 of the head curves done. For this model, the lips aren't a huge concern, so eyes/nostrils/ears/horns are the biggest problem. If I loft the curves now, I've got that section done. That might be what I do.
Yeah, nobody cares. I'll keep going anyway.
The next model for the video is a big gelatonous tentatcled piano player. Think the Gibbering Mouther from 2nd edition D&D (might be in 3.x, too. can't remember) with octopus tentacles. That model's a prime candidate for practicing some sub-d modeling. The real decision here is directorial. Do I want the monster to have so many tentacles it just plays with them all, or do I want it to be able to morph it's tentacles into extra digits, essentially growing a hand when necessary. It'd be a cool animation effect, but there's no real lead up to that in the tune, so I'm thinking the former for simplicity in camera work.
The drummer is still in limbo, and the bass is most likely just gonna be a cool digital effect laid over the whole thing after the models are composited into the stage background. *shrug* We'll see. just gotta find out if Im' flying solo on the piece or if the PhilmcKraken is in on it....
Oh yeah, and I have to fix Pete's eyes in a coupla photos.
I'm working on a head model for a music video right now. It has a weird shape, almost horse like, but with a dragonesque flair at the end of the snout. I want to use patches to model it. The first step, as I was taught, in patch modeling (in Maya) is to mold a sphere into a pretty close copy of the real model. From there you draw your curves on the model and start making your patches. Now, personally, I hate molding a sphere into a more detailed model. Not sure why, really, but I do. That's probably why I haven't tried sub-d modeling.
So anyway, I did a brief sphere manipulation to act as a guide, and now I'm working on a sock loft. The main types of non-patch modeling of a head (as I was taught) are the breadslice method, sock method, and radial method. With breadslice, you draw the profile of your model, duplicate the line, move it over, manipulate the line as needed, and repeat to the edge of the object, then "loft" the lines/curves in order, wherin the software interpolates a surface from curve to curve. Radial is similar, exept you rotate your curves along the Y axis (so the rotation goes from right to left or vice versa). The sock method is like radial only you rotate along the Z axis, which usually runs through the head's mouth.
So, the plan is, sock method, then draw the patch curves on the that model. Why? With the sock method, you get a lot of unnecessary geometry in the cheek areas to the side of the mouth. You can eliminate that geometry with the patch method, making the model easier to rig for animation.
Actually, though, I'm tempted to skip the sock step and just start freehanding curves for patches. Especially since I have the upper 1/3-1/2 of the head curves done. For this model, the lips aren't a huge concern, so eyes/nostrils/ears/horns are the biggest problem. If I loft the curves now, I've got that section done. That might be what I do.
Yeah, nobody cares. I'll keep going anyway.
The next model for the video is a big gelatonous tentatcled piano player. Think the Gibbering Mouther from 2nd edition D&D (might be in 3.x, too. can't remember) with octopus tentacles. That model's a prime candidate for practicing some sub-d modeling. The real decision here is directorial. Do I want the monster to have so many tentacles it just plays with them all, or do I want it to be able to morph it's tentacles into extra digits, essentially growing a hand when necessary. It'd be a cool animation effect, but there's no real lead up to that in the tune, so I'm thinking the former for simplicity in camera work.
The drummer is still in limbo, and the bass is most likely just gonna be a cool digital effect laid over the whole thing after the models are composited into the stage background. *shrug* We'll see. just gotta find out if Im' flying solo on the piece or if the PhilmcKraken is in on it....
Oh yeah, and I have to fix Pete's eyes in a coupla photos.
posted by Amazing Shafeman at 1:30 PM
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