Personal Visual Effects Blog & Portfolio
Category: Personal
Personal Project Presentation
After this presentation, I very quickly realized that I had massively overstepped my abilities when describing the original task I had wanted to achieve. This was very helpful as the question part of the presentation made it obvious that the original idea I had in mind was simply not possible in the timeframe we had, whilst also accounting for the other projects we have to complete. To this effect, I heavily reigned in my objectives for the personal project. Keeping to the theme of H.R. GIger, I wanted to create a striking 3D recreation of one of his artworks, particularly one’s involving the ‘Xenomorph’ concept.
As a long-time and avid fan of the Alien franchise (1979-2017), this was something that would maintain my interest throughout it’s course, and for personal development would help me develop further skills in 3D modeling, digital sculpting, lighting, and other elements of 3D creation.
References
Theme & Progress
I gathered several references to develop the concept for our personal project. I settled on the final piece above to be recreated in 3D, whilst omitting certain areas such as the “stamped” text. I began to sculpt a Xenomorph style 3D model to be composited in front of some industrial paneling. For this model I used several references.
As an artistic decision, I wanted to refrain from representing Giger’s hypersexualized style in this project. My reasoning being that once finalized, I did not necessarily want there to be any possible comedic aspect to the design. Whilst Giger’s sexualized themes are apparent in the majority of his artwork, these themes are not ones I wanted to portray when concepting this 3D sculpt.
Sculpting Hi-Poly Mesh
Just for the sake of doing so, I created the text ‘Giger’s Alien’ in Zbrush’s 3D Text plugin, and used live-boolean to imprint the text into the wall. However, this will not feature in the final piece.
To keep the reference image and model at the exact perspective I needed, I utilized ZBrush’s reference image toolkit and saved a camera to the image which aligned to the model, which I could return to at any time to check form and structure.
At this point, I decided due to time constraints to end the sculpting phase with my current level of detail, and begin retopology and baking tests for texturing.
Once I had completed the sculpt, I moved to re-topologize the model for texturing. I was also learning to use the toolkit in 3DCoat, as I find it to have the most robust retopo capabilities. I made multiple efforts to manually topologize the model correctly, but could not quite achieve the result I was looking for, so I resorted to using 3DCoats auto-retopology toolkit. The strength’s of this software truly show in it’s AUTOPO ability, and the manual toolkit is far beyond what Maya’s is capable of.
I tested retopo using ZRemesher with several different settings and meshes and never got close to the results I was getting with AUTOPO. In certain areas adjustments had to be made, and the teeth were unsurprisingly unusable, but for a reasonably accurate and much quicker result, this was by far the best way. I was already planning to use some of the original topology created in ZBrush such as the teeth, as these were already fairly optimized for renders, and only required a quick run with the UVMaster plugin with polygroups enabled to apply textures. I also assigned the UV’s in 3DCoat, and edited the layout in Maya.
The torso area of the sculpt was quite difficult to obtain a decent bake with, and I attempted several times with different topology to get a good result without any artifacts. After finally getting a successful texture bake, I moved on to texturing. Since I had created the helmet texture using a number of smart masks, I created a smart material which I then applied to the torso, and by using a Paint filter with a Multiply blend, I erased areas of the smart mask that I did not want affected. I left the murky green material applied as I felt it added a nice contrast to the highlights. By using this Smart Material, I could maintain the colours and roughness of the materials through all the different parts.
I then created a scene in Maya, with 3-point area lighting in an attempt to match the lighting of my reference, with an added rim light for edge lighting. I also changed the camera attributes to match the aspect ratio and dimensions of the image, and changed the focal length to appear orthographic. This is the template created to display my final piece.
Here is where I added an emission map to the tubular vents. I used an orange base colour and overlayed a green emissive light on top to attempt to create an interesting blend.
At this stage, I’m reconsidering bringing the Xenomorphs pharyngeal jaw into the scene, as I honestly think the model looks a little bit better without it. Although the mesh has decent topology and UV maps, I’m willing to make sacrifices when it comes to the overall look of the final project. I will keep experimenting with it, and decide whether it should feature in the final piece, but at this moment I am leaning towards without.
The reason for creating this 3D text was to catch the light as it moves in the scene. I’m still unsure whether to keep this or use an overlayed text, but this way seems more interesting. This was created using a downloaded font which matched the Alien films, and made into a 3D mesh using ZBrush’s 3D Text plugin.
The techniques I had learned in Substance Painter became very applicable in this project. Using smart masks, anchor points, baking high poly geometry, and generally how to layer stack correctly were all key in helping me to get a good result. There are some areas which could be looked at when it comes to the high poly mesh, mostly for aesthetic purposes, however from a technical perspective I was happy how things turned out.
As I wanted the model to have a slight degree of movement, I created a basic rig to move the arm. I also keyed the head to rotate on a gentle curve.
I rendered out a full test sequence to see the animation and lighting in motion. After this initial test, I wanted to fill out some more details in the textures, such as the ridged arm parts and the ridges on the Head Tube. Also, I noticed the light was hitting areas which I did not want shown, so I created two Arnold Light Blocker filters to obscure these areas. There was also some strange warping on the arm joint when extended, so I went back in and adjusted the weights.
I attempted to create a basic rig which moves the jaw, but due to the topology being set up for texturing purposes, getting a good enough rig was a difficult challenge. Since rigging and weight painting are not specialisms which I’m particularly good at, the focus of this project was not necessarily to include any animation more than what was simple to achieve. Suffice to say, I did not want to ruin the project with poor weight painting results and bad animation.
For this animated sequence, I wanted to convey the feeling of an image ‘come to life’. I also wanted to have the sequence loop correctly.
Although I was fairly content with the current stage of the project, I still felt inclined to attempt recreating the industrial paneling that was in the reference image. I decided to use a low poly base wall, with a high-poly bake. To create these details, I utilized a sci-fi industrial decal pack I had purchased on ArtStation some time ago, and used Zbrushes ‘Make 3D’ plugin to recreate these alphas into 3D geometry, and arranged these pieces along the wall. To create the cables, I tiled a 3D mesh several times, dynameshed, and ZRemeshed the geometry. The curves were adjusted using the Gizmo’s curve function.
Keeping in mind how I wanted the textures to be applied, I assigned a vertex colour fill to each object I wanted to texture separately, whilst using the same material. I then baked these maps onto the low poly base mesh. This is all in an effort to reduce render time, test more skills in texturing, and perhaps to improve the overall look of the project.
At this stage, I decided not to proceed with the panel. This is because I was already happy with the result I had obtained from the render, and balancing the wall against the character would be very time consuming, alongside the other work I had to complete. So rather than begin a new section of the project I knew I could not bring to a good level of quality, I instead refrained from making large changes to the look.
Categories
VFX Career Roles
Entry Level
Texture Artist: As an entry-level career into the VFX industry, texture artists working in CG are responsible for creating textures and shaders which bring an otherwise grey model to a photorealistic render. Also, texture artists are responsible for creating high-resolution details onto a mesh with the use of baked maps and ‘painted’ details. Necessary requirements for texture artists are a good eye for colour, lighting, and artistic practices, as well as proficiency using the various software needed to create high-quality renders. Also required are the abilities to work as part of a pipeline for other artists in a studio.
Texture artists can work in several different capacities, working as a freelancer, or in a VFX company. The amount of workload in a studio environment can vary depending on the size of the team. As a texture artist, it’s also beneficial to have modelling and lighting skills when developing assets for a studio, as some smaller studios may combine the roles of modelling and texturing into one, effectively doubling the required skillset.
After gaining a general understanding of working with 3D and the workflows involved in each specialization, I found myself most drawn towards a specialist role in texturing and lighting. My reasoning being that I find most scenes can be infinitely changed by even the most subtle of differences in tones and shading, and by developing a specialists eye for colour grading and correction, this area of visual effects intrigues me the most. Another aspect for my desired specialism is due to my knowledge of using 3D software such as Maya, Zbrush, and the Substance suite, which almost naturally drew me towards this specialist pathway.
Environment Artist: Another entry-level career in the VFX industry, environment artists are tasked with creating high-quality landscapes and complex terrain. Generally, environment artists work closely with 3D modellers, texture artists, and concept artists to create what the client desires. An environment artist may create many different types of environments, from war-torn cities to sprawling lunar landscapes, and everything in between. Key attributes to developing believable environments are a knowledge of architectural design, an eye for space and lighting, a keen sense for layout and structural design, and an artistic point of view.
Similarly to other entry-level VFX careers, an environment artist can work as an aspiring freelancer, or a role in a VFX studio’s pipeline. In a studio environment however, the artist must keep in mind their role, as the 3D modelling and texture artists must be able to perform their jobs without running into issues with the landscape, and the artist should be able to resolve such issues in the pipeline. As is the case with texture artists in small studios, an environment artist may also be tasked with texturing and 3D asset development as a whole, so an expanded skillset can be extremely beneficial.
My reasons for researching a specialist role in environmental design are due to my previous works with creating post-apocalyptic and horror scenes, an interest in hard surface modelling and panel design, and a strong interest in creating photorealistic assets and believable environmental spaces. To this effect I have a fairly strong understanding of the environment creation tools in Unreal Engine, as well as creating landscape materials and tilable textures in several 3D software kits, as well as a general kowledge for kitbashing assets.
Senior Level
VFX Artist for Games: As a VFX artist working in the game industry, this role require extensive knowledge of project composition, lighting and colour-grading, particle simulations, real-world effects of weather and atmosphere, and a strong eye for bringing these elements together in a strong and cohesive display. VFX artists are often said to be responsible for bridging the gap between the technical aspects and visual elements of any composition. In game development, a further requirement for successful production are a sense of polycounts, texture lookups, and other potential hurdles and limitations when coming to sucessful deployment of a finished product. This ensures that the computing requirements for any delivered product can be matched by consumer hardware, making the final piece readily available to the gaming market.
As are the entry level roles, the ability to work within a team in a pipeline of development is crucial, as well as fulfilling what the client may require towards a deadline. Other requirements are the abilities to keep to schedule and working to a established budget, minimizing costs. Also necessary for this role is the ability to keep up-to-date with the latest software packages and learning how to employ new advances in industry pipelines.
VFX artists in the field of game development tend to work within a studio, especially in senior-level CG roles where a knowledge for each area of design is key in bringing the composition together. This may require working with several different branches of a production studio, as VFX artists typically work closely with concept artists, 3D modellers and texture artists, environment artists, and level creators.
With a strong sense of each role and they’re contributions to any given project, VFX artists should be able to communicate clearly in a team, and have an understanding of the limitations of each role, and the capability of each software package being used in a pipeline. Freelancing as an entry-level VFX artist may be more typical, but in a senior level compositing role the opportunity to develop ones career in an established VFX studio may prove more beneficial than freelance work, and can net a strong list of industry contacts.
My reasons for aspiring to this role are due to a long history of gaming, a habit of researching game content and behind the scenes development diaries, and keeping as up-to-date as possible on the latest developments of game creation tools such as Leadwerks, Unreal Engine, and 3D creation software. Having been engrossed in the technology of games’ such as Doom, Quake, and Unreal Tournament in early 90’s and 2000’s PC gaming, as well as modding for later 3D engines running games such as CounterStrike: Source, working with games has always been my primary focus when entering this field. The tools for successful development have only become more accessible since computing capability has exponentially grown since early game production, and the requirements of knowledge have also increased alongside these developments. Understancing the creative and technical process behind several art styles and elements of gameplay design are workflows which I aim to be successful at, as well as working cohesively within a studio of capable artists.
Categories
Critical Reflection
As we have now completed the first term of our course, the projects we worked on have taught me a lot of new functions and abilities for working in the VFX industry. My main challenge was learning how to work with Nuke at least to a semi-beginner level and integrating assets created in 3D software to be composited amongst live action film. I slightly struggled with this challenge as Nuke works unlike any software I have used as it is almost purely node-based, so this was something I would have to adapt to. When we were handed tasks which involved colour-corrections and grading, I found the tools used in Nuke to be more familiar with other texturing programs, albeit with far greater effectiveness in composition.
We also learned many modelling and animation techniques, a fair few of which I was unaware of such as using Driven Keys. As I have a background in Maya and animation, the Maya module was something I felt I could quickly jump on board with, especially with lighting and texturing. The facial animation project was a bit difficult due to the combination of several techniques such as retopology, blendshapes, and lip-sync. The lip-sync part of the project was perhaps the most difficult area to get right as the nuances of Maya become very apparent when editing blendshapes and driven keys. If I were to change an area of my lip-sync, it would be to use a different line from a film. This is due to the lack of movement in the clip, and some shapes were visibly difficult to recreate as Morpheus is wearing sunglasses, which obfuscated blinking and subtles changes in expression. When I attempted to exaggerate these expressions, or to recreate what I couldn’t make out from the clip, these exaggerations seemed too forced. Otherwise, I would choose a very overly expressive short clip to accentuate the animations, and bring out the facial shapes.
Our project to create a hot-air balloon for a composition in Nuke was a task I went through several iterations of in order to get a result I was fairly happy with. This involved a short narrative, which I always find is essential to any composition with a basic theme of ‘Alien Abductions’. Effectively I wanted several parts to the composition to exist within the frame of the ‘suspension of disbelief’. That is to combine realistic movements and believable visuals alongside impossible scenarios. My first attempt was far too unrealistic, and was more of a showcase of tools I had learned in Nuke with a play on animation. The final result I felt combined fairly realistic physics and animation with the science-fiction element of a alien abduciton. As the major submission for our VFX fundamentals unit, this task combined the toolset of Maya and Nuke effectively, and for my Nuke capabilities at the time this seemed like a decent result
Other challenges laid ahead with relearning how to use the Adobe suite, as for some time I have always looked for free alternatives such as Krita and Blender for video production and image alteration. However these tools are generally used towards achieving the same final products, and I would have to re-familiarize myself to their workflows. Premier Pro was particularly effective in video creation and editing, as while Blender has fairly good ability when it comes to video creation, it truly pales in comparison with Premiere due to its intuitive workflow and production capabilities.
Another aspect which was enjoyable were the tasks to capture footage and images from real-life. The project to capture images which resembled ‘Time’ was quite interesting, as we could create our own interpretations of the concept and reveal them to others to get feedback. This was a good project to familiarize ourselves with the conceptualizations and meaning of imagery, and changed our surroundings from usually being behind a computer screen to being outdoors exploring in order to complete projects.
Overall I would consider the first term to be a great introduction to the world of visual effects, and I’m hoping my future assignments and projects are able to match the pace and progression of our VFX Fundamental Unit, and to a much greater degree.