We all know how an important part of the media industry today is 3D computer graphics. Cinema projects, animation videos, and computer games make full advantage of the possibilities of 3D design. Most frequently, the performance of 3D parts is assigned to people, all sorts of creations, representatives of flora plus fauna, robots, including sometimes inanimate objects – electronic devices, household appliances, and even furniture.
Agree, the possibilities of modern three-dimensional graphics and animation are amazing! However, before the animator can be time into the characters, they will require be imagining and rendering on paper and in the design of a computer model.
Stage 1: Concept (creating an approach including implementing it in sketches)
Where do you think it all begins? The foundation of any great achievement is an approach. And hereabouts the variety of shapes is not important, only their availability is important. A copy of a 3D character is a sharp edge, thanks to which you save yourself a waste of time and energy. Owning a sketch makes it simpler to understand how the 3D characters of the games will look, and to see the chain of actions required to translate them into practice.
Stage 2: Modeling (creating 3D objects)
What technologies are used in 3D character modeling? As with most 3D graphics programs, polygons and NURBS are preferred here. At the same period, polygonal modeling began to be done more often. The condition plus accuracy of rendering of 3D parts is influenced by the number of polygons: the more, the greater. It is common to select blue poly and high poly characters. In role modeling for the movie business, high-poly types are excellent, that is, with a huge quantity of polygons for optimal organization.
Stage 3: Texturing (using forms and supplies to the 3D model)
When texturing, the 3D modeler chooses materials and colors for the design. Experts agree that this process is an act of real art. In cinematography, the responsibility is assigned to a separate expert – the texture artist. However, when designing a 3D character, it becomes necessary to pre-prepare the UV-unfolding (texture unfolding). What it is? We are speaking regarding a 2D image that contains the outside of the 3D modeling of the personas. This unwrapping is required for accurate plus error-free texture mapping on the model. At the next step, textures are drawn with their subsequent binding to 3D character designs. Modelers prepare a complete set of textures, including:
- bump map;
- bump map (displacement);
- transparency map (alpha);
- ormal map;
- specular map;
The result is the creation of a ready-made image of a 3D character, where there is everything from detailed hair on the head to well-defined wrinkles on the face. And this is just half the battle, the further is more interesting!
Stage 4: Rigging (creating a virtual “skeleton”, a set of “bones” / “joints” for subsequent quality animation)
Have you heard about skeletal animation? Most likely, you have at least a rough idea of what it is. This is a technology for computer animation of 3D characters, where things are depicted in two versions: a surface representation (mesh/skin) when building a 3D character, which is practiced to draw a symbol, and a hierarchical collection of interconnected bones (rig/skeleton). The latter is applied to animate (keyframe and pose) the mesh. If you want to design 3D characters with more general features than a humanoid character, the set of bones doesn’t need to be interconnected or hierarchical. It will be a higher order of the level of activity of the surface. More info on ttps://www.treenitro.com/3d-visualization/3d-exterior-services/
Stage 5: Animation (“animating” the figure)
3D character animation is extremely significant, isn’t it? After all, without it, your hero will not move and change shape. How is all this possible? In reality, the animation is a clever example of a series of latent images that differ from each other in insignificant parts. The main goal at this stage is to complete the most practical step of the 3D characters. This is of paramount importance in cinematography, as often in films the 3D hero must interact with the real actors.