Categories
Final Major Project FMP

Week 2: City Modelling in Maya

I tried to finish the overall city model this week to get it ready to start with the UV maps and texturing.

General city buildings modelling

I decided to make the general buildings of the city using some tools like ‘transform’ and ‘extrude’ to quickly generate random building shapes. I used the following tutorial as an example:

City Modelling tutorial (SYIA Studios, 2019)

Rocky base buildings remodelling

After modelling the city buildings, I noticed that the buildings in the rocky base were a bit off scale so I decided to remodel them and create a more cohesive design. I used the same technique that I used for the top city buildings, by randomising the faces of a cylinder and extruding them out. Then I picked a few faces I moved them inwards so it seems like entrances to the buildings or even garages for the flying cars.

For the bottom building, I tried to keep it simpler, and just extruded in the subdivisions (giving some separation between faces) and then extruded out some balconies. the bottom part has big doors as if they were entrances for big flying trucks.

Skyscrapers and bridges modelling

To give some interest and variety to the city, I also modelled some skyscrapers that will be placed in the middle section of the city. I also added some bridges linking the lower buildings of the city.

City connections/pathways, entrances, & city barrier

Using the same technique I used for the rock of the city base, I created rocky connections between cities, with two main roads and a train track in the middle.

City details

Lastly, I added the city details like lamp posts, transit capsules, flying cars, cables, antennas, billboards, and cranes, to make the city more realistic and alive. I used MASH to help with the lamp posts repetition and with the flying cars positioning and animation around the city. I did not make many billboards as most of the advertising and signage is going to be holographic. Additionally, I remodelled the roof tops of the buildings with different shapes to give some variety to the overall look.

References

SYIA Studios (2019). Maya Model a Simple City Quickly Tutorial (online). Available at: https://www.youtube.com/watch?v=2315V1g8fNw&list=PLAlv9GvsMvnMCUwPx_gcXaCj_yHYdIPqD&index=118&t=287s [Accessed 12 October 2023]

Categories
Advanced & Experimental Personal

Week 8: Palm Trees & Foliage Modelling in Maya

For this week, I modelled variations of palm trees and foliage to fill up the scene and make it look more like a rainforest.

Palm trees references & models

I needed a palm tree reference that was not too tall, with a thick trunk, and with some coconuts showing in between the leaves. I think this style will suit best my scene as the pyramid will need to stand out in the final long shot above the jungle, so it would be better to keep the palm trees at around the same high as the trees are. I found the below references with similar characteristics I had in mind:

The palm leaves were made using the same technique I used for the tree leaves previously. I created an alpha and a normal maps in Photoshop from a picture of a palm tree leaf I found online, and then linked them in Maya.

Foliage models

These are some references I took as inspiration to create the foliage to fill up the rainforest scene:

I also made the alpha and normal maps in Photoshop for the foliage leaves, to then link them to plane shapes in Maya.

Additions of new models to environment

Once I finished the models, I placed them in the main environment scene to see how would they look. I also used referencing in Maya, so when I add the textures to the original models, it would update in the main scene too so I do not need to place everything again.

I also had some problems trying to see the textures of the trees leaves in the main scene when I switched from my personal computer to the university computers. Researching in forums online, I found out that when .ass extensions files were exported, these needed to be exported without ‘Absolute texture paths’ option ticked, as it would always take as reference the same path assigned originally, so when changing computers, these will not show. I reexported these as mentioned before, and relinked the assets with a ‘relative path’ so it does not have a fixed route.

References

Castillo, J., Bustamante, L., Pichardo, F. (2022). Why is Ecuador the best tropical country for nature photography? (online). Available at: https://www.tropicalherping.com/articles/why_ecuador_for_photography.html [Accessed 3 June 2023]

Gerisima (2020). Coconut Palm trees on white sandy beach in Punta Cana, Dominican Republic. stock photo (online). Available at: https://www.istockphoto.com/photo/coconut-palm-trees-on-white-sandy-beach-in-punta-cana-dominican-republic-gm1270732523-373579722 [Accessed 3 June 2023]

Lubilub, 2009). Beautiful palm trees by River Dulce in Livingston, Guatemala. stock photo (online). Available at: https://www.istockphoto.com/photo/beautiful-palm-trees-by-river-dulce-in-livingston-guatemala-gm117952546-9032250 [Accessed 3 June 2023]

Nurjuwita, D. (2018). Where to travel in 2018: The best rainforest destinations (online). Available at: https://www.lifestyleasia.com/sg/travel/travel-2018-best-rainforest-destinations/ [Accessed 3 June 2023]

Categories
Advanced & Experimental Personal

Week 7: Pyramid Modelling in Maya

This week I focused on figuring out the style of the pyramid on my scene and finishing the model in Maya.

Reference pictures and planning

I researched several pyramids in Mexico and Guatemala, and found one that looks a bit more simple but also tall enough to fit the scene that I want to make, which would show the pyramid slightly above the trees of the rainforest. This is the pyramid of the magician in Uxmal, Mexico and it has 3 levels and only one staircase on the front that leads to two different entrances. As my camera movement is going to go from the bottom of the pyramid until the top, I think it could look good to go all the way up the stairs until the top entrances and then open up the scene in a long shot. Regarding the details in the walls, since these would be time consuming and it would take a lot of time to render, I decided to model a simplified version of these instead.

Pyramid model

Using a pyramid preset geometry from Maya I started to shape the 3 levels of my Mayan pyramid. Then, adding some more subdivisions, I added the steps that surround the whole shape. Then, in a separate model, I shaped the main entrance in the middle section. The reason why I modelled it separately is because, it needs way more subdivisions than the main body so it would be easier to model it separate from the main body. I added the entrance and the windows along with all the different patterns that would shape the decoration of this section. Lastly, I modelled the top section and added as decoration the same pattern I used for the middle section. I tried to keep the number of subdivisions at the minimum so this model would not be too heavy for the main scene, as it is going to be quite heavy once I add the rest of the foliage.

References

O’Brien, S. (2012). Pyramid of the Magician at Uxmal Mexico (online). Available at: https://pixels.com/featured/pyramid-of-the-magician-at-uxmal-mexico-shawn-obrien.html [Accessed 25 May 2023]

Popp, T. Day Trip to Uxmal and the Pyramid of the Magician (online). Available at: https://lillagreen.com/visiting-uxmal-and-the-pyramid-of-the-magician-yucatan-mexico/ [Accessed 25 May 2023]

Schooley Jr, J.P. Pyramid of the Magician, Uxmal, Yucatan, Mexico (online). Available at: https://knowltondl.osu.edu/index.php/Detail/objects/8275 [Accessed 25 May 2023]

Zwegers, A. (2013). Uxmal, Pyramid of the Magician (online). Available at: https://www.flickr.com/photos/azwegers/14179854288 [Accessed 25 May 2023]

Categories
Collaborative

Week 8: Environment/Memory Objects Modelling, Re-texturing, & Deadline Extension

This week, we focused on the interactive objects we had for the memories, and on the environment texturing and props.

Objects

Along this week I worked on some of the needed objects for the memories so 3D Animation could start with the animation of these.

I started with the diary as Veronika already had the bugs model rigged. So I made a standard hard cover book model that can be opened in the middle and one of the pages can be bended and animated too.

Then I also tried to model a fingerprint scan machine for the lobby memory. However, as I was really undecided on how to make this one, I researched some references like the following:

I liked the simple style of this scan and I also liked that is not just fingerprint scan but whole hand scan machine. However, I figured that since the walls were going to be curved, I could also add like a stand underneath to it so it does not need to be attached to the wall. The final model I came up with is the following:

I also found a Pikachu toy online which I plan to remodel a bit in Maya, and then in Mudbox I will add dust and mud texture to show decay and the pass of time. Some other models were bought with the budget we had approved for this project, so in order to keep track of this, we also made a list in Miro.

I also researched a bunch of environment materials to fill up the space to give the dystopian look we are looking for:

Team meeting

In this week’s team meeting, we discussed the possibility to request an extension of our deadline so we had plenty enough time to finish the beta version of this project. The reason why we need an extension is because we got the brief of the project late, and the budget we needed for the models bought on internet also got approved late, so we has been falling behind week after week due to these inconveniences.

Regarding the project feedback, in this meeting we pretty much spoke about the environment and the objects we have and what we still needed to make or improve.

My hand scan model was disregarded as it does not fit the style the professors wanted. They also suggested more objects for the memories and they also provided a list in Miro of what they wanted.

They also requested to make an Excel with all the models we use in the VRR experience including our modelled objects and the ones downloaded from internet. This can be found in the following link – https://artslondon-my.sharepoint.com/:x:/r/personal/r_li0920182_arts_ac_uk/_layouts/15/Doc.aspx?sourcedoc=%7B1FC2C2BE-FCE2-4A4C-938A-1A74FDE8E902%7D&file=Departure%20Lounge%20Bid%20Proposal.xlsx&action=default&mobileredirect=true&DefaultItemOpen=1&login_hint=n.gonzalezsanchez0320221%40arts.ac.uk&ct=1680215854179&wdOrigin=OFFICECOM-WEB.MAIN.REC&cid=b65fb2b8-7592-43fd-a689-103d6a2168cb

References

Mainguet, J. (2018). Biometrics movies 2018 (online). Available at: https://biometrics.mainguet.org/movies/ThePredator_hand.jpg [Accessed 4 March 2023]

Categories
Collaborative

Week 7: Team Meeting – Environment, Characters, Objects, Animation, & Interactions

This week, I had a meeting with the girls at the beginning of the week to review what we had done and organise what we need to do, and also had another meeting with the lectures and external studio partners to agree on final designs and interactions.

This week I finished modelling the child’s ghost with textures taking as references the following:

Also, we considered that the team needed to gather in a meeting with lectures in order to discuss technicalities and issues we could have when importing mesh, textures, and animation into Unity. The VR girls confirmed that Unity could accept simple textures with normals, bump maps, roughness, etc., but that this should be embedded in the fbx file exported from Maya.

Since I am not familiar exporting fbx from Maya and even less with Unity, I downloaded Unity so I could test my models directly into it before sending the final ones. VR girls explained that it seemed that the textures needed to be relinked in Unity and this could be a problem and time consuming. Therefore, we reached an agreement that, since I know how and where the textures should be linked, I would test the models in Unity, relink textures and export the Unity package with the model and textures already set. Also, I had to re-set the UV maps of the ghosts models as when I combined all the parts of the model into one unique mesh in Maya, the UV maps got messed up. I also tried to simplify the model removing the double faces of every part and getting rid of unnecessary mesh that was not going to be seen (like torso, arms, legs and feet).

We also thought of the possible memories that can appear when triggered by objects interaction (we made a list in Miro):

Also, MA VFX had our first collaboration project presentation to the class and the tutor, so we put together a Power Point presentation taking as reference some of the slides used in 3D animation and VR presentations (all of us contributed in these presentations).

Team meeting

Later this week, we had the meeting with the lecturers and the external studios partners. We discussed the possibility to buy assets taking the budget offered by the university as we had lots of assets to model and very limited time. Ana the asked us to make a list of assets and add which ones we had to model, which ones we could download for free and which one we needed to buy.

We also reviewed the model of the environment Martyna and Jess have been putting together:

  • Corridor:
    • It needs to be longer and have the final room in between (not at the end). So each side would have 5 doors and then the third door on the left would be the final pod.
    • It should be a dark place with just one point of natural light at the end.
    • It could have stripe lights that are not working (or one can be flickering). These lights need to be organic and not straight industrial lights.
    • It should have broken doors with holes in them. We need to add something in the way of the broken doors, so the main character cannot access the rooms.
    • We considered the idea of these corridors being underground or flooded but due to time limitations and the fact that the whole structure would need to be redesigned, we disregarded it. Instead, we considered the addition of ramps that change slightly the level of the floor from the transition from the waiting area to the corridors.
    • One of the rooms could have an image of trees moving with the wind shown in a screen.
    • The environment will need to look close to us now (familiar), so the user can empathise with it (do not make it futuristic or high tech).
    • Natural lights overall. We can have working lights (when switched on), but not all of them are working (could be flickering or hanging from the ceiling).
  • Final room:
    • It has natural light (single lights source would be more dramatic).
    • It has a broken wall where the deer will appear.
    • Everything is decrepit and broken.
    • The light could be moving with the reflection of the water ripples (from the have flooded floor).
  • Main waiting room:
    • We need to agree textures of the walls which would be broken, moulded, with rusty pipes showing, etc.
    • The ceiling will also have some broken parts with natural light coming through.
    • The walls could have panels, decoration from the past, murals that are aged, etc.
    • We need to add more than one corridor that would be accessible from the waiting room (but not operational for this beta version of the VR experience, just one corridor will be accessible).
    • In the middle, there is a pond with water and dead fish floating.
  • Objects/memories:
    • Teddy bear. We thought of making it look that it was made out of scrapped materials like metallic stuff found, however, we need to be careful with making it look too futuristic so we disregarded this idea. Maybe we could change it for a car toy for example. This toy will show the memory of a child playing with it and then being grabbed by their mother to get euthanised, so the child drops the toy.
    • Fingerprint scan. In this memory, we thought of showing someone being forced to scan their fingerprint so they signed their contract for being euthanised. However, after discussing this with the lecturers, we felt like these should be shown like an option and not like being forced to do it. So instead, we thought of a parent grabbing the child’s hand to help them scan it.
    • Headset. It could reproduce the sound of a radio station that was trying to bring some happiness to people (happy music being cut by the voice of the radio presenter).
    • Diary. This object will only trigger a voice over of somebody reading the diary. When the main character picks the diary and opens it, some bugs would come out from the bottom of it.
    • Poster. It could show health and safety advice like wear a mask, etc.
    • Daily objects. These would not trigger any memory but could show some bits from the past, like a converse shoe, a diary, etc.
    • Megaphone. From were they made the announcements to call people’s turn to die.

We also talked about how VR will construct the UI of the VR experience. It was pointed out by the lectures that this needed to be more an emotional experience than a game itself, so the user’s attention should be driven through the environment using sounds or vague scenes from the past (memories) that are triggered by them passing nearby a place or when touching an object. Some points that were mention regarding the UI were the following:

  • Main character’s POV. It could show like the texture of a helmet (like scratched or dirty glass). We could also add some info showing on the helmet’s glass, like icons (these are less distracting than letters, and less intrusive). We could show UI for the memory object but we should not give away much information.
  • Lobby/entrance. We could add a welcome hologram.
  • Final room. There is a mechanism in the wall that brings up a cell with the human skeletons of the mother and the child hugging. Furthermore, in the collapsed wall, there is a deer that looks us up and then leaves (showing first the deer and then the skeletons). We could hear the singing from the ghosts.

References

Cottonbro Studios. Free Dystopia Photos (online). Available at: https://www.pexels.com/photo/person-in-black-and-white-hoodie-wearing-black-gas-mask-4888482/ [Accessed 22 February 2023]

Categories
Advanced & Experimental Advanced Maya

Week 3: Rube Goldberg Machine Simulation Bake & Texture in Maya

This week, we focused on baking our bullet simulation to proceed to add texture and set our camera movement.

After all the bullet system is built and set up, we need to bake the simulation so the programme creates the animation’s keyframes of each active rigid body. In order to do this, I selected all the active rigid bodies, then selected ‘Bake Simulation’ on ‘Edit->Keys’ tab. Once Maya has created the keyframes of each element and since we no longer need the bullet system set up, I selected ‘Delete Entire Bullet System’ on ‘Bullet’ tab so all the bullet elements are deleted. I also manually animated with keyframes the background gears since I struggled a bit trying to animate them with bullet; every time I added a new hinge, the whole animation stopped working as I had it set up so it was really time consuming to adjust it all over again each time.

After baking the simulation, I proceeded to texture my design. I liked the cyberpunk mixed with steampunk look that my machine was getting and decided to add some metal textures such as copper, gold, chrome, and brushed metal, as well as glass texture on the helix slide, on the top part of the machine and on the light bulbs. These reflective materials gave me the opportunity to add glow to the balls and to some parts of some elements such as to the ring holders of the helix slide, to some neons on the finish line, and to the filaments of the light bulbs. The following examples inspired me with the colours, mood, and composition of the scene.

Before adding the textures, I searched an HDR in polyhaven.com and downloaded a wood workshop HDR with low and warm light conditions. I wanted to give the feeling that this machine was made in this workshop from random materials found in it. I also researched textures and references like wood, old gears and light bulbs:

Wood workshop

I also found a tutorial in YouTube of how to make glow effect:

https://www.youtube.com/watch?v=E9iIf95BCQ4

The following sequence of rendered previews show the textures I used:

The light bulbs were modelled and textured later on as I thought that the space at the end of the base was looking a bit empty and boring. So I modelled them with the idea that they would turn on when the ball hits the finish line planks and a switch is triggered. I modelled the base and outer side of an old school light bulb and added inside the filaments that I textured separately to give the glow effect. Also the glass of the light bulb is doubled so it gives this thickness and volume effect.

I could not finish the final design this week as I added more elements of what I initially planned and it took me longer than expected, but overall I am very happy with how this is turning out.

Textures and HDR:

  • Base wood texture and planks wood texture – https://polyhaven.com/a/wood_cabinet_worn_long
  • Metal texture with marks – https://quixel.com/megascans/home?category=imperfection&search=metal&assetId=uh4obghc
  • Untreated wood texture – https://quixel.com/megascans/home?category=surface&category=bark&assetId=wghjcggn
  • Vintage number 1 – https://www.freepik.com/free-vector/ornamental-1-background_1138096.htm#query=no%201&position=31&from_view=search&track=sph
  • Vintage number 2 – https://www.freepik.com/free-vector/ornamental-2-background_1138095.htm#from_view=detail_alsolike
  • Wood workshop – https://hdri-haven.com/hdri/repair-facility
Categories
Advanced & Experimental Advanced Maya

Week 1: Rube Goldberg Machine Modelling & Animation in Maya

In the first week of term 2, we had our first contact with animation basics, trying to animate two bouncing balls made of different materials. We also started to design our first project of the term, the Rube Goldberg machine.

Firstly, we started a quick model of a basic staircase as a base of our first animation. Then, we created two spheres to start our bouncing animation. The first ball is suppose to be made of rubber, therefore, the animation needs to show a high bounce on each step of the staircase. The second is made of metal, so it should look heavier and less bouncy. We set the basic key frames for each jump, and then adjusted the animation with the ‘Graph Editor’. With this last tool, we can see the graphic of the animation, therefore, we could tweak each movement to make it look more realistic.

Rendered animation

After understanding the principles of manual animation, we dived into ‘Bullet Physics’ in Maya. This plug-in is specialised in the interaction between the geometry of a 3D scene. In order to practice with this tool, we were assigned to create a Rube Goldberg Machine, using basic shapes that would interact with each other.

Before using this tool, the programme needs to be set up to be able to see the ‘Bullet’ tab in the programme’s menu. Once everything is set, we can start designing our machine. The first thing that popped in my mind when we were introduced to this project, was an instagramer that I follow on Instagram known as ‘Enbiggen’. He specialises in creating these 3D Rube Goldberg machines to reproduce the music of any known song, movie soundtrack, etc. I have attached two of his creations that inspired me:

https://youtube.com/shorts/KCSvlCAr-CY?feature=share
https://youtube.com/shorts/Wfp3Gfa9MCM?feature=share

As a first idea of my Rube Goldberg’s machine, I came up with the following sketches as possible designs:

Once the machine was planned, I continued to build it up in Maya. After designing and placing the basic geometry in the 3D scene, I set them as ‘Active rigid body’ or ‘Passive rigid body’ depending if I wanted the polygon to act as a dynamic object or as a static object. Once this is set, I needed to rewind the animation until the beginning (so Maya calculates how the objects would interact between each other), and to adjuste them as needed afterwards. This needs to be precise as the programme can be very picky with these calculations and can cause some errors at the time of setting up each object’s bullet action. Also, as I wanted to make objects spin, I added constrains to some of the polygons using a ‘hinge’ option, placed in the middle of the object (‘Rigid Body Constrain’ tool).

I am struggling a bit with the set up of the actions and adjustment of this as whenever I closed the programme and reopened the scene later on, the same actions that I set up previously, were reacting and behaving differently. I flushed the playback cache to see if this helped but it was doing the same. I had the same problems in both the university computer and in my personal computer.