Welcome to the voting thread for our next bi-monthly environment art challenge for September and October 2021! The challenge is a way for real-time 3D artists to test their skills and create a piece of work based on concepts provided. It's open to those of all skill levels and we do our best to provide meaningful feedback…
Hey folks, For years now I've been noticing how disconnected we are from classical art as digital artists. There is such a treasure trove of brilliant creative thought and yet we still usually go to the same 3 places as source of inspiration. The OGs have some amazing takes on dramatic lighting, environment composition or…
Oh i see whats happening. There is a lot of surface variation in those rocks' normal texture. So i expected some of those surfaces to cast shadows... silly me :) . Maybe use some strong AO to mitigate that.
Preferably for me, the left hand side geometry for high res hard surface detaling, once a validated blockout example is confirmed. Then it's bevel edge workflow in order too extract relevant surface data for projection onto a proxy.
When working on things like curved surfaces with holes, especially when there gonna be turbosmoothed required a bit of pre-planning. It might work out easier to model in holes into a flat surface then use FFD to get the required shape.
CAD is very interesting. Clean booleans, every time, and mathematically perfect surfaces. For some operations, it can't be beat. But it's hard to swap between polygons and CAD surfaces so you have to pick up front ... choose wisely. :)
[ame=" https://www.youtube.com/watch?v=NuF6E2xZcgI"]How to Setup Hard Surface Models for Sculpting in ZBrush! - YouTube[/ame] This video covers a sneaky mcsneakerson way to prep your hard surface model for sculpting in zbrush. Fancy!
I think super long tris are okay, as long as they are defining a surface that is completely flat. the second you bend the normal tangency on a surface with crazy long tris however, you`re going to end up with undesirable results.
complex shaders generally do the job of calculating how the objects surface interacts with the shots lights. you still need textures to describe the surfaces. (I have no film experience but I've done rendering for TV using mentalray)
Because the dark shell logos are big and embosseed there, when they should just be a really thin coat of paint on the surface (i.e. they won't change the height of the surface). Wrote this up a few weeks ago, that'll hopefully explain it better.