Victor Robot by Pitarque

Job Copy a Pitarque´s robot
Job time 2 weeks
Software Maya / Substance Painter / Arnold / Nuke

[+] Link to Final Renders

A few weeks ago, I started the advanced course in sets & props creation for animation at Lightbox Academy. The teacher is Jaime Otegui, set & props supervisor in films like Tad the Lost Explorer and the Secret of King Midas, 2017 & Capture the flag, 2015. The first job was to copy a robot from the artist Pitarque that Jaime has chosen for us. Javier Arcos is an artist who makes robots with recycled objects, known as Pitarque Robots [+]. I got the Victor model.

Parts of the robot

I only had two reference photos to be able to model the robot. I had to look for references of each of the objects that formed the robot to be able to start modeling it. It was a complicated research work. The modeling had to be as true as possible to reality. The only way to achieve this was to locate each of the objects that made up the robot. The references would not only be used for modeling, but also for texturing later.

Modeling

I was modeling each part with the correct scale and then I put them all together in the same file to compose the final robot. Taking care of the topology and making it as clean as possible. The mapping was done in UV layout. I used a total of 11 UDIMs.

Lighting / Lightrigs

Before beginning the texturing process, I prepared three lightsrig to have greater control of the textures and their behaviors with different environments. A lightrig with exterior light, a lightrig with studio light and finally a lightrig with the final light of the composition.

Texturing

For texturing I used Substance Painter and Photoshop. Many of the maps and masks were made in susbtance and I finished them in Photoshop for a better finish.

Composition

The composition was very simple since when adjusting the lighting the render was almost finished. For better control I got AOVs from Diffuse, Specular, Emission and SSS. I also took ID maps to control certain areas in Nuke.

I thank you for your time and patience. I hope I have helped in some way and if you liked it, please share!!


Modeling a head

Job Model a head
Job time 2 weeks
Software Maya / Zbrush/ Substance Painter / Arnold / Nuke

[+] Link to Final Renders

Modeling

One of the great challenges of the course, modeling a human head. So far we have only done hard modeling. This was our first organic model. At first, the head had to be cartoon, but I decided to lean more to make it realistic. I modeled the base of the head in Maya, I mapped it and I finished sculpting it in Zbrush. Another challenge for me, and that was the second job I was doing in this program.

Texturing

The texturing was done entirely in Substance Painter. I used mesh base of Maya and made the bakes with the head sculpted in Zbrush. Another challenge that this work presented me was to use the subsurface scattering correctly in the materials.

Hair with XGen

It was also the first time I used Maya’s XGen. This process was much more complex for me. At first I started using the new interactive grooming that includes XGen. Seeing that the results were not what I wanted, I opted to make different hair layers with XGen guides. Along with Arnold’s hair material, the result was more realistic and closer to what he wanted.

Lighting

To test the textures I made three light schemes. One with a frontal light imitating a photographic flash, another with a light at 45 degrees and rim light, and finally, a more natural with a HDRI of an exterior with direct light. With these schemes, I could check the behavior of the materials and especially the subsurface scattering.

Composition

Finally, I made a very simple composition in Nuke adjusting small details. At first the idea was to present the model and the textures, that’s why I did not make any complex composition with it.

I thank you for your time and patience. I hope I have helped in some way and if you liked it, please share!!


Working with a group

Job Copy a frame from Pixar movie
Job time 10 days
Software Maya / Substance Painter / Arnold / Nuke
Group Marta Mollá, Sara García, Lucía Serrano, Luis Cadenas, Esteban Álava & Carlos Terroso

[+] Link to Final Renders

Modeling

After working a couple in class, the next step was to work as a group. The objective of this work was to choose and copy a Pixar scenario, without characters. We chose Boo´s room from Monsters INC. The first step was to identify and number all the assets that made up the scene and distribute them. Each member modeled and mapped their assets. I modeled the walls, floor, curtains and bed. Curtains and cushions are modeled in Marvelous Designer, but did not give time to retopolize them, so they do not have a correct topology.

Lighting

I took care of all the lighting. Very simple, trying to make it as natural as possible and keeping in mind that I was going to add a volume pass in composition. The whole scene is illuminated with lights area. The room has a big fill light and two small lights to mark points of light. The exterior light has plans cutting the light to give the feeling of a window. I used a light mesh for the light of the half moon on the wall.

Texturing

All members of the group texturize the assets with Substance Painter. The most complex part of my assets was to recreate the texture of the walls and the floor. We all had the complete model of the scene illuminated so that we could see how the materials behaved in those light conditions.

Composition

I also took care of the render and the composition. To have as much control as possible of the image I made six light passes with their AOVs of diffuse, specular, transmission, emission and Zdepth. Also a mask of IDs to select specific areas of the image. Finally, the master layer with and without volume as reference. The nuke tree was complex. I took out their AOVs from each light and could correct them according to color or intensity. Finally I added the volume pass and corrected the color and intensity by zones.

I thank you for your time and patience. I hope I have helped in some way and if you liked it, please share!!


Tracking & Matchmoving Test

Job Tracking & Matchmoving Test
Software Maya / Arnold / Nuke

One of the objectives of my first steps in the 3D world is to be able to integrate them into reality. I was studying in my free time how to integrate 3D objects into real images. This is the first test I have done of track and matchmove. First I tracked the image and generated a cloud of 3D points in Nuke, export it to Maya, work the scene in Maya and finally integrate everything in Nuke. A few weeks ago I finished texturing a Lego, so I tried to integrate it with my desktop.



Working with a partner

Job Film Noir Scene
Job time 10 days
Software Maya / Mudbox / Substance Painter / Arnold / Nuke

[+] Link to Final Renders

Pre-production

And there came one of the best moments of the master, working in a group. For this work we had to make a film noir scene with a script.  The scenario we could see all the key elements of the synopsis. For this exercise I worked with Marta Mollá. We had to get in the scene there were elements of a real story or invented and that was in color. The process began with extensive documentation based on movie scenes. Classics such as Touch of Evil, The Asphalt Jungle or The Maltese Falcon were our first references handled. At all times we tried to create a scene with the most typical elements of the genre: femme fatale, disappearances, murders, detectives and a love story. Aesthetically we use references closer in time such as Once Upon a Time America, L.A. Confidential or Casino. The next step of the work was to develop a Film Noir synopsis.

References

We look for references of barber shops that look old. We found a picture of Greg Mimbs that was perfect.
For lighting and textures we chose three films as references: Once Upon a Time in America Casino and Party Girl.

Layout

The composition of the photograph was perfect and I made a layout in blocking to establish proportions and dimensions of the space to coordinate the work.

Modelling

Although in the reference they looked pretty good all the elements we decided to look for references of each one of them. At the time of modeling we divide all the assest in the following way:
Marta – Barbershop chair, Ceiling lamp, Round table, Trash, Chair, Magazine rack, Umbrella stand, Dryer, Calendar, Bottle 1, Bottle 2, Box 1, Box 2, Scissors, Clothes rack, Telephone.
Carlos – Washbasin, Furniture and drawers, Walls and floor, Mirror and lights, Bench, Pictures, Awning, Hat, Jacket, Necklace, Razors, Signs on the door, Mop, Tickets, Photography.
Small details like the broken chair were added in Mudbox. The mapping was done with UV layout and Maya.

Lighting

The lighting has three points of light. Two outside, one key light and another fill light . Inside there is a warmer light that has a door-shaped geometry in front.

Texturing

I made all the texturing of the scene. I divided the scene into eight UDIMs and managed it in Substance Painter. All the photographs on the walls belong to the photographer Weegee.

Composition

Finally, I also take care of the final render. Although the image was almost finished, I rendered each of the lights with their AOVs (diffuse, specular, transmission and Zdepth). The composition in Nuke was simple, correct small details and add glow to the exterior lights to give the image the desired look.

I thank you for your time and patience. I hope I have helped in some way and if you liked it, please share!!


A SciFi Scene

Job Model a radio with a enviroment
Job time 2 Weeks
Software Maya / Substance Painter / Arnold / Nuke

[+] Link to Final Renders

Modelling

For the next class work we had two weeks. This time we had to model a radio and integrate it with an environment. But composition and lighting had to be copied from a movie frame or a still photography.

I decided to model a jukebox radio, specifically, the Rock-ola Tempo model from 1959.

I wanted to make the modeling as detailed and real as possible. I used photographic references and the original radio manual. For the mapping I used Maya and UV Layout and so I could practice as the two programs.

The next step was to find a way to integrate a classical radio with an environment. First, I looked for references of North American roadside cafes, imitating a vintage look. Finally I chose the tribute that George Lucas does to American Graffiti in StarWars: Episode II – Attack of the Clones. Obi Wan enters a restaurant that looks vintage to visit Dex Jettser. This scenario was perfect, so I could mix new with classic. [+] Star Wars Secuence

Lighting

For the lighting I needed a reference. I chose the movie My Blueberry Nights by  Wong Kar-Wai. I wanted to give the scene a retrofuturistic organic look. The lighting of the scene is simple. The main light is a directional light of Maya. The interior lights are Arnold’s mesh lights. The jukebox is illuminated with area lights. I added the volumne later in Nuke.

Texturing

The scene is textured entirely with Substance Painter. I had previously practiced with Substance on the Fighter Helmet, but this was my first scenario. First I texturized the radio jukebox and made it the definitive lighting with the glasses.

The scene is divided into 8 UDIMs for a better resolution. Once the texturing was finished and the glasses were placed, the stage was ready to render.

Final Composition

The final render this time I did it by layers in EXR with AOVs in Arnold. The final composition was made in Nuke with the different layers I had taken from Maya. Finally I added the color grade, grain and depht of field from the Z channel.

I thank you for your time and patience. I hope I have helped in some way and if you liked it, please share!!


Sculpting with Zbrush

Job Modeling an octopus with Zbrush
Job time 5 days
Software Zbrush

In the basic 3d modeling course we have ZBrush classes for a week. During this week we learn the basic controls of the software. Finally, we had to present an octopus sculpted entirely with Zbrush. The process was slow. We learned mainly how to use the interface, zspheres, different types of brushes and how to use alphas. The result is an octopus with many things to improve, but a first approach to the software.



Maya Boss Test

Job Maya Boss Test
Software Maya / Arnold / Nuke

One of the new options that Maya brings is the possibility of doing simulations of oceans in a fast way (Bifröst Ocean Simulation System). I was curious and I was trying to do it. I found different configurations more or less realistic result. To illuminate the scene I used two sources of light, a directional light and a skydomme light of arnold imitating a sunset light. I made the final composition in Nuke.

Maya Boss & Shader settings

Lighting & Composition



Texturing with Mari III

Job Model and textured
Job time  2 weeks
Software Maya / Mari / Arnold / Nuke

[+] Link to Final Renders

Modeling

Since I started classes at the beginning of October, at home I have been practicing modeling and discovering Mari. I decided to make a simple model to be able to texturize it. I chose a Lego, it was not complex until I got to the mask, it took longer than expected. To practice in Mari with UDIMs I separated the mapping in two with UV layout.

Texturing

I prepared a lightrig in Maya to test the textures. In Mari I did the texturing looking to recreate as much as possible the details of a used lego toy. One of the most complicated parts to do was the layer and simulate the edge. Texture maps are Tiff to 4k – 16 bits.

Lighting

At first I thought I was going to leave the model lit with the lightrig and nothing else, but I decided to try lighting schemes and try to imitate a frame of Lego: The movie. There are four light sources each with a different color.

Composition

The composition in Nuke was very simple. First I made a background similar to the reference frame in Photoshop. In Nuke I separated the AOVs channels and added small corrections and details.

I thank you for your time and patience. I hope I have helped in some way and if you liked it, please share!!


Texturing with Substance Painter

Job Model an asset and textured it with Substance Painter
Job time 5 days
Software Maya / Substance Painter / Arnold / Nuke

[+] Link to Final Renders

Modeling

Over the last week we have been looking a new software, Substance Painter. Therefore, the next job was to model an asset and texturize it completely with Substance and discover the program inside. I decided to model a HGU 55 fighter pilot helmet. As always, I modeled it in Maya and did the mapping in UV Layout. The modeling took a couple of days full time as it had many details.

Texturing

The texturing of this asset was my first contact with Substance. The concepts of texturing were clear to me, since in the last weeks I have been texturing with Mari. I decided not to use smart materials in this model and paint all the textures by hand. I worked 16 bits in Linear. For greater control I used the same HDRI of the maya lightrig in Subsntace. I exported the textures in TIFF 16 bits to 4k.

Lighting and Compositing

At first I was going to leave the helmet with the lightrig, but at the last moment I decided to make a composition with him. First I made a composition by integrating the helmet into a photo. For that first composition I used an HDRI as lighting. The result did not convince me too much and I opted for a much simpler composition. Both render did not need to just touch them with Nuke, only basic corrections.

I thank you for your time and patience. I hope I have helped in some way and if you liked it, please share!!


A Western Scene

Job Model a white weapon with a enviroment
Job time 1 Week
Software Maya / Photoshop / Mari / Arnold / Nuke

[+] Link to Final Renders

Modelling

My third job for the master. This time we had to model a white weapon and integrate it into a scenario. While looking for references I found a steampunk model of an 1851 Colt Navy that had a kind of large knife attached to it. I chose this model to be able to integrate it with a scene in the far west.

Blocking and diferent compositions. I finally decided to leave more air in the right part of the scene.

Once all the elements of the scene were modeled, I mapped it with Maya and with UV layout. I used UDIMs to have a better resolution and be able to manage them better in the texturing process. The vegetation I made with paint effects of Maya.

Lighting

To illuminate the scene I used a HDRI and area lights to support and intensify some elements. To give the ambient feeling in the desert, I added an atmosphere in the enviroment of Arnold. The atmosphere will render it in a different pass and compose it with Nuke. The buildings have lights inside to give the sensation of life in them. The buildings have lights inside to give the sensation of life in them

Texturing

Since I started the course, I have been practicing at home with Mari. I’ve textured small elements, but until now I had not textured a big scene. I started with the weapon and I realized the look development in Maya with a neutral lightrig.

The rest of the assets to be in the background, the texturing was faster.

Final Composition

The render I did in EXR with AOVs in Arnold 5. The final composition was in Nuke. I used differents render passes and add background matte, color correction, depth of field and grain.

Night Version

When I finished the final render, I decided to perform the same scene but at night. To do it I simply changed the lighting and the final composition in Nuke.

I thank you for your time and patience. I hope I have helped in some way and if you liked it, please share!!


Texturing with Mari II

Job Model and textured
Job time  2 weeks
Software Maya / Mari / Arnold / Nuke

[+] Link to Final Renders

Modeling

This is my second model to practice with Mari. I chose the mask of Guy Fawkes that appears in the movie V for Vendetta. It is also my first facial. In class they have not yet explained the basic concepts of how to model a face, map it and its correct topology, but it was a great and fun challenge for me. Although the topology is not correct, the objective was to make another model to continue practicing modeling and texturing and complement class work. Like the topology, the mapping was not good, but it helped me to hide seams in the texturing. I divided into UDIMs to continue practicing with them in Mari.

Texturing

To check the textures I still use the neutral lightrig. At first I had no plans to put this model in any final composition

Lighting & Compositing

The lighting and the composition of this asset I wanted it to be as simple and natural as possible. For lighting I only used two lights, one key light and another fill light. The final composition was almost finished in the render, I only added little things in Nuke as the blur.

I thank you for your time and patience. I hope I have helped in some way and if you liked it, please share!!


My first 3D Scene

Job Model a soda can in Maya with an enviroment
Job time 1 Week
Software Maya / Photoshop / Arnold / Nuke

[+] Link to Final Renders Can Coke

[+] Link to Final Renders Futurama & Slurm 3D Scene

For my second work in class I had to do the modeling of a can of soda and texturize it. The initial idea was to continue learning Maya tools and a first contact with the management of UVs.

Before starting with a complex scenario, I did texturing and lighting tests in a simple scenario, trying to copy a real photograph. The UV mapping to place the textures was simple based on planar and cylindrical projections.

For the final stage I modeled the ship of the Futurama animation series. The main element of the final composition should be the can so I looked for a frame that gave prominence to the first object.

The ship and the floor I textured with tileable textures made in Photoshop. The rest was textured with basic arnold materials. All the lighting is made from light areas and boxes to direct the light.

The final step was to render in EXR with AOVs in Arnold 5. The final composition was in Nuke, where glows, decals were added and the color and luminance were corrected.

I thank you for your time and patience. I hope I have helped in some way and if you liked it, please share!!


Texturing with Mari I

Job Model and textured
Job time  2 weeks
Software Maya / Mari / Arnold / Nuke

[+] Link to Final Renders

Modeling

One of the things that most attracts me in the 3D world is texturing. In the master’s degree, we will have basic knowledge of Substance Painter. On my own, I have decided to study Mari, the fundamental texturing software. To do this, searching the web, I found the Elephant VFX page and the great Xuan Prada courses. This has been my first course and the result has been extraordinary. The entire process of texturing and look development of the model has been step by step the tutorial, so I encourage everyone who wants to learn to use this page as a reference. For my first textured in Mari I modeled the Iron Man helmet. The mapping was done in Maya. To start practicing with UDIMs and follow the online course correctly, I separated the mapping into four UDIMs.

Texturing

The process for the texturing was complete with Mari, before sending it to Maya to make materials configuration.

Lightrig & Look Dev.

The last part of the process was to do a lightrig to be able to test the textures. The lightrig can do it yourselves or get it in this link. In Maya the materials were configured with each one of the maps that had been created in Mari. Finally in Nuke, I made the final composition with the corrections in each of the AOVs channels.

I thank you for your time and patience. If you want to learn how to do the whole texturing process, I recommend the Xuan Prada course in Elephant VFX. I hope I have helped in some way and if you liked it, please share!!


My first 3D Model

Job Model a USB in Maya with a real reference.
Job time 1 Week
Software Maya / Arnold / Nuke
[+] Link to Final Renders

First week of the basic 3D modeling course with Maya at Lightbox Academy. The modeling work has been done entirely in Maya as part of the classroom practices. With this model we begin the process of modeling and first contact with the software.

The first part of the project was to look for usb references. After discarding many options I decided to choose Collector USB flash designed by Fang-Chun Tsai.

During the modeling process I set two objectives, copy the forms and make the original design functional. After the modeling, the next step was to create realistic materials with Arnold’s standards materials (without UVs).

Lighting