Digital Mayhem 3D Machine Techniques: Where Inspiration, Techniques and Digital Art meet
Format: PDF / Kindle (mobi) / ePub
Inspire your own creativity with Digital Mayhem 3D Machine Techniques. Compiled by Duncan Evans, founder of 3D Artist Magazine, this book is the next installment of the Digital Mayhem series. Explore, page after page, spectacular machine images created by the industry’s top talent.
With over 500 stunning images, Digital Mayhem 3D Machine Techniques is not your basic software manual. It is where technique and inspiration meet – a detailed and innovative guide to great machine images. Each chapter contains vibrant images and an explanation of the artist’s workflow, including a step-by-step tutorial to help you achieve similar results. From pre-viz to post production, this book takes you through the whole process of creating your very own machine masterpiece!
- Get inside the minds of the artists with breakdown overviews and supporting imagery to explain what went into their piece.
- Expand your digital canvas to include a variety of software techniques, tools and workflows.
- Visit the companion website for additional resources to help you develop your machine technique skills.
to play with the materials, especially misted glass, ground covered by mud and also try to simulate the depth-of-ﬁeld effect of a real camera, which divides the scene nicely into layers of foreground, middle, background. I would like to take this opportunity to thank my girlfriend for supporting me and putting up with my night shifts at the computer. It was an ugly rainy day, but I knew that even a random picture full of mud like this one could come in handy at some point 70 DIGITAL MAYHEM
Photoshop, but you can see painted textures on the model on the ﬂy. [0,1] [1,1] [0,0] [1,0] The individual textures and masks were exported from Mari and then used in VRayBlendMtl. IFA ADK 70 Unwrapping the crane into four areas for texturing using Mari rather than one large texture. Creating a preview Shader in Mari using layers of metal, rust and mud. COLOR MAP RUST MASK REFLECTION MASK CHAPTER 3 INDUSTRIAL & AGRICULTURAL 75 TUTORIAL: INDUSTRIAL & AGRICULTURAL The Base material
ELEMENTS The renders were stored in 32-bit exr format, which allows better work with the light and dark areas for a larger dynamic range than the standard 8-bit images. For example, it allows you to reduce the overexposure of some places without the loss of quality. The ﬁnal image was completely composed of render elements – render passes. The base layer was a Diffuse pass, then I applied Global Illumination pass above it, Reﬂect pass, and so on until I achieved a picture that matched the Beauty
10 ° 13'28 .86" E), where I made several shots in RAW format. I then created an HDRI at 360 degrees, shooting different exposures in RAW with my decrepit old Canon 400D. This used a Sigma 8 mm ﬁsheye lens mounted on a Nodal Ninja for precise and easy 360 degree rotation. I also took lots of pictures from different points of view to create a stock of backplate pictures. Once the shooting was done I used a programme to create a spherical environment that could be used in 3ds Max. I used a dome with
render to show the lighting on the model. Ambient occlusion with wireframe render showing the detail of the model. 136 DIGITAL MAYHEM MACHINES A front-view screenshot of the train from the scene ﬁle in Autodesk Maya 2014. The side view of one of the wagons. Once small elements were built they were duplicated to make up the whole. The engine itself was the most complex part of the model. CHAPTER 6 TRAINS AND TRAMS 137 TUTORIAL: TRAMS AND TRAINS BUILDING THE LISBON TRAM Discover how