3D Prop/Asset Modelling
This entry demonstrates my ability to create photorealistic props/assets for SubDiv modelling that could be implemented as visual effects into a live-action film. Along the way at each stage of the process I focused on finding effective and efficient ways to create convincing and believable props/assets.
As a part of my studies at Flinders University/CDW Studios, I created these props based off of real products, which I then took into an environment scene. These props, through the process of SubDiv modelling, were made so that they can fit into a photorealistic environment. By creating blockouts in Maya and sculpting detail in Zbrush, I was able to extract displacement and normal maps to then re-apply onto the optimized models. This was the process for the Eames Lounge and Ottoman (chair and seat). I created the hardsurface props, such as the Roland TR-808 Rhythm Composer and Desk Chair, by creating brace edge loops to hold the shape of the object.
The following are a series of renders that compare the final beauty renders and wireframe renders:
Eames Lounge - Production Process
I was able to source orthographic photos of the chair from the company's website where I then began the blocking stage. I then continued by inserting brace edge loops to hold the shape of the legs and feet of the chair, following simple hardsurface modelling procedures. I modelled the wooden parts of the chair by referring to my front, back and side view of the product and by manoeuvring the vertices. I duplicated the wooden parts to create the cushions so that they would follow the same form and curvature. I continued manoeuvring vertices of the cushions so they resemble a convincing shape. I then took this block-out (which was now UV-unwrapped) into Zbrush where I sub divided the model to begin sculpting the folds and wrinkles of the leather. I then extracted displacement and normal maps to then re-apply onto the original block-out model. I took the sub divided model into Substance Painter to then texture the finer details. I imported the normal map from Zbrush into Substance Painter, so that when I export the UDIM maps from Substance Painter, the normal map will contain the details from both Zbrush and Substance Painter. I then applied these textures onto the original block-out model to then be rendered in Arnold.
Ottoman - Production Process
Using the same process as the Eames Lounge, I was able to create this model. To be efficient, I created Smart Materials of the leather, wood and metal components of the Eames Lounge in Substance Painter, to then apply onto the Ottoman. This quickened the process in texturing the Ottoman.
Roland TR-808 Rhythm Composer:
Roland TR-808 Rhythm Composer - Production Process
I first created a simple blockout in Maya. I then continued by inserting brace edge loops to hold the shape of the object and as well as inserting booleans for when I start modelling the knobs and buttons. To be efficient, I modelled and UV-unwrapped one knob and one button which then duplicated around to maximise my time. This was the same process for the screws. The next step after UV-unwrapping, I began on the texturing in Substance Painter. I was able to find a near-orthographic photo of the product which showed the decal/imprints on the top. I then re-aligned this image into Photoshop to then bring into Substance Painter to project it as a texture. This quick and effective method produced a clean and realistic texture.