Resonance Remastered

Hey folks!
I wanted to give you a rundown of my recent project at Pixl Visn Media Arts Academy, specifically the Production Training 400 project. It was a two-week deal where my goal was to create a 3D replica of an 250-year-old Vienna cello.
The main focus? Nailing down the cello's shape and textures to keep it as close to the reference as possible.

So, let me break it down for you, and give you a walkthrough of how I tackled it and what I picked up.
Ready to get into the nitty-gritty of 3D crafting? Let's roll!

Starting off the project, I dove into the nitty-gritty by collecting additional references for the texturing phase, focusing on the parts and angles that my primary reference didn't quite cover. My own instrument played a crucial role, serving as a handy measuring tool and a detailed model reference. Having the real deal in front of me, especially when dealing with technical aspects, felt like an absolute gift.

Now, here's the catch: my cello, while dear to me, doesn't boast the captivating wood patterns of the antique one I was replicating. But, that's part of the challenge, right? It's these subtle intricacies that make the difference in creating authentic textures.

I've got to say, there's something underrated about creating a 3D version of something you physically possess. It opens up a treasure trove of reference material, allowing you to grasp the subject comprehensively and replicate it with authenticity. The value of good reference cannot be overstated.

With measurements in hand from my own cello, I kicked off the modeling process by setting up reference backdrops in Maya. This groundwork was crucial for ensuring an accurate replication of the cello. Starting with the basic shapes, I progressed through two blockout phases before delving into the finer details like screws, strings, and the tailpiece. Keeping versions at each stage allowed for a non-destructive workflow, vital for managing the inevitable messiness that can come with beveling, fixing, and adjusting.

After a few days of meticulous work, the modeling phase was wrapped up. The next decision was whether to venture into ZBrush for sculpting damages. However, considering my reference lacked silhouette-altering details, I opted to handle damages in Substance Painter. Though I did introduce a slight imperfection pass using a large move brush in ZBrush, ensuring the model retained that realistic, imperfect touch—after all, nothing in the real world is perfectly shaped.

Moving on to UVs, I settled on a texel density that spanned 11 Udims. Calculating how close I wanted to be to the object with the camera and determining the resolution per Udim, I settled for 4k textures. The choice was a pragmatic one, avoiding the pitfalls of sluggish performance and increased file size that often accompany 8k textures.

After wrapping up the UVs, I eagerly delved into the texturing phase in Substance Painter—a significant focal point of this project and, surprisingly, the most formidable challenge, given the relatively straightforward modeling.

The initial step involved projecting my reference onto the model, a game-changer that simplified the meticulous placement of details such as scratches, scuffs, and color variations. It proved far more efficient than constantly glancing at a second screen and attempting to replicate details manually. However, my reference fell short in resolution for texture projections, a hurdle that nudged me towards a blend of procedural techniques and extensive hand painting.

Attempting to mirror the intricate patterns, forms, and layers of wood, paint, and dirt on the antique cello became a daunting task, particularly when dealing with the nuanced colors of the painted wood. The entire texturing process took me a total of six days—a period filled with revelations about Substance Painter and texturing in general.

One invaluable lesson was the importance of organization in a project with myriad layers. To avoid getting lost in Substance Painter's extensive layer stack, I implemented a color-coding system. Despite seeing numerous areas for improvement, I had to make peace with the ticking clock as the assignment deadline loomed. With a sense of accomplishment and room for growth, I wrapped up the texturing phase and transitioned into look development and shading.

After a bit of back-and-forth between my chosen renderer, Redshift, and Substance to fine-tune details like the displacement map's intensity and other minor adjustments, I proceeded to create a turntable animation. This included an additional clay render and a breakdown of all my texture maps.

As I contemplated how to showcase the asset, I opted for a departure from the classical beauty of the instrument. I sought contrast and decided to infuse some UK drill vibes. I'm a sucker for contrasting elements, giving things a new spin to make them feel fresh and different.

With this vision in mind, I hopped into Ableton to craft a drill beat, featuring cello samples and vocals from an anonymous rapper I regrettably couldn't identify. Accompanying the visuals with music is something I truly enjoy; it adds an extra layer of inspiration for the presentation and rhythm in the video editing process.

The creation of the small song seemed to unlock a flow state, seamlessly transitioning into the camera animation for the turntable shots. It all came together in a single day, and I can honestly say I had a blast with it. Finding inspiration in music, creating contrast, and giving the project a unique twist made the entire process thoroughly enjoyable.

Taking the project to its final stages, I turned to Nuke for that extra touch, employing a back-to-beauty setup. I fine-tuned the images and utilized a range of lens effects to add realism, all while keeping it simple. The primary focus remained on the asset and its textures.

Exporting the final PNG sequences from Nuke into DaVinci Resolve marked the beginning of the editing phase. Here, I experimented with some wild fusion effects, particularly for the kaleidoscope effect at the video's outset. Surprisingly, it was just a mirror node with some keyframes on transformation, showcasing the beauty of simplicity.

Assembling all the materials, I brought the project to its conclusion after incorporating feedback from some colleagues. The journey from 3D replication to music production and editing was nothing short of a creative rollercoaster, and I'm thrilled with the final result. It's a testament to the diverse skills and tools that can be woven together to bring a project to life.