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Been wanting to start this project for the past year and a half, and a few folks have said they wanted an old fashioned modeling video, so here we go!

There's the adage that a film is written three times, once in the script, once on set, and once in the edit, and honestly, knowing how much cg we're planning on, there's a lot we can do to recontextualize the footage into something- I think- significantly better than I ever expected when we were shooting all of this in 2022, and modeling the boat is the first stage of that.

(Also- I think I've finally figured out a big part of my audio problems. Hopefully that improves for the next video!)

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Modeling A Big Boat

Been wanting to start this project for the past year and a half, and a few folks have said they wanted an old fashioned modeling video, so here we go! There's the adage that a film is written three times, once in the script, once on set, and once in the edit, and honestly, knowing how much cg we're planning on, there's a *lot* we can do to recontextualize the footage into something- I think- significantly better than I ever expected when we were shooting all of this in 2022, and modeling the boat is the first stage of that. (also- I think I've finally figured out a big part of my audio problems. Hopefully that improves for the next video!)

Comments

Davide Miozzi

I love how you still try to have things lo-poly. At my work they're like: we need a tree there in the background, keep it less than 5 million points.

Zeke Faust

If you want a less heavy option for the ambient occlusion map you can use the "dirty vertex colors" in the vertex paint mode! I also sometimes use the "pointiness" output of the geometry node for organic shapes. Of course, these options both sort of depend on the mesh all being connected and so doesn't work with separated objects, so are less versatile than the AO node.