Inspired 3D: Constructing the Inspired Character Part 3 (continued from page 7)


[Figures 60-62] The completed work on the UVs (left). The texture map (center) used for the iris. The final model (right).

The completed UV work is shown in Figure 60. The checkerboard texture lines up evenly across the body, the legs and the arms.

The Eyes
The eyes were mapped using a single map for the iris. The interesting part of this part of the character is the way the specularity had to be handled. I was trying to achieve a specific look, and using an anisotropic shader provided me the kind of specular sheen I was in search of. The problem with this was that the specularity spread all over the eyeball, causing it to look really glowy and weird. I used a specularity map to keep the shininess only in the iris that was the end of the weird glowing eyeballs.

Every character model presents different challenges. When the production pipeline differs than the example shown here, different techniques should be employed for some of the steps illustrated here. The methods used in this tutorial to create blend shapes and texture UVs are very universal and are useful for all character models. The final model shown in Figure 62, shows the texture maps created by Lopsie Schwartz, the animation set up created by Michael Ford and Alan Lehman, the animation pose created by Kyle Clark, and the model and lighting that I created for the cover of the book.

To learn more about character modeling and other topics of interest to animators, check out Inspired 3D Modeling and Texture Mapping by Tom Capizzi; series edited by Kyle Clark and Michael Ford: Premier Press, 2002. 266 pages with illustrations. ISBN 1-931841-49-7. ($59.99) Read more about all four titles in the Inspired series and check back to VFXWorld frequently to read new excerpts.

Author Tom Capizzi.

Tom Capizzi is a technical director at Rhythm & Hues Studios. He has teaching experience at such respected schools as Center for Creative Studies in Detroit, Academy of Art in San Francisco and Art Center College of Design in Pasadena. He has been in film production in L.A. as a modeling and lighting technical director on many feature productions, including Dr. Doolittle 2, The Flintstones: Viva Rock Vegas, Stuart Little, Mystery Men, Babe 2: Pig in the City and Mouse Hunt.

   << Back Page 1 2 3 4 5 6 7 8