 |
 |
|
|
| All images from Inspired 3D Modeling and Texture Mapping by Tom Capizzi. | |
|
In this tutorial, the model is the character Dino from Flintstones in Viva Rock Vegas. Most production facilities use maquettes. If the model will be produced using model sheets or orthographic views, a maquette built in an action pose is created before the model sheets are drawn up. Building a sculpture in real life 3D ensures that the proportions of the model will appear correctly in the virtual 3D world in the computer. When a production facility has millions of dollars invested in the success of a 3D character, building a maquette is a small price to pay to make sure it looks good before it is built.
The CG character used in this tutorial was intended to seamlessly integrate into shots where the animatronic puppet was used. This animatronic Dino was created by Jim Henson’s Creature Shop. Rhythm & Hues provided a model fabricated from urethane foam that was used for reference. The foam maquette was poured from the exact mold that was used to make the puppet. The model that was constructed from this reference maquette was supposed to match the foam property exactly.
 |
 |
|
|
|
These drawings are normally used to define the look of the character in orthographic views used for modeling. Because the model had to be animated using digital character controls, the legs had to be straightened and spread apart. The face was changed a little bit to allow for nostril animation and easier eye animation.
Digitized Maquette
The foam prop was digitized using a 3D digitizer, resulting in data
that was not as accurate as data that is digitized from a maquette
constructed from sturdier materials. The actual model was available for
reference, and the puppet maquette data had to be changed to
accommodate the requirements for animation setup. Digitizing provided
only enough data to begin modeling; looking at the actual 3D sculpture
provided the information that was required for the final model.
Curve Network
The network for the construction curves is conceived before the
digitizing begins. The way the surfaces will flow along the curvature
of the eyes, mouth, and nostrils are all laid out on the face. The
difficult transitions where the arms attach to the body and the legs
attach to the hips are planned out at this time as well. Two important
aspects of patch layout for modeling are explained. The first aspect is
to enable the easy and efficient layout for surfaces on a model. The
second, more important reason, is to lay out surfaces so that the final
geometry will move along the surface the same way that skin moves when
muscles move beneath the skin. The radial sections around the eyes,
mouth, nostrils, arm intersections and leg transitions, allow the
geometry to move the way the actual parts of the body move. The muscles
around the mouth move in directions that flow along the perimeter of
the mouth. The muscles that lie beneath the lips travel radially around
the mouth. The muscles around the eye that open and shut the eyelids
are also laid out radially around the eye socket. These surfaces, if
laid out in the way shown here, will move in a realistic manner because
they match the musculature of the face.
Network Strategy
Use as few surfaces as possible. When you are texture mapping a
model, you will have to deal with each surface as a separate map. Keep
all the surfaces close to the same size as the other surfaces. This
enables you to maintain equal texture map sizes between surfaces, as
well as maintain uniform distribution of geometry for animation and
rendering purposes.