How 3D modelling has changed over time and how it helps the media industry.
3D modelling is used across all areas of media, Gaming, movies, TV shows. CGI is the main used of 3D modelling in TV and film, this allows the animators to create the angles of characters or assets in scenes they wouldn’t normally be able to get using actors or props. In game designing you can’t create a game without 3D modelling. It’s the foundation of the Characters, environments, vehicle and props. Animating 3D models, in the past had to be done by hand for every animation but now developers have the option of getting actors in motion capture suits (Mocap) then shooting the scenes in films, gaming and TV. The animators still have the choice to fix something the traditional way if needed.
In the past 3D modelling was used but over time has gotten better due to technology progressing through the years. The graphics wouldn’t have been as smooth, the characters couldn’t have as much detail, (the original character design for Lara Croft was blockey and had noticeable edges). In the newer games they have so much more detail, having reflections in water or seeing water droplets on a characters face, being able to see facial expressions.
The last gen consoles used 720p and 1080p as there default frame rate but with the next gen and newer consoles coming out now having 4K with 60FPS (Frames Per Secound). Having a faster FPS helps the game move more fluid and smoother, competitive ESports players especially within the Call of Duty community, will use the higher FPS because this helps with the fast pace game play.
Task 1:
3D modelling has been used in the media for a very long time. The first form of 3D modelling dates back to 1986, Sculpt 3D and debuted and raytracer on the Amiga computer. It was capable of doing animation as well, but having to have an external text-based script. This did come with the Amiga called ARexx. The 3D modelling we know now is extremely different, the most common software developers use is MAYA. It has become easy to get the final model we want and to add more detail into characters, environment, props. In the past video game visuals weren’t detailed, the characters and environments looked blocky, developers couldn’t capture emotions in faces. The first Tomb Raider game is a great example of showing the development of 3D modelling over the years. The first Lara Croft was simple and even though she was 3D she still had a very 2D look to her. Compared to now were we have fully rendered realistic characters, games have full cut scenes and a liner story line so the player can immerse themselves. Even though players can still control the character through missions, the game can feel like watching a movie. When playing games like this with better visuals and a liner story you find yourself caring for the characters. Especially if that game is choice based, whatever choices the player makes affects the characters and story outcome. For example, Detroit: Become Human is a choice game, the player switches between three characters, Connor, Kara and Marcus. The player follows these characters and choices what they say and do. This could go any possible way with some players getting a character killed through the process. 3D modelling has allowed artists and creators to add more detail within the prop or environment and having the models be in a much better quality, with the progression of video games. Having higher quality models leaves opitionities for cinematic scenes in video games and having CGI being more believable in cinema. Before in films CGI was just props made by prop artists to use in the background of the scene. In films you have an unlimited amount of polygons for 3D modelling, this means if the prop has a high polygon count then the software can’t render the model, because there is not polygon count this allows the 3D artist to get the finniest of detail in and environment, prop or character. It is also harder for models to have a higher polygon count because games are rendered in real time. Video games have gotten more advanced over time, becoming more immersive for the player or viewer. The closest thing we have to an immersive world is VR. The player wears a headset and holds two controllers to be able to see and interact in a game environment. Maybe in 20 years time or even 10 years we could have a fully interactive VR suit, this could make the player not only hear and see in VR but feel as well. Nothing has changed in modelling, animation and rigging that much for MAYA, MAX and Blender. The software still sticking to its original mid-90’s roots. The workflow has gotten better but still recognisable as the same programs as they were back then.
Minecraft, a very popular game since it realises and now coming back. The developers have announced they are going to add raytracing. This will make the game appear realistic and bonce light off environment to give the illusion of shadows. Before Minecraft was well known for a simple block based game with simple textures but people added mods including texture pack mods and shaders mod to give the game a little extra.
In most games there are all different kinds of props that can for a certain environment. An environment that is based in the future may contain mechanical props. For example, weapons, devises used in game. In the Call of Duty Modern Warfare 2019, there are so many components to the weapons and so much detail put on of how the character uses the weapon with reloading and shooting, this would be classed as mechanical. This also goes for any vehicle in games because they would be manmade they would class as mechanical props. Organic props are anything that is not manmade or nature. For example, trees/plants/rocks. Say if a game was based in the forest, the location of the environment would be organic. Mechanical and Organic can be used to make any or the same prop, it just depends on what the developers and the 3D modeller is trying the create. Normal maps are a tool used in MAYA. Normal maps would be best used for environment, props or characters, Normal maps create fake lighting of bumps and dents on objects to give the illusion of shadows. It is also used to enhance the appearance and details of a high polygon. Normal maps would come in handy to add details even though they might not be there. Another tool or skill is Height maps, this would be used to create terrain for a more natural world or area for games. For example, creating mountains, hills or boulders.
When modelling the first tools would be used is extrude and connect these tools among many others will help the creator get the base of the model. If the creator wanted to get a more natural look to curves then they would select the model then press B for soft selection, making the model be able to bend more fluently. After the model has been created that when you would move onto the unwrapping of UVs, by unwrapping the model this allows to create 2D textures later on which fits a 3D object. The reason for this is so we can texture an object accurately. Imagine having a cube and having to unfold it into a net, like the ones in school. Then finding all the piece’s that connect. After the modelling an UV process, you take the model into Substance painter where the creator added textures and designs the look of the model. Playing about with the materials, roughness, color, metal and normal maps etc. of the textures. The softwear is similar to Photoshop. Photoshop is another way the artist can texture the model, but the artist will have to add every little detail to get it realistic as possible. By using Substance there are materials dedicated to certain metals, wood, even skin. Also tools to add scratches and dirt. When unwrapping in Maya the first thing you have to do is, cut seem along the model where it wouldn’t be obvious for the player to see. Then UV shell to select the whole model. Unfold, so the 3D model turns into a net. Orient shells, unfold along U, unfold along V. Then Get the texel density, this makes the textures of the model all the same resolution, rather than having one part in 4K and other in 240p. After all the unwrapping is done, layout the UV shells so they all in line with each other.
When the gaming industry was first into deuced the software that companies used was not as technological advanced compared to now. The first 3D modelling software was Sculpt, it debuted on the Amiga computer in 1986. Amiga could do animation, but would have to rely on external text-based script, this came with the Amiga, called ARexx. Amigia was used by many 2D and 3D software companies around the world. Such as, Disney had a popular 2D animator on the Amiga, this laid the foundation for techniques which became popular, for example layers. Electronic Art’s Deluxe Paint 3, on the Amiga is thought of as the biggest of all modern paint programs. The PC was using CGA graphics and had colors of only 4 also with the capability of making only beeping sounds. The Mac were using black and white. The Amiga computer, had 4096 simulations colors a stereo sound, multi-tasking, a built-in video gunlock and a lot more. Making the Amigia way more advanced then Apple and PCs. Most TV and movies studios used this for production. Amigia was capable of performing advanced animation also video authoring, to professional standard in the eighties, it was created a lot of software that filled the professional video editing market. The available animation programs. Such as, Aegis Animtor, Lights!Camera!Action!, DeLuxe Video, Disney Animation Studio, Versions later than 3 of Deluxe Paint, The Director, Scala, Vision from Commodore itself, VisualFX from ClassX, Adorage Multi Effect program from proDAD, Millennium form Nova Design. ImageFX and Art Department Pro. 3D rendering and animation software consists of Sculpt 3D, TurbosILVER, Aladdin4D, Videoscape 3D, Caligari, Maxon Cinema 4D, Image, LightWave from Newtek, Real3D from Realsoft, Vista Pro, World Construstion Set 3D terrain Rendering programs, and Tornado3D by Eyelight, the Italian Company. Modelling software now has become much more advanced along with the techniques used in modelling. Most gaming studios use Maya, one of the more popular softwares, used for modelling and animation. Assets look much more detailed and clearing, before they would look flat, characters wouldn’t be able to express emotion very clearly also the environment and characters would appear blocky. Having higher quality models in the film and gaming industry means they will appear more realistic on screen and being able to add more detail will bring the model to life. Video games and other medias will have a wider range area to work with, especially within the film industry with having no limits on the poly count. If consoles and PC got more powerful in the upcoming years than maybe having higher quality model in real time gameplay would be possible. The main modelling software used within the gaming industry is MAYA and 3Ds MAX. These are the most popular due to each having their own qualities, 3Ds MAX is usually better for video games because it’s interfaced with more buttons for short cuts and have a cheaper work inside smaller indie games. This allows to game to duplicate more cheap game contents and save more money. It also depends on what the creator prefers and feels more comfortable in using, some modellers might prefer to use MAYA to 3Ds MAX. In the games industry companies may use software like Adobe Flash, Unity, Android Studio, Pygame, Adventure Game Studio, GameMaker Studio, godot, Unreal Engine, or Construst. These softwares help with simulation, graphics, AI (Artificial Intelligence), physics, Audio and input within games. One software program is Quest. Quest is a browser run program which allows you to make text-based adventure games. This focus on the story and choice-elements of the game, which is easy for someone who is a newer to game designing. Construst 2 is another 2D game creation software, it focusses on coding and is generally simple to use, when coding in Construst 2 your just linking pieces of a puzzle together for the character to follow certain commands.
Find 5 artists:
Stefano Ilario and artist on ArtStation, has 3D modelled the Elder Wand. I picked this piece of art because I liked the way it is shot. You can see the detail in the wand. It reminds me of the scene in Deathly Hallows where Voldemort has the elder wand and the camera captures a close up of the wand splitting. This is a 3D model of the Elder wand, this could really help me with getting an idea of how a wand it modelled, UV and textured in MAYA. This would be classed as a prop, where I could see this being used? Probably in the new RPG Harry Potter game or the Fantastic Beasts film series. The software the artist used was Blender and Photoshop, there was no mention of using any 3D software but the most common one is MAYA. The artist would have used Photoshop the textures of the wand and Blender to create the animated effects of the light and spell.
Andrew Gaus is an 3D modeller on ArtStation. I chose this model as more of a reference for me creating my own version. This is a very simple design I and not textured. When creating an idea for my model I would like to add either more detail or make the handle a head of an animal. The software the artist used MAYA and Blender.
Julia Khitrova is another artist on ArtStation, the reason I chose these prop designs because I liked the stylized aspect to them, these are concept art of different props and characters from the Harry Potter and Fantastic Beasts Franchise. I would love to do one or two versions of my wand designs in this type of stylized look. Photoshop was used in the process of creating and drawing these concepts.
Alex J Cunningham created concepts of different wands trying to not make them look like a props from Harry Potter by putting their own spin on the designs. The use of lighting to simulate the spell coming from the wand is very creative, taking inspiration from human bones for the main shaft of the wands is unique. They also used Flintlock pistols as inspiration for the handles. The artist used Zbrush to sculpt the filigree for the wands.
Luc Chamerlat
Based on the concept wands from Pottermore, 3D modelled in MAYA, then sculpted in Zbrush with some custom alphas created in Substance Designer, then textured in Substance Painter using custom wood material. The natural look of the wand is pleasing to the eye, not over complicated and detailed. The pattern on the handle reminds me of a tree trunk and the shaft of the wand is more natural based with looking like a stick or a branch.
For this project I’m going to be 3D modelling a wand from my own concept designs with also taking inspiration from the Harry Potter films and from other wands artists have created. My first wand will be something simple and easy, maybe having the design based on nature, woods, trees. to get me back into modelling again and getting used to the software. Second, design a wand based on the Firebolt broomstick in Harry Potter and the Goblet of Fire. For the third wand will be similar to the first but really basic, looking more like a branch or a stick.
The reason for choosing a wand, I’m not that good at modelling and find it kinda boring so I choose to model soothing fairly simple, but being able to put my own design on the models and drawing concepts will help me get a better idea of how to model the prop.
The first week will be dedicated to getting used to MAYA again with also coming up with and drawing my concepts for the wands. I will be drawing the concepts on paper then the later transfer them into digital concepts.
UV Unwrapping and Texturing:
UV unwrapping in MAYA is when we take the model from 3D form to 2D form. For example, imagine having cube in front of you, then taking the cube apart so you have the net. Just like the ones you’d make in math class back in high school. The process is harder to learn in MAYA, having to add seems and then be able for a player not to see in game.
Start by switching to UV Editor in MAYA, doing this by selecting the drop down menu in the top right hand corner, from MAYA classic to UV Editor.
Next select the model and hold right click – Edge. Select the edge you want to be the seem. Find an edge that can be easily hidden or not too obvious to see. Double click to select the whole edge. Then click Cut.
Next hold Right Click – UV Shell, this gives us a clear view of the model.
Next click Unfold, this basically tells us what the button does. Upon selecting this will unfold the UVs for a flat representation of the model.
Next Orient Shells, this will straighten up the UV Shells so they in line with each other.
Next Unfold Along U and Unfold Along V, this will make sure that the U and V axes are the same size and inline.
Lastly Get the Texel Density. By getting the Texel Density of one UV Shell you can set all the UV Shells to have the same amount of pixels so it’s clearer it see the model in game.
Later on adding more detail to the wand by creating a rope effect around the handle and ring indents to add texture. Doing this by using the connect tool and extruding inwards and by using torises for the rope.
In the image above I’m applying color masks, this is for when the model is transferred in Substance Painter we can apply a material to that color mask. For example, if I wanted red to be rope or metal then it would only be selected to red.
The model has been transferred into Substance Painter and textured using materials applied to the model. Adding different effects so the wand gives the illusion of emitting magic.
This is the final outcome of my first model. Phoenix Feather core wand, with the natural look of a tree branch. Really proud of the way it came out, properly my favourite out of the two models. The modelling process was simple and easy for me to understand. The UV unwrapping part of the model was the hardest. Having to add the seem and the Constance repeat of controls. Texturing the model in Substance Painter was fun and my favourite part of the project, playing with emissive lighting for the three gems on the top of the wand was new and exciting to learn. Giving the illusion of light beaming from the gems. Adding scratches and enlarging them to also give the illusion of magic from the Phoenix Feather flow through the wand. Overall the model came out better than expected really pleased with the outcome, wasn’t any issues throughout the modelling process.
The image above is my second wand design based off the Firebolt broomstick. Same as before started out with a cylinder, then extruding outwards to create the shaft of the wand. Selecting the connect tool for the handle and enlarging it, also using soft tool selection to create a ridge going through the shaft.
Using the same technique as the last wand by using torises for the rope and adding a sphere for the end of the handle. By looking at the reference image I was able to replicate the under part of the broom to the wand, with using the soft selection tool to give it a more natural shape.
This is the HP (High Poly) version of the model, adding more detail with indents on the handle and creating a crack down the wand to look like the wand is breaking.
Moving the model into Substance Painter, adding wood martial but still keeping it a stylised style of art. Grabbing the Olivanders wand shop logo, making it black and white using Photoshop. Then imprinting it to the side of the wand, using height maps to give the illusion of it being stamped in. Taking inspiration from Newt Scamander’s wand and adding teeth marks from where the wizard has held the wand in his/hers mouth.
The second model overall came out better than expected, there is some changes I would make. Maybe applying other materials to the different parts of the wand, making it match the original design of the broom. Overall the modelling process was very similar to the first model and compared to each other they look the same. Hopefully in future projects, I’ll be able to have more knowledge of MAYA and make two models completely different and unique from each other. There were a few errors when modelling, going inside the model to delete the faces that wouldn’t be seen. When deleting them it would get rid of the outside faces, but that came down to having the outside faces selected, easily fixed by undoing the last command and re selecting the right faces.
The two models I designed and textured would be an asset you would see in RPG games, (Role Playing Games) or something based around the fantasy genre. The Harry Potter games, ranging from the PS1 and later on the Xbox 360 and PS3, maybe the new Harry Potter RPG said to be realised in a few years time. The two mobile Harry Potter games, Hogwarts Mystery a RPG game based on creating your own character and following the story, with combat and choices. Hogwarts Mystery has a very stylised design. Harry Potter Unite, the AR mobile game based on finding and collecting beasts, characters and items found in the wizarding world. Wizards Unite takes a different route with the design being more realistic. Another game for example, would be Trine, is a fantasy genre game, following a wizard, a Knight and a Thief , taking part in a quest to save the kingdom from evil. with a fairy-tale-like style/atmosphere. This model could be used on Console and PC gaming. Being used as a weapon, in which the player would cast spells to attack and defend. I wouldn’t see these asset being used in films or animation, because they’re not high quality models, maybe could see it in a trailer, just a short clip or a panning shot.
Ambient Occlusion, This is the Ambient Occlusion map. Which emits light if a asset or prop needs to glow. To provide information about which areas of the model should receive high or low indirect lighting.
Emissive, This is the Emissive Map, the pixels are shown at full intensity. It’s used for a glow in the dark effect. Does not emit light onto adjacent surfaces.
Normal, This is the Normal map. They are a special kind of texture that allow you to add surface detail such as bumps, grooves, and scratches to a model. They catch the light as if they are represented by real geometry.
Base color, this is the Base color map. This is the main textures for an asset or prop.
Metallic, This is the metallic map. They are a black and white texture that acts as a mask that defines areas on a texture set or material that behave like a metal.
Roughness, this is the Roughness map. Roughness maps are Gloss maps in a PBR system, representing how smooth or rough a surface is.
Above is the Ambient Occlusion, Emissive, Normal, Base color, Metallic, Roughness maps for my second wand asset.
Rendered in UnReal Engine 4
Second wand rendered in UnReal Engine 4.
Hogwarts Mystery
Wizards Unite
Trine
Below is my original colored concepts of my wand designs, with annotations, drawn in pencil, pen and used a traditional colored pencils. The reason for this was to save time and putting more effort into modelling then spending weeks on end doing a digital concept piece in Photoshop. If I have time at the end of the unit then I will consider doing some quick sketches in Photoshop.
Digital colored concept of second wand. Reference from the Firebolt broomstick.
Firebolt reference image.
Gathering feedback from class mates and family asking them weather they thought the model went well and whether or not I should change anything. Asking for pros and cons throughout my blog. This is the feedback I got:
Pros:
- “Having good examples and contrast from the past to now” within modelling and how it’s changed and what software and hardware developers use.
- “Including images that supports my information and research.”
- “Well detailed explanations on the process of normal maps.”
Cons:
- “Give examples in MAYA perhaps.” Explaining more of what I was doing in the software.
- “Spellcheck my work.”
- “Provide more images of the process/software for making games.”
Listening to the feedback from my class and family I will make sure to look back and take some of the feedback and incorporate it within my future work.
Resolution:
Within games, graphics and resolution is a big thing to the developers and the players. Resolution is how well the game looks on screen. You can change the resolution depending on the graphics card you have in your console/PC, the higher the graphics card the higher and better the game is going to look. If a player has a 1080p screen but a 720p graphics card, they would have to set the resolution on lower settings. People play around with resolution setting all the time depending on the game, for example, God of War is a realistic game with landscapes and scenes that capture everything that you would see in the real world. So for a game like that, powerful PC and maybe consoles would be able to handle the resolution without dropping frames. Resolution also takes props and assets into account, if it’s an asset the player is going to see all the time then it would have more detail compared to a background prop, like a coke can players would see from time to time. Same goes for 3rd and 1st person games. If the player is holding a weapon in first person, the weapon would have more detail than anything else in game, unless characters come into account. 3rd person game doesn’t matter with detail as much when it comes to props and assets because they are usually small enough for the player not to see them. For example, Call of Duty or Battlefield modellers would get paid more for designing the weapons because it’s the main part of the game. A 3rd person game like Zelda Breath of the Wild, will have less detail in weapons and more in characters and landscapes.
Changes if Any?
The asset/model/prop in animation, the only change that would be noticeable would be within the first wand asset because of the main part emitting light throughout. Also including the spell casting by adding light coming from the tip of the wand. The animation in film compared to games would be very different to the detail, if the wand was close to the camera then the viewer would see it more clearly and notice the emitting light. In games the player will see it but not constantly they would be focusing more on gameplay. It depends on whether the player is using PC, mobile or console gaming. If the game is on PC and the player has higher graphics card and a higher resolution screen, for example, 1080p or 4K, then the asset would have to be a higher quality model and players would be able to run the game on maximum settings. Mobile games are usually of lower quality so the asset would be fine the way it is, for example, the wands in Hogwarts mystery in game are generic and simple with low quality detail. The limitations within films and TV compared to games is very different when it comes to props/assets/models, because films and TV can build the model or prop by hand. It’s only when the model gets put in animation then the quality might go down or up. For example, animation in TV is not as high than films or games. In TV you can tell if a scene is animated by looking at characters or props because they seem cleaner and more polished. There was a scene in the TV show Supergirl that got a lot of backlash from how bad the alien looked. But now game animation seems to only be getting better, the being able to see the emotion within characters and certain scene being close to movie cuts. Games are limited compared to films and TV because they are already pre-rendered, games have to be rendered in real time because there are content updates and with online multiplayer and with gamers constantly playing them.
Evaluation
Throughout the research, planning, modelling, UV unwrapping and texturing process everything went as planned staring with drawing five sketches then the final colored version, keeping within the time frame and on schedule. The modelling process was kind of easy, very slowly starting to learn more about it and how to use MAYA. The asset I was designing wasn’t that hard to create mainly being a cylinder. Texturing was probably the best part out of the practical, getting to select the materials and adding more detail using a new tool which let me stamp the Olivander wand logo on the side of the wand and adding teeth marks to the wand shaft re-creating the same look to Newt Scamander’s wand. UV unwrapping, I found easier this time around and managing to process what was going on and learning how to go about it. Overall I managed to create two models that have been UV unwrapped, textured and uploaded on SketchFab, we were given ten weeks to plan, research model UV and texture everything, with looking at my model I feel it would be fit for purpose for a mobile or 3rd person game also with sticking with the stylised look. Everything went to plan and I feel happy with the outcome of the two models I did, hopefully in the future I can look back and learn from this experience with modelling and feeling accomplished. Having created the two models and putting them into Unreal Engine, I was able to scale the wands in real measurements and move around the environment with ease with making it look like the character is holding the wands. Looking at similar games, for example, the older Harry Potter games and the new RGP (Role Playing Game) Harry Potter game. I could see the models being used throughout the game as the main weapon. The purpose of the model is to be used as an interactive asset, The first wand emits light throughout the shaft which would be activated by the player using spells as attacks. With also seeing this asset being used in short cut scenes and animations throughout games.
Gathering feedback from my pries about one of the two models, choosing the first model. Pros about the model, saying the textures along the wand and especially on the areas wrapped around it. Also, a good choice of materials of the model and generally a good shape choice making it an ‘odd’ shape. Cons, they found some problems with the ‘scratches’ around the tip of the wand, mentioning they don’t wrap around fully. If I was to do this again, making sure to full check the outcome before uploading. Also, suggesting I could change the wood texture for an older look or add a generator for adding grunge and or cracks.
Imogen Carr (GAMING) 