@Tristan: I studied computergrafics for 5 years. I'm making 3D art now since about half a year fulltime, but I had some experience before that. Its hard to focus on one thing, it took me half a year to understand most of the vegetation creation pipelines. For speeding up your workflow maybe spend a bit time with the megascans library. Making 3D vegetation starts from going outside for photoscanns to profiling your assets. Start with one thing and master this. @Maxime: The difference between my technique and Z-passing on distant objects is quiet the same. (- the higher vertex count) I would start using this at about 10-15m+. In this inner radius you are using (mostly high) cascaded shadows, the less the shader complexety in this areas, the less the shader instructions. When I started this project, the polycount was a bit to high. Now I found the best balance between a "lowpoly" mesh and the less possible overdraw. The conclusion of this technique is easily using a slightly higher vertex count on the mesh for reducing the quad overdraw and shader complexity. In matters visual quality a "high poly" plant will allways look better than a blade of grass on a plane.
Is this not like gear VR or anything else
Together with Max Emski we’ve discussed his production process and some of his thoughts on the modeling of complex mechanisms in Maya. (Updated with a comment from Tor Frick on optimizing your MODO viewport).
Hi, my name is Max Emski. I’m very pleased that 80 Level is interested in my work and I hope that my answers will be useful to the readers. I was born in the north of Russia, studied in Saint-Petersburg. Now I live in Moscow but work in Krasnodar city. When I was an art student nobody knew about 3D graphics at all, I acquired the knowledge from the internet. At the moment I work at Plarium as a CG artist.
For the last 2 years I have tested many 3d applications. MODO has great tools to simplify my work process at an early stage and is very friendly, with an open community. Besides that this package includes all the necessary tools to create a project from beginning to end and get a high-quality final render. MIDI has user-friendly interface, a lot of tools and a huge quantity of free plug-ins, which solve all the possible problems with 3D modeling I might have. MODO’s standard shader is amazing. This shader allows me to create very realistic procedure materials and textures without any additional application, and MODO works with Substance, which can be imported into MODO using the Substance Plugin and the Unreal Material Importer. But MODO has one very serious problem with my PC – the viewport is incredibly slow.
Switching to Maya
To be honest I didn’t want to jump from MODO to Maya. But Modo’s viewport gets super slow when I use heavy scenes with millions of polygons. I have some scenes that are around 20 – 30 million polygons with thousands of objects. The viewport speed in Maya is good while the same scenes bring MODO to a crawl.
Navigation in Maya’s viewport with more than 30 million polygons is easy as well, as in a scene with several cubes. Besides that Maya is used in nearly all major game development companies and filmmaking companies. I think that most major games and movies use Maya somewhere in their pipeline. Therefore I made the decision to move completely to Maya and I don’t regret it.
Maya’s interface requires further improvement, especially regarding a Hypershade in my opinion. I would like to have a preset browser for Arnold‘s materials, for example, such as in the latest version of Renderman. That would be great. In everything else, Maya is an ideal package for 3D, and for me is the best software on the market for modeling. The fact that Arnold is delivered with Maya is only add to it.
I love highly detailed hard surface models, and am excited to see projects from my colleagues who pay special attention to detail. After I watched a video from the exhibition where they presented the latest trends of robotics I was inspired to create something similar.
I also love techniques of subdivision modeling, the good quality of the grid. I like finding solutions for the modeling of non-standard surfaces using this method. The main part of the scene is subdivided surfaces. First I did the main parts of the robots, before moving on to the smaller details and then lastly, the props. I studied hundreds of references online and just used these to create the detail.
I used a standard Arnold shader, as it allows the creation of a wide variety of materials. To create some textures I used Inkscape, and bitmap images. I should point out it was my first experience with Arnold’s shaders and rendering, but I’m already a fan.
Before starting the project I thought of what sort of modeling would be best to get clean geometry. I really like Peter Stammbach’s method “from 2D to 3D”, it helped to avoid triangles and “spiders” on the edges.
Before I click the Arnold’s render button, I did a lot of tests. At first, I wanted to render AOVs and then recombine them when compositing in Nuke. But because of the huge number of polygons in my scene this was not easy to do. Therefore, at this stage of my acquaintance with Arnold, I just set the camera with DOF, added volume scattering to the scene, set up a light and HDRI map, and then did the render of the entire scene without AOVs. This is not the best or most flexible method, and next time I will render AOVs and then do post production in Nuke.
Also I slightly corrected this scene in Nuke, making a minor color correction and using the RAW Filter in Photoshop, but most of the work was done by Arnold. I do wish Arnold and Maya had a normal preset browser for materials, and a more user-friendly interface in Hypershade as in some other programs, but I’m quite satisfied with the rest of these packages.