Love your stuff! thanks for the info. You achieve surprising graphics using Unity which is great news.
is that images related to coc generals 2? zero hour ?
@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.
We’ve talked with Gennaro Esposito about the way he uses MODO for his 3d work. Gennaro showed the universal nature of this tool, which can solve a lot of problems with 3d production.
Hi guys, my name is Gennaro Esposito, I am Italian 3D Artist specialized in Hard Surface Modeling for VFX and Games. Now I am working as a 3D Artist for Gadget-Bot Studio in Los Angeles on a short film called “Konnexion”.
I worked on commercials Razer like Modeller Hard Surface for CUM Studios in Singapore with a cool team. I live in Naples (ITA) and I have founded a CG academy, called Digital Shark Academy. I’ve been a MODO Certified Trainer for 2 years. My passion are weapons and sci-fi vehicles.
Your workflow is very interesting, cause you’re mostly using MODO for your production. Could you talk a little bit about your choice of the software, what does it do and how does it help you to solve your daily challenges?
From the start I work on base mesh, this base mesh hard surface is made with primitives and simple boolean approach. After that I work on retopology to have a good topology for production and to work on the correct uv layout. To have a perfect model it is important to work on correct BlockOut, the basic volumes are the key to the success of the final model.
What are the most useful tools for a modeler in Modo? How can this software help you to cut the production time and build content faster?
My best tool is the bevel; inside MODO the bevel tool can do a lot things: Bevel edge, Extrude face, inset mesh for example. Very cool tool is MeshFusion – with this tool you have a boolean approach but you can work with Subdivision Surface. I do all in MODO but sometime I can use others software like Zbrush, UVLayout and Mari for texturing.
For Taekewon V project I only used MODO, I’ve done the model , unwrap and lookdev. The shader tree in MODO is very fast, the approach is same as in Photoshop more less. Inside Shader tree there is all you need.
For my render I use the classic 3 points light set, to have a reflection effects I use HDRI inside Environment. I use Photoshop for details and final color correction. The last MODO version has great tools for real time workflow. Inside MODO the artist has a Game Tools panel, where you have all tools for realtime approach, very fast and good for your work on baking map.
The Foundry with MODO10 series gave us a strong sign. Real Time approach is the future and the present for MODO.