《电脑动画高级教程》(GNOMONOLOGY THE MAKING OF 'TRIN')QuicktimeMov[DVDRip]

资源分类：: 资料/计算机教程
发布者：: bluejacky
发布时间：: 2007-12-15 19:08
最新更新时间：: 2007-12-17 01:58
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中文名称：电脑动画高级教程
英文名称：GNOMONOLOGY THE MAKING OF 'TRIN'
资源类型：DVDRip
版本：QuicktimeMov
发行时间：2007年
地区：美国
语言：英语
简介：

本教程包含14个章节，共计621分钟。

教程介绍了“Trin”这个项目的制作过程，设计，建模和渲染。

使用的软件包含Photoshop，Maya，Zbrush，UVlayout，Bodypaint 和Mental Ray。

Trin was started to create a high-res 4k still image, yet evolved to become a looping ten second animation rendered in vertical HD at 1200x1920 to be displayed on a wall-mounted digital display. Starting from a personal sketch, Trin was created in twenty hours using Photoshop, Maya, Zbrush, UVlayout, Bodypaint and Mental Ray. The entire process was recorded and is demonstrated using timelapse footage, where I explain every step with an emphasis on both the technical and aesthetic thought processes. Level: Intermediate.

Chapter One: Orthographics
Trin is based on a pre-existing design that was drawn on paper as a frontal orthographic. The first step is to generate a side-view sketch from the front view design. Using Photoshop, I design Trin's profile ensuring that it aligns perfectly with the front, while trying to create a sideview that holds true to the design. I then import the front/side images into Maya and prepare the image planes for modeling.
Duration: 26min Size: 45.84mb

Chapter Two: Base Mesh, part one
There are two ways to approach a basemesh when Zbrush is going to be involved. The first is create the simplest possible form via box-modeling. The second is to create a topological model where the edge flow follows the musculature of the design. While a Zbrush sculpt can be retopologized, if I know that the 2D design must be exactly followed, I often prefer to make a topological basemesh from the start. In this chapter, the model begins by importing a human head basemesh that I then cut up and redirect the edge flow to suit Trin's anatomy.
Duration: 61min Size: 492.47mb

Chapter Three: Base Mesh, part two
The basemesh for Trin is completed, including the coat and other details.
Duration: 54min Size: 444.73mb

Chapter Four: UV Layout
Using Headus UVlayout, the UVs for Trin and his components are flattened and then arranged in Maya. The separate elements are then exported as 'obj's in preparation of Zbrush import.
Duration: 27min Size: 201.15mb

Chapter Five: Zbrush, part one
The ZTL is assembled and sculpting begins on the head primarily using the Simple brush.
Duration: 28min Size: 217.73mb

Chapter Six: Zbrush, part two
Sculpting continues, with high-frequency detail added using the Rake tool. Forms are resolved using the Simple brush and Move tool.
Duration: 45min Size: 280.49mb

Chapter Seven: Shaders / Lighting
Normal maps are generated in Zbrush using Zmapper, then Trin's components are exported from Zbrush to Maya. Once in Maya, I block-in the initial shaders, normal maps, SSS and lighting. I then export a 2k render to Photoshop and create a color study.
Duration: 78min Size: 143.21mb

Chapter Eight: Texturing the Coat
Trin's coat is textured in Photoshop using scans of leather that are assembled together using the transform, warp and liquify tools.
Duration: 58min Size: 207.72mb

Chapter Nine: Texturing the Head
Trin's head is textured in Bodypaint, where I painted the color map from scratch using a texture stamping technique.
Duration: 42min Size: 87.47mb

Chapter Ten: Modeling the Hallway
The original design is very vague when it comes to the background. I interprete the sketch as being a hallway, and let myself design as I model. In this chapter the hallway geometry is finalized and lit.
Duration: 52min Size: 245.33mb

Chapter Eleven: Texturing the Hallway
Using Photoshop, the hallway is textured by overlaying many different photographic textures in order to create a grungy look. With the textures imported into Maya, the final hallway background is rendered, ready to be composited in Photoshop with Trin.
Duration: 43min Size: 154.34mb

Chapter Twelve: Photoshop Composite
With the background and foreground elements rendered at 2k, I now take them into Photoshop to develop the final look for the composite.
Duration: 32min Size: 50.78mb

Chapter Thirteen: Quickrig and Animation
With Trin's 'look' finalized, I decided that perhaps it would be cool to create a short and simple looping animation of him that I could display on a wall mounted display. In this chapter I show how to create the skeleton, a quick lattice rig for his head and eye constraints.
Duration: 44min Size: 179.54mb

Chapter Fourteen: After Effects Composite
With the ten second animation rendered in HD as just two layers, fg +bg, I recreate the look developed in Photoshop using After Effects. The final Quicktime movie is then rendered and Trin is ready to be displayed.
Duration: 31min Size: 75.47mb

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