Magnus
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Everything posted by Magnus
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A first test with a more dynamic motion ... quite imperfect .. especially at the feet area ... but cloth simulation works great. https://www.youtube.com/watch?v=sfBqLL8J054
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... some work in progress here ... a dramatically improved captain (not finalized yet) ... animation comes soon ...
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... and it requires a long time dedication and patience that might be a little bit on the strong side ... As an autodidact it is a lot of trial and error sometimes but my workflow is getting better ... time and computer resources are critical ... more will follow soon.
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Taking things to the next level now with this 'masters mate' .... this character is a project in its own and consumes massive resources ... will see how I fit it in the overall scenery later on ... http://youtu.be/MTdIJmCtvIs
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That is what this software is doing: http://www.marvelousdesigner.com/marvelousdesigner/overview ... and the placement of the sword is because the guy is a little bit careless and does not follow the standards ...
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Latest addition is ... a master ... Master's mate will be next.
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Now find this much improved version of the spyglass setting with another character. Although my vacation is over the topic is gaining speed now as I have accomplished my workflow and mastered several difficult issues in the area of cloth simulation with the "marvelous designer" program. Another rendering will follow soon.
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The excellent book "Trafalgar Companion" from Mark Adkin has nice illustrations that I am trying to virtualize at the moment ... just finalized this Boatswains's mate ... animated rendering will follow the next days.
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The latest and greatest ... the scarf below the shirt alone was a three days fight with the cloth simulaton ...
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Some able seamen came across ...
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Slowly things are coming together ... ... animated:
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... an update here. Animation will follow as soon as it is completely rendered. ... animated:
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In colour ..
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Hi, no, it's a hobby not related to my daily work. Want to mention that there are fantastic tools that do alot. The character itself is generated within the software DAZ 3D. So is the transfer of the motion capture data on the character. The garment layer below that is tightly attached to the character is animated likewise by the mocap data in DAZ. As of now most of this is 3rd party content that I adapted to my needs. Will replace this in the near future. All the dynamic clothing of the coat (modelling and animation) I did create within the program "marvelous designer". As already mentioned above the parts are finally put together in cinema 4D. However, there is quite some effort and know-how in mastering the workflow and transfer of data ... there needs to be some crazyness involved to go on all this learning curves. Meanwhile I found out how to coordinate the hands with an object like a spy-glass. First testrender goes here: http://youtu.be/EkM_-3j58lE
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Another two here: http://youtu.be/1fXybh6ZvIQ https://www.youtube.com/watch?v=9otFqkSzpUE Next time I want him to handle a spyglass ...
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... this crabby guy did pose for a further test yesterday. I managed to export "morphs" from DAZ to C4D. A morph is a special technical construct that moves points from one position to another position over time by means of a handle that controls the extend of the move. This saves resources. Not each position of each point in each frame (30 per second) needs to be stored but the position of the handle. link: http://youtu.be/AR59fD3n1z8
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Here we have my first try with facial morphing. The Program DAZ 3D has rich functionality to set it up quickly and easily. Link to movie: ... I am aware that the whole thing is getting a little bit out of topic for ship modelling ... but finally all will come together.
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The character consists of an internal joint or bone system. The bones form a skeleton. Each bone is animated over time. Translations (positions) and rotations (angles) have values for each frame with 30 frames per second. With all bones interacting properly. Fingers have them as well but here these bones are not animated. The bone system is wrapped with the polygons of the character. Each bone has a defined impact on a group of near polygons. I did remove the translation on the top element, the hip. Otherwise my character would walk out of the screen. I have a lot of books about the age-of-sail topic. Most of them from Conway. Here I did use "The Trafalgar Companion" by Mark Adkin. Although not exactly the same period as HMS Pandora ... Page 128 has the captain undress uniform and from page 197 onwards it has nice illustrations ...
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Thanks ... I am using Maxon cinema 4D which is a full blown modeller suite. Unfortunately in a similar price range like 3DS Max and Maya. Blender is a great tool though. I tried it out for a while. It seems to be optimized for character modelling. The interface is a little bit "unusual" and it is lacking a logical editor like C4D has it. Guess in Blender you need to do scripting in python when C4D still offers a wide range of possibilities in its logical editor "XPresso" ... C4D has python as well in addition to its legacy scripting language COFFEE (resembles Java Script). The sword took me around 2 days ... The lion piece I have from turbosquid. I just adapted it to the handle.
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Much progress now. Optimized my workflow, lots of polishing on the textures and a naval sword added. The sword was a real challenge. Modeling and texturing done from scratch. The Inclusion into the animation and non-collision with the coat needed to be solved. Could further be improved but I am satisfied with the result by now. Will see what comes next. A royal marine maybe. Might even be more demanding as they have a lot of fittings at them. Will also have to start creating animations. The current walkcycle is just a test. A very long way to go until my ship model will be populated with officers, marines, midshipmen, boatswains, masters, able seamen, carpenter, cook, purser, ... link: http://youtu.be/Y0167QDMckg
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Thank you for the observation. You hit the nail on the head. If you see him walking for a couple of seconds it is a repitition of just one same cycle done multiple times. The cycle has a so called backed animation of the coat. A recording of each position of each vertice 30 times in a second! It comes from the organic simulation against a series of repetitive walkcycles. I am using the software "marvelous designer" for this. It creates a mass of data. Having this backing being done for many of seamless loops would be to costly in terms of computer resources. Now, having the one cycle, it cannot be granted that the status of the clothing (hundreds if not thousands of vertices) at the beginning of the cycle is exactly the same as at the end of the cycle. The simulation itself does not reproduce the same status at two different points in time. The only thing I can do at the moment is having a simulation of a series of cycles and cut out the two points in time that resemble each other as good as possible. There will always be a slight "jumping". Of course there might be possibilites in the area of morphing but I don't want to dig into this topic ...
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Puttin’ on some ritz now ... Animation: http://youtu.be/csZ7lRy36Nw First time with some UVW mapped textures on the vertex-animated coat. Still missing is a rapier which will make it even more complex ... we will see.
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Latest achievements go here ... http://www.youtube.com/watch?feature=player_detailpage&v=9glpb--vOik http://www.youtube.com/watch?feature=player_detailpage&v=XNVUUidHKls Two more tests of my advancing character animation. The workflow and setup is almost complete. The texturing of the coat is still missing. Credits for modelling of headwear, wig and under-garment goes to Varsels from sharecg.com. The officers coat, its fittings and the overall composition and animation setup is my own creation.
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Unintended ... but it fits as the Pandora was in search of the bounty mutineers Without captain Bligh though but a similar story about the rescue of the crew with a long journey in the boats after the ship was wrecked on the great barrier reef.
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