1. #46
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    once again thanks to everyone for your kind and gracious comments on the work we do at blur
    we appreciate it

    i wanted to answer some of the new questions:

    @Dride
    You say you avoid retop as it slows the process down. So for organic objects, especially the heads do you box model and then use zbrush's move/move topo brushes? As I have seen a couple of gnomon videos with guys that have worked at Blur (Ian Joyner and Sze Jones) and they have used a combo of retop (3DS Max graphite tools) and zbrush move brush on heads and other objects of characters etc. Has that all changed now then?

    for purely organic things, like perhaps a monster or creature, we might retopo now since theres qremesher or 3d coat. however there are a lot of parts of characters that are still difficult to retopo especially if they have a lot of complex armor like, for example a halo master chief style character. ian and sze (great artists and friends) made vids of a older blur work style. back then we did not use displacement rendering so the sculpted detail had to be poly modeled in. now we use displacement all the time. as a matter of fact our cloth department really prefers when we give them even gridded geometry instead of the old style where every wrinkle was modeled spider web edge flow style.

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    @tez

    Personly I avoid retopo also, as by the time iv worked out my retopo, and done it, I could have built a new mesh from scratch with good topo to begin with. Remember you can re-use parts like heads, hands, feet, or tweak a character you have done already. This is how I work, but others may choose different ways.

    exactly tez. one of the reasons blur is so famously fast is our pipeline where multiple departments are moving forward full steam before the characters are complete. It is very important that we have geometry before we sculpt so that we can get rigging and animation started asap. we have to think bigger picture, it's not just about my character but the entire process to bring cinematics to fruition. we often reuse hand and feet etc. as a matter of fact lately we have been reusing head topology since we have a really large and nice set of morph shapes. by reusing our head topology we automatically get those shapes, of course we need to tweak them as facial features change, but it's a huge head start on the process.

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    @chrono1081

    Oh my freaking goodness, these are AMAZING!!!

    How long did this take you? INCREDIBLE work!


    thanks for your kind words. for the cinematic the hero character had about ~30 day schedule. the lesser/background characters probably ~15 days. the character modelers are responsible for polymodeling, scultping, textures, shading, posing and rendering, facial blendshapes, and sometimes hair. i don't remember how long the entire cinematic took but usually at blur we do cinematics in 3-6 months depending on their length and complexity.

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    @SixxPixels

    I usually spend a few seconds looking over most 3D models - Not the case here!
    Don't have time to read all comments so I'm not sure if this is remeshed/textured scan data;
    - If it isn't your incredibly talented!
    - If it is scan data, your still incredibly talented...


    lately we have been using scans more and more at blur. for this project ubisoft had a few actors that thy wanted to use. we had them scanned at this scanning service that we work with a lot. this service can get us scans but they only really give us the primary forms. there is no detail and some problems around the eyes and mouth. we then usually spend 7-10 days to fix areas, sculpt all the surface detail back into the face, create textures and shaders and generally finish the head. i recall that on this project the clients wanted to actually modify the faces more after the scan to push them in another direction.

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    @makebox
    I'm guessing they using ZB4r2 or ZB4r3. With ZB4r4 you can easily use QRemesher to generate mesh for rigging and stuff.

    yeah at the time of this project there was no 4r4. that being said check out what i said above about having to deliver geometry early. also even with qremesher - we do a lot of characters that have armor, gear and equipment that arent retopo'ed easily. but for creatures, qrem is great.

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    @dushyant20b
    I have some question.
    what render engine you use for the final render of frames after(modeling rigging animation sculpt texture).....
    which software you use for the basic model of mesh(before taking it to Zbrush)
    looking for some more wips.


    we use VRay 2.x for our rendering. in the 5 years i've been at blur we started with brazil the moved to mental ray and now we are very happily using vray. we use 3ds max for our poly modeling. with the graphite polytools, i think max is arguably the most powerful polymodeler out there. some of the guys also use xsi to model, but most of us use max. about more wips, sorry but i've posted all the images i have permission from client to show.
    Last edited by kuman; 09-07-12 at 09:28 AM.
    James Ku
    Character Artist @ Blur Studio

  2. #47
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    Wow!awesome!kuman,nice works!
    How you get so realistic?Which renderer do you use?
    Looking forward more posts!
    Imagination!
    Never lose my passion!

    A Siyu Tao Film coming soon in X/X/20XX...

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    Thanks for taking the time to answer my question. Looks like I have been going the long way round on my characters, remaking everything from scratch. I had noticed on some wireframes from different projects that the cloth meshes had changed. Using displacement maps would make my life easier as I hated doing all the crazy geometry for cloth. One final question if you wouldn't mind answering (Or to anyone else who could answer this). With doing displacement maps on say bodies and clothing, if you have things like armour, sword sheathes, etc lying on the mesh then at render time the displacement maps would cause clipping issues. How do you get around that? Just a case of make sure there is a gap left between the items that have displacement maps on them?

    Thanks again.
    Last edited by Dride; 09-10-12 at 10:48 AM.

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    Quote Originally Posted by Dride View Post
    With doing displacement maps on say bodies and clothing, if you have things like armour, sword sheathes, etc lying on the mesh then at render time the displacement maps would cause clipping issues. How do you get around that? Just a case of make sure there is a gap left between the items that have displacement maps on them?
    wherever there is neutral grey area in your displacement maps , those areas will not be displaced.
    Lead character artist - Blur Studio
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    Ubisoft work
    Assassin's Creed Brotherhood
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  5. #50
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    Quote Originally Posted by ncollings View Post
    wherever there is neutral grey area in your displacement maps , those areas will not be displaced.
    Cheers Nick.

    So I guess wherever anything is close to the mesh you just make sure there is no displacement going on in those areas? Do you use Normals or Bump along side the displacements ?

    Cheers.

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    Quote Originally Posted by Dride View Post
    Do you use Normals or Bump along side the displacements ?

    Cheers.
    Yes we do.
    Lead character artist - Blur Studio
    http://nicolascollings.com/

    Ubisoft work
    Assassin's Creed Brotherhood
    Assassin's Creed 2

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    Thanks for this. Amazing stuff! I'd Love to see the conceptual character designs. Thx guys!

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    These are looking so awesome.
    Waiting for the release of the game.

    Good work guys..
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    Hey, you guys are just too effin' good. I wish I could create such magnificent characters. I guess that's why you're the professional and I'm the novice.

    Please keep posting.....this is diamond work.
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  10. #55
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    Professional work undoubtedly i like it
    I hope access to such a level someday
    Can I know all the programs and plugins that are used in this work ,please
    sorry for my english

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    Awesome work guys!!!
    Last edited by Lukas.IDS; 03-05-13 at 02:55 PM.

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    Default wow!!!

    awesome work!!

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