Making of Home Sweet Homeby Iker Cortázar
For the pile of the container from where it eats the toucan, I was duplicating the different peanuts and put in a more or less random form without they touch each other.
The bird and the flowers of adornment of the cage are curved from which I obtained a surface using "bevel plus".
The body of the toucan is covered by the "Fur". I took a "predetermined Fur" of Maya and from this one I used to cover the whole body (white and black) just have to allocate how much of the area covered and how much covers each another.
Illumination
My next step is to illuminate the scene. I prefer to illuminate before beginning to texturize and later I adjust the materials and textures to the illumination already created.
To illuminate this scene delivery of a "spot light" to become an "Area Light" Mental Ray, and it soften a bit shadows (I used Raytrace shadows). In light assigned an attenuation "Quadratic.
From here, I begin to perform test lighting. First use lighting and overall I played a little with the quality of the map of photons until something decent, after asset "Final Gather" and the same thing, I played until smooth map of photons.
Once I have more or less clear parameters to be used for rendering an acceptable quality taking into account render times, and I can move on to texturing. In order to texturize I place a configuration of GI parameters and FG that allows me to render with certain rapidity, if it cannot be, I deactivate FG.
Texturing
With regard to design, normally always there is something from the beginning you know clearly how to texturize it. The toucan, for example, is textured with the real colors, there's nothing to think about, just take a reference to it and create. The wall I wanted to be green and brown soil, resembling a land and vegetation, to give a cruelty touch if it is fits to the situation.
From there, with the floor, wall and the peak (nearly object that stands out most of the image) textured, and we can continue composing the image to our liking.
The wall is a repeated pattern; with some spot to prevent their appearance is so repetitive. The doodle is drawn directly into Photoshop.
There are objects that are texturize in NURBS, put them with the typical divisions numbered guide as a reference and then the texture table. It agrees to me to do it thus, if the texture has to become deformed itself following the form of the curves that form the object. The peak is directly NURBS texturing.
If I want to have a greater control over the texture of the object or just me, step by polygons. There are also times when texturizing in NURBS is very difficult due to how the curves are located that form it and passing over to polygons becomes a necessary task. One example is the small cabinet below on the left. It consists of two separated objects. The front part I passed it to polygons to be able to easily texturize it with a "planar mapping".
The materials of the cage, the support of the container from where the toucan come and handle of the cabinet are "dgs material" of Mental Ray and the reflections that appear in these materials are created by an HDR image.
Finally, to say that the texture with greater resolution of the image is the one of the wall, has 2048 x 2048 píxels, I believe that a sufficient size render that I wanted to do.
After this, I alter details like placing or the eye to obtain the unfortunate expression of the toucan (that for me is the key of the image next to the details that tell the story) or move an object to get a composition that I like more.
Also I placed two "Spot Lights," with little specular intensity, one for the frame of the picture of the embroidering and another one for the beak.. In the case of the framework for the best ways to appreciate this and in the case of a beak to accentuate their brightness.
|
|
|
