Tuesday, April 26, 2011

3D Quad bike

Final View


Making of Quad bike by Ali Ismail
Introduction
This will be a brief explanation about making of the quad bike, I like quads but you won’t exactly see me riding one (too scary for me ;) ) anyway it was needed for a small project for a presentation of a quad and motorcycles racing track, it needed to be animated as well.

Reference
As usually if you needed any decent realistic existing model you need reference, unfortunately I couldn’t find blueprints for the quad but I did manage to find a decent front side pictures, a tip is to not only look in the official sites and try google image search or anything similar, amateur images is sometimes more clear than good ones because they don’t do any effort to make it perfect they show it for how its really is



As you see its far from perfect reference, so when modeling you always have to be careful and look at reference images taken from a normal viewing angle and checking to see if it’s the same or not (simply use your eye), you can pretty much say that modeling without decent blueprints isn’t certainly your first choice, I can hear some one out there saying duh :) anyway.
A little trick also is to put the reference image as a background then use a camera to try to replicate the original one, and see if there are major proportional differences (camera match)

Modeling
I’ve had no problems with modeling, the only hard thing was the lack of good reference which makes modeling more time consuming, I made the all the basic objects using editable poly as following:



then I started adding details also using primitives, splines etc.. and adding simple modifiers to primitives taper, FFD etcI did also make 4 or 5 types of screws and small objects so I can quickly start copying them and instancing them, that added good amount of details very quickly



for the more fine details, I collapsed the poly objects and used Boolean to cut them quickly and then edited the mesh to fix the Boolean distortion, that way I made front light holes and practically all holes in the body (its basically polygon way of NURBS trimming but always remember that Boolean is problematic and should be avoided if possible)



it might cross your mind that adding too many details will take a lot time, but when you are copying basic objects and making details out of primitives it really doesn’t take that effort I did model the wheel details, because a quad wheel cannot certainly be represented by a bump map

Texturing
For the texturing I didn’t spend quite a lot of time on it I am afraid as I had to finish quickly
I’ve unwrapped the model quickly and concentrated on the parts that will have details on them mainly  then went to Photoshop and drew the stickers and all details, if I had time to do it again I will unwrap it probably and add proper dirt or make a blend material and add dirt to give dirt a different material. I did give some parts blend materials with masks to give for example the Polaris logo a different material than the body


Rigging

For the rigging and controllers I used simple techniques to do it but it worked I used 3dsmax5 which still didn’t have a reaction manger and I did have to use wire parameters. I will try to explain some of the tricks I have done just to let you know in general how its fully rigged. For the front axe for example as following:



and here how I done it. I just placed a bone for the horizontal axe and a bone for the vertical one gave both of them an IK chain. I connected the horizontal IK controller with a circle I have done but for the vertical IK controller I connected it to a dummy object connected with the horizontal bone.
So when I move the circle it will act as a real axe
This image makes it more clear.


for the spring it self as you notice from the previous images it does work as a spring. I just used wire parameters and made the position of the circle control the height of the spring




for the back spring same as front but instead I made a metal chain which actually loops correctly when the back wheel rotates
I made the chain using path deformation then controlled the percentage of path by the rotation of the wheel, simple but it

worksSteering also is riggedTo control the rotation of the wheels according to the steering I did use strange method to quickly make it without using wire parameters and figuring out the right axes and parameters
I placed 2 dummy object in front of each wheel as in the image and constrained each wheel to look at target to the dummy then linked the dummy to the steering, that way when the steering rotates the dummy will move with it causing the front wheels to rotate accordingly
I hope this image makes it clearer
The right way to do it would be to use wire parameters or max reaction manager (set driven keys in maya) or and orientation constraint if possible

I made dummy objects on top of the geometry so I can see them instead of the high poly object when animating


Rendering

It was rendered using brazil, nothing special in the rendering scene though
Simple brazil scene with Indirect illumination and an HDRI skylight and couple of fill light and some objects with brazil utility material
Materials are standard materials with falloff reflections for some parts, Brazil accepts standard max materials also.
I used the boxes you see in the picture and used this brazil utility material with them in order to emit light and reflect on surfaces similar to studio lightning, I use this technique a lot when rendering industrial models
The fill lights don’t make a huge difference but they give a warm since to the scene, I choose usually colors like orange green and even purple for these lights with low multiplier

I have tried Mental Ray, Vray and brazil to render products and brazil was the easiest to use and obtain results. But the result you get with vray and mental are outstanding as well.

And this is the final result:
here is the second quad I have done for the same project using same techniques:
Source: http://www.3dm3.com

Thursday, April 21, 2011

3D Water Text Effect


Step 1

Open Photoshop and create a new document. Fill the background layer with black and using the Brush Tool (B) or importing a vector file with a handwritten text. You can the one I used in the PSD file that you can download in the end of this tutorial.


Step 2

If you create a text using the brush tool or importing a vector and paste it as bitmap, create a marquee selection of the area you want to apply Repoussé. With the selection active go to 3D> Repoussé>Current Selection.


Step 3

To create the water effect we will use the Inflate preset and pretty much use the same values we used in the previous step, the Inflate 3D type. Change the Depth to 0 and the Scale to 1, also for the Inflate, change the Slides to Front and Face.

Step 4

You will notice that the E will be a solid block and the hole will be lost, then select the area that you want to be hole and then change the Type to Hole. Also increase the Strength of the Inflate to 1.


Step 5

Select the Front Inflation over the 3D Palette and then click on the folder next to the Bump values. Select Open Texture to open the texture in a new document. Then in this new document create a new layer and go to Filter>Render>Clouds. Make sure that you are using black and white for the colors. After that go to Filter>Render>Different Clouds. If your result is too dark, go to Image>Adjustment>Levels, then increase the white input. This texture will be the Bump map, which will distort our 3D text.

For the other values, use white for the Diffuse color, 15% Opacity, 20 for the Reflection, Black for the Illumination, 100% Gloss, 100% Shine, white for the Specular and 1.5 for the Refraction. You can render here to have a preview of the 3D effect.


Step 6

Now to make our effect more realistic let's mix some stock photos. The one I used is from Stock.xchng (http://www.sxc.hu/photo/884261 and http://www.sxc.hu/photo/1131843). Open these 2 images in Photoshop. Copy some parts of the water splash from the photos and paste it in our 3D image.

Step 7

Repeat the process, copy and paste more splashes. As the water splashes from the photos have black background, just change the Blend Mode to Screen, so the black will be transparent.


Step 8

Time to Render our 3D object. On the 3D Palette change the Quality to Ray Traced Final. It will take a few minutes to render the 3D object. If you want to change the lights you can do that and render it again until you find the best result.

Step 9

Duplicate the rendered 3D object and go to Layer>Rasterize>3D. I will rasterize the 3D object so I can apply some image adjustments, I could do that with the 3D layer but some wouldn't work the way I want or it can get a bit slow.

Add a new layer and fill it with black, then merge the black layer with the 3D rasterized layer. After that go to Image>Adjustments>Levels. Use 15 for the Black, 0.8 for the Grey and 160 for the White inputs.


Step 10

Select all layers and duplicate them. After that go to Filter>Blur>Gaussian Blur. Use 15 for the Amount. After that change the Blend Mode to Color Dodge and the Opacity to 30%.



Conclusion

Last year I created this effect using Cinema 4D to create the 3D part, which was really simple as well. However now with Repoussé in Photoshop CS5 Extended we can do everything, in this case the 3D part, in Photoshop. I have been playing quite a lot with Repoussé and there are lots of new things that we can create with this new tool, this water effect is an example. I hope you enjoyed it and now it's up to you.

Wednesday, April 20, 2011

3D Chain

3D Chain 
1 : Start by creating a single Torus with the dimensions of the type of chain link
you want for you scene. Obviously this can be any shape you would like.



2 : Next we will give the link physical properties. (By doing it now,
     it will also set the attributes to the links we will be cloning shortly).
3 : Make sure the link is selected. Once selected go to
     menu – Reactor > open property editor.
4 : The Rigid Body Properties window will open.
     For this tutorial I will be using the settings
     Mass: 6000.0 (how dense your “link” will be)
     Friction: 1.0 (How “smooth” the link will be when rubbing against another link)
     Elasticity: 0 (How “stretchy” your link will be)

Make Sure to choose concave mesh or this will not work properly.




5 : Now you will want to “clone” your link (what ever axis you want). 
You can do this by holding shift and moving the link in your chosen direction. 
Make sure that when you do this that you only move the copying link far enough 
to keep the old link and the new one connected.

6 : You will get this pop up. (I chose to make 15 copies) Click OK





7 : This is what your scene should look like now.




8 : Now select every other link. And rotate them 90 degree’s. Like so.




9 : Now select all of the links. Then go to 
     menu - Reactor > create object > Rigid body collection.



10 : Now choose the very first link you created. In this case chain_link, and go to
      menu – Reactor > open property editor. Make ONLY this links mass 0, and check
     off Unyielding. (This makes the object stay where it is, and allows it to be animated)




11 : We are just about done. Now give all of your links a material 
       (optional of course) BUT IT LOOKS BETTER!

12 : Now go to the Utilities sub menu (menu to the far right).




13 : Expand the Preview & Animation pull down menu. 
       Now chose either create animation, or preview in window. 
       Since this is our first go I think we should preview in window

Now just click on Simulation > play/pause.




Go back and make any setting changes that you wish. 
Make it more realistic, or more cartoonish. It’s up to you. 
When you’re ready to go just choose Create animation in 
the reactor pull down instead of preview in window. 
This will automatically add the keys.

Source: "http://www.3dtotal.com/team/Tutorials/working_chain/chain_01.php"

3d Bullets Part - 2


Press Ctrl + U to enter the Hue/Saturation window. Enable Colorize and change the spinners to 42, 27, -55.
Again, open the Hue/Saturation window and change the spinners to 0, 16, -10. Don’t enable Colorize.

Create 3 Text layers: "80", "T" and "Z". Move and rotate them to fit the following image. Also, right-click each of the 3 layers and choose Rasterize Type and merge them to 1 layer.
Hold Ctrl and click the new layer created by the 3 text layers. It will select all information that appears in that layer.
Select the texture layer (the brown metal); press Ctrl + C, Ctrl + V to create a new layer, with brown metal in the shape of the texts.
Change the Lightness in the Hue/Saturation window to (-)15. Delete the black text merged layer.
Create an Elliptical Marquee; start with the main vertex and use Shift + Alt to create a uniform-scale circle.
Create a new layer, change it to Soft Light and change its opacity to 16. Select the Brush tool, and with 255, 18, 51 RGB colours start painting in the selected marquee circle a soft non-uniformed frame (this red paint symbolises that this shell is a recycled one).
At this point we have now finished the Shell texture.

Projectile:
Again, open the texported UVs, invert and use the blending options to delete the whites. Add the 3 layers, change their Layer Styles and merge them together. Scale them down to fit the 1024 x 1024 canvas.

Press Ctrl + U to fire up the Hue/Saturation window. Check Colorize and change the spinners to 29, 43, -62.

Use the following image to paint the tip of the projectile.

Existing types: duplex (left) and triplex (right) projectiles. There is also a single colour, and of course no colours.
Black (RGB 21, 21, 33) – Armour piercing projectile

Red (RGB 111, 19, 40) – Tracer (night glowing) projectile

Azure (RGB 73, 106, 149) – Incendiary projectile (starts burning upon contact)

Green (RGB 5, 190, 4) – Frangible projectile (designed to disintegrate into tiny particles upon impact to mizimize penetration)

Blue – Expanding projectile (dumdum hollow point – creates a larger wound channel with greater blood loss and trauma)

Check back in Max where the pointy head tip is located related to the UV map (is it on the left side of the UVs? Is it on the right? (and so on)). In my case, the tip of the projectile is located on the left end of the UVs.

Start painting colours using the RGB data. Try to wave it a bit, but remember that,  because of the mapping, the 2 edges need to be aligned.

After finishing the tip colours, create a mask for later use. Where you created , make a black solid colour, and where there is the original texture fill it with white.

The Shell Modifier:
Add a Vray  material and add the shell texture to its diffuse map slot. Change the reflect colour to RGB 28, 28, 28. Change the Refl. Glossiness to 0.78 and the subdivs to at least 40. Change the IOR to 4.0.
For the projectile create a Blend material

Material 1: Add the projectile texture to its diffuse map slot. Change the reflect colour to RGB 26, 26, 26.
Change the Refl. Glossiness to 0.7 and the subdivs to at least 40. Change the IOR to 4.0.

Material 2: Add the projectile texture to its diffuse map slot. Change the reflect colour to RGB 28, 28, 28.Change the Refl. Glossiness to 0.78 and the subdivs to at least 40. Change the IOR to 4.0.

Mask Map: The mask map we created just before the shading.

Lighting:
    Add 2 Vray lights. Type: planes, white coloured, no decay unchecked and very large compared to the bullet. One with multiplier set to 11 and the second with 9.
Rendering:
    Place many bullets in your scene. Add a Camera and a Vray plane (Create > Geometry > Vray) beneath the bullets. Give it a grey material (RGB 128, 128, 128).

Open the Rendering tab (F10), assign Vray as the renderer and change the following variables:

Open the Material Editor. Choose an empty slot and add Vray HDRI map into the diffuse slot. Click on browse and choose the good old Kitchen.hdr (you can download it here: http://www.debevec.org/Probes/kitchen_probe.hdr). Change the map type to Spherical environment and drag Instance into the Reflection/Refraction slot in the Vray: Environment sub-menu.
And render!

The final image will be slighty Photoshopped.

Final Render

Source:www.3dtotal.com