Académique Documents
Professionnel Documents
Culture Documents
3D Animation
From Models to Movies
Adam Watkins
Contents
Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiii
Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . xv
Chapter 1
The 3D Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
SOME GENERAL TERMS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
BUILDING A 3D PROJECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
TUTORIAL INTRODUCTION AND EXPLANATION . . . . . . . . . . . . . . . . . . . . . 10
Chapter 2
Chapter 3
vii
CONTENTS
viii
POLYGON MODELERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
SPLINE-BASED MODELERS AND NURBS . . . . . . . . . . . . . . . . . . . . . . . . 34
Primitives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35
EXTRUSIONS, LATHING, AND SKINNING . . . . . . . . . . . . . . . . . . . . . . . . . 43
Straight Extrusions and Extrusion Profiles . . . . . . . . . . . . . . . . . . . .43
Extrusions Along a Path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
Lathing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46
Skinning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50
EXERCISES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Chapter 4
Chapter 5
CONTENTS
ix
Fog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138
Bump . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138
Specular . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140
Glow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .140
Displacement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142
EXERCISES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Chapter 6
Chapter 7
Chapter 8
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214
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225
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231
254
Chapter 9
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256
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264
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273
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303
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306
308
312
319
320
321
322
CONTENTS
WORKFLOW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
EXERCISES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323
.......
.......
MOTION .
.......
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344
346
346
364
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366
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391
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394
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401
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404
407
407
408
412
CONTENTS
xi
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414
416
416
417
419
Preface
3D is hot. Its hard to find any form of entertainment today without some
form of digital art incorporated. The number of professional 3D production
and digital art teaching jobs is staggering. The technology moves so fast that
without one eye fixed on the emerging trends, a 3D artist quickly finds his
equipment obsolete. To top it all off, with all this technology, there are a lot
of people making digital images, but not a lot making good digital art. We
have all seen it. The Web is littered with images made with all sorts of 3D
packages. When the images are made by those fooling with all the buttons,
pull-down menus, and random features offered in a particular application,
the results are, well, less than inspiring. When these images are made by
those who understand 3D and its athletics, the results are fantastic.
The Purpose
and
Organization of
This Book
PREFACE
xiv
Is This Book
for You?
Since this book contains both theoretical and hands-on treatment of 3D issues, it is a book that beginner, intermediate, and advanced users can use.
Most every area of current 3D will be touched upon. If you are just beginning your exploration of 3D, start right from the beginning and work
through to the end of the book. By the end, you will have an excellent grasp
of 3D concepts and techniques. If you have some modeling experience and
just want to brush up on some of the ideas behind the various methods,
you may want to skim Chapters 3 and 4 and jump right into the texturing
sections of Chapters 5 and 6. If you are an advanced user and know your
modeling and texturing, you may want to skip Chapters 3 through 6 and
jump directly into the sections on lighting and composition. If you happen
to be one of those folks who has a good grasp on the whole enchilada of 3D
construction and animation, Chapters 56 and 1316 will still be of
tremendous help in putting those polishing touches on your projects.
How to Use
This Book
This books chapters are all tied together by some unifying tutorials. The
purpose of these tutorials is to allow a hands-on approach to understanding the ideas presented. If you are just getting started, use these tutorials as
you read along. The CD contains a demo version of Cinema 4D XL and a
full version of Strata 3D that are used to create some of the tutorials, and
will give you a good chance to see which packages work for you while helping you understand the theory presented.
However, each chapter can also stand on its own as a piece of reference
or a sort of mini-tutorial. If you are an experienced 3D user, jump right to
the chapters you are most interested in. Chapters can be referenced at a later
time without having to do a lot of backtracking into previous chapters to
understand the train of thought. Hopefully, this book will be one that will
stay well used on your desk and referred back to as your projects merit. So,
regardless of your past 3D experience, lets get started.
Acknowledgments
xv