PORTFOLIO for FOREIGN UNIVERSITIES
If you’re planning to take admission in Animation or Design Degree studies at any of the Top 10, Top 20 or Top 100 design colleges in the world after your 10+2 (or equivalent if you belong to any other country) then do start planning early. It would usually take you at least 1-2 years of study in life art to be able to get the nod if you’re looking at Sheridan. Assuming that the requirements for admission at other leading colleges of art would be more or less similar, so you may require the same learning whether you’re trying for top-of-the-line Calarts (California), Gobelins (France), SCAD (Savannah), DAVE (Florida), RISD (Rhode), MICA (Maryland), Ringling, Carnegie Mellon (Pittsburg), SVA (NY), VANARTS (Vancouver), Seneca (Toronto), Capilano (Vancouver), MASSART (Massachusetts), USC (California), CDIA (Boston), VFS (Vancouver), MIT (Cambridge), Bournemoth (UK), or even if you try for slightly lower ranked colleges like NID (India), Utrecht (Netherlands), Emily Carr (Canada) which are in the Top 100 design colleges of the world.
We would use the Sheridan Portfolio description to understand what is required to be learnt for preparing your portfolio
At Sheridan, the components of the portfolio fall into particular streams – Life Drawing, Animation and Character Design, Storyboarding, Layout, and Personal Artwork.
I. LIFE DRAWING
1. Observational Life Drawing
3 drawings of a human figure (preferably nude, however, models wearing a swimsuit or bodysuit are acceptable. Do not draw from photographs or books.)
2. Animal Drawing
2 drawings from life of an animal figure (use pets, visit a zoo or farm)
• Any two of the above five drawings should show stillness. (e.g. the figure standing, sitting, crouching)
• Any three of the above five drawings should show the figure in motion (e.g. walking, running, pitching or batting a baseball)
3. Hand Drawing
2 freehand line drawings of a human hand
• The first should show the hand anticipating an action (e.g. about to pick up a coin, about to knock on a door, about to press a button, etc.).
• The second should show the hand carrying out that action.
Note: In the three Life Drawing sections above, all figure drawings should be drawn from life, not from books or photographs. We are more interested in you demonstrating a knowledge of structure than the ability to use shading on your drawings.
II. ANIMATION AND CHARACTER DESIGN
Design one original character to be used in the following drawings (4, 5, and 6) below.
4. Character Rotation
Draw a character rotation of your original character design using the following views. Put each view on a separate (8.5” x 11”) sheet. The sizes and proportions of each view should be consistent with the other views.
• front view
• 3/4 front view
• profile view
• 3/4 back view
• back view
5. Action Pose Sheets – 2 action poses of your original character (each pose on a separate 8.5” x 11” inch sheet). Keep these drawings rough and loose.
6. Expression Sheet – On one sheet only, draw your original character’s head with 5 different expressions (see below). Show dimension by changing the angle of the head for each expression. You may choose to draw these heads on larger paper and cut, paste and reduce if necessary to arrange all five heads on one 8.5” x 11” sheet, but you need to include the original drawings as well as the reductions.
FOR REFERENCE ONLY
• neutral (normal expression)
Choose one of the character designs provided and using the four-panel story board show the character as it goes through the following narrative:
• Panel 1 – One of the characters finds an object.
• Panel 2 – The character shows curiosity about the object.
• Panel 3 – The character attempts to use the object to accomplish a goal.
• Panel 4 – The character reacts after the goal is…or is not… achieved.
Note: The character designs will be provided to applicants. Please remember to number your panels. It is alright to draw larger panels and then reduce them to fit the storyboard template, but you must include the original drawings as well as the reductions.
8. Household Objects
Create 2 composition sheets of household objects (e.g. fruit, a box, a tin can, a plastic funnel) based on these geometric forms: sphere, cube, cylinder, and cone. Do not use a ruler, compass or stencil.
• one freehand line drawing showing an accurate observation of these objects
• one freehand line drawing based on the first composition drawing (from the same point of view). Using your imagination, show how the objects would look if they were affected by some external force. This should tell us a story of what happened to the objects (e.g. a heavy wind, an earthquake, a snowfall etc.)
Note: Do not shade or colour in the artwork on the above composition sheets
9. Room Line Drawing
2 freehand line drawings of a room in your house
• The first drawing should be an accurate observation of the room and should show a person, drawn in scale, sitting, standing or reclining in that space.
• The second drawing should be the same room from that person’s point of view.
V. OTHER – PERSONAL ARTWORK
10. Personal Artwork – 5 pieces of your personal artwork
These submissions should include a variety of works that best demonstrate the range of your artistic abilities and sensibility. It can be work from high school or college courses. For example, paintings, drawings, etc. The size of any of your personal artwork must not exceed 16” x 20”. No framed work will be accepted. Please do not include three-dimensional artwork (sculpture etc.). Photographs of these works are acceptable. No video or digital media will be reviewed.
Now, the above description is totally subject to change and is used as a reference just to demonstrate the amount of work required to be done by you for pursuing a serious art career.
If you’re looking for a good place to learn life art and sketching, well Arena Chandigarh, Sec 17-C is one of the better place to learn these. Here is one of the Mini-Art Workshop outputs. Do take care to check whether any other place you identify allows you to learn these life art skills alongwith ‘live’ models? If no, then it would not serve much purpose. Copying from art books would not be a solution and may be in fact detrimental to proper art training. A good mentor is required to get you there. For a start you can try going through books like “Drawing from the right side of the Brain” by Betty Edwards or “The Natural Way to Draw” by Kimon Nicolaides.
Now see a video explaining the requrements
Check out the First Promotional Video/ Game Trailer of the upcoming indie game – Sheikh Chilli “Lost in Cave” below:
Sheikh Chilli – Lost in Cave
First Promotional Video/ Game Trailer of the upcoming indie game – Sheikh Chilli “Lost in Cave” developed by VirtualSoft, a leading Game Design Company of India. Incidentally, VirtualSoft is a sister concern of Arena Chandigarh. Based on the continual run model, this game is unique on a few aspect. One is the use of a child’s voice to accompany the acting/ animation highlights a child’s thinking and is useful in engaging the player. Also, an extensive use of acting bring in a lot of variety to the player and gives him more reasons to come back to the game and enjoy Sheikh Chilli’s childishness and innocence. Combine it with the Asianness of the character, and his cute stride, and you have an addictive game at hand. This game was premiered at “Ace Fair 2013, Gwangju, South Korea on 26 Sep 2013. It received a huge positive response and many companies came forward for a tieup to get permission to market this game in their home countries. Many other leading companies from all parts of the world wanted their games developed by VirtualSoft, making it quite difficult for us to commit. if you’re interested to get your game developed, you may contact me at email@example.com
Peter Wiant, a corporate film maker from the US visited the Arena Chandigarh Campus on 2 December 2013. He had been also holding a 48 hours movie contest in the US. He premiered the short movie “Gandhi at the Bat” (which has only been showcased on the Goa Film Fest before). He also showcased “A person known to me” in which he was also part of the cast. During this he explained the issues and how the production team handled their artists leading to a wonderful result.
He also showed commercial movies made by Wiant Productions for different corporate and branding clients. He explained the background of the movie and how they handled the situations and found creative solutions to each challenge.
He also told about the use of research in movie making. Till you are able to do good research, the authenticity of the movie will seem questionable. He advised making movies even while on research since such shots may become the base of ideas for shots. Even talking to local people can give you characters and design ideas. He dwelt on the use of sound in movies and how they providing richness to the subject and treatment.
The students came out excited to make their next attempt at movies once again with renewed vigour.
01 In this lesson we will improvise the look of the Metallic Paint Material that we created in the last lesson. Inside the ‘Slate Material Editor’ bring up the parameters of ‘Ray-trace Material’ by double clicking on it. Under the ‘Specular Highlight’ parameters bring down the values of ‘Specular Level’ and ‘Glossiness’ to ’50′ and ’90′ respectively.
02 We will now add some depth to the Paint Material by using a ‘Fall-Off’ Map in the Diffuse Map Slot. This will enable us to achieve the effect of a realistic looking paint material in which the colour changes depending on the angle viewed in the same manner as the reflectivity. Access the ‘Material Map Browser’ from the ‘Diffuse’ Map Slot and load the ‘Fall-Off’ Map from the ‘Maps’ section.
03 Dive inside the ‘Fall-Off’ menu and under the ‘Fall-Off Parameters’ change the ‘Front’ and the ‘Side’ Color to Bright Red (225,0,0) and Deep Dark Red (5,0,0) respectively. The default Fall-Off type ‘Perpendicular / Parallel’ will give a smooth blend from the Front Color facing us to the Side Color on the edges. Hit Render to see the result achieved so far.
04 Create a copy of the Material by selecting the Material along with the linked Maps inside the Slate Material Editor and moving the whole bunch to a vacant location while holding the shift key. This will create a backup of the material effect achieved by us so far.
05 We will now further refine this copy of the Material by adding a little ‘Speckle’ to the Specular of the material. Under the ‘Specular Highlight’ parameters refine the values of ‘Specular Level’ and ‘Glossiness’ by filling in ’90′ and ’20′ respectively in order to create a large soft specular area. Also bring up the ‘Soften’ value to ’0.51′.
06 Add in a ‘Noise’ Map to the Specular Color Map Slot and Specular Level Map Slot. Dive inside the ‘Noise’ menu of Specular Color Map and decrease the size value to ’0.2′. Change the Noise Color from the Color #1 and Color #2 slot to a darker shade of Red (125,0,0) and a brighter shade of Yellow (255,210,35) respectively.
07 Switch to the ‘Noise’ menu of Specular Level Map and decrease the value to ’0.1′. Change the Noise Color from the Color #2 slot to a a Gray shade (190,190,190). Hit render once again in order to view the result and create another copy of the material for backup, if satisfied.
08 Moving a step ahead we will now refine the Car Paint Material by adding in a few more detail to the Diffuse Fall-Off Map. Dive inside the ‘Diffuse’ map slot ‘Fall-Off’ menu and inside the ‘Front Color’ Map Slot under the ‘Fall-Off Parameters’ load in another ‘Fall-Off’ map from the Material / Map Browser window.
09 Dive inside this new ‘Fall-Off’ Map and under the ‘Fall-Off Parameters’ change the ‘Front’ and the ‘Side’ Color to Yellow (255,245,0) and Red (225,50,50) respectively.
10 In order to make it look less CG we will add a ‘Smoke’ map to the ‘Front Color’ Map Slot under the ‘Fall-Off Parameters’. This step makes the material looks very convincing for closeup shots by delicately but effectively breaking up the very regular color facing us.
11 Dive inside the ‘Front Color’ Map Slot and under the ‘Smoke Parameters’ change the Smoke Color from the Color #1 and Color #2 Slot to a Orange (225,145,0) and Yellow (255,235,0) respectively. Also bring down the ‘Size’ value to ’0.1′ and ‘Exponent’ value to ’0.5′.
12 Create two more copies of sphere in the scene in order to see the effect of each material copy that we backed up in the Slate Material Editor. Assign all the backed up materials onto each copy of the sphere and hit render in order to see the final result.
In this lesson we are going to learn how to do reflections inside 3DS Max using HDR Images and Panoramas. In order to learn how to capture a basic ‘Panorama’ and ‘HDR image’ you guys can have a look at the articles on ‘HDR Image’ and ‘Panoramas’ covering all the basic steps involved in the process.
01 Now we will further improvise the IBL scene by adding in some metallic objects into it. Open up the ‘Slate Material Editor’ by pressing ‘M’ on the keyboard and create a ‘Raytrace’ material inside it from the right click menu.
02 Add in the HDR Panorama Image of the scene inside the ‘Environment’ slot of the ‘Raytrace’ Material. Bring up the ‘Specular Level’ to ’90′ and ‘Glossiness’ to ’100′ in order to get a super glossy metallic finish out of the material. Also change the diffuse color to a darker shade of red.
03 Change the ‘Reflect’ Method to ‘Fresnel’ by clicking onto the Reflect Text in order to toggle between the different reflection methods. Bring up the value of ‘Index of Refraction’ to ’1.7′ in order to make the material more reflective.
04 Create a Sphere object in the scene and apply this Raytrace Material onto it in order to see the result in the render. Fresnel reflections has helped us in altering the reflectivity of the material so that it becomes much more reflective on the edges. The Material becomes much more reflective as the angle of the surface moves away from perpendicular to the viewer as we can notice on the top right side and bottom edges.
05 Now we will improvise the result by improvising the effect of the current HDR Image. We will achieve it by creating a Mix Map inside 3DS Max and blending up the standard HDR and a boosted HDR from Photo-shop. Bring in a ‘Mix’ map inside the ‘Material Slate Editor’ from the right click menu.
06 Open the HDR Image of the scene inside Photo-shop and convert it into a ‘Gray-scale’ Image from the ‘Mode’ options inside the ‘Image’ menu. We will further modify the gray-scale values of the image with the help of ‘Levels’ settings accessible from the ‘Adjustment’ options inside the ‘Image’ menu.
07 We will tweak the ‘Levels’ settings in order to change all the light areas on the image into bright white and the darker areas into more dark or black. But while tweaking it we have to make sure that the gray-scale balance effects the white hotspots on the image.
08 In order to save this modified version into a JPEG file we have to tone it down from 32bits/channel to 8bits/channel version from the ‘Mode’ options available inside the ‘Image’ menu. From the ‘HDR Toning’ dialogue box select the ‘Exposure and Gamma’ method for reducing the bits/channel amount. Save the file while renaming it as ‘Output_Grayscale.jpg’.
09 Bring up the ‘Mix’ Map Parameters and load the ‘Output.hdr’ file inside the ‘Color #1′ and ‘Color #2′ map slots and load the ‘Output_Gray-Scale.jpg’ file inside ‘Mix Amount’ map slot. Dive inside each of the Maps Parameters and decrease the ‘Blur’ amount to ’0.01′.
10 Inside the ‘Output’ options of ‘Output_Gray-Scale.jpg’ loaded inside the ‘Mix Amount’ map slots turn on the ‘Invert’ option in order to invert the gray-scale effect on the blending. This option will reverse the effect of mask so that we can modify the areas that are white in our mask, and use the normal bitmap in all other areas.
11 Bring up the value of the ‘Output Amount’ from ‘Color #1′ map ‘Output’ parameters to ’2.5′. This will help in boosting up the color levels of the map giving a good quality HDR Image based result.
12 Now we will replace the ‘HDR Panorama Image’ linked to the ‘Environment’ map slot of our Raytrace Material with the new ‘Mix Map’. Hit render in order to see the result achieved by us so far.
In this lesson we are going to learn how to produce realistic looking renders using Image Based Lighting. IBL is basically a 3D Rendering Technique which involves attaching a HDR Panoramic image of the same environment to a spherical dome or skylight. The HDR Panorama contains the environment lighting and content information of the scene. So while rendering the scene with global illumination and final gather, most of the 3D Programs take into account the lighting characteristics of the surrounding surfaces with the help of HDRIs.
01 Fire up 3DS Max and open up the ‘Cardboard Box’ scene that we animated in one of our last lessons. We will start lighting up our scene by importing our Back-plate as an ‘Environment Map’ available inside the ‘Environment and Effects’ dialogue box. A Back-plate can be an image or a video that will form the background of our scene.
02 Turn on ‘Use Environment Background’ and ‘Display Background’ inside ‘View-port Background’ dialogue box accessible through ‘Alt + B’ keyboard shortcut. These options will helps us to display the ‘Environment Map’ inside the view-ports.
03 Now we will align our 3D scene according to the Back-plate with the help of viewport grid. But before that we will make the grid bigger from the ‘Home Grid’ menu available inside the ‘Grid and Snap Settings’ dialogue box. ‘Grid and Snap Settings’ dialogue box can be accessed by right clicking on any of the snap toggles.
04 Match the grid in the perspective view-port according to the Back-plate by aligning the lines of the grid to the white line on the road and the corner of the road. Also try to match the ‘Field of View’ of the 3D scene according to the Back-plate. Once satisfied press Ctrl +C on the keyboard in order to create a camera on the current view.
05 Turn off the ‘Grid’ display by pressing ‘G’ on the keyboard and create a big ‘Plane’ object in the center of the view-port, defining the ground level of our scene. Assign the ‘Matte/Shadow’ material over it in order to make it a non render-able object while only displaying the shadows of the objects in contact with it.
06 Bring in a ‘Skylight’ into the scene from the ‘Standard Lights’ menu. Inside it’s parameters load in the HDR Panorama Image of the scene from the ‘Sky Color’ menu. Browse the folder containing the ‘Radiance Image File (HDRI)’ and hit ‘Open’ after selecting it. Also hit ‘Ok’ on the ‘HDRI Load Settings’ dialogue box that pops up, in order to load the default settings of the HDRI.
07 Turn on the ‘Cast Shadows’ option of the Skylight and hit render in order to see the effect of HDRI based Skylight with the default scan-line rendering. It will take a long time to render the scene as we are not using any advanced lighting plug-in to calculate the global illumination of the scene. Also the render might come with a lot of patches of noise.
08 In order to improvise the current scene we will take the help of some ‘Advanced Lighting Plug-ins’. Open up the ‘Render Setup Dialogue Box’ by pressing ‘F10′ on the key board and from the ‘Advanced Lighting Menu’ select ‘Light Tracer Plugin’.
09 Just hit render straightaway and have a look at the significant difference that it makes on the render time. And also there is actually a discreet difference between the quality of the render at step ’7.0′ and at step ’9.0′.
10 Now we will improve the render time without disturbing the quality of the render. From its ‘General Setting’ menu decrease the ‘Rays/Sample’ to ’100′ and increase the ‘Filter Size’ to ’2.0′. Rays/Sample actually means the number of rays cast per pixel of the image whereas the ‘Filter Size’ is actually the size of those rays. So the current settings means that although there are less samples in the scene they are actually bigger so they are going to overlap a lot more.
11 We will further improvise the scene by adding in some shadows to the scene. Grab a ‘Target Direct Light’ from the Standard Lights menu and place it at the top of the scene at an angle that will create a very small shadow. Turn on the shadows and change the shadow type to ‘Area Shadows’ in order to get smoother shadow effect.
12 Improvising the quality of shadows depends on the time spend on playing with Area Shadows parameters. Turn down the ‘Shadow Bias’ to ’0.0′ in order to diminish the distance between the object and its shadow. Increase the ‘Sample Spread’ to ’2.5′ in order to soften the hard edges of shadows.
A Panoramic Photograph can be described as a wide angle photograph of an entire surrounding area. It is basically a representation of an entire physical space in a single image. Generally Panoramas are created by capturing the images in a row with each image slightly overlapping the previous image. Capturing 360-degree panorama requires shooting of multiple rows of photograph covering the entire scene.
Photographing a Panorama is certainly not difficult. But for the best results following a few guidelines are recommended:
1. All the images that we take for a single Panorama must be taken from a single viewpoint in order to avoid Parallax. Parallax is an effect where two objects appear to change positions relative to each other when viewed from different viewpoints. It causes relative movements between the objects which causes a shift in the position of foreground objects relative to the background objects. This relative movement caused by parallax that prevents these images from being properly stitched. Many panorama stitching programs can attempt to align the background or the foreground object but can’t align both at the same time. Even worse is that the program might try to align the foreground objects which would end up throwing the other parts of the panorama out of line resulting in small stitching errors throughout the panorama.
2. So it is very important to avoid Parallax. And in order to do so we have to capture images from a Single Viewpoint. Every lens has a specific viewpoint which is the entrance pupil, it is also referred to as no parallax point. The exact location of this point differs between lenses but in general the viewpoint tends to be very close to the front of the lens. So if we place our camera directly on the tri pod and rotate it we can see the front of the lens is actually moving this results in a change of viewpoint which can some really bad stitching problems. So to prevent parallax errors the camera should rotate around the front of the lens.
3. To do this we use a Panoramic Head which attaches to the top of the tripod and allows the camera to be rotated around the lens. We can still take good panoramas without the panoramic head as long as we remember to rotate the camera around the front of the lens. Photographing hand held means that you have to move yourself around the camera, instead of the camera rotating around your body. For landscape panoramas where objects are not close to the camera we can actually get good results without a panoramic head but for indoor panoramas we definitely need a panoramic head in order to avoid the parallax effects.
4. Getting a Balanced Exposure for the entire batch of images comprising a Panorama is really necessary as most of the panorama stitching programs requires the images to be taken at same exposure. Variation in exposure might end in patches around certain areas of the Panorama image. So it is always recommended to capture a shot with the accurate exposure that we would like to target and then correctly balancing the exposure of each image according to that in any image editing program.
Now we are ready to go ahead and Stitch up a Panorama from the images captured by following the above points. We can use any program available in the market for stitching up a panorama as long as it provide good results. But in this lesson we are going to learn how to use Adobe Photo-shop for quickly and easily assembling panoramas.
01 Fire up Photo-shop and choose ‘Photo-merge’ tool from the ‘Automate’ options inside the ‘File’ menu, (File > Automate > Photo-merge). This will open the Photo-merge Dialogue Box containing the options for creating a panoramic image.
02 Under Source Files in the ‘Photo-merge Dialogue Box’ choose files in order to generate the Photo-merge Composition using individual files. Hit ‘Browse’ button in order to navigate to the images located in our hard disk and then loading them into ‘Photo-merge Dialogue Box’ by hitting the ‘Ok’ button on the browser after selecting the images.
03 Select the ‘Cylindrical Layout Option’ in order to merge the images according to the surface of an unfolded cylinder. This layout is best suitable if we want to apply this onto the surface of a cylinder inside any 3D Program.
04 Select ‘Blend Images Together’ and ‘Vignette Removal’ from the Photo-merge Dialogue Box options in order to merge the images by finding the optimal borders between the images, creating seems based on those borders and to perform exposure compensation in images that have darkened edges caused by lens flaws or improper lens shading.
05 Hit ‘Ok’ and wait until the Photo-shop automatically creates one multilayer image from the source images, adding layer masks as needed to create optimal blending where the images overlap. We can edit the layer masks or add adjustment layers to further fine tune the different areas of panorama.
01 Open up the file from where we left working on the cardboard box. Select a single side of the cardboard box while deleting rest of the sides. Turn on the ‘Percent Snap Toggle’ and uniformly scale it up to ’1000 %’. Hit ‘J’ on the keyboard in order to get rid of the ‘Bounding Box’ that appears on every selected object.
02 Get rid of the ‘Edit Poly’ modifier from the top of modifier stack before rigging the cardboard box. Switch to ‘Systems’ panel from the ‘Create’ menu in order to access the ‘Bones’ tool. Bring up the ‘Left View-port’ and start creating a basic bone rig following the structure of the cardboard box creating one bone for each side. Hit right click once we are done creating the bones. We will end up with an extra bone tip at the end our bone setup.
03 Just select and delete this bone tip in order to get rid of it. Right now the ‘Parent Bone’ is ‘Bone001′ which is representing the flap are of the box. But as we need both the flaps of the cardboard box to be the child of the side, we have to get rid of the current parent bone (Bone001) and replace it with a copy of the flap bone at the top.
04 Now in order to make the bones of the flap to be the child of the side bone we have to connect both the flap-bones into the side-bone inside the schematic view. Schematic view can be accessed through the ‘Graph Editors’ menu and by selecting ‘New Schematic View’. Connect ‘Bone004′ with ‘Bone002′ by the help of connect tool that can be found as the third icon in the ‘Schematic View’ toolbar.
05 Select each part of the bone setup one by one and bring down the ‘Size’ of ‘Side Fins’ to ’14.0′ feet in order to match the size of geometry. Readjust the positioning of the bones according to the geometry. Also rename the bones according to their position i.e. rename the bone for the side of the cardboard box as ‘Side Bone’ and the bones for the flaps of the cardboard box as ‘Bottom_Flap_Bone’ and ‘Top_Flap_Bone’ resp.
06 Now in order to skin the geometry to the bones apply a ‘Skin Modifier’ to the side of the cardboard box. Add all the three bones into the ‘Bones’ parameter of the ‘Skin’ parameter in order to link them to the geometry. Now depending on the default position of the envelops the geometry will move along with the movement of the bones.
07 ’Envelopes’ helps in defining an area of influence on a given geometry and can be found under the ‘Skin Modifier’ tools. So in order to make the movement of the geometry more accurate we have to adjust the ‘Envelope’ size from ‘Radius’ and ‘Squash’ parameters, available inside ‘Envelope Properties’. The ‘Inner Bound’ of the envelope defines the strongest influence over the geometry whereas the part of the geometry under the ‘Outer Bound’ of the envelope is under a lesser influence of the envelope.
08 In order to make the flap geometry rotate as a separate rigid object which is not affecting other parts of the cardboard box we have to make the vertices of its envelope to be rigid. Enable the ‘Vertices’ option under the ‘Select’ parameters and select the vertices that we want to bring under the full influence of envelope. Also turn on the ‘Rigid’ option from the ‘Weight Properties’ and increase the value of ‘Abs. Effect’ to ’1.0′. This will bring these vertices under the 100% influence of the bone.
09 Now as we want the corner of the cardboard box to act as a break point between the side and the flap we have to add some more edges to the corner geometry of the cardboard box. Open up the ‘Edit Poly’ modifier tool stack and select the ‘Edge’ selection tool. Select the perpendicular edges to the corner edge and hit the ‘Connect’ tool from the ‘Edit Poly’ modifier parameters. Bring down the value inside ‘Slide’ parameter to ‘-75′ in order to create a new loop of edges closer to the corner edge loop.
11 Switch back to the ‘Skin Modifier’ inside the modifier stack and select all the vertices of the envelope defining the Flap geometry except the corner vertices. Turn on the ‘Rigid’ option and change the value of ‘Abs. Effect’ to ’1.0′ once again. This will bring these vertices under the full influence f the bone.
12 Similarly select the vertices defining the corner of the cardboard box and change the ‘Abs. Effect’ value to ’0.5′ while turning off the ‘Rigid’ option. Make sure that all the other vertices of the geometry are not under any influence of the current envelope.
13 Now in order to start working on the envelopes of other parts of the geometry select the specific bone from the ‘Bones’ object list inside the ‘Skin’ parameters and bring the relevant vertices under the influence of their respective bones.
14 In the end we can bring back the smooth edges to the cardboard box side by adding up the ‘Edit Poly’ modifier back to the modifier stack. Select all the corner edges of the cardboard box and hit ‘Chamfer’ tool from the modifier parameters.
15 Bring up the ‘Chamfer’ amount only by ’0.07′ feet while increasing the number of segments to ’2′. In the end add the ‘Turbo Smooth’ modifier to the geometry in order to get a smooth and more refined result of the cardboard box.
16 Now we are ready to complete the Cardboard Box by joining in the different sides of the box. Bring up he schematic view and link the ‘Box 001′ node to the ‘Side Bone’ node in order to make it the ‘Side Bone’ node the parent of all the bones and geometry itself. This will ease the complications of making the copies of the whole rig setup as the different parts of the cardboard box.
01 We will start by bringing in the footage as a background image inside the Perspective View. Press Alt +B in order to access the view-port background dialogue box and from the ‘Files’ option inside the ‘Background Source’ parameters browse the image that we are going to project on the geometry.
02 Inside the ‘Aspect Ratio’ parameters of the ‘View-port Background’ dialogue box select ‘Match Bitmap’ option and hit ‘Ok’. This will bring in the footage inside the view-port without resizing it according to the aspect ratio of the view-port.
03 Open up the ‘Render Setup’ dialogue box by hitting ‘F10′ on the keyboard and change the ‘Output Size’ ‘Width’ and ‘Height’ according to the ‘Width’ and ‘Height’ of the background image i.e. ’4064′ and ’2704′ respectively. This will give the right image aspect ratio to the camera from which we are going to project the image.
04 We can now lock the ‘Image Aspect’ ratio option and fill in smaller values inside the ‘Width’ and ‘Height’ parameters under the ‘Output Size’ size category in order to save the render time. Hit ‘Shift + F’ on the keyboard in order to get the right image aspect ratio of the background image inside the view-port.
05 Now we will try to match the view-port grid according to the perspective of the river in the image by orbiting the view-port around and zooming in and out. Once we are happy with the alignment of view-port grid to the river we can create a camera at the present view by hitting ‘Ctrl + C’. Rename the ‘Camera 001′ as ‘Camera_Map’ in order to avoid any confusion in future.
06 Hit ‘G’ on the keyboard in order to get rid of the grid in the view-port. Create a plane from the ‘Geometry’ panel with the value of ’1′ inside the ‘Length’ and ‘Width’ Segments parameters. Modify the plane in the form of a river with the help of ‘Edit-Poly’ modifier. We can extrude the polygon by holding the ‘Shift’ key while dragging the corner edge.
07 Keep on extruding and aligning the corner vertexes to the edge of the river until we get a flat object similar to the shape of the river. Press ‘Alt + X’ while the object is selected in order to switch to ‘X-Ray’ mode for the object. We can use the ’1′, ’2′, ’3′, ’4′, and ’5′ key on the keyboard in order to toggle between ‘Vertex’, ‘Edge’, ‘Border’, ‘Polygon’ and ‘Element’ selection level.
08 Now we will extrude the edges on the right side of the river in order to create the geometry for the foreground mountain. We can select the ‘Loop’ of edges by pressing ‘Shift’ while selecting the second edge in the same line. Start extruding the loop of the edges one by one while following the curve of the mountain.
09 Now in order to cover the area closer to the camera with the geometry we will now extrude the front loop of edges. Switch to ‘Top’ view by pressing ‘T’ on the keyboard and bring some smoothness to the front portion of the geometry by modifying its shape by changing the position of the Vertexes accordingly.
10 We will continue modeling the mountain surface by creating the geometry for the left hand side of the mountain. Extrude the edge loop on the left hand side in the same manner and start following the shape of the mountain. Also edit the end Vertexes of the left hand side of the geometry according to the curvature of the mountain.
11 Once we are happy with the geometry we can apply the ‘Turbo Smooth’ modifier onto it in order to give a smooth finish to our geometry. But as we don’t want smooth edges at the corners of the river we have to give some extra segments near those areas.
12 Turn off the ‘Show End Result’ option from the modify panel and select ‘Edge’ selection mode from the ‘Edit Poly’ modifier. Select the ‘Ring’ of edges defining the river and hit ‘Connect’. Inside ‘Connect’ parameters bring up the ‘Segments’ to ’2′ and ‘Pinch’ value to ’88′. this will take the two new segments closer to the edges of the river. Turn back on the ‘Show End Result’ option to view the result.
13 Now we can proceed with the modeling of the background geometry. We will start with creating the plane covering the length of the mountain. Bring up the ‘Length’ segments and ‘Width’ segments value to ’25′ each so that we can bend the plane easily as we require.
14 Apply the ‘Bend’ modifier to the plane and increase the ‘Angle’ value to ’360.0′ from its parameters. Change the ‘Bend Axis’ to ‘X’ and from the modifier stack rotate the ‘Gizmo’ to an angle of ’90.0′ on ‘Z’ axis. Turn on the ‘Limit Effect’ option and bring up the value of ‘Upper Limit’ to ’2000.0′.
15 Add another ‘Bend’ modifier to the modifier stack and bring up the ‘Angle’ value to ’60.0′ this time. Change the ‘Bend Axis’ to ‘X’ and rotate the ‘Gizmo’ at an angle of ’90.0′ on ‘X’ axis. We can always ‘Scale’ and ‘Reposition’ the ‘Gizmo’ to change the shape of the geometry in any way that we want.
16 Switch to camera view and rotate the plane geometry a bit in order to cover the vacant area on the left hand side of the view-port and also to make the geometry face the camera. Reposition the background geometry in order to make sure that every pixel of the scene in the ‘Camera View-port’ is covered with a piece of geometry as any gap will appear as a black hole during render.
17 Now we are ready to project the background image onto these geometries. Bring up the ‘Slate Material Editor’ by pressing ‘M’ and create a new standard material inside it. Bring in the background image into the ‘Slate Material Editor’ with a ‘Bitmap’ node accessible from the ‘Maps’ option inside the right click menu. Turn off the ‘Tile’ option inside the ‘Coordinates’ parameter of the bitmap.
18 Bring up the standard material parameters by double clicking on it and increase the ‘Color’ value to ’100′ under ‘Self Illumination’ section. Select both the geometries and apply the material onto them by selecting ‘Apply Material to Selection’ option from the right click menu. In order to make the background geometry visible in the camera view we will apply the ‘Normal’ modifier onto it.
19 Select ‘Show Realistic Material’ in the view-port from the right click menu of ‘Standard Material’ in order to view the texture inside the view-port. Now in order to project the texture onto the geometry according to the camera view, we will add the ‘Camera Map WSM’ (World Space Modifier) onto the geometries.
20 Select the camera that we want to use as a projector from the ‘Pick Camera’ option under the ‘Current Camera Object’ parameter. Switch to perspective view in order to view the projection. Turn off the view-port background by disabling the ‘Display Background’ option from ‘Viewport Background’ dialogue box.
21 Create a duplicate of the ‘Camera Map’ camera by pressing ‘Ctrl + V’ on the keyboard as we are going to animate this copy of the camera in order to achieve the 3d camera motion. Rename this copy as ‘Camera Animate’. Change the ‘Type’ of the camera from the camera parameters to ‘Free Camera’. Now we can start animating this camera in any way that we want.