| Mf |
Modeling a Car (Ford Focus) |
Tutorial series by Alex. A very in depth tutorial on car modeling. Pt
. Set up the image planes for good reference. Pt 2. Create the wheels
for the car Pt 3. Start making the low polygon model of the car Pt 4.
Convert the car to Sub-D.
* This is the Tutorial that I used to build my 1970
Mustang Mach 1. |
Modelling - Female Character (Comic) |
This approach can also be adopted when creating subdivision surface
models. Start with good reference material and use as much as you can.
Using your reference as an image plane, block out the rough shape of the
character using cylinders. When adding finer details make sure to follow
the muscle lines strictly. You must end up with a nice clean model, symmetrical
where possible. Try and keep to a grid system, this will give you a neat
model to work with, and result in better deformation. Do not put polygons
where they are not needed, even if this is to be a high-resolution model. |
Modeling a Giraffe |
Model a Giraffe from a Polygonal Cube. In this tutorial you will learn
how to start from a polygonal cube using Maya, and extrude the faces to
create a giraffe, you will use the Append to poygon to re-create deleted
faces, and Subdivide and Split tools to split a face into more faces,
and more... The tools are fairly simple, and the tutorial is great for
beginners... |
Modeling Kreacher |
I'm not sure if you can call this a tutorial as I will just be showing
different stages in the building of a character called Kreacher. Kreacher
is a house elf character taken from the harry potter books. But, first
I will be showing the modeling of is the house elf Dobby |
Modelling - Male Character |
This is an overview of creating high polygon highly realistic 3D characters.
There are different surface types available to us achieve a high resolution
model. Most of the time, I use smoothed polygons as opposed to true hierarchical
subdivision surfaces. With true SubD's you wont see any faceting associated
with traditional polygonal geometry, since a subdivision surface is the
result of an infinite mathematical refinement process to ‘smooth'
a model at render time. 1. Model 2. UV map and texture 3. Rig 4. Pose/Animate
5. Apply polygon smooth node 6. Render. |
Modeling - Continuity |
What is Continuity? by Alex Alvarez. Continuity applies to both curves
and surfaces. It simply refers to how two curves meet at a point, or how
surfaces meet at an edge. When using a patch-modeling approach, where
a character, vehicle or whatever are modeled from a series of patches,
like a quilt, one wants to avoid visible seams between the individual
patches. |
Modeling a Cartoon Dog |
Kurt shows you how to create this cool looking cartoon dog - Starting
with the image planes and moving onto the modeling which covers nurbs,
polygons and sub divs. |
Modeling a Head (Polygon) |
*My favorite head modeling tutorial... By Dave Komorowski. First off
you should have a side and front view of the object (sometimes top too,
but I don't need one in this case because most of my detail can be defined
in the front and side). When creating these pictures it's a good idea
to use graphpaper so that you can make sure your detail is lined up horizontally. |
Modeling an Island |
Modeling an Island beach sceene. Complete with beach sand and Palm trees.
By Brian J. Immel. |
Motion Blur |
How to to Add Motion Blur to your 3D Animation in Post Production by Creating 2D Motion Vectors in Maya. This is a four-part tutorial about adding motion blur to a Maya render by first creating a 2D motion vector sequence and then using it with ReelSmart Motion Blur in post production. I’ll be covering Maya 2009’s 2D motion vector pass as well as installation and use of the lm_2DMV shader for earlier Maya versions. Once this technique is part of your pipeline, it can be a tremendous time saver compared with creating (and waiting for) motion blur from within Maya. It also provides the flexibility of applying any amount of motion blur without having to re-render.
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