Photoshop to create a scaled texture for Maya; using a UV Snapshot

Rather than having overlapping UV's or creating multiple sets, I am scaling and repeating the bark texture in Photoshop.

Left: UV map, rotated 

Right: UV map taken as a UVsnapshot (found in the drop down menu > polygons in the UV editor interface) - with the bark texture imge imported as a separate layer. scaled down and repeated. I have used the eraser on an airbrush setting, to blur out any hard edges. Each new segment of the texture, when created and copied by pressing (CTRL + ALT) automatically becomes a new layer. Once happy with how the bottom row of texture is looking I can then right click and merge all layers. The second row was a duplicate of the first, but rotated 180 degrees, airbrushed and tweaked to remove any visible hard edges or pattern repeats.

Tree with the new small scale bark image. Next step will be to adjust the UV map and figure out why a portion of the main branch remains smooth

In component mode I am able to select the faces on the geometry, where the texture is looking weird. I can then look at the UV editor and see which part of the map needs to be adjusted. I can use the cut UV tool and then smooth and optimise the map to reduce the distortion....

Using the settings in the UV editor to highlight the distorted areas

Applying a checkered/numbered texture so I can see how the pattern deforms along the branches...whilst the bonus tool was great to get the basic map, I've needed to adjust a couple of areas where the distortion was severe and the scale of the map so tiny that the texture was looking blurred and out of proportion. Whilst time consuming, this will be worth the effort in the long run...

UV mapping. Placing textures and normal maps onto a tree in Maya

 UV mapping the model using the UV Bonus Tool

Initial results in the UV editor

Applying a bark texture in the Hypershade UI

Initial test render showing the first results of a placed texture, using the UV map. I can then go back into the UV editor and play about with the scale of the map, to get the bark texture at a better scale. I like the mottled effect that this CG texture (free from CG Textures) is producing already.

Application of a normal map alongwith the texture. This render shot is before I've attempted any further scaling of the map.

Using the Maya bonus tool for UV mapping complex geometry

The start of creating a UV map for my tree, using the Maya Bonus Tool (download link, not a plugin) to create a fast UV map

I found this youtube tutorial link for using the bonus tool, to create UV maps for complex geometry
https://www.youtube.com/watch?v=UyhwoZTrB_s&index=31&list=PLR6NkeqscAx1r2b3gn0xPJqqfAe7tIEYy

Beauty and the Beast - 2017: Critical Review

Disney's Beauty and the Beast 2017.

Superb.

Having watched the original Disney 2D animation numerous times the new 2017 version manages to remain true to the original theme of the story, whilst catapulting it into outsnding 3D. The  lighting is stunning and textures. materials and CGI lighting utterly convincing.  

The editing pace, camera shots and story telling were efficient and action packed, and this is not simply a CGI visual $160 million experiment.

From a technical and production design vantage, the Baroque art direction managed to be stylised yet convincing and avoided any sense of pantomime. The colours of the opening ballroom scene reminded me of 'The Draftsman's Contract

The IBL lighting was inspiring and other than a couple of moments when the Beast was leaping across the towers, the CGI was invisible.

Absolutely brilliant film. Complete entertainment and CGI VFX and art direction craftsmanship..

Opening ballroom scene

 The Draughtman's Contract

First test renders of iceman - using Mia_material_x preset 50% frosted glass and 50% thin glass

First initial render test in Maya...

Ice figure is now modelled, rigged, weighted and UV mapped and is shown here using a mia_material_x shader and a preset Thin Glass 50% and Frosted Glass 50%. Once I have the correct shot lined up, I will lock the camera, tidy up the outliner and duplicate the iceman three times.

The image plane at the back of the shot is a still taken from the timelapse footage that I shot in Kingoodie, Scotland.

The tree was modelled in Maya and then the branches were embedded into the trunk by importing it as an obj into Zbrush and using the Dynamesh geometry tool and instantly changed it all into evenly spaced quads (brilliant).

The tree is shown in smooth mode and requires more work, plus a UV map which I will create using the Maya  unfold UV bonus tool and then I can apply a bark texture and a bump map.

This image also uses IBL and we've taken a still of this footage (rather than the correct IBL 360 degree image) to use as our IBL light source.... for the purposes of this film, it will work fine. A directional light has also been placed in the scene and the IBL sphere rotated with the rotate tool, so that the sunlight and directional light are all coming from the same direction

    Left: Test render shot.   Right: Perspective view

Left: Test Render    Right: Perspective view showing the IBL sphere and the model tree selected

Inside the IBL sphere with the direction light (brown arrows) pointing towards the image plane and tree

 Inside the IBL sphere, showing the tree and rigged character

Final UV map

Iceman UV map using the bonus tool and then the view of the border edges, as shown in thick green lines in the perspective view.

I'll increase the scale of the head map, to give more resolution, but it's pretty much there!

Final paint weights and tree geometry

Finalising the paint weights on the legs and hips today...listening to Ceilidh music has also had an influence on the pose!

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Below is a quick snap shot render (not lit) of the tree; which was modelled using cylinders and then  the sculpt brush to create some additional bumps and quirks to the bark.

Tomorrow, I will clean up the tree mesh and create a bonus tool UV map and begin to put the scene together...and then spend some time with Sean to double check the render settings and refractions of the water shaders on the ice men...