We take advantage of the Modo constraint system to rig our train and make it animatable. To wrap things up, we also look at how to incorporate the particle painting system, volumetric effects and fur for the final shot and render of our steam locomotive. Sit down, strap in and get ready for an exciting conclusion to the Introduction to Modo!
Pat Crandley has been a 3D modeler, animator and editor in the computer animation and visual effects industry for over 10 years. Crandley served as the Post-Production Supervisor for the 3D Animation department at MTV and oversaw the production of a computer animated series called Video Mods. He also worked as the lead modeler and animator for a series of commercials for Coke, Mike’s Hard Lemonade and Debers Diamonds. He recently finished working at Peppers.TV as the Senior 3D Artist and Technology Geek. Currently, Pat is teaching the next generation of 3D modelers and animators at Sacramento City College and The Art Institute of California: Sacramento.
Over the course of this coure we work on the modeling, texturing, rigging and rendering of an antique steam locomotive. We start off by focusing on a few of the advanced modeling features in Modo. Specifically, we explore how to use Pixar Sub-Division Surfaces and their role in the larger, production pipeline.
In today's modern production environment, creating a high resolution 3D sculpture is made possible with the advent of ZBrush and Mudbox. These applications allow sculptors to create 3D models with millions and millions of polygons; something we cannot necessarily work with in traditional 3D packages. We need to lower the resolution of these meshes so that they can efficiently be applied into the Modo pipeline. The Retopology tools in Modo will help us wrangle high-resolution geometry and get our models to a useable state for rendering. We explore the "Topo" tab in Modo and learn how to apply the Retopology tools to our scene.
One of the most powerful features in Modo are Replicators. Let's jump into the world of Replicators and dig deep into how to work with replicators, how to efficiently apply them to our scene and the many possible applications of this exciting technology.
We focus on detailing the back end of the coal car by learning how to leverage the power of Recoil in Modo. We combine Modo's replicator system with Recoil to quickly add the illusion of small pieces of coal in the back of our train.
It is time to get our train moving! We explore the mechanical rigging system inside of Modo. Specifically, we take a look at how to create relationships between the Mesh Items by generating a series of position, direction and rotation constraints for the wheels of the train.
Assemblies, in Modo, allow us to create complex relationships between different items, objects and channels. In addition, we can package Assemblies together and create a system that can be easily duplicated in the scene. We look at how we can use the nodal workflow of the Assembly Area to make the rigging pipeline more efficient, powerful and accurate for our train wheels.
Once you master the art of creating Replicators, you won't want to stop using them! This week, we extend our working knowledge of Replicators by using them to create the trees and train tracks in our environment. In addition, we also explore how we can add random variations to our trees, rocks and bushes with Replicators.
At the core of Modo resides an extremely powerful Hair and Fur system. Let's jump in and take a look at how we can apply the Modo Hair and Fur system to create the illusion of grass for our train's environment.
We wrap up the production of our environment by looking at how we can apply the Texture Bombing system to quickly add subtle variations to the textures in our environment.
No train is complete without a plume of smoke rising from its smoke stack! We finish by exploring Modo's particle painting system and volumetric effects (clouds and smoke)!