In the first shot, all assets were created by Houdini. This includes clouds, smoke, light beams, shockwave and mountains. A lot of use was made of Houdini’s VDB nodes as well as the pyro system. The smoke and clouds are similar in that they both require an emitter to create a large particle simulation, which is transformed into a solid model by the volume related nodes in order to be rendered. The difference is that for the tornado clouds, a velocity is added to the cloud that rotates from the centre and spreads out in all directions, thus ensuring that the cloud can rotate around the centre to achieve the desired effect. The light beams are achieved by using pop particles through an emitter. The mountains are done using the plane and mountain nodes to give some noise and other variations.
As the character animation does not need to be too cumbersome, so the use of Houdini’s binding plug-in KineFX binding, which is similar to Maximo, you can select the joints for binding, so in the previous model making session does not obscure the character’s joints is very important. Note that the weights need to be adjusted. After the binding is complete, use GraphEditor to adjust the animation rate and the magnitude of the movement.
The character’s model was created using Maya, choosing to use a basic mannequin for topology and modification to change it to a suitable body type. Clothing appearance was added to the character while modelling to avoid creating a fabric solver. However, it should be noted that the joints of the character should be left uncovered to facilitate subsequent animation.
The torso is not being made as it is expected that the wizard’s character does not require much physical movement. Simply make a wizard’s robe and add the bare body parts.
In my personal project this term I have done most of the particle effects that will be used in FMP. The software used was Houdini. The first part is a particle effect of a magical portal that will take up quite a major part of the shot in FMP. The second character, the wizard, will appear through this portal in a pre-defined altar scene. The portal was created using a lot of Cd to make the portal colourful, and separate particle layers and smoke layers to facilitate modifications to each part.
The second part is the magic cage. This magic cage was used as a key restraint to move the story forward in the final production. The overall production relied on Pyro and POP particle systems to give movement and direction to complete the initial production of this section.
The third part is the particle effect that is used to cast the spell to unseal the cage when the young Taoist priest appears. Again based on the POP particle system, with a preset emitter to create the irregular edges. Finally, Cd was used to add colour changes and to constrain the emission pattern through the VEX language.
Part 4 is roughly the same as part 3. The difference is that the Bagua mirror is used as an emitter and the particles are attached to its surface. A shot of the Dawnguard using the Bagua mirror to cast a spell.
The third part of the reference is taken from the well-known Chinese single-player RPG, Xian Jian Qidao. Immortal Sword and Chivalry is an immortal RPG set in a Chinese metaphysical fantasy setting that has received critical acclaim for its excellent plot and setting. The overall series style makes use of a large number of Chinese-inspired metaphysical elements, such as spells, bagua, dao and fa. This also echoes the theme Tao of my FMP. The references in Immortal Sword offer a common colour palette in Chinese metaphysical fantasy – gold.
The third part of the reference is taken from the well-known Chinese single-player RPG, Xian Jian Qidao. Immortal Sword and Chivalry is an immortal RPG set in a Chinese metaphysical fantasy setting that has received critical acclaim for its excellent plot and setting. The overall series style makes use of a large number of Chinese-inspired metaphysical elements, such as spells, bagua, dao and fa. This also echoes the theme Tao of my FMP. The references in Immortal Sword offer a common colour palette in Chinese metaphysical fantasy – gold. Also, the glow that the male protagonist emits when he is not in human form as the incarnation of Koko in Immortal Sword VII can provide an important reference for the Bagua mirror glow in my FMP. The greatest common denominator between the two is that both emit light from the surface.
The third part is the particle effect that is used to cast the spell to unseal the cage when the young Taoist priest appears. Again based on the POP particle system, with a preset emitter to create the irregular edges. Finally, Cd was used to add colour changes and to constrain the emission pattern through the VEX language.
Part 4 is roughly the same as part 3. The difference is that the Bagua mirror is used as an emitter and the particles are attached to its surface. A shot of the Dawnguard using the Bagua mirror to cast a spell.
Modelling of ivy geometry: First create the basic geometry for the ivy plant. Use polygon modelling techniques to create the main stem and branches of the ivy.
Creating ivy leaves: Model individual ivy leaves or use pre-made leaf models and distribute them along the branches. Arrange the leaves naturally.
Set up a dynamic simulation: To simulate ivy growth using dynamic effects, use tools such as nCloth or nHair in Maya. Assign these dynamic simulations to ivy geometry to achieve realistic movement and interaction.
Creating ivy growth animations:
Procedural animation: Use procedural animation techniques to create growth animations. Use techniques such as expressions, morphers or animated layers to gradually expand branches and make them grow over time. This method allows you to control the growth animation precisely.
Dynamic simulation: Use dynamic simulation tools to drive growth animations. Here a combination of soft bodies and forces are used to simulate the growth of ivy. Set forces such as gravity or wind to affect the ivy geometry and make it grow naturally.
Integration of procedural and dynamic animation: Combine procedural animation techniques with dynamic simulations to achieve more realistic and controlled growth animations. Here I have used per-programming to animate the main growth of the ivy, while using dynamic simulation to add auxiliary movements and interactions.
Optimisation and iteration: Iterate through the animation, adjusting growth rates, branch formation, leaf distribution and any other aspects to achieve the desired look and behaviour. Preview animations and further optimise them using the playback and timeline tools in Maya.
Modelling the fish: Start by creating the 3D geometry of the fish. Use polygon modelling techniques to create the fish’s body, fins, tail and other features. Here I paid extra attention to the overall shape and proportions of the fish species to be recreated.
UV mapping and texturing: Once the fish model is complete, continue with UV mapping to unwrap the geometry and prepare it for mapping. Create or apply appropriate textures and materials to achieve the desired look of the fish, such as scales, colours and patterns.
Assembly: Assembly is the process of creating a skeleton and control for the fish model to facilitate animation. The following are the key steps in creating a fish:
Create a skeleton: Design a layered skeleton that matches the fish’s body structure, including the spine, fins and tail.
Joint placement: Place joints along the main curved points of the fish’s body, such as the joints of the spine and fins. Take into account the anatomy of the fish and how realistically it needs to move.
Skinning the model: Use masking or redrawing techniques to link the vertices of the fish model to the joints of the skeleton. This allows the geometry to be properly deformed as the joints are animated.
Controls: Create a set of controls that allow the animator to easily manipulate the movement of the fish. These controls can include a body controller, a fin controller and a tail controller.
Animation: Once the fish was rigged, I started animating its movements. Here are some key considerations for animating the fish:
Swimming motion: animate the fish’s body, fins and tail to create a natural swimming motion. Observe reference footage of a real fish swimming to understand its movements and dynamics.
Movement: Note the movement of the body, undulating fins and tail to create a forward motion. Use overlapping movements and subsequent movements to enhance realism.
Secondary movement: Add secondary movement to the fish, such as the movement of fins, gills and eyes, to make the animation more convincing.
Behaviour and personality: Consider the specific fish species and its behavioural characteristics when creating the animation. Study the natural movements of the fish and incorporate its characteristic behaviour into the animation.
Timing and spacing: Pay attention to the timing and spacing of the fish’s movements to create a natural and engaging animation. Experiment with different timing options to achieve the desired effect.
Refinement and iteration: Preview the animation in Maya’s playback and timeline tools and refine it as needed. Make adjustments to timing, movement arcs and overall performance to achieve believable and visually appealing fish animations.
