Week 1

We begin learning how to connect the Mocap movements and the 3D model in the first week of the Rigging and Creature FX module. This module can be utilized for the 3D character and would be an excellent resource to learn how to link the intricate movements acquired using Mocap. for that, we began by importing the previously captured Mocap, then we straightened it up and brought the character, and finally, using a specific technique, we linked the two.

Following the rotation value’s correction, we developed the character definition that connects the components with the motions.

Final Result

 

Final Render

Later, we performed an exercise with minimal assistance using the same techniques. It was crucial to make sure we did it correctly since it is very important to get this fundamental knowing.

Final Video

 

Idea for Robot Mocap.

My plan is to build a robot that draws inspiration from the video game Apex Legends. I’m excited to incorporate a boxing drill-like feature into the robot using Mocap.

 

Week 2

Hard Surface Modeling – Zbrush

This week, we learn how to use Zbrush for hard surface modeling, import the model into Maya, create a skeleton rig for the model, import live motion taken via Motion Capture, and create a character out of it.

We started by modeling in Zbrush first. It was necessary to quickly review the software in order to proceed through the procedure.

We were introduced to a new tool that functions similarly to a knife to cut the model’s shape. It is quite useful for hard surface modeling.

We start by modeling the robot’s foot after giving a brief rundown of the program. In order to keep things simple, we quickly modelled.

After modeling was completed, we discovered that the model’s geometry was incorrect. To address this, we performed a ZRemesher under the geometry section on the right side of the software’s interface.

The ZRemesher can be clicked to correct all of the model’s pollyface bumps. When it was all finished, it was time to export the model for the textures. However, before we could do that, we had to unwrap the model, which Zbrush makes quite simple.

Unwrapping the model’s UVs.

Exporting the model’s FBX file for texturing. We utilized Adobe Substance Painter for Texturing.

Since we had previously used Substance Painter, it was simple to go through the process again. We only completed a brief texturing since it was only necessary to carry over the pipeline for the main process.

We first exported the Robot Shoe model to Maya, and then we used the soild shapes to create a basic robot.

Creating Rig of the Model.

Added movements recored through Motion Capture

Final Render

 

Week 03

Motion Capture

 

This week, we are learning about motion capture, or MoCap. We study its operation and usage. We are able to monitor the actors’ motions and utilize MoCap for the actors.

In order to record motion, artists must wear a suit equipped with sensors that detect movements from their cameras and generate a skeleton rig.

Later, I checked to see if my motion capture was operating well. I used the Skelton model, which we had used in our earlier session, for that. After some tweaking and rig building, it was operating smoothly.

 

Week 04

Blendshape Workflow / Character Development

The session included an informative overview of Blendshape’s functionality. Additionally, we learned about the workflow from Zbrush to Maya, which is really beneficial for our project.

Subsequently, we started working on the robot’s progress, and I started modeling the legs.

 

Week 05

Pistons

This week, we learn about how pistons function and the mechanism behind them.
We later created a basic 3D  piston and a skeleton rig to make it work.

 

 

Basic Piston Movement

 

After that, we investigate how the gear works.

Gear Movement

 

Assignment 01

For this assignment, we were tasked with creating a 3D model of a robot and then programming its movements. For this, we filmed the movements in Motion capture and need to create a short rigg so that the Mocap can properly align with the model.

A first draft of how motion capture would be set up with the rig.

basic 3D Model of the Robot

Adding Motion Capture to test the Model. it was breaking but can be able to fix that with polished and refined 3D modeling.

Later, I refined my model by adding details; the robot does not yet have all the details I plan to add after it is textured to give it definition.

Trial 02

 

Final Render

 

Final Video

 

Week 07

Zspheres workflow / Sculpt arm zbrush

This week we started with  Zbrush. As we began a new project, the goal would be to create a Monster. We’ll utilize Zbrush to design the monster.

This week, we worked on how to create an arm.

 

Week 08

Sculpt Leg / Corrective Blendshape

This week, we learned how to sculpt legs in Zbruish; the information we received during this session was really beneficial.

During the workshop, we learned how to use Blend Shape. For that, we first modelled a basic cartoon hand, and then improved it by adding fingers.

Later created Skeleton Rig.

Final Render

 

Week 09

Scorpion Rig

This week, we are learning how to use Zbrush to create a 3D model and apply movements. Before that, the procedure was to create a model in Zbrush, which was then used to create a skeleton rigging in Maya.

 

Week10

Torso Sculpt / Scorpion Comp

This week, we continued working with the Scorpion rig that we made in the previous lecture and learned how to sculpt the body. The idea was to create a comp for it and bring it in nuke in order to improve it and make it a prototype for the scene. Instead, I made a new alien model and attempted to introduce it to the public.

Assignment 02

The assignment required creating a 3D model in Zbrush, importing the model into Maya, rigging the skeleton, and creating a little animation. I made a larger-than-life, more human-like creature for this.

After I finished modeling, I used Zbrush to create the texture. For the texture, I had to use two different shades of skin tone. I then created pores and bumps on the skin and added details.

After the texture was finished, I made a low poly version of the model and exported it before using UV Master to build a UV map and Multi Map Exporter to export the high poly texture of the model.

Importing the Model to Maya

Since Quick Rigg didn’t function as intended, I created a new Character rig and combined them.

Adding Lights

Taking the render to Nuke

Josh Parks’ feedback prompted me to add Grade nodes and adjust the color pattern. He also demonstrates the new node, which gave the scene an appealing, cinematic glow.

 

Turn Table Animation

 

Final Animation 

 

Showreel