Do you use these tricks to improve your animations?
Have you noticed the credits of any animated film?
How many people is involved?
How long has lasted its execution?
This is the record of Avatar.
Previously, I told you about issues related to modeling and attention to detail.
Today I will tell you things about texturing and lighting.
Texturing and lighting
When an architectural visualization company like ours, does not have independent departments (lighting, rendering, modeling, …), his working method is multidisciplinary.
Each team member carries out his task but takes into account the rest.
In our study, the process is not linear. We take advantages of the first 3D geometry verifications to check the first results of lighting and texturing.
The balance between good modeling, proper texturing and successful lighting, results in a good image. If any of the three fails, the set also does it.
You will find a “honey” test of texturing in the texture of the paddle court, the erosion of the pavement in the central service zone.
Later, we learnt that they are 4 to playing paddle and the service zone is not at the center. 🙁
We could discuss much more about texturing, but, this time, I prefer to talk about light.
The color temperature
There is a storyline based on enlightenment, or rather, in the course of illumination along one day.
Sequences initially occur at a daytime lighting. The subconscious, when we are thinking about our ideal home, claims light as an argument of comfort and desire.
Later, next to the pool, we simulated a “time-lapse” that allowed us to move from the day to sunset. The sun also has its evocative aspect when it disappears. Its absence, and in Zaragoza, is an advantage.
Throughout this luminous course, we encountered many different situations in terms of color temperature.
Thus, we can see:
a combination of natural light (warm) with an artificial (cold)
another warm natural light with artificial one…
inside, only natural light, …
or, as in the case of the night view, only artificial light.
The correct simulation of the different light conditions is essential to achieve good results.
There is also a spatial plot. This one, although not essential, seems advisable to place the viewer.
We start from the outside of the plot,
We visit the residential area,
we enter one of the houses,
we go back outside by the time-lapse,
to approach the terraces,
and finally, the attic.
In our work, we try to escape the “walkthroughs”. We understand it is a language of videogames. The subjective perspective, maintained over time, is boring. It also forces you to circulate through spaces that may not be relevant.
The change from flat to court, allows us more flexibility and rhythm at the time of the final assembly.
A tip: you should always rendering more images than necessary. That will allow some leeway in the final assembly.
Another one: if the assembly requests deleting, do it without fear.
It is better being too short than being boring with the duration. In this animation it happens something like that.
Within a few days, I will discuss the other work we developed simultaneously.
We will talk about depth of field, post-production of images and something else.
Aspects that I could also comment here, but I think I have abused your time.
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