ANM220 week#11

This week I started to render the model asset I have done in this trimester. I did a basic studio setup for the models and tried several lighting methods and different renderers.

I take a lots of time to try to get the best quality in the fastest time. and eventually I find the best solution for myself.

Here are the frames that I tested out with different renderers.


Figure1. Default Scanline renderer.


Figure2. Vray renderer.


Figure3. Mental ray renderer.

The first one is using basic target light with the most standard default Scanline render, the overall look is pretty dark, and if you see the shadow, you will notice the edge looks really sharp. Usually in the real life situation, the edge will look softer. and if the distance is far from the object, i will gradually decay and bend with light.

Comparing to the first image the second one is more brighter. It used Vray for lighting and render. Every detail of the model is super clear. But this took almost 30 mins to render and I cannot afford such long time render.

The last image used mental ray, I used day light system for it. Because of the skylight, it kind of generate a nice bluish shadow. This frame took almost 20 mins to render, while it still not a best quality, there is lots of noise has been generate as well. The render time can not be team down at all.

As I comparing several test, I realized probably I can take more time to explore the Vray render since it did’t generate that much noises.

Base on the tutorial above about the nice quality in fastest rendering. I did several test again in Vray. And finally I test out a result that better fit my model in a good quality as well as in a quite short time. It takes less than two minutes to render 1 frames for the tower and around 10 minutes for the trees. It is such a big progress to me,  the images below are the results of the final render setting I am going for.


Reference list:

render spaz (2014) Noise free renders in Vray. Available at: (Accessed: 30 November 2016).

ANM220 week#10

When I doing the rigging for the butterfly in few weeks before, I found a video that is uploaded by  Victor Vinyals. In the video he Showed how the character is being rigged and animated in the .

As you see the video above, you can see the main character are animated so well, and with the 3d technology, it can achieve the traditional animation principle as well.

The character’s arm and leg are using IK and FK switches. So you can both move it in automatically calculation of movement and move it manually. The character are being able too deformed and stretched ideally.

To let the mesh deform properly, They used  joint-based skinning. The joints are separated from the main bone hierarchy. For the main character-mouse they show in the video, there are 142 joints for it.(Vinyals, 2015)

As what we do in this trimester, importing model and the baked completed animation  to the real-time game engine. In the project they have the similar workflow, instead of put the animated model in the game engine,the imported real-time engine of the MotoX phone that allows 3rd person control the camera and explore. It is more about an interaction story. So the movie below is actually the capture recorded by the user.

As we have the same limitation in the use of joints and polygon, and not to used additional deformers except only simple skinning. They really did a awesome work specially in the character’s squash & stretch part. And I still need to do some more research and study to get the key of how they did that.


Reference List: (2016) Principles of traditional animation applied to 3D computer animation. Available at: (Accessed: 22 November 2016).
Bloop Animation (2013) Rigging a cube with squash and stretch. (part 2 of 2): Making an animated movie (#5). Available at: (Accessed: 22 November 2016).
Vinyals, V. (2015a) ‘Windy Day’ character rigs. Available at: (Accessed: 22 November 2016).
Vinyals, V. (2015b) Motorola ‘Windy Day’. Available at: (Accessed: 22 November 2016).

ANM220 week#9

This week, all my texture works are done, so far I have done the textures for the tower, hero oak tree, 17 rocks, 2 birch tree and a version with wolf scratch. The tower is completely done by myself from modeling to texturing. All of this take me almost 7 weeks to finish.

Our game cinematic is kind of stylized look, so all of the texture is hand painted intend of using realistic texture.Below images is the textures I have done.


Figure1. Birch tree texture.


Figure2. Rock texture


Figure3. Hero oak Tree texture fixing


Figure4. Tower model & Texture

I have seen a similar stylized game called Riverfall, it is a personal Unreal Engine 4 project done by only one amazing person named Tobias Koepp. The enviroment in his game is really fantastic. The video below is what he done in the Unreal Engine 4.

He took around 10 month to finished the project. Instead of directly doing the model base on the preproduction and concept art for the environment like we do . He started to block out the scene with simple model he made and the default model in the game engine at first to feature where will be placed the main part of the scene, then to understand the level of detail you need to design as well as the scale of each object. And then, base on the scene, he start to do the final model in close-to-final  sequence to full fill the whole scene. Start with the landmark then make small asset surround them. Then he used modular building system to build up the scene. It is to create pieces and then you can construct them into a new set of model, such as tillable wall piece and floor.(Koepp, 2016)

As reading the articles of how he done this project all by himself, I realized how planning is taking an importance key in it. Organized you time and planning ahead what is the most import asset you have to work first, knowing which asset you can done by just making only one piece then duplicated it later to reconstruct a new model can really save lots of work and time for you!

Reference list:

Koepp, T. (2016) Riverfall: How to build a fantasy environment? Available at: (Accessed: 18 November 2016).
Tobias Koepp (2015) ‘Riverfall’ – stylized environment – UE4 Flythrough. Available at: (Accessed: 18 November 2016).

ANM220 week#8

This week I start to fix the oak tree and texture the rocks. Other than that, I start to do one of the animations in the scene, which is the main character Red taking out of her weapon-axe.

I did some research of how the axe usually been draw out, the anticipation of the each action is quite smooth and powerful in the Rise of Iron(the video below). I did a similar animation but unfortunately it is been replace with a simple rise arm animation after group discussion.

Instead of doing animation manually, nowadays, the technology support us to capturing the real life action into the 3d model Which is Motion Capture. As the technology become more and more mature, the video game industry are now tend to use it more than often, The well known game that has used this technology  named The Rise of Tomb Raider(Lara Croft). The process of motion capture is mainly set the  object that will be captured the motion in a special suit that placed with sensors. These sensors will record the motion of the joints and muscle as they move, and then send the data to the rig of the linked object and translate it into animation through 3d software.(AnimationArena, 2015) 

When we do the animation, especially for a character, usually the mesh won’t deform what we expect, According to that, in the reconstruction of Lara croft, they have used a a way to shape or sculpture the deformation of what they want on the character’s body, such as on knees, shoulders, elbows and the waist.Those shape are been add by pose-based deformer, in addition to that, they add wrinkle maps as well, specially for things like cloth.(Campbell, 2015)

Reference list:

AceMastermind (2011) Animation: Pose based deformers. Available at: (Accessed: 18 November 2016).
AnimationArena (2015) Introduction to 3D animation. Available at: (Accessed: 18 November 2016).
Campbell, C. (2015) The reconstruction of Lara Croft. Available at: (Accessed: 18 November 2016).
destinygame (2016) Official destiny: Rise of iron reveal trailer. Available at: (Accessed: 18 November 2016).
Lara Croft Tomb Raider Gaming Channel (2015) Rise of the tomb raider – the reconstruction of Lara Croft. Available at: (Accessed: 18 November 2016).

ANM220 week#7

GUID-0D0CCD8B-5F0E-469C-805F-E0B314F25A51-low.pngThis week is a study week, and we don’t have much classes.That mean we got more time to work on our own project and other stuff. So as working for our main studio project I am working for the collaboration work as well. There is one  collaboration I am working is with game student, my responsabillty is to create a simple low poly zombie and do some animation. Although when I start to do the rigging I realize that I can not take much time to work with it, Hense I give the rigging and aniamtion part to the other people. However I am still interested in one of the research I have done before, which is using shifting IK (Inverse kinematics) and forward kinematics (FK) on the arm.

The reason why I am interested in how to do it is because there is always some limitation when we doing the arm animation. According to the research, the shifting constraint between IK & FK will help a lot.

So the difference between IK and FK is, when using IK, moving the child control will influence the movement of its parents. Thus if you put the IK constraint from hand to arm, when you move the hands toward the body, it will automatically calculate the bend of the arm for you. While for FK, moving the child will not influnce its parent. It is more manual therefore need control for each joint.


The way to do the blending between IK & FK on the arm in 3dsmax is,  first to create three set of bones as shown in image above, one is the original bone work as skin bone that will blend two different constranits, the rest two sets will be one with IK constraint and one with FK constraint. Then link the orientation constraint of each of the skin bone to both its related IK & FK bone.Make sure the sequence of the IK and FK are the same for each bone. Then you can see in the constraint panel, you can control the weight of IK and FK constraint. That means you are done. After that is your job to create custom attribute panel in modify tab that can easily help animator to adjust the way.

Reference List:

AnimationMethods (2015) FK IK arm rig setup. Available at: (Accessed: 3 November 2016).
Autodesk 3ds Max Learning Channel (2012) Rigging a character in 3ds max – part 12 – IK FK blending for arms. Available at: (Accessed: 3 November 2016).
Masters, M. (2013) Understanding inverse and forward Kinematics. Available at: (Accessed: 3 November 2016).
Softimage user’s guide (no date) Available at:,topicNumber=d28e191253 (Accessed: 3 November 2016).