The possibilities are, as it rarely is the case, infinite. Lifelikeness is shattered, as the search for fresh aesthetics becomes the primary goal. In the field of 3D, its foundations undoubtedly rest on the principles and technologies developed for realism, but it branches out in countless creative directions. Stylization on the other hand is harder to define because it covers such a broad range of possibilities. If it's pure photo-realism, then, well, there isn't much to invent. This is done via a phase of exploration driven by intent, aesthetic appeal, and technical proficiency to determine the exact desired look and rendering processes of a project. In more concrete terms, we're talking about establishing a visual style. Look development means exploring and ultimately defining aesthetic choices and technical parameters into a unified purposeful creative vision. To me, this is what lookdev is at its core. The appeal of 3D was clear though, but I much preferred to work with existing things and try to showcase them at their fully realized potential. My focus more than ever rested on things like lighting, mood, and composition. I used all available credits to take additional classes in photography and ended up expanding my passion for it with 3D illustrations as I discovered that - unlike many colleagues - I didn't enjoy modeling at all. Following those two decades of curiosity and some formal education in arts and cinema, I completed an up-and-coming baccalaureate in animation at Université Laval that covered not only the basics of 3D but also 2D, rotoscoping, stop-motion, screenwriting, etc. I spent countless hours in Mario Paint for the SNES before moving on to Macromedia Flash in my teenage years, just as the DIY animation wave started hitting the newly mainstream Internet. As a kid, I was completely obsessed with drawing and watching cartoons. Getting into 3D rendering kind of happened organically. It was very exciting, but it also meant completely blowing up my comfort zone since I was taking care of every single creative step. Sunday Movies, host of Australia's best podcast The Weekly Planet, as part of a Star Wars retrospective. In 2019, I also developed two comic-looking animated sequences for Mr. I've been lucky enough to do so for many amazing clients, from juggernauts like Microsoft, Ubisoft, and Hi-Rez to local partners in crime like Chainsawesome. Despite being a generalist on paper, the incredible skillset of the somewhat small 3D team made it possible for me to focus on the things I like most: surfacing, lookdev, lighting, and rendering. I've been in charge of most rendering work there for the last few years, and I've been able to grow immensely as an artist by tackling the widest possible range of visual styles in the most varied and challenging situations. If you like, upload your stone and the image map.Hey, I'm Math! I'm currently a lead 3D artist at VOLTA, a studio based in Québec City, Canada that focuses on concept, illustration, and benchmark assets. Maybe it it is good to first have a “working” stone that you are happy with, and can build your jewellery around it, and then go and experiment and optimise rendering it proper. The example i posted was in Open GL working/designing rendered mode, Still a beginner in this field, I knows more about cutting Opals and setting them in gold then rendering… in the example, the shape of the 3D stone is matching the physical stone, so the map sits on it quite well.
The white ring around the stones? is it the bezel setting…? maybe use a picture of a stone in the same shape as your 3D one so the optical curvature is similar to the 3D shape Perhaps one thing with the map, is to photoshop it first to match the shape of the stone in order to minimise stretching on the visible part of the stone, it appears from your rendered image that you got a little stretching there, making it looks less realistic.
0 kommentar(er)
