![]() ![]() "Rust" is supposed to be a title for this series I had in mind. Animation, even though I havent done it in a while, is something that I really devote my time to in order to make sure everything looks right. I get the most of my satisfaction through that part of the process. Modelling, for me, is the ultimate kick when doing 3D. Modelling and animation would be my strong points. My first attempt in this would be the RUSH HOUR image. I've always wanted to duplicate the many compositions of some of the grittier photographs that can be found in LIFE magazine, or National Geographic. I also like to do imagery that deals with modern life and issues. Sci-fi is a genre that really gives an artist a chance to let his/her imagination run amok. I grew up with the Star Wars series, so the majority of my work will always reflect on my love for spaceships and weird aliens. If I see something outdoors that piques my interest, I tend to translate it either on paper or through the computer. Also, everyday surroundings can be a great source of inspiration for me. I watch a lot of movies and read a lot of books, so the bulk of my ideas are sparked either by something I read, or something that I saw on the screen. What are your main sources of inspiration? To this very day, I still thank my lucky stars that I chose what I chose because I have heard from a few friends in advertising that it is in a slump right now. It ended up becoming a draw between that or Creative Advertising, but I eventually chose the former rather than the latter. After going through different courses the college offered, I came across a 3D animation course. Back then, 3D animation was not quite as big as it is today. I originally saw myself taking Creative Advertising in College, since I thought that was the field where I could best apply my love for drawing. I am 23 years old, and currently living in Toronto, Canada.Īctually, I almost never got to do 3D at all. The only point of doing this setAttr is if you want to interactively display more than the default of 1000000 polygons on a single stroke.My name is Giovanni Nakpil. Where strokeShape1 is the name of your stroke, pfxHair or pfxToon node. To set it so that there is no limit: setAttr strokeShape1.maxDrawSegments 0 For example: setAttr strokeShape1.maxDrawSegments 10000000 If you would like to display the full stroke, and you have the available memory, then do a setAttr on that stroke's maxDrawSegments attribute. For more information see “maxDrawSegments” in the Maya Help. Should you exceed this limit, a warning message appears: Setting this value prevents very heavy brushes from locking up the interactive display. ( However the batch render will complete.) Setting maxDrawSegments on a stroke to zero makes it infinite, in other words, Maya will keep drawing until the stroke is completed or it runs out of memory. With the maxDrawSegments attribute, the stroke stops drawing when the maximum value is reached the stroke does not change shape, it is just incomplete. This value is controlled by a hidden attribute called maxDrawSegments. The maximum number of segments or poly faces that Maya will draw in the scene view defaults to 1000000. My strokes look unfinished, for example, my tree does not finish drawing The Threshold value determines the transparency at which surfaces will not appear in the depth buffer. Thus a transparent surface or motion blurred streak will totally obscure any Paint Effects strokes behind them. With Furthest Visible Depth, Paint Effects strokes lying behind these elements will punch through as if they were totally in front.Ĭlosest Visible Depth picks the surface nearest the camera within the pixel. You can affect how the renderer decides how to reduce multiple depth values visible within a pixel to the single output depth value using the camera Depth Type (in the Output Settings section of the Attribute Editor). For rendered effects where multiple surfaces are visible within a single pixel (such as transparency, antialiased edges, motion blur, light fog, and volume densities) this creates problems, as there is one depth value and one color per pixel to composite paint effects into. Paint Effects uses the depth buffer generated by the scanline renderer to determine occlusion. Paint Effects strokes render in the wrong order relative to other objects in the scene ![]()
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