Trademarks All terms mentioned in this book that are known to be trademarks or service marks have been appropriate¬ ly capitalized. The authors and the publisher shall have neither liability nor responsibility to any person or entity with respect to any loss or damages arising from the information contained in this book or from the use of the CD-ROM or programs accompanying it. The information provided is on an “as is” basis.
#SOFTIMAGE 3D 3.7 SOFTWARE#
Project Editor Kevin Laseau Copy Editor Michael Brumitt Indexers Bruce Clingaman Kelly Talbot Technical Editor David Choi Software Development Specialist Adam Swetnam Production Carol Bowers Mona Brown Ay anna Lacey Cene Redding Cover Designer Nathan ClementĮvery effort has been made to make this book as complete and as accurate as possible, but no warranty or fitness is implied. International Standard Book Number: 1-56205-885-1 Library of Congress Catalog Card Number: 98-84639 Printed in the United States of America First Printing: July 1998 00 Neither is any liability assumed for damages resulting from the use of the infor¬ mation contained herein. Although every precaution has been taken in the preparation of this book, the publisher and author assume no responsibility for errors or omissions.
No patent liability is assumed with respect to the use of the information contained herein. No part of this book shall be reproduced, stored in a retrieval system, or transmitted by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission from the publisher. Inside Softimage 3D Copyright © 1998 by New Riders PublishingĮxecutive Editor Alicia Buckley Development Editor Linda LaflammeĪll rights reserved. Imagery created by David Choi Cover art by Bryan BallingerĢ01 West 103rd Street, Indianapolis Indiana 46290 Rendering of the scene was done using mental ray, for its superior quality and because I wanted to use a depth-of-field shader to give the illustration more, you guessed it, depth. 159, 2, -2 gave me a great super saturated selective yellow light. I also wanted to paint some really bright yellow light across the bird. Then I added several cooler lights below and behind the objects to create a more chromat¬ ically diverse chiaroscuro (don’t you just hate snotty art school drivel?).
I placed one main warm spotlight, which shone through a leafy/branchy shadow object grid. I like to set the ambience in my scenes to black and let the lights actually light the scene. Lighting was used for a lot of the color variations in Dodo Redux. There are only 35 different Texture maps in this scene. Some textures I created solely in PhotoShop and Painter as well. After scanning some pieces of junk and mucking with them in Photoshop (and making them tilable where needed), I created Texture, Bump, Specular, and Diffusion maps based on the metals. Texturing of the more rusty objects consisted of texture hunting in a field that was home to some construction equipment. Once tessellated, there were a little over 1 million polygons in this scene. Then I’d tag the various cross sections, do a “center to ver¬ tices,” and scale and rotate the section appropriately. Most parts that weren’t skinned were extrusions along splines. I used them for two main reasons: first, for the more organic feel, and second, because it’s easier to place textures and have them follow the surface accurately.
#SOFTIMAGE 3D 3.7 PATCH#
The Modeling of almost everything was out of NURBS and patch surfaces. Well, actually, they all are, but who’s counting? This illustration start¬ ed with this lovely sketch from my sketch¬ book. Fortunately, none of those things are contradictory. I wanted it to feel organic, yet staged, simple and fun, yet sophisticated and techy. Inside the Front Cover The Idea for Dodo Redux was to create a scene starring a robotic-type bird sitting in a tree that looked natural, yet mechanical. The definitive guide to demystifying one of the world's most sophisticated visual effects software \
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