Add transcription for: frames_zips/DJA_EpicEnvironmentsMovies_DownloadPirate.com_Part 04 - Modeling In Maya_frames.zip

transcriptions/frames_zips/DJA_EpicEnvironmentsMovies_DownloadPirate.com_Part 04 - Modeling In Maya_frames_transcription.json

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+{
+  "text": " modeling process. Before we start the modeling process, I always check some minor things, but that play a huge role into assembling your scene or even like looking out, making the layout, modeling, everything else. The first thing I think, I think that's one One thing that you want to check when you install this software for the first time is to go to the preferences and always check one of the settings which is the unit and always work in the centimeter with the up axis to Y. You can set it up to Z if you're working 3ds max but I think it's better to work in Y, especially in Maya. I don't change degrees, I just go to centimeter and as for I think the time slider, the firmware goes to 24 fps. That goes only if you want to animate anything in Maya. I usually animate in a DNA, but sometimes I get to go in Maya and do the whole animation and the whole camera movement placement layout. Everything in Maya didn't go straight to a DNA for a texture like dev, and that's what we're going to see in this tutorial. The playback speed is 24 FPS, multiplied one. And I think we can, I also set the update view to all, just in case if I'm working more than one view, and then play an animation in all the different panels, so I can see everything from all the angles. And I think that's pretty much it. There's no specific thing that I check in the preferences side, what I showed you already. And then what I do is import a human reference for the scale. And it's really important to have the scale right from the start and The content browser from Maya already has a bunch of already made animals or bipeds that you can use always use the The character mail or you can use that the human body, which is useful. I think it's one 1.80 meters I think in height so I think it's pretty much decent in terms of real life scale of a human body and I think that's it. You can always as well make a plane and to get everything to the ground so I think it's easier for you to model anything based off the ground. And I think that's pretty much it. That's what I do at the start of every project If it's either in UD on Maya, it stays the same Always get your animation preferences done at 24 or 25 FPS depending on Whatever you're aiming at, you know movie from it or TV from rate Doesn't really bother in that much and and as well as getting a human reference for the scale and you get to go I think you can just straight on go to the modeling process. Alright so here we are in Maya for the layout process. You're gonna see that there's nothing there's no secret sauce to it. It's only modeling a couple of things and then using cat bash. So the reason I can do projects really fast is that I tend to avoid the modeling process because I know how to model, I know how to do the UVs, but I just want I just don't want to Spend too much time on it even though if it's like if it's awful models I just don't want to model at any cost because it's it's time consuming time consuming and I've done it before In in the past four years, so I tend to not do it and when I can use any pre-made models, Kidbash, that of course worth using. I'm gonna use them. So, but I did model two or three different things, like really really simple stuff to get the shape that I wanted, because you can't do everything using Kidbash of course, unless if it's content arts, but there's always a little pass of blocking modeling from yourself. And that's what I'm going to show you. So this is how I tend to arrange my outliner. Of course it tends to be better, but since it's only for my personal projects, you can just arrange everything the way you want. There's no specific or universal workflow. You can You can just work the way you want if it's easier for you So I knew for the I knew for the shot that there's a water big structures and as well as trees props and As well as characters and spaceships The first thing I did was to put a the water model. So I think it's it's one of the first thing that I do if it's not water is the ground but since there's no ground I just put the water a water plan the simple plan also files being large enough because this is a huge environment and you'll see until the horizon, so it needs to be pretty large. Of course you can extend everything in composing like doing the DMP process, but this is how I do it. And then what I did was to model the buildings. So it's all one building like duplicate building it's a really easy one there's no sub D workflow for this since because I don't think it's necessary to have sub D models because of the fact that it's a personal project but also because I don't think is it's not gonna be subdivided at random time so everything is modeled accordingly to the angle of the camera and the shots the animation the shaders everything so if you if you we if we check the the wireframe you can see that everything is boolean beveled sometimes triple edged triple edged but yeah I only wanted to have the shape the way that I wanted using these methods because on top of these we're gonna have props and kit batch models so I think that's that's a pretty I would say decent model based on the camera that I choose. Here's just a simple demonstration of how I did the main building. This method applies to every other buildings that I usually do. There's no concrete method, it's just like using the multi-cut bevel and some extrude. I'm just trying to define the shapes first with really simple extrude, moving vertices around and doing some and shoots as well to define the main entrances. And then I'm trying to again, just cut everything that I don't really wanna have and bevel the edges to have roundish parts. And so everything is having a bevel having a bevel because it helps catching a light. And I'm not really into detail. It's more like selecting squares, excruiting, adding bevels, and some, you know, circular shapes to help define the silhouette of the main building. And that's pretty much about it. There's no, I don't use any plugin custom tool and new scripts, just selecting the multiple faces and extrude them. So it breaks up the whole minoshaping silhouette of the model. And yeah, I think it's useful when you're always adding bevel because it it catches the light as it reaches the edges of the model and it's adding more detail into the lighting and the texture. This is why it's always helpful to have basic shapes and not just a flat model. Just in case it's a reconstruction of the model, so it's not exactly the same as the original project. It's just because I've recreated it because I didn't really record that part at the time. But it's mostly like a 90% one-to-one version of the model. Oh yeah, you don't really need to have any quads or anything, nor do you need any UVs because we're going to use procedural and tripod methods that don't really require UVs for this one. I usually don't I mean, I can UV for sure, but it's more like the modeling task, the modeler task, if I were to model for a sub D asset, like really close up or hero asset. But in that case, not really useful because it's like on the main ground and everything is going to be covered by other assets, as well as textures and bumps. So don't didn't really need to bother it same thing applies to the arches and yeah, that's it for the camera always I for I think for every project I tend to not go below 50 millimeters because I have a preference for more I would say zoomed shots But it was also based on the reference that we have For the near clip line since it's a huge environment. I really hate one. It's when there's a clip lead clipping Issue like in the viewport because if I select my perspective camera In if I set it to one you can see that we have some glitches happening in the geo. So since it's a huge building, it's a huge model, it's better to set the new clip plane to 10 or 5. I think it depends on the scale of it. But you can see the actual grid in the center that it's super small compared to this model. Also the Farclay plan it's it's better to set it to really big amount big number because if you want to test things out in the scene and if it's a huge environment it's better for you to have this big number so it avoids a Farclay plan so you can just see your scene until pretty much infinite. So once everything was done I was I was just setting up the camera and I had a rough idea of the scale because I wanted to be these holes to be hangers where people were coming in and coming out and like some cables on the on the roof on the ceiling and maybe that part was when the ship were landing and plus some like turbines and other engines and pipes put along the surfaces. And one other building that was setting the scale was the big arches. So that's the same process. Didn't really use any sub-D model workflow, just bevel everything To get the ship the ship right I did bevel ever like pretty much every corners just because I think it's better for the models to catch the light So you can have nice highlights on the edges And yeah, that's it. I didn't model the back of it because we're not gonna see it so in environment, I think it's It tends to be better to model based on the angle of the shot. Of course, if you have a camera behind, you'll need to model the back part of it. But since the camera is here, it's not really difficult to just model what's being seen and not what's behind. Unless there's a last note saying that you want to see what's behind. And you're gonna see that these buildings are gonna be not remodeled but they're gonna be, I would say, edited continuously in a Dini because it was lacking detail in some places. So what I I did is that I imported these models into Dini and added more panels, but we're going to see it after this part. So everything was pretty much done. I had the layout ready, but I was missing some roads as seen in the actual reference. I'm going to open it. So we got this big building with the hungers. We have the arches, we have the water, but we're missing this road. So I don't really want to make this dirt road. I just wanted to have a feeling of flooded city where everything was underwater and the only remaining things was this kind of bridge. So I used some pre-made kitbash to model this bridge. So you can see like this is a simple rectangle cube with a duplicate to extend to like a for a longer distance. And then I added pillars and some pipes. Despite these pipes come from the big medium small kits. I think it's in this roll zone. This is one of the kit that I use the most because it's really useful for doing sci-fi stuff. And everything is based on real life. Factories, cables, pipes, and yeah, it's pretty useful. useful and you can just modify everything the way you want to it's really easy and once I got everything pretty much done in terms of my own modeling I added you know props and and and and kit bash so here I have the industrial kit group I'm just gonna unhide this so it's pretty heavy but when you have all you could buy a Shreddy, you can just play with it. And that's it. So I wanted to have a lot of pipes and engines. Just treat it as maybe a water factory where everything has turbines, pipes to treat the water. And I wanted to have the same feeling, except it's like a like a port or or a dock so we have like a lot of pipes so I use I use pretty much all the assets except the huge ground from from the short kit I also added some props from I think it's a model Gribble shop. It has like really cool props for spaceship that you can just reuse for Anything that involves industrial thing And yeah, so I think I wanted there's also worth mentioning that there's no need to overload and over detail the models because first everything is gonna everything else is gonna be textured at this distance you don't really need a lot of details you can just do everything in in you know texture and look dev but it's worth having more shapes to it so this is why I added more props, more pipes, more cables, all that stuff. So it's adding more primary details and secondary detail. And this is why I left some empty areas. So it can make the eye rest and make the geo rest. It's not revealing detail. So I left this area empty because I wanted to have this, you know, landing zone for the spaceships. And nothing, that's it for this little part of the kit. Also added some cables. not really visible in the render but it helps shipping the light so they're pretty much the same but we can't really see them so at this distance I don't know I think it's unnecessary but I'd rather have too much detail than nothing We can either remove everything later on. As for the props, I use a bunch of different props that I have, but it's mainly from the individual kit that I use all the time. The containers are from their apocalypse kit. they're just duplicated. I could have done everything in the Dini doing instances, but I like having control over everything. So yeah, I just tried to duplicate everything accordingly to have a sense of layout, like a realistic layout, and I just throw everything into one scene and that's it. So to have room to breathe for the spaceship and These are the spaceship. I think they're a little bit offset compared to the original think render But here so it's like a spaceport where everything is being Handed to this zone and and yeah, the characters are gonna be instances in Udini as well so no characters this time because it would destroy Maya but for now a thing that's that's that was like a nail off assembly and the rest is gonna be in Udini there's no specific parameters to do I set up my time slider to 10 or one because that's what we do in the industry you really have a animation starting to from 0 from 1. I think it's for like a simulation or FX purpose. But everything else was exported as a limbic or FBX animation model. I don't have any specific setting for this but when it's for the camera I just take my camera And I just go to cache, Olympic cache and export the selection to Olympic. And I just, you can just use the store and setting of time slider depends on your settings. And that's it. I think I haven't forgotten anything. As well as for the, I mean, yeah, I think I forgot one big thing is that for the settings in Maya, I don't have I don't really touch anything except the image size because if I do the layout in Maya, I like having my aspect ratio and the scale of my image already so I know where to put things and where I can scale things. So since we are aiming for a cinematic aspect, so using a not really anamorphic, but a cinema scope aspect ratio, it's the equivalent of, I think, 1920 by 1080, but using a cinema scope format. I think the real format is 876, but I might be wrong. But either way, we have a decent look for now. I rarely go back and forth between different softwares. If I start using Maya for my process, I tend to just stay in Maya until I have a good look of the layout. At least that's how I work. And of course there's gonna be some minor issues that you forgot to do or you want to edit some stuff. But since we're gonna move to Dini, you can re-transform your objects the way you want so we don't really have to go back to the previous software. So I think that's pretty much it. There's no real secret source for it. This is how we name my objects because for environment, I don't really... because it's a personal project, but it's good to have a decent normal outliner so everything is clean and you don't really have to search for like even two or three more minutes just to find an object and yeah I think that's it I don't really use any scripts or plugins for this but yeah I think that's it. Everything is going to be exploited as FBX because these models are half shaders so I tend to keep them using FBX format but I would consider using a Lumbic because it's better in terms of size and smoothness in the system. Alright, so I think we're done for the layout and modeling process. We can now move on to texture look dev lighting. I think it's gonna be the biggest part and also 5% of modeling. All right, see you next part.",
+  "segments": [
+    {
+      "text": " modeling process. Before we start the modeling process, I always check some minor things, but that play a huge role into assembling your scene or even like looking out, making the layout, modeling, everything else. The first thing I think, I think that's one One thing that you want to check when you install this software for the first time is to go to the preferences and always check one of the settings which is the unit and always work in the centimeter with the up axis to Y. You can set it up to Z if you're working 3ds max but I think it's better to work in Y, especially in Maya. I don't change degrees, I just go to centimeter and as for I think the time slider, the firmware goes to 24 fps. That goes only if you want to animate anything in Maya. I usually animate in a DNA, but sometimes I get to go in Maya and do the whole animation and the whole camera movement placement layout. Everything in Maya didn't go straight to a DNA for a texture like dev, and that's what we're going to see in this tutorial. The playback speed is 24 FPS, multiplied one. And I think we can, I also set the update view to all, just in case if I'm working more than one view, and then play an animation in all the different panels, so I can see everything from all the angles. And I think that's pretty much it. There's no specific thing that I check in the preferences side, what I showed you already. And then what I do is import a human reference for the scale. And it's really important to have the scale right from the start and The content browser from Maya already has a bunch of already made animals or bipeds that you can use always use the The character mail or you can use that the human body, which is useful. I think it's one 1.80 meters I think in height so I think it's pretty much decent in terms of real life scale of a human body and I think that's it. You can always as well make a plane and to get everything to the ground so I think it's easier for you to model anything based off the ground. And I think that's pretty much it. That's what I do at the start of every project If it's either in UD on Maya, it stays the same Always get your animation preferences done at 24 or 25 FPS depending on Whatever you're aiming at, you know movie from it or TV from rate Doesn't really bother in that much and and as well as getting a human reference for the scale and you get to go I think you can just straight on go to the modeling process. Alright so here we are in Maya for the layout process. You're gonna see that there's nothing there's no secret sauce to it. It's only modeling a couple of things and then using cat bash. So the reason I can do projects really fast is that I tend to avoid the modeling process because I know how to model, I know how to do the UVs, but I just want I just don't want to Spend too much time on it even though if it's like if it's awful models I just don't want to model at any cost because it's it's time consuming time consuming and I've done it before In in the past four years, so I tend to not do it and when I can use any pre-made models, Kidbash, that of course worth using. I'm gonna use them. So, but I did model two or three different things, like really really simple stuff to get the shape that I wanted, because you can't do everything using Kidbash of course, unless if it's content arts, but there's always a little pass of blocking modeling from yourself. And that's what I'm going to show you. So this is how I tend to arrange my outliner. Of course it tends to be better, but since it's only for my personal projects, you can just arrange everything the way you want. There's no specific or universal workflow. You can You can just work the way you want if it's easier for you So I knew for the I knew for the shot that there's a water big structures and as well as trees props and As well as characters and spaceships The first thing I did was to put a the water model. So I think it's it's one of the first thing that I do if it's not water is the ground but since there's no ground I just put the water a water plan the simple plan also files being large enough because this is a huge environment and you'll see until the horizon, so it needs to be pretty large. Of course you can extend everything in composing like doing the DMP process, but this is how I do it. And then what I did was to model the buildings. So it's all one building like duplicate building it's a really easy one there's no sub D workflow for this since because I don't think it's necessary to have sub D models because of the fact that it's a personal project but also because I don't think is it's not gonna be subdivided at random time so everything is modeled accordingly to the angle of the camera and the shots the animation the shaders everything so if you if you we if we check the the wireframe you can see that everything is boolean beveled sometimes triple edged triple edged but yeah I only wanted to have the shape the way that I wanted using these methods because on top of these we're gonna have props and kit batch models so I think that's that's a pretty I would say decent model based on the camera that I choose. Here's just a simple demonstration of how I did the main building. This method applies to every other buildings that I usually do. There's no concrete method, it's just like using the multi-cut bevel and some extrude. I'm just trying to define the shapes first with really simple extrude, moving vertices around and doing some and shoots as well to define the main entrances. And then I'm trying to again, just cut everything that I don't really wanna have and bevel the edges to have roundish parts. And so everything is having a bevel having a bevel because it helps catching a light. And I'm not really into detail. It's more like selecting squares, excruiting, adding bevels, and some, you know, circular shapes to help define the silhouette of the main building. And that's pretty much about it. There's no, I don't use any plugin custom tool and new scripts, just selecting the multiple faces and extrude them. So it breaks up the whole minoshaping silhouette of the model. And yeah, I think it's useful when you're always adding bevel because it it catches the light as it reaches the edges of the model and it's adding more detail into the lighting and the texture. This is why it's always helpful to have basic shapes and not just a flat model. Just in case it's a reconstruction of the model, so it's not exactly the same as the original project. It's just because I've recreated it because I didn't really record that part at the time. But it's mostly like a 90% one-to-one version of the model. Oh yeah, you don't really need to have any quads or anything, nor do you need any UVs because we're going to use procedural and tripod methods that don't really require UVs for this one. I usually don't I mean, I can UV for sure, but it's more like the modeling task, the modeler task, if I were to model for a sub D asset, like really close up or hero asset. But in that case, not really useful because it's like on the main ground and everything is going to be covered by other assets, as well as textures and bumps. So don't didn't really need to bother it same thing applies to the arches and yeah, that's it for the camera always I for I think for every project I tend to not go below 50 millimeters because I have a preference for more I would say zoomed shots But it was also based on the reference that we have For the near clip line since it's a huge environment. I really hate one. It's when there's a clip lead clipping Issue like in the viewport because if I select my perspective camera In if I set it to one you can see that we have some glitches happening in the geo. So since it's a huge building, it's a huge model, it's better to set the new clip plane to 10 or 5. I think it depends on the scale of it. But you can see the actual grid in the center that it's super small compared to this model. Also the Farclay plan it's it's better to set it to really big amount big number because if you want to test things out in the scene and if it's a huge environment it's better for you to have this big number so it avoids a Farclay plan so you can just see your scene until pretty much infinite. So once everything was done I was I was just setting up the camera and I had a rough idea of the scale because I wanted to be these holes to be hangers where people were coming in and coming out and like some cables on the on the roof on the ceiling and maybe that part was when the ship were landing and plus some like turbines and other engines and pipes put along the surfaces. And one other building that was setting the scale was the big arches. So that's the same process. Didn't really use any sub-D model workflow, just bevel everything To get the ship the ship right I did bevel ever like pretty much every corners just because I think it's better for the models to catch the light So you can have nice highlights on the edges And yeah, that's it. I didn't model the back of it because we're not gonna see it so in environment, I think it's It tends to be better to model based on the angle of the shot. Of course, if you have a camera behind, you'll need to model the back part of it. But since the camera is here, it's not really difficult to just model what's being seen and not what's behind. Unless there's a last note saying that you want to see what's behind. And you're gonna see that these buildings are gonna be not remodeled but they're gonna be, I would say, edited continuously in a Dini because it was lacking detail in some places. So what I I did is that I imported these models into Dini and added more panels, but we're going to see it after this part. So everything was pretty much done. I had the layout ready, but I was missing some roads as seen in the actual reference. I'm going to open it. So we got this big building with the hungers. We have the arches, we have the water, but we're missing this road. So I don't really want to make this dirt road. I just wanted to have a feeling of flooded city where everything was underwater and the only remaining things was this kind of bridge. So I used some pre-made kitbash to model this bridge. So you can see like this is a simple rectangle cube with a duplicate to extend to like a for a longer distance. And then I added pillars and some pipes. Despite these pipes come from the big medium small kits. I think it's in this roll zone. This is one of the kit that I use the most because it's really useful for doing sci-fi stuff. And everything is based on real life. Factories, cables, pipes, and yeah, it's pretty useful. useful and you can just modify everything the way you want to it's really easy and once I got everything pretty much done in terms of my own modeling I added you know props and and and and kit bash so here I have the industrial kit group I'm just gonna unhide this so it's pretty heavy but when you have all you could buy a Shreddy, you can just play with it. And that's it. So I wanted to have a lot of pipes and engines. Just treat it as maybe a water factory where everything has turbines, pipes to treat the water. And I wanted to have the same feeling, except it's like a like a port or or a dock so we have like a lot of pipes so I use I use pretty much all the assets except the huge ground from from the short kit I also added some props from I think it's a model Gribble shop. It has like really cool props for spaceship that you can just reuse for Anything that involves industrial thing And yeah, so I think I wanted there's also worth mentioning that there's no need to overload and over detail the models because first everything is gonna everything else is gonna be textured at this distance you don't really need a lot of details you can just do everything in in you know texture and look dev but it's worth having more shapes to it so this is why I added more props, more pipes, more cables, all that stuff. So it's adding more primary details and secondary detail. And this is why I left some empty areas. So it can make the eye rest and make the geo rest. It's not revealing detail. So I left this area empty because I wanted to have this, you know, landing zone for the spaceships. And nothing, that's it for this little part of the kit. Also added some cables. not really visible in the render but it helps shipping the light so they're pretty much the same but we can't really see them so at this distance I don't know I think it's unnecessary but I'd rather have too much detail than nothing We can either remove everything later on. As for the props, I use a bunch of different props that I have, but it's mainly from the individual kit that I use all the time. The containers are from their apocalypse kit. they're just duplicated. I could have done everything in the Dini doing instances, but I like having control over everything. So yeah, I just tried to duplicate everything accordingly to have a sense of layout, like a realistic layout, and I just throw everything into one scene and that's it. So to have room to breathe for the spaceship and These are the spaceship. I think they're a little bit offset compared to the original think render But here so it's like a spaceport where everything is being Handed to this zone and and yeah, the characters are gonna be instances in Udini as well so no characters this time because it would destroy Maya but for now a thing that's that's that was like a nail off assembly and the rest is gonna be in Udini there's no specific parameters to do I set up my time slider to 10 or one because that's what we do in the industry you really have a animation starting to from 0 from 1. I think it's for like a simulation or FX purpose. But everything else was exported as a limbic or FBX animation model. I don't have any specific setting for this but when it's for the camera I just take my camera And I just go to cache, Olympic cache and export the selection to Olympic. And I just, you can just use the store and setting of time slider depends on your settings. And that's it. I think I haven't forgotten anything. As well as for the, I mean, yeah, I think I forgot one big thing is that for the settings in Maya, I don't have I don't really touch anything except the image size because if I do the layout in Maya, I like having my aspect ratio and the scale of my image already so I know where to put things and where I can scale things. So since we are aiming for a cinematic aspect, so using a not really anamorphic, but a cinema scope aspect ratio, it's the equivalent of, I think, 1920 by 1080, but using a cinema scope format. I think the real format is 876, but I might be wrong. But either way, we have a decent look for now. I rarely go back and forth between different softwares. If I start using Maya for my process, I tend to just stay in Maya until I have a good look of the layout. At least that's how I work. And of course there's gonna be some minor issues that you forgot to do or you want to edit some stuff. But since we're gonna move to Dini, you can re-transform your objects the way you want so we don't really have to go back to the previous software. So I think that's pretty much it. There's no real secret source for it. This is how we name my objects because for environment, I don't really... because it's a personal project, but it's good to have a decent normal outliner so everything is clean and you don't really have to search for like even two or three more minutes just to find an object and yeah I think that's it I don't really use any scripts or plugins for this but yeah I think that's it. Everything is going to be exploited as FBX because these models are half shaders so I tend to keep them using FBX format but I would consider using a Lumbic because it's better in terms of size and smoothness in the system. Alright, so I think we're done for the layout and modeling process. We can now move on to texture look dev lighting. I think it's gonna be the biggest part and also 5% of modeling. All right, see you next part."
+    }
+  ]
+}