Graphics Programs Reference
In-Depth Information
close-up speaking scenes and another with hardly any details for walk cycles in distant
shots. Listen to your mother: don't get in over your head; do as much as you know you
can finish properly.
Architectural and Environment Modeling
Architectural and environmental modeling includes architectural previsualization for the
design of buildings as well as the generation of backgrounds for sets and environments.
Typically, it involves modeling buildings or interiors as well as mountains or anything
that is required for the scenery, such as benches, chairs, lampposts, and so on.
You shouldn't create incredibly detailed environments, especially ones that use a lot of
geometry
(that is, the objects in your scene), if they aren't closely featured in a shot. The
greater the amount of geometry, the slower your computer will run and the longer ren-
dering will take. If you reach a critical mass of too much geometry in your scene, it may
not even render. You can create much of an environment by using clever textures and
matte paintings
on simple geometry. Matte paintings, which are detailed maps on bare
surfaces, are used frequently for game environments. The rule of thumb for all kinds of
CG is “use whatever works.”
Because your computer stores everything in the scene as vector math, the term
geometry
refers to all the surfaces and models in a scene.
Props Modeling
Props modeling covers almost everything else needed in the scene. In theater and film
terms, a
prop
is an object used by a character in the action; anything relegated to the
scenery or background is a
scenic
. For example, a prop can be a purse a character is car-
rying, a leash on an animated dog, or a car a character is driving. If the car or purse were
just sitting in the background, it would be considered a scenic.
Texturing
When the models are complete, it's a good idea to begin
texturing
and
shading
, the pro-
cess of applying colors and textures to an object to make it renderable. When you create
an object in Maya, for example, a simple gray default shader is automatically assigned to
it that will let you see the object when you light and render the scene.
Because the textures may look different after animating and lighting the scene, it's
wise to leave the final adjustments for later. Just as a painter will pencil in a sketch before
adding details, you don't need to make all the shading adjustments right away; you can
return to any part of your scene in Maya and adjust it to fine-tune the picture.
You'll learn more about texturing and shading in Chapter 7, “Maya Shading and
Te x t u r i ng .”
