Graphics Reference
In-Depth Information
to fi t the fi nal plan. Figure 7.3 shows the fl oor plan
for the set of The Beast .
At this point in the production, you don't even need
walls or a ceiling unless your characters will be mak-
ing contact with them. The rough set is all about
boundaries. The fl oor is necessary because your
characters and props will (probably) be making con-
stant contact with it, and you need it for a reference.
Any other items you add will be there for that same
purpose: as a reference for contact or position. No
frames are going to be rendered with this rough set,
so the shading of any of its objects and their exact
contours and construction are mostly irrelevant. All
that matters is that when you put the fi nal high-
resolution sets in place, your characters and props are already set to react to any surfaces they coincide with.
As you can see in Figure 7.4, the rough set for The Beast consists of a fl oor, a bunch of cubes, and a very sim-
ple representation of a couch. For an outdoor scene, you can get wild and crazy and create trees from cubes
and icospheres, as in Figure 7.5.
Figure 7.3 The fl oor plan for the set of The Beast
Figure 7.5 An outdoor set featuring several primitive trees
Figure 7.4 The rough set for The Beast
For a little additional visual feedback while you animate, you can assign simple materials to your set pieces.
Only the main and specular colors, and the amount of specularity, will make a difference in the 3D view, so
you can ignore any other settings (Figure 7.6). Figure 7.7 shows the Beast's home with basic materials so that
the rough set has some color.
Unlike other elements of the production, it's not even necessary to Ctrl-A Apply rotation and scaling to any
of these set objects. This entire construction will be replaced throughout the course of the coming chapters.
Speaking of placeholders, you can remove the character that you added for scale.
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