The platforms are where the other buildings will rest.
First of all I started by modelling the cables needed for the bride, I did this by extruding a cylinder along a curve that I had drawn- then I tried to UV map it.
Amy tried to help me, but I demonstrated my amazing talent of making something simple ridiculously complicated. I did something- that I’m not exactly sure of- which caused the UV’s to shatter into triangles.
So, at this point I think I had broken Amy. I then went to Abigail and Natasha because they’re really awesome at textures. They were also initially confused by what I had managed to do, but eventually managed to get it to something resembling the net of a cylinder.
Natasha suggested using cylindrical mapping on the curved faces and then planar mapping on the two ends, so I tried that and managed to make the faces go into a squiggly line (that’s technical term). Abigail fixed it for me, but when I went to sew parts of it together, some parts twisted, and another bit was pinched together at the end and I couldn’t fix it.
Eventually, I just selected the whole object and hit automatic and then sewed it together and I think that fixed it.
This is a sketch of what we intend to model as part of our project. How we managed to come to this design is explained in my folder/sketchbook under section 5. I still need to add in the buildings onto the platforms at the end of the tentacles, but I intend to focus on them in a separate sketch.
Who is modelling what:
These are some possible layouts that we could have for our modelling task.
- Blue boxes represent the buildings
- Black boxes represent the vehicles
- Grey structure represents the bridge
I tried to get the mouth shapes for the various words that the character has to say, but then I realised that I was making more work for myself because I would then have to adjust all the key frames on the time slider for the various facial muscles to fit them in the correct time frame.
Starting Out: https://youtu.be/lX8FYmyougw
Full Length: https://youtu.be/8AyrVfouMQg
This time, I added the audio into the maya scene and adjusted the time slider so that I would be focused on one word at a time, ensuring the timing was correct before moving on to the next word.
There’s already a clear improvement from the first attempts, however, it noticeably falls out of sync towards the end. I had been so focused on moving the lips that I forgot that the chin moves as well when people speak, so when I went back to add it in, it interfered with the lip movements.
The book cited below really helped to plan out and then improve my lip sync, although, when I only got it after I had initially got the rough shapes, so I used it to tweak the movements.
I’m going to start again, so there is a good foundation to build upon.
Roy, K. (2014). Facial Animation. In: How To Cheat In Maya 2014. Oxon: Focal Press. p246-p260.