There is a possibility that more than one of these methods might become useful because the trees in the scene have various purposes some of them are far away in the background, and some are in close up shots, and that means that some of the trees needs to be quite basic, mostly for the purpose of showing a silhouette of the tree, and some of the trees have to be quite detailed for close up shots.
I have already joined your telegram channel and would like to learn a lot more things from these.Before starting the actual modeling process of the different trees in the scene, I am going to research into various methods that can be used, to learn more about ways of creating trees, and experiment with them to decide whether these methods would be suitable for my project. Apart from this they also have Linkedin Learning course which is really helpful to make contacts and get hired in a job or as a freelancer. If it is possible, please download the beginner courses and the advanced level courses. They are focused more on Game environment and prop design. There are many more tutorials but these tutorials will benefit a lot of people from beginners to advance level.įrom the Game Arts Academy, They have lots of courses for beginners, intermediate and advanced users as well. WITH PETER ZOPPI and INTRODUCTION TO REDSHIFT FOR MAYA REALISTIC SURFACE ANATOMY, THE MAKING OF ‘TOTEM’ģD WORLD COVER, WITH ALEX ALVAREZ, 3D CREATURE DESIGN: ALIEN ROCK GRUBBERĬONCEPT, MODEL, TEXTURE, RENDER WITH JERAD S. WITH ERIC KELLER, Trex Lookdev and Lighting with maya and arnold with charles chorein, SCULPTING WRINKLES IN ZBRUSH WITH ERIC KELLER, HYPER-REALISTIC INSECT DESIGN The name of the tutorials from Gnomon are MODELING AND RENDERING A REALISTIC JUMPING SPIDER I have few tutorial request from Gnomon and Game Arts Academy, Canada. I really loved your tutorials and these are really money and time saver. In conclusion, a variety of tips for creating custom trees are shared in order to make the default library a more useful start point for professional projects including broadleaf, palm, pine, willow and bamboo. He also shares his techniques for using volume primitives to create volumetric fog effects, rendered as a separate pass, creating a final 4k comp of the park scene. Alex renders the animated scene, including his ZDepth workflow, compositing the final result in After Effects using the Lenscare, Magic Bullet and Sapphire plug-ins. Techniques for populating the park with trees, as well as plants, grass and ground leaves, are discussed in a dynamic and flexible workflow via surface emission, instancing and particle expressions. Tree animation with wind turbulence, including how to create a randomized library from a user-defined preset, is generated in preparation for incorporating trees into a high-poly park scene. Creating custom textures in Photoshop and setting up miaMaterials is then explored using Physical Sun/Sky and photographic camera exposure. All relevant paint effects attributes as discussed so that it becomes clear how to create trees that match the desired look for branching, leaves and behavior. Alex then thoroughly demonstrates how to customize a tree, using a library preset as a start point. We begin by looking at the default PFX library, which has been converted to polygons for a Mental Ray workflow in an interactive instancer driven scene. In this title, Alex demonstrates how to use the Paint Effects engine in Maya to create realistic trees.