Negin Jafari

Author: Negin Jafari

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Final Project

WEEK 5 – Optimizing Terrains: From Height Maps to Usable Geometry

I started by creating height maps in Gaea. These height maps show the terrain’s elevation, where lighter areas represent higher points and darker areas represent lower ones. While they’re great for visualizing landscapes, height maps need to be converted into 3D geometry to be used in software like Unreal Engine.

Turning Height Maps into 3D Meshes with Houdini

To transform the height maps into 3D models, I used Houdini. In Houdini, I imported the height maps and turned them into 3D meshes, creating detailed terrain models. However, the meshes were initially extremely dense, with millions of vertices. While this level of detail looked great, it wasn’t practical for rendering or real-time use, as it could slow everything down.

Simplifying the Terrain with PolyReduce

To make the terrain usable:

  • I used Houdini’s PolyReduce tool to reduce the number of polygons.
  • This allowed me to simplify the geometry while keeping the key details that made the terrain look natural.
  • I tested different levels of detail to find a version that worked well in Unreal Engine without being too heavy.

This step made the meshes much smaller and more manageable without losing too much quality.

Once the terrain was optimized, I exported it in a format ready for Unreal Engine. The goal was to create a lightweight yet detailed terrain that would work smoothly in my project.

Adding Other Assets

After importing the terrain into Unreal Engine, I added other environment details, like trees and plants. The trees were created using SpeedTree, which allowed me to design custom foliage. Combining the terrain with these additional assets helped complete the environment.

By optimizing the terrain and integrating it with other elements, I made sure it looked consistent and worked well in my project.

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Final Project Uncategorised

WEEK 4 – Designing Trees in SpeedTree

Trees were a key element in my project, playing both a visual and thematic role. To bring them to life, I used SpeedTree, a specialized software for creating realistic vegetation. It was essential for building the forested environment, where the trees had to look natural and diverse.

Types of Trees and Variations

I modelled around 8 to 10 different tree types, including cypress, oak, and sugar maple, each tailored to suit the environment. To make the forest feel realistic, I created multiple variations of each tree type with differences in:

  • Shape: Adjusting the structure of trunks and branches.
  • Foliage Density: Some trees were fuller, while others were sparse to create a sense of variety.
  • Scale and Height: Tall, imposing oaks mixed with smaller maples added to the natural composition.

This variety helped eliminate uniformity, ensuring the forest didn’t feel repetitive or artificial.

Customizing Trees with SpeedTree’s Tools

SpeedTree’s procedural generation features allowed me to fine-tune the appearance of each tree:

  • Branch Curvature: I adjusted how branches twisted and bent to give each tree a unique silhouette.
  • Leaf Distribution: I carefully tweaked leaf placement to make some trees lush and others bare, reflecting seasonal changes or environmental conditions.
  • Bark Texture: Different types of bark were applied to match the species, such as the rugged texture of oak bark or the smoother surface of maple trunks.

The software also let me randomize certain aspects, like slight variations in angle or branch spacing, to enhance realism.

Lighting and Color Adjustments

A standout feature of SpeedTree was the ability to preview how the trees would look under various lighting setups. This was especially helpful in ensuring the trees would integrate seamlessly into the scenes:

  • Colour Variations: I adjusted the tones of the leaves, incorporating subtle gradients of green, yellow, and brown to avoid a flat, monochromatic look.
  • Shadow Behavior: Testing shadows cast by branches and leaves allowed me to visualize how the trees would affect the mood of the scene.

Exporting and Integration

Once the trees were finalized, I exported them in a format compatible with Unreal Engine and Maya. Before integration, I optimized the models to keep the polygon count manageable, ensuring smooth performance during rendering. The trees were then placed strategically in the scene, contributing to both the foreground and background compositions, adding depth and richness to the environment.

This careful process ensured that the trees not only looked realistic but also contributed to the emotional tone and atmosphere of the film.

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Final Project

WEEK 3 – Detailing Terrains in Gaea

Designing the terrain was a crucial part of building the world for my film. I used Gaea, a node-based software that offers precise control over every aspect of terrain creation. This tool made it possible to create detailed and natural-looking landscapes that matched the tone of the story I wanted to tell.

Experimenting with Terrain Types

I started by exploring different types of terrain, such as mountains, rolling hills, and flat plains, to find what worked best for the film’s mood and setting. Each type required adjustments in height, slope, and texture. For example:

  • Mountainous terrains needed rugged details and steep slopes with natural-looking erosion.
  • Rolling hills required smoother transitions and more subtle changes in elevation.
  • Flat plains needed realistic soil textures and small variations to avoid looking too artificial.

Adding Details with Gaea’s Node System

The node-based system in Gaea was particularly useful for fine-tuning these terrains. I could stack different layers of effects to adjust:

  • Elevation: To create ridges, valleys, or gentle slopes.
  • Erosion Effects: To simulate the natural wear and tear from water and wind over time.
  • Textures: Gaea allowed me to visualize how the terrains might look with realistic rock patterns, soil layers, and transitions between them.

These small details, such as a slight bump in the ground or the flow of a texture over a hill, made the terrains feel connected to the world I was building.

Finalizing the Terrain in Gaea

Once I decided on the style and look of the terrain, I refined it by adding features like cracks, uneven surfaces, and subtle gradients to make the landscapes appear more lifelike. Gaea’s tools allowed me to test these features in real-time, so I could adjust them until they matched the overall feel of the film.

By the end of this process, the terrains were not only visually interesting but also perfectly aligned with the story’s setting. They were ready to be transformed into 3D geometry in Houdini for integration into the larger environment.

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Final Project

WEEK 2 – Building the World: Blocking and Previsualization

Once I solidified the concept, it was time to bring the story to life visually. My first step was blocking out the establishing shot for the previs and making the whole previs. I turned to Maya, my go-to tool for 3D modelling and animation, to lay the groundwork for my scenes. Blocking is essentially sketching in 3D creating rough models and placements to get a feel for the composition, timing, and flow of the animation.

In this stage, the focus wasn’t on detail but rather on building a strong visual structure. I sculpted simple meshes and terrains, just enough to establish the mood and basic layout. This approach allowed me to see how the camera movements would work and whether the scenes aligned with the emotional beats of the story.

One thing I’ve learned during blocking is the importance of flexibility. As I worked, I often needed to adjust the placement of elements or tweak the timing to enhance the pacing. The previs gave me the freedom to experiment without committing to anything too complex or time-consuming early on.

This step also laid the foundation for the detailed work to come. While the meshes and terrains were placeholders, they acted as a blueprint for the next stage. It’s like planning a house: you need to sketch the layout before diving into the intricate design of each room. With a solid previs in place, I was ready to bring the world to life in full detail.

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Final Project

WEEK 1 – Concept Creation: Crafting the Story

Every great project starts with a concept, and my animated short film was no exception. The initial spark came from brainstorming three different ideas for a previs, or pre-visualization. After much thought, I landed on a story about a robot with a compelling backstory. This robot wasn’t always a machine; it was once a human being. The central conflict? The robot is desperate to travel through time and alternate universes to save its family.

The concept evolved as I worked. Initially, I didn’t even have a clear reason for why the scientist (who later became the robot) needed to time travel. But as I dug deeper, the story unfolded naturally. Adding depth to the character the transformation from human to robot and the emotional drive behind their actions gave the narrative meaning and weight. These moments of creative discovery are what make animation projects so exciting.

Although the idea seemed simple at first, the story’s complexity grew. What happens when the technology glitches? In my film, the glitch forces the robot to destroy everything, adding tension and high stakes. This shift gave me a solid foundation to build the world and visuals that would follow.

This first step taught me that the story comes first. Without a strong concept, the visuals, no matter how stunning, won’t resonate. The story is the soul of the project, and I made sure mine had enough heart to carry the rest.

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Advanced and Experimental 3D Computer Animation Techniques Serra Week 1-10

WEEK 10 – A Summary of My Journey in Creating the Artefact Project

Returning from the break, I dove into a new project: Artefact, guided by Serra. The challenge was to create an engaging user experience. As an aspiring environment artist, I aimed for stunning visuals and compelling compositions. Serra suggested a playful concept: a Star Wars blooper reel. In this story, stormtroopers, Darth Vader, and other characters are actors who unwind at a pub after a long day of shooting.

To achieve realistic animation, I used Vicon motion capture and created the terrain in Houdini for the establishing shot, honing my skills in procedural modelling. This technique allowed for highly detailed and customizable landscapes. The scene was assembled in Unreal Engine 5 (UE5), known for its speed and powerful capabilities, and the final compositing was done in Nuke. The process of procedural modelling in Houdini was incredibly intuitive once I grasped the underlying math and logic, and I was thrilled with the geometric foundation I created.

For the character animations, I booked a Vicon motion capture session. My friend, a Star Wars enthusiast, acted out the shots, including stormtroopers standing guard and interacting in a pub. Despite some initial challenges with the hip movements in the mocap data, Serra and I identified the issue, and new exports were provided. Cleaning up the animations, particularly the intricate finger movements, was time-consuming but rewarding. The characters dancing and interacting brought life and realism to my environment.

Creating the pub scene was a critical part of the project. Using Quixel Bridge assets, I built the structure and set a warm, inviting atmosphere with detailed props and moody lighting. After some layout adjustments and rendering challenges, I resolved issues like noise on metallic surfaces and selected appropriate royalty-free music to match the vibe. Through this process, I refined my technical skills and learned the importance of attention to detail and problem-solving. Now, with the pub scene complete, I look forward to sharing the final product and continuing to explore the nuances of digital art and animation.

This is the Showreel:

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Advanced and Experimental 3D Computer Animation Techniques Serra Week 1-10

WEEK 9 – The Pub Scene

It was time to create the pub scene and bring everything together for my project. To construct the pub, I used assets from Quixel Bridge to build the structure of the building, ensuring to include windows for optimal lighting. Once the basic structure was ready, I laid out the scene with various models I had created, along with some additional assets like the Guinness pint.

Initially, I experimented with different layouts. My first attempt featured two stormtroopers sitting and talking at a table, with two more dancing in the background. However, upon rendering the scene, I realized something was off—the dancers in the background were drawing too much attention away from the main interaction. To remedy this, I revised the layout, positioning the dancers in the foreground to better balance the scene.

I paid close attention to the details that would make the pub feel authentic, such as including a pool table and setting a yellowish, moody lighting typical of many pubs. This lighting choice helped create a warm and inviting atmosphere. However, I encountered some challenges during rendering, particularly with noise on metallic surfaces. After some adjustments, including increasing the roughness, I managed to resolve the issue and achieve cleaner renders.

Another challenge was selecting the right music for the shots. During the motion capture session, my friend danced to “Canned Heat,” but due to copyright restrictions, I couldn’t use that track. I spent some time searching for royalty-free music that matched the vibe of the environments and the characters. Eventually, I found a suitable track that complemented the scene well.

After resolving these issues, I brought everything together with a simple composition in Nuke, followed by editing the final sequence in Premiere Pro. This process not only enhanced my technical skills but also taught me the importance of attention to detail and problem-solving in creating a cohesive and engaging scene. Now, with the pub scene complete, I feel confident about the overall direction and look forward to sharing the final product.

To seamlessly transition between the Star Destroyer scene and the pub scene, I needed to include some filler shots. I went for simple shots of a bridge and some buildings on a street to create a cohesive flow. For these filler shots, I utilized pre-made assets, which made the process much quicker and more efficient.

The goal was to maintain a consistent visual style and atmosphere while providing a smooth transition between the distinct environments of the Star Destroyer and the pub. By incorporating these additional shots, I aimed to enhance the narrative flow and maintain the viewer’s engagement throughout the sequence.

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Advanced and Experimental 3D Computer Animation Techniques Serra Week 1-10

WEEK 8 – Star Destroyer Scene

This week was a major challenge; creating the Star Destroyer scene for my project. The scene portrays a trooper on guard duty as Darth Vader passes by, with the director calling “cut,” revealing it as part of a filming set. After modeling the environment and adding characters and animations to the scene, I realized that one of the key elements in bringing this scene to life was the lighting.

To ensure authenticity and capture the essence of the Star Destroyer environment, I rewatched “Rogue One” to reference the lighting used in similar settings. Then I began the lighting process in UE5, trying to make each light source mimic the atmospheric and dramatic lighting of the Star Destroyer. Using ACES color space, I rendered the scene elements as EXR files, for the high dynamic range and colour accuracy.

Once the lighting was finalized, I imported the rendered EXR files into Nuke for a simple composition and colour grading. This step allowed me to fine-tune the overall look and feel of the scene, enhancing its cinematic quality. Overall, this process underscored the importance of attention to detail and the significant impact that lighting can have on the mood and atmosphere of a scene.

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Advanced and Experimental 3D Computer Animation Techniques Serra Week 1-10

WEEK 7 – Challenges in Mocap Data Import to UE5

This week has been quite a rollercoaster for me as I started importing mocap data to UE5. It’s been an exciting journey, but also one filled with challenges. My main focus was on cleaning up the animations and preparing them for import into my scenes. One of the key aspects I worked on was the rig retargeting system in UE5, which allowed me to seamlessly integrate the mocap data into my projects. This system made it easier for me to map the animations to different characters and ensure they moved realistically within the game environment.

However, I encountered some problems along the way. Despite my best efforts, the hip movements in the mocap data looked off, and I couldn’t pinpoint the issue. After asking for help from Serra, we discovered that the export from the mocap team was incorrect; every animation had 2 skeletons. This setback meant I had to request new exports, leading to a delay that added to the pressure of meeting submission deadlines. To keep things moving, I improvised by using Mixamo for one of the shots, allowing me to continue with my plans while waiting for the corrected data.

Thankfully, after a few days, the team sent me the revised data, and some of it worked seamlessly. I began importing and cleaning up the animations, focusing particularly on refining the finger movements, which proved to be time-consuming but worthwhile. The end result is truly impressive—dancing, sitting, and talking animations that look incredibly realistic. I can’t wait to bring them to life in my environments and see how they enhance the overall experience. Overall, this experience has taught me a great deal about problem-solving and perseverance in the face of unexpected challenges. It’s been a valuable learning curve, and I’m excited to see how these mocap animations elevate my projects in UE5.

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Advanced and Experimental 3D Computer Animation Techniques Serra Week 1-10

WEEK 6 – Exploring VJing with Resolume VJ

This week, Serra introduced us to the world of VJing with Resolume VJ, and it was an incredibly fun and insightful experience. VJing involves mixing and manipulating visuals in real-time to accompany music performances or events. Resolume VJ is a powerful software tool commonly used by VJs to create captivating visual experiences.

In our class session, we tried various features and functionalities of Resolume VJ, learning how to manipulate videos, apply effects, and synchronize visuals with music. Emily and I even experimented with setting up controllers to VJ to “Animals” by Martin Garrix, which added an extra layer of excitement to the process.

However, VJing also comes with its challenges. Matching the visual elements to the vibe of the music and ensuring that the visuals complement the overall mood of the performance can be quite stressful. It requires quick thinking and creativity to adapt to the rhythm and energy of the music while maintaining a cohesive visual narrative.

Despite the challenges, the experience was incredibly rewarding, and I gained a deeper appreciation for the artistry and skill involved in VJing. I look forward to further exploring this creative medium and honing my skills as a VJ in the future. Who knows, maybe one day I’ll be behind the decks, creating visual experiences for audiences to enjoy.