Category: Final Project

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.

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.

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.

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.