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I settled on a Special Forces Airborne Unit member, equipped for both air deployment and on-land operations , the reason being the overall complexity of the character, highlighted most visibly in the great number of intricate pieces of equipment.
Therefore, this choice would provide ample opportunity for modeling and texturing both detailed organic shapes, as well as challenging hard-surface assets. First things first: inspiration must be summoned through extensive research and reference gathering. I did make ample use of anatomy reference, once again being humbled and delighted by the endless amount of fascinating knowledge pertaining to our profession.
That said, I made a reference board using PureRef , which is what I typically do before starting a project. Reference board exported from PureRef. It features images covering the whole spectrum of military clothing and tactical gear I used as a reference for the US soldier's uniform. Now, onward to the actual sculpting. For my organic sculpting and quite a lot of hard-surface pieces as well , I used Pixologic's proprietary software ZBrush , the industry standard when it comes to all things modeling, really.
In my experience, it is the indispensable 'hammer of Thor' when it comes to producing high-quality, high-level 3D organic models and assets , due to its unsurmountable versatility, an endless array of powerful modeling tools and the list goes on and on. Now, although at this point and framed like this , the whole process might seem like witchcraft, it's actually very methodical and systematic.
I will thus attempt to break it down, purposefully diving into specifics for the sake of kindred spirits and pixel or should I say 'pixol'? As a primary brush for building volume, I use the ClayBuildup Brush and, as a general rule for many of the brushes I most commonly use, I activate the Backface feature , as that will prevent unwanted inward protrusions or thin portions of the mesh collapsing onto each other.
Additionally, I sometimes use the Clay and Standard brushes as a complementary measure to build volume. For pushing and pulling the digital clay around, I use the Move and Move Topological brushes, often with the same Backface feature turned on, as that will allow me to 'extrude' some volume and adjust thickness whilst keeping the edges of the mesh in place.
The Snake Hook brush is also great for moving stuff around, once you get the hang of it. If the topology of the initial base mesh gets skewed along the way due to cumulative distortions, adjustments, and volume-building, etc. Thus, the topology will no longer be a problem until further stages of the process. However, the best practice in a production pipeline is to have a handy base mesh ready, with previously laid out animation-ready and correct topology, which will be subsequently subdivided and seamlessly sculpted upon.
In my case, I used the above mentioned ZBrush standard one, subdividing it for further and further refinements after having established the primary volumes and proportions you may notice some emblematic bits missing… for our purposes, they just didn't make 'topological' sense…. Assigning shortcuts to your most commonly used brushes is an absolute must and so is building a custom menu if speeding up your workflow is a priority and it definitely should be during production , so I highly recommend it.
The final ZBrush look of the character at the highest subdivision level which was just high enough to sustain the details, keeping in mind the distance the character would generally be viewed from.
Finally, at the higher levels of subdivision, when the polygons are plenty to properly sustain the details, we start adding pores, wrinkles, skin defects, moles, veins, you name it, to make the model look as realistic as possible if that's the direction we're heading in.
I did spend quite some time on the hands as they are rather hard to get right… But with the proper amount of patience, they turned out all right… all veiny and manly… after all, he wouldn't be playing the cello…. This was achieved through manually applying a wide range of skin, pores, and wrinkle alphas specific to the various parts of the body with an emphasis on skin direction, pore density, wrinkle direction and distribution and all the free jazz that accompanies the endless complexities and diversity of human anatomy.
Now, a low-res mesh was required with proper topology and significantly lower polycount, in order to ensure seamless animation in Unity or Unreal Engine and effortless transference of high-res details. For this purpose, I generally use Topogun, using as reference a decimated version of the high-res ZBrush sculpt even though in the case of not too sophisticated assets, the ZBrush method of retopology will do just fine, so I tend to stick with it.
Textured game-res mesh with superimposed wireframe view. Topology optimized for animation…I will cover the texturing process next. Write a review Rate this item: 1 2 3 4 5. Preview this item Preview this item. This book explores the oil trade, energy geo politics, and new trends in regionalising or globalising the oil industry in the new era of international relations and economic competition. Energy pipelines carrying oil and gas from the well-head to the market, generally run through two or more states; and often from one continent to the other.
This book maps the oil flowing through international and intercontinental pipelines and unravels the political, commercial and technological considerations behind the mapping of oil routes and forging of trade ties between nation-states.
Through case studies from the major oil-exporting regions like Saudi Arabia, Iraq, Iran, the USA, Canada and Russia, it analyses the changing trends in their policies around oil trade, bilateral relations, energy, and security. It also considers the environmental protests around the continued dependency on oil, the teapot refineries under the Islamic State, investments, oil lobbies and insurrections to understand the broad picture of shifting regional and geopolitical realities and the scramble for vital resources.
This comprehensive book will be of interest to students of the geopolitics of energy, international relations, security and strategic studies, energy studies as well as the media and with policymakers. Read more Find a copy online Links to this item vlebooks. Allow this favorite library to be seen by others Keep this favorite library private. Save Cancel. Find a copy in the library Finding libraries that hold this item Oil has long been and will continue to be at the centre of the global economy.
Reviews Editorial reviews. Publisher Synopsis 'A green transition may be underway, but for decades to come oil will remain critical to energy security and geopolitics.
User-contributed reviews Add a review and share your thoughts with other readers. Be the first. Add a review and share your thoughts with other readers. Petroleum industry and trade -- Political aspects. All rights reserved. Please sign in to WorldCat Don't have an account?
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