The Artistry Behind Astral Projection (The Verge)
Into the Abyss
Creating Astral Projection (The Verge)
Astral Projection (The Verge) marked a new high in my career, with the project being prominently featured in issue 176 of 3D World magazine and spotlighted on CreativeBloq. This collaboration with Milton Menezes, one of the directors at Lightfarm Studios, exemplified our shared aspiration to redefine the boundaries of 3D creation. Inspired by sci-fi movies at the time like Gravity, we embarked on a journey to harness the potential of Marvelous Designer, a tool that was gradually gaining momentum in the 3D industry. My focus was primarily on developing my cloth simulation and 3D pattern-making skills, while Milton was tasked with crafting the stunning background.
A Balanced Blend of 2D and 3D
The project started with the conceptual phase in 2D. My strengths lie more in 3D modeling than in traditional painting or drawing, I sketch with pencil over a rough 3D model. Posing the default avatar and quickly assembling a full body suit gave me a good starting point, facilitating swift iterations and a deeper understanding of what doesn't work. Even though I don't consider drawing as my main strength, I believe in the power of rough sketches to kickstart the design journey, regardless of whether the initial ideas make the final cut.
The Power of SlideKnit tools script
SlideKnit, an incredibly useful script by Robin Deitch, was instrumental in crafting the protective plastic layer on the gloves. I still use this tool which you can grab here. SlideKnit allows you to flatten a UV mapped object based on its UVs, then construct your model on a flat surface and use the Skin Wrap modifier to bind it to the flattened surface. With a morph modifier on the flattened object, the newly bound object can revert back to its pre-flattened state, resulting in a perfectly fitted glove layer.
The Beauty of Marvelous Designer and V-Ray
All garments in Astral Projection were created using Marvelous Designer and rendered using V-Ray. I typically approach my workflow with an aim to achieve the best possible look in a single raw render, often referred to as a "beauty render". To complement this, I utilize various passes, including the Grunge Alpha - a V-Ray Dirt Material with inverted Normals and some Noise. This strategy helps me add a touch of extra grunge in post-production, further enhancing the realism and visual appeal of the 3D astronaut.
