book

Blender for Animation and Film-Based Production

Name: Blender for Animation and Film-Based Production
Author: Michelangelo Manrique
ISBN: 9781498759854

by Michelangelo Manrique

November 2014

Intermediate to advanced

284 pages

6h 14m

English

A K Peters/CRC Press

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Preliminaries
Dedication
Preface
Author
Chapter 1: Why Blender?
Figure 1.1Figure 1.2Figure 1.3Figure 1.4Figure 1.5Figure 1.6Figure 1.7Figure 1.8
Chapter 2: History of Blender
2.1 Blender's Road MapFigure 2.1Figure 2.2Figure 2.3Figure 2.4Figure 2.5
Chapter 3: Blender User Interface
3.1 Start-Up Blender3.2 Controls and Buttons3.3 Editor System3.3.1 Editor's Header3.3.2 Systematize Editors3.3.3 Workspace Layout3.3.3.1 Configuring our Workspace Layout3.3.4 Scenes3.3.4.1 Configuring Our Scene3.4 Editor Types3.4.1 3D View3.4.2 Timeline3.4.3 Graphic Editor3.4.4 DopeSheet3.4.5 NLA Editor3.4.6 UV/Image Editor3.4.7 Video Sequence Editor3.4.8 Text Editor3.4.9 Node Editor3.4.10 Logic Editor3.4.11 Properties Editor3.4.12 Outliner3.4.13 User Preferences3.4.14 Info Window3.4.15 File Browser3.4.16 Console3.5 Modes and Context3.6 InternationalizationFigure 3.1Figure 3.2Figure 3.3Figure 3.4Figure 3.5Figure 3.6Figure 3.7Figure 3.8Figure 3.9Figure 3.10Figure 3.11Figure 3.12Figure 3.13Figure 3.14Figure 3.15Figure 3.16Figure 3.17Figure 3.18Figure 3.19Figure 3.20Figure 3.21Figure 3.22Figure 3.23Figure 3.24
Chapter 4: Blender in a Digital Studio Pipeline
4.1 Using Blender for Preproduction Tasks4.1.1 Developing the Script with Blender4.1.2 Using the Video Sequence Editor to Build the Storyboard4.1.3 Creating Concept Art4.2 Using Blender for Postproduction Tasks4.3 Organize the Project in Disk4.4 Blender and the Open MoviesFigure 4.1Figure 4.2Figure 4.3Figure 4.4Figure 4.5Figure 4.6Figure 4.7Figure 4.8Figure 4.9
Chapter 5: Modeling Your Main Character
5.1 Modeling in Blender5.2 Modifiers5.3 Making Props5.4 Building the Environment of the Scene5.5 Topology SolutionsFigure 5.1Figure 5.2Figure 5.3Figure 5.4Figure 5.5Figure 5.6Figure 5.7Figure 5.8Figure 5.9Figure 5.10Figure 5.11Figure 5.12Figure 5.13Figure 5.14Figure 5.15Figure 5.16Figure 5.17Figure 5.18Figure 5.19Figure 5.20Figure 5.21Figure 5.22Figure 5.23Figure 5.24Figure 5.25Figure 5.26
Chapter 6: Applying Materials to Our Objects
6.1 Preview6.2 Diffuse6.3 Specular6.4 Shading6.5 Transparency6.6 Mirror6.7 Subsurface Scattering6.8 Strand6.9 Options6.10 ShadowFigure 6.1Figure 6.2Figure 6.3Figure 6.4Figure 6.5Figure 6.6Figure 6.7Figure 6.8Figure 6.9Figure 6.10Figure 6.11Figure 6.12Figure 6.13Figure 6.14Figure 6.15Figure 6.16Figure 6.17Figure 6.18

Chapter 7: Blender Internal Textures
7.1 Preview7.2 Colors7.3 Mapping7.4 InfluenceFigure 7.1Figure 7.2Figure 7.3Figure 7.4Figure 7.5Figure 7.6Figure 7.7
Chapter 8: UV Unwrap and External Textures
8.1 Unwrapping a Mesh8.2 UV Layouts8.3 Editing UVS8.4 Optimize the UV Map8.5 Combine UV Maps8.6 Refine Layout8.7 Applying ImagesFigure 8.1Figure 8.2Figure 8.3Figure 8.4Figure 8.5Figure 8.6Figure 8.7Figure 8.8
Chapter 9: Introduction to Rigging: Armatures and Bones
9.1 The Armature Object9.2 Bones9.2.1 Bones' Segments9.2.2 Bones' InfluenceFigure 9.1Figure 9.2Figure 9.3Figure 9.4Figure 9.5Figure 9.6Figure 9.7Figure 9.8Figure 9.9Figure 9.10Figure 9.11Figure 9.12Figure 9.13
Chapter 10: The Animation Process
10.1 Timeline and Animatics10.2 Markers10.3 Keyframes10.4 Types of Animation10.4.1 The Twelve Principles Developed at Disney10.5 Using Constraints in Animation10.6 Shape Keys10.7 WalkcycleFigure 10.1Figure 10.2Figure 10.3Figure 10.4Figure 10.5Figure 10.6Figure 10.7Figure 10.8
Chapter 11: Introduction to Lighting
11.1 Lamps11.2 Shadow11.3 Environment Light11.4 Ambient Occlusion11.5 Resolving Issues with LightsFigure 11.1Figure 11.2Figure 11.3Figure 11.4Figure 11.5Figure 11.6Figure 11.7Figure 11.8Figure 11.9
Chapter 12: Compositing Nodes
12.1 Setting Up Nodes12.2 Using Nodes12.3 Node Types12.3.1 Input Nodes12.3.2 Output Nodes12.3.3 Color Nodes12.3.4 Vector Nodes (Figure 12.8)12.3.5 Filter Nodes (Figure 12.9)12.3.6 Convertor Nodes (Figure 12.10)12.3.7 Matte Nodes (Figure 12.11)12.3.8 Distortion Nodes (Figure 12.12)Figure 12.1Figure 12.2Figure 12.3Figure 12.4Figure 12.5Figure 12.6Figure 12.7Figure 12.8Figure 12.9Figure 12.10Figure 12.11Figure 12.12Figure 12.13Figure 12.14Figure 12.15Figure 12.16
Chapter 13: Using Particles and Dynamics
13.1 Dynamics and Force Fields13.1.1 Drag13.1.2 Turbulence13.1.3 Boid13.1.4 Curve Guide13.1.5 Texture13.1.6 Lennard-Jones13.1.7 Charge13.1.8 Harmonic13.1.9 Magnetic13.1.10 Vortex13.1.11 Wind13.1.12 Force13.2 Collisions13.3 Particles13.3.1 Emission13.3.2 Velocity13.3.3 Rotation13.3.4 Physics13.3.5 Render13.3.6 Display13.3.7 Children13.3.8 Field Weights13.3.9 Force Field Settings13.3.10 Cache13.4 Soft Body13.4.1 Soft Body Solver13.4.2 Soft Body13.5 Cloth13.6 Fluids13.7 Smoke13.7.1 FlowFigure 13.1Figure 13.2Figure 13.3Figure 13.4Figure 13.5Figure 13.6Figure 13.7Figure 13.8Figure 13.9Figure 13.10Figure 13.11Figure 13.12Figure 13.13Figure 13.14Figure 13.15Figure 13.16Figure 13.17Figure 13.18Figure 13.19Figure 13.20Figure 13.21Figure 13.22Figure 13.23Figure 13.24Figure 13.25Figure 13.26Figure 13.27Figure 13.28Figure 13.29Figure 13.30Figure 13.31Figure 13.32Figure 13.33Figure 13.34Figure 13.35Figure 13.36Figure 13.37Figure 13.38Figure 13.39Figure 13.40Figure 13.41Figure 13.42
Chapter 14: Render
14.1 Blender Internal14.1.1 Render14.1.2 Dimensions14.1.3 Antialiasing14.1.4 Sampled Motion Blur14.1.5 Shading14.1.6 Performance14.1.7 Post Processing14.1.8 Freestyle14.1.9 Stamp14.1.10 Output14.1.11 Bake14.2 Cycles14.3 External Render Engines14.3.1 Freestyle14.3.2 Yafray14.4 Render Settings and Tips14.4.1 Using Layers to Organize Our Render14.4.2 When Something Goes WrongFigure 14.1Figure 14.2Figure 14.3Figure 14.4Figure 14.5Figure 14.6Figure 14.7Figure 14.8Figure 14.9Figure 14.10Figure 14.11Figure 14.12Figure 14.13Figure 14.14Figure 14.15Figure 14.16Figure 14.17Figure 14.18Figure 14.19Figure 14.20Figure 14.21
Chapter 15: Final Movie Compositing
15.1 Using Blender in Postproduction15.1.1 Effects15.1.1.1 Add15.1.1.2 Subtract15.1.1.3 Alpha Over and Alpha Under15.1.1.4 Cross15.1.1.5 Gamma Cross15.1.1.6 Multiply15.1.1.7 Wipe15.1.1.8 Glow15.1.1.9 Transform15.1.1.10 Color15.1.1.11 Speed Control15.1.1.12 Multicam Selector15.1.1.13 Adjustment Layer15.1.2 Audio
Chapter 16: Python
16.1 Python API16.1.1 Accessing Data16.1.2 Accessing Attributes16.1.3 Creating or Removing Data16.1.4 Context16.1.5 Operators16.1.6 Example16.1.7 Types16.1.7.1 Native Types16.1.7.2 Internal Types16.1.7.3 Mathutils Types16.1.8 Animation Using Python16.2 Blender/Python API in Film ProductionFigure 16.1Figure 16.2Figure 16.3Figure 16.4Figure 16.5
Chapter 17: Film Promotion and Conclusion
17.1 Conclusion
Appendix
References

Content preview from Blender for Animation and Film-Based Production

Chapter 8

UV Unwrap and External Textures

THE UNWRAPPING TECHNIQUE is commonly used in each film production. But we won't discuss it like a big tutorial. We'll explain in short, what unwrapping is and why studios use this technique, say for complete character textures.

In fact, it's a really important technique for mapping textures because what it does is to build a plain shape of our object's topology so that it might be modified and repainted to adapt the new texture to the same object's topology. It's easy if you think of it like origami (Figure 8.1).

Figure 8.1

Figure showing Some textures used in Big Buck Bunny open movie for the chinchilla character.

Some textures used in Big Buck Bunny open movie for the chinchilla character. ...

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Blender for Animation and Film-Based Production

by Michelangelo Manrique

UV Unwrap and External Textures

Become an O’Reilly member and get unlimited access to this title plus top books and audiobooks from O’Reilly and nearly 200 top publishers, thousands of courses curated by job role, 150+ live events each month,
and much more.