The Toilet Terror Making Of

7/31/2019 The Toilet Terror Making Of

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Richard Vosper-Carey

BA Hons CG Arts &

Animation

UCA Rochester

Major Project

The Toilet Terror

Project Details:

A 15 week project to create

and complete a narrative

based 3D illustration. The

toilet terror is an illustrationbased on a childs

imagination of going to the

toilet at night.

Research:

The illustration is set in the

modern day, but pays home

to the jazzy cartoon like

style of the 60s. Some key

influences for the project

include the illustrative

nature of Saul Bass, the

innocent horror or

Hitchcocks Psycho, and the

jazzy feel of Pixars Monsters

Inc.

Art Work:

The heart of this project lays

in the design of each

element in the illustration

and their relation to each

other. I began by designingthe character for the

project, which then went

onto inspire the

environment.


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Modelling:

I started the modelling

process by creating some of

the props which were going

to be in the scene, such as

the toilet and the sink. Each

object in the scene has beencreated via primitive based

polygon modelling. Once

the low poly base mesh was

in place, I then went onto

unwrap the UVs, and

smooth the object for a

higher resolution. With the

UVs already in place, andthe object smoothed, I was

then left with the simple

task of re-projecting via a

face selection in the UV

texture editor, stitching

together any possible

seems, and arranging into

the grid for a map to beexported.


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Once some of the props

were in place I then began

work on the character of

the little girl for the

illustration. I started the

process by blocking in a

low resolution version ofeach body part - using a

set of blueprints that I

created whilst in the

concept stage as

reference. Once the low

resolution model was in

place, I then added in

more edge loops fordetailing, and used the

sculpt geometry tool to

smoothen out any lumps

and bumps in the higher

resolution areas. I

modelled both the

characters night dress

and her body underneath,so that the option to use

nCloth was available if so

desired.

Once I had both the

character and some

props, using them as a

guide for scaling

purposes, I then went

onto develop the rest of

the environment. Thiswas constructed using

nothing more than

polygon primitives such

as the cube, cylinder, and

plane. I followed the

same pipeline to create

the environment as I did

the props, and set up theshot camera to get a

rough idea of what would

be seen in the scene.

Once some of the props

were in place I then began

work on the character of

the little girl for the

illustration. The tentaclewas one of the last

objects to be modelled.

I created the tentacle by

I created the tentacle by

modelling just one

segment, un-wrapping its

UVs, mirrored on the Z

axis, then again on the X

axis. This allowed for the

UVs to be unwrappedwith ease, and also meant

that the modelling

process was sped up. I

finished of the modelling

but capping off the end

with the fill hole tool, and

added some more edge

loops for definition.


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Rigging:

Both the character and the

tentacle required a rigging

system to allow me to pose

the geometry to resemble

the concept art. The

tentacles rig features a

lattice deformer which is

smooth binded to a set of

joints, which in turn are

attached to an IK spline. The

curve created with the IK is

what is used to control the

geometry via a set of

clusters applied to the

curves cv points. Using this

technique allowed me to

quickly set up and rig and

pose the geometry without

the need to apply weights to

the joints.

The same cannot be said for

the character. The basic

pipeline for creating a rig for

animation was used, right

up until the need to add

controls. A set of joints

where created, binded, and

skinned with the additionof a jaw joint to allow me to

add in the character throat.

Once this was complete I

then moved onto create a

set of blendshapes to

position the face.


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Modelling II:

Once the character and the

tentacle had been rigged, I

positioned them both,deleted their history and

removed the rigs. Multiple

tentacles were used to

achieve the final position, as

using just the one was not

possible, due to the tentacle

being too shot and too thin

to make any sort of impactwith the environment. The

character needed some

further sculpting to achieve

a smooth, more refined

model - this was achieved

via lattice deformers, and

the sculpt geometry tool.


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Lighting:

The lighting of the scene is one of

the more refined areas of the

project, as it includes an extensive

set-up of mib_amb_occ nodes,

ramp projections, directional lights,

spot lights, and area lights. A two

tone colour ramp is projected down

onto the scene, which is plugged into

a mib_amb_occ node, which is then

plugged into the ambient node of a

Lambert shader. This setup allows for

the scene to be self illuminated,

before the introduction of any lights,

and also adds a stylised colour range

which works well for the cartoon

illustration.

A moon light has been replicated via a

directional light which affects

everything in the scene which acts as

one strong light source. A spot light has

also been created to replicate the

interior light behind the camera which

is also set to affect everything. This

leaves just a series of meticulously

placed area lights which act as bounce

light, and also serve to create rim

lighting. Each light was easily

controllable via the light-centric linking

editor, which allowed me to light

separate objects in the scene using any

number of lights, and not have it affect

another area of the scene.


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Texturing:

The texturing and shading

process was split into two

main sections, Sub Surface

Scattering applied to the

character and tentacle, andsome basic colour mapping

applied to the environment.

As the illustration is very

style based, I did not want

to work the textures too

much and create a sense of

realism within the piece that

will take away from thecartoon based lighting. The

skin shader for the character

was created using an overall

colour map, a subdermal

map, and a scatter weight

map. The rest of the shader

was controlled via the

generic settings.

The tentacle also featured

the Sub Surface Scatttering

shader a colour map,

bump map, and a water

displacement map plugged

into create the ripple like

effect that can be seen.


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Dynamic Hair/Fur

The character hair was

created using the dynamic

hair system within Maya,

and the rug in the scene was

created using the fur

system. The hair was

created using some dynamic

movement to get the base

shape, I then went on to

tweak each hair one by one

for extra detail, as well as

using some lattice

deformers.

The rug was created via a

hair system which is being

projected out of a plane

with a texture map applied.

A light and dark map of the

same texture were plugged

into the base and tip whichwere then baked onto the

fur to achieve the coloured

result. Some minor setting

were then adjusted from

scratch without the use of

any presents. Both dynamics

had a lighting set-up of

there own which wasrendered on a separate

layer ready for comp in post

production.


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Render Layers:

The illustration was rendered with a series of basic render layers, such as a

beauty pass, ambient occlusion pass, a zdepth pass, an ID pass, and a pass for the

hair and carpet. As the hair and carpet cannot be rendered as a beauty pass due

to them not working in the light linking editor. They were set up on individual

render layers, with a black hole lambert applied to everything else in the scene.


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Conclusion:

To finish off the illustration, some

extensive post production work

was created in Photoshop, my

main attention was on pushing the

lighting within the illustration

further than what could be

achieved in Maya. Overall I'm veryhappy with the final outcome of

the project and look forward to

pushing the what I have learnt this

project further into the future

The Toilet Terror Making Of

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