Building the set

Having established a suitable workflow I went on to apply it to the rest of the set … just to run into the next wall.

I still had the view of building a prop like in a still. But in a movie the same prop is seen at various angles and distances. Sometimes different parts of the same object are visible in individual shots are very near distance, meaning they take up a lot of screen space and thus need to have a high level of detail.

I tried to attack this problem by splitting up the uv map with the high detail zones taking up a lot of map space. This cannot be applied to scultping of course as I do not ave the scultpris type adaptive subdivision.

That meant I also had to split some props into several parts each with its own maps and uv maps. Splitting an object into more parts introduces problems when you have to ensure a continous texture across the now individual parts.

In at least one situation I had to build a second stripped down set with just a very simple environment object, which will be seen at very near distance. The environment may have motion blur and dof applied but right now I cannot exactly estimate how much detail is still needed, so I try to keep on the safe side.

I have not used other packages than blender, but what I have seen so far indicates, that in other software you are able to apply individual texture maps to uv sub patches of one model. Using a good projection paint system you can texture models to a very high level of detail without loosing the control of the overall coherence. There doesn’t seem to be similar technique available in blender, so I have to resort to high resolution texture maps ( 4K+), model splitting and uv patch tricking.

Anyway, if anyone here has a good idea on how to handle high resolution details on different parts of the same model I am more then interested in hearing them.

In the end the entire set modeling/sculpting turned out to be a highly iterative process. I have now a growing list of small todos to get everything in a state I am satisfied with.

I think I will continue with the texturing and maybe even cloth and hair simulation all for the first set. This should give me a solid foundation to tackle the next set, which isn’t more complex but has a lot more shots and may pose some hard questions. I hope to have found most of the answers before advancing the the next set.

I have rendered out 4 shots with the current state of the modeling/scultping in place. No color texturing and no lighting which deserves this name are in place.

Author: loramel


5 thoughts on “Building the set”

  1. Hi Martin,

    Just wanted to let you know I’m enjoying watching the progress of your project as you work through the issues and document the process online. I do have a couple of questions for you. The most important one being: what is the significance of the word “loramel”? : ) Perhaps you’ve explained it in an older blog post, but I missed it!

    Secondly, and on a more serious note, I’ve started my own production blog ( in order to do the same thing, document the process including my own learning curve. Similar to you, I have a BlenderArtists thread as well as the independent blog. When you post new content, do you just post it manually to both locations, or is there a way to sync them together? Thanks for any suggestions? Cheers…

    1. Hi Todd

      Thanks for watching 🙂

      And now for your questions:
      loramel is a combination of the names of my two daughters Lorea and Amelie, so nothing overly mysterious 🙂

      As for the syncing, this has to be done manually, at least thats the way I do it. I usually create a post on my blog and copy it directly to a new thread reply on blenderartists. With this all the links and pictures are transferred too, so not much of work. The only real manual work is to put the links to vimeo clips as hyperlink into the threads.

      You have quite a good progress running on your project. I advise you though to postpone the texturing work to a later stage. For tests and proof of concept studies this is ok and sometimes necessary, but the final texturing work should be done once the shots are settled. It will save you a lot of work. Its not easy to do so ( at least for me) as you won’t see the movie coming alive in all its glory during a long time.

      I wish you all the energy and motivation you need to complete your project.

  2. Thanks Martin, I agree with you about the texturing.

    The problem is that sometimes I just want to see how something will look not for the shot, but just to see what I can do and to keep improving my skills. The desired scope and quality of the final project currently exceeds my current skill level, so I’m learning what I need as I go along. For me, it’s more important that the final piece looks really great, rather than just getting it done with my current skill level.

    Since I’m not really under any time constraints, I’m sort of bouncing between serious work of the animatic and playing/experimenting with objects that will likely be in the piece somewhere. I may need to raise/lower the resolution of the texture based on the final shots, but I’m not too worried about it right now… Cheers.

    P.S. – would you be interested in a link exchange between the 2 blogs?

    1. Ah, I know exactly what you mean. Building up skills by using a project was always the way to go for me as well.

      And about the link exchange, yes sure. I will setup a link category for ongoing film blogs and put your blog in it.

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