Blender/Mari Diary #2

A bit late, but here it is. My second installment of the Blender/Mari diary, this time done as a screencast.

This video highlights the workflow I was using to enhance and repaint the texture for part of the main set ( the platform where Ara stands ). The used texture resolution/UV Layout was not high enough for a closeup shot of the cage, where the floor occupies a significant amount of screen space, resulting in a blurred render. The approach used here is to rebake the texture to a new UV layout and fill in the details inside Mari.

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Blender/Mari diary #1

I want to use this post to highlight the workflow I am using when working with blender and Mari.

To get an overall view of the features and capabilities of Mari, I advise to go to the Mari website and read through the material presented there.

I will concentrate here more on the differences between blender and Mari and how to set things up to straighten these out.

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Miracles sometimes happen …

… even to me 🙂

I mentioned in one of my last posts that sometime ago I was contacted by Jack Greasley, Mari product manager, who offered me the possibility to use Mari for Ara’s Tale. It seemed then that somehow this didn’t work out, and I called it then a dream, but admittedly a nice dream.

Now either I am still dreaming, or miracles do happen. I got contacted today by The Foundry and received an extended trial license, with enough time to use it seriously in Ara’s Tale. The license expires at the end of 2011, which should give me plenty of time, and an additional incentive to actually finish the project 🙂

What I promised to do, and what I definitely will do, is to document my workflow in using blender with Mari in this project.

I plan to revisit the texturing of Ara (which has some smaller issues which I plan to solve with Mari)  and the main set, which already was partly done with a normal trial license.

An extensive series should be the texturing of the dragon, which I plan to document in some detail here.

So these are very exciting times, I am looking forward to deeply dig into Mari and see what I can do with it.

With this goes a big Thank You to Jack Greasley and The Foundry !

 

Texture work on the main set

The texturing process benefits now from the experience gained during the work on the entry set. Laying out the workflow and making decisions is a bit easier now.

As already mentioned in my previous post, I use a different approach for the main set regarding the layout of the objects and materials/textures. I have one huge mesh and use several materials/textures to cover its surface. With this I hoped to get better results with seams and evade the struggle of managing different objects with one seamless texture surface.

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