blenderart_mag-7_eng

Welcome to our 1st Anniversary Issue Yes thatacircs right we actually made it a whole year When Gaurav and I started this magazine we had no idea how much we would end up needing to learn But learn we did as well as adding staff members to help out with proofing and website maintenance

It has been an eventful year for both BlenderArt Magazine as well as the Blender community itself We have seen the creation and release of Elephantacircs Dream the addition of many needed and just plain wanted features in Blender The Blender community continues to grow at a phenomenal rate BlenderArt Magazine reader numbers have continued to grow as well With each new issue we gain a larger audience And we appreciate all of you

We have had an amazing response from the community in terms of contributions to the magazine While Gaurav and I could have still put out a magazine without all their help it would not have been anywhere near as interesting Iacircd like to recognize all of our contributors at this point they deserve a round of applause for their efforts on all our behalves

Here they are in no particular order and I sure hope I didnacirct forget anyone if I did I apologize in advance

Okay now on to what you really want to know about - whatacircs in this issue Materials lots and lots of material information Admit it you want it and you need it You put enormous effort into your models and you know as well as I do that you just have to add materials at some point With the addition of Nodes or more commonly called Noodles whole new effects and materials are possible First well answer a simple question szlig What are Materials Then we have several Node tutorials as well as a look at Vector Blur and Ramp Shading We also take a look at some current Educational Resources available for Blender users

So here we go letacircs get our Blender world all colored up

Happy Blendingsandrablenderartorg

02

wwwblenderartorg Issue 7 November 2006

Sandra GilbertManaging Editor

Thank you all

EDITO RIAL

Enrico ValenzaJuan J PenaDavid LettierZsolt StefanClaudio Malefico AndaurStefano SelleriClaas Eicke KuhnenDaniel LaBargeChristopher KullaKernon Dillon

Christian GuckelsbergerManuel PerezClaudio AndaurJosEgrave MauricioRodas R RogEgraverio PerdizManuel BastioniAlessandro ProglioAntonio Di CeccaGiovanni Lanza

Martin Mackinlay Ed CickaCory KingEarly EhlingerMariano HidalgoEdouard de MahieuSergey ProkhorchukRojaAndreia Leal Schemid amp ZagDiego Restrepo ParIgraves

ED ITO RD ESIGNERGaurav Naw ani gaurav ble nde rartorg

M A NAGING ED ITO RSandra Gilbe rt s andra ble nde rartorg

W EBSITENam Ph am nam ble nde rartorg

PRO O FERKe rnon D illonPh illip A RyalsKe vin C BraunD e re k M ars h

W RITERSO livie r SarajaD anie l Le BargeJoh n A llieM ich ae l W ach

CO PYRIGH Tcopy 2006lsquoBle nde rA rt M agaz ine rsquo lsquoble nde rartrsquo and ble nde rA rt logo are copyrigh t of Gaurav Naw ani lsquoIz z yrsquo and lsquoIz z y logorsquoare copyrigh t Sandra Gilbe rt A ll products and com pany nam e s fe ature d in th e publication are trade m ark or re gis te re d trade m ark s of th e ir re s pe ctive ow ne rs

CO VER A RTW is e M e n by M ath ias Pe de rs e n

03

w w w ble nde rartorg Is s ue 7 Nove m be r 2006

Artistic Glow U sing Ble nde rs Com positor Node s

D O F U sing Ble nde rs Com positor Node s

Cre ating Re alistic Environm e nt for BGE

Ble nde r And D isplace m e nt Mapping

Ble nde r and Ve ctor Blur

6

8

11

24

27

CO NTENTS

W ith th e m ultitude of tools available in Ble nde r jus t about any m ate rial can be convincingly cre ate d But th e re is a s aying in CG itrsquos not th e tool itrsquos th e artis t th at cre ate s art

Th e s am e can be s aid about m ate rials A ll th e late s t ne w tools are nrsquot going to cre ate re alis tic or am az ing m ate rials for you You s till h ave to k now h ow to us e th e m and m ore im portantly you h ave to k now h ow m ate rials are cre ate d and w h at m ak e s th e m convincing

So ins te ad of focus ing on tools w e are going to tak e a look at w h at m ate rials are and w h at m ak e s a good m ate rial W ith th at inform ation you can th e n us e all th e am az ing tools m ore e ffe ctive lyLe trsquos s tart w ith a fe w de finitions

M ate rial is th e bas e s ubs tance of a s urface (ie w ood m e tal glas s )

Te xture is th e adje ctive of th e m ate rial (ie rus ty iron brus h e d s te e l s oile d cloth fros te d glas s )

A nytim e you cre ate a ne w m ate rial you s h ould gath e r re fe re nce m ate rials It can be an obje ct w ith th e m ate rial you are trying to cre ate or a good ph otograph of it Th e s e re fe re nce m ate rials w ill h e lp you ldquovis ualiz e rdquo w h at you are trying to cre ate W h e n gath e ring re fe re nce ve ry rare ly w ill you find pris tine m ate rials w ith out s igns of w e ar and te ar in

re al life Th e re w ill be dus t rus t s cratch e s de nts and a m ultitude of oth e r s igns th at th is m ate rial h as gone th rough ove r th e pe riod of tim e Notice th e s e s igns of w e ar and de cide if th e y are s igns of ldquom ate rialrdquo or ldquote xture rdquo

Te xture attribute s q ualitie s can be brok e n dow n by ans w e ring th e follow ing q ue s tions

W h at are you O fte n th e s im ple act of ide ntifying an obje ct can h e lp you unde rs tand w h at k ind of m ate rials you w ill be cre ating Exam ple a fire h ydrant te lls you its s h ape th at it is m ade of th ick s te e l le ft out in th e w e ath e r and m os t ofte n painte d

W h at is your e s s e nce Try to ide ntify th e m os t im portant fe ature of th e m ate rial Exam ple a radiatorrsquos m os t im portant fe ature m igh t be its rus ty q uality As you ide ntify th e m os t im portant fe ature k e e p look ing de e pe r and noticing e ach uniq ue fe ature of th e m ate rial it w ill give you a lis t of fe ature s to add to th e m ate rial adding m ore re alis m and de pth w ith e ve ry one you add

W h at are you m ade of Be fore dis s e cting th e m any laye rs of te xture s th at m ak e up a m ate rial you ne e d to ide ntify th e bas e m ate rial By ide ntifying th e bas e m ate rial you w ill m ore e as ily s e e th e de tails (te xture s ) th at m ak e it th at particular m ate rialExam ple an old m e tal s ign k now ing th at it is m e tal le ads you to re aliz e th at s om e m e tals are prone to rus ting s o look for s igns of rus t and corros ion Is th e s ign painte d (O ld paint h as a te nde ncy to ch ip or flak e aw ay ne w paint w ill look s h iny and s om e w h at re fle ctive )

W h at do you s ound lik e As odd as it m igh t s ound s om e tim e s your e ye s w ill fool you Tap on th e obje ct w h at doe s it s ound lik e M e tal glas s plas tic

W h at do you s m e ll lik e O fte n you can ide ntify im portant clue s by noticing h ow th e obje ct s m e lls Le ath e r s m e lls diffe re nt th an plas tic diffe re nt m e tals h ave diffe re nt s m e lls

H ow can I s e e youIde ntify th e ligh t s ource ligh ting of th e m ate rial w ill play an im portant part in h ow it is re cre ate d W arm ligh t s ource s w ould produce w arm h igh ligh ts or h ots pots cool ligh ts th e oppos ite W h e n gath e ring your re fe re nce m ate rials m ak e s ure to note in a journal or m e ntally w h at th e ligh t s ource w as tim e of day (if outs ide ) s o you can re cre ate th e m ate rial accurate ly

W h e re are youIs th e obje ct ins ide or outs ide If outs ide it w ill be e xpos e d to w e ath e r h e at m ois ture Th is w ill affe ct its appe arance Ne w obje cts q uick ly los e th e ir ne w appe arance by acq uiring de nts dings s cratch e s dus t e tc K now ing w h e re it is locate d w ill h e lp ide ntify th e s e q ualitie s

W h at do you look lik e Now com e s th e part w h e re you s tart de s cribing th e te xture q ualitie s Th e be tte r you can de s cribe w h at you s e e th e e as ie r it w ill be to re cre ate Som e th ings to look forColor te xtureRe fle ctions and s h adow sIs th e obje ct trans pare ntIs th e obje ct lum inous W ith h e atW ith out h e atFrom an outs ide s ource From th e obje ct its e lf

Lum ine s ce nt obje cts can h ave one or tw o of th e s e q ualitie s and ide ntifie d as Trans luce ntIride s ce ntO pale s ce ntFluore s ce ntIncande s ce nt


Izzy Talk s

Ble nde r Mate rials

04

W h at do you fe e l lik e H ow doe s th e obje ct fe e l Is it bum py or s m ooth w arm or cool s oft or h ard

Tactile q ualitie s Te m pe ratureBum pine s sRough ne s sSm ooth ne s s

W h atrsquos your s tory Try to ide ntify th e h is tory of th e obje ct h ow h as us age contribute d to w e ar and te ar

By ans w e ring th e s e q ue s tions you w ill be tte r unde rs tand your m ate rial and h ow to go about re cre ating it It w ill of cours e tak e practice and lots of obs e rvation to m as te r th e s e s k ills You ne e d to le arn to train your artis tic e ye to re ally s e e w h at you are look ing at Soon bre ak ing m ate rials dow n w ill be autom atic and your m ate rials w ill im prove dram atically

Th e inform ation for th is article w as paraph ras e d from O w e n D e m e rs book lsquoD igital Te xturing amp Paintingrsquo (ISBN 0- 7357- 09 18- 1) I h igh ly re com m e nd re ading th is book for anyone w anting to tak e th e ir m ate rial s k ills to th e ne xt le ve l

05


Izzy Talk s

Ton h as announce d th at Ble nde r is s low ly h e ade d for anoth e r re le as e It look s lik e w e m ay ge t a ne w re le as e in tim e for Ch ris tm as A h os t of ne w fe ature s h ave be e n adde d Re le as e logs h ave alre ady be e n w ritte n for th e follow ing fe ature s Anim ation W alk Cycle M odifie rsProxy O bje cts for local control ove r re fe re nce d data from Librarie s

Re nde ring Re nde r fe ature s tange nts and norm al m apsIrre gular Sh adow Buffe rsSh adow buffe r H alfw ay ave rageRe nde r Bak ing

Com pos iting M atte Node sM atte Node s tutorial

Link s to th e follow ing fe ature docum e ntation w ill be pos te d as s oon as th e y are finis h e dM ode lingM odifie r Stack upgrade sSculpt m ode ling m ulti- re s olution M e s h and Re topoFluid D ynam ics s upporting anim ate d O bje ctsM ulti- le ve l UV e diting

Te s ting builds can be dow nloade d from w w w ble nde rbuilds com

A ne w ble nde r book h as be e n announce d and th e y are look ing for contributors to h e lp w ith com ple tion of th e book If you are inte re s te d in h e lping contact Roland H e s s at ble nde rbas ics at h ark ym an dot com

Editor Roland H e s s w rite s ldquoTh e book can be us e d as a full introduction to 3D art and Ble nde r or as a re fe re nce for pe ople alre ady e xpe rie nce d w ith oth e r applications Each ch apte r cons is ts of a tutorial s e ction and th e ory s e ction m e ant to s pe ak to ne w us e rs and give th e m a grounding in th e s olid bas ics ne e de d to s ucce e d w ith Ble nde rrdquo

Ble nde r Ne w s

A rtis tic Glow is an e ffe ct th at is a com pone nt of alm os t e ve ry m ajor ph oto e diting s oftw are pack age Ble nde r h as th e ability to re cre ate th is e ffe ct but w ith m ore control and m ore fine s s e be caus e of th e uniq ue node bas e d s ys te m in w h ich glow can be applie d Th e re are m any w ays of adding glow including us ing oth e r program s s uch as GIM P or Ble nde rs Glow plugin for th e s e q ue nce r W e are going to tak e a look at h ow to add glow us ing Ble nde rrsquos Com pos itor Node s

Pre re q uis ite s

Th is article as s um e s th at you h ave a s ce ne w h ich contains s om e are as of contras t and th at you k now your w ay around Ble nde r It is s afe to s ay th at th is is for inte rm e diate to advance d us e rs

Ge tting Starte d

To cre ate Glow in Ble nde r w e ne e d to do s e ve ral th ings Firs t e nable th e Com pos itor To do th is ple as e re fe re nce Im age 1 w h ich s h ow s th e D o Com pos ite e nable d You can find th e s e in th e Re nde r Buttons (F10) unde r th e A nim Pane l

Now w e are re ady to be gin com pos iting our s ce ne w ith Glow O pe n up th e Node Editor W indow and by de fault it s h ould h ave a Re nde r Laye rs node conne cte d to tw o output node s Vie w e r and Com pos itor It is a good ide a to ope n up th e UVIm age Editor W indow and s w itch th e im age to Vie w e r Node to ge t a large r vie w of th e Vie w e r output Th is h e lps w ith fine tuning

Le ts firs t tak e a look at th e im age as re nde re d originally O bvious ly th e s ce ne is s e tup w ith are as of s trong contras t to h e lp w ith applying re alis tic Spe cular Glow ins te ad of jus t Inte ns ity Glow W e w ill bas e th e glow on th is color value and th e n m ix th e glow m as k on top to com ple te th e Glow e ffe ct

Cre ating th e Glow M as k

To cre ate th e Glow M as k w e ne e d to h igh ligh t th e de tails in th e im age To do th is I lik e to firs t us e a Sh arpe n Filte r Add a Filte r node and h ook up th e Im age input to th e Im age output of th e Re nde r Laye rs node H ook ing up a Vie w e r node to th e output Im age of th e Filte r node w ill dis play th e re s ults of th e filte r e ffe ct W e w ill be us ing Filte r Type Sh arpe n as te s ts h ave s h ow n it to be th e be s t for e nh ancing th e de tails of th e im age alth ough it cre ate s m any artifacts w h ich w e w ill h ave to de al w ith late r

Now w e ne e d to is olate only th e s pe cular are as or at le as t th e are as w ith th e m os t inte ns ity w h ich typically are th e are as of s pe cularity To do th is w e

ne e d to m odify th e RGB color value s Th e node for th is is th e RGB Curve s node H ook th e Im age output of th e Filte r node up to th e Im age input of th e RGB Curve s node

Th e curve re q uire s tuning according to your s ce ne You w ant a picture th at e xh ibits th e m os t contras t be tw e e n dark ne s s and ligh tne s s To adjus t th is curve us e th e Com bine curve tab and s e le ct locations on th e curve and m ove th e m H ook ing up a Vie w e r node to th e Im age output h e lps

06


3D W ork sh op - Artistic Glow Us ing Ble nde rs Com pos itor Node s


- by D anie l LaBarge

Im age 1 Enabling node com pos itor

Im age 2 Exam ple s ce ne in diffe re nt s e ttings

Afte r th e output h as e nough contras t you now ne e d to conve rt th is to black and w h ite For th is s te p w e ll ne e d to add an RGB to BW Conve rte r node H ook up th e Im age output of th e RGB Curve s node to th e Im age input of th e RGB to BW Conve rte r node and th e n h ook up th e output to a Vie w e r node to s e e th e re s ults

W e re alm os t th e re but as you can s e e th e m as k is ve ry pixe late d and h as lots of artifacts To fix th is w e ne e d to blur it

Add a Blur node conne cting th e Value output of th e RGB to BW Conve rte r node to th e Im age input of th e Blur node Us e a filte r type of Q uadratic and a pixe l radius (X and Y s e ttings ) appropriate for th e s ce ne Enabling Gam m a blurring als o h e lps H ook up a Vie w e r node to th e output to s e e th e final glow m as k

Applying th e Glow M as k

To apply th e Glow M as k to th e Im age w e ne e d a M ixe r node Th is node tak e s th e Im age inputs and th e n m ixe s th e tw o inputs toge th e r bas e d on a Filte r Type In m os t cas e s you w ill w ant to us e th e Add type Th is w ill pe rform a pixe l- by- pixe l addition be tw e e n th e tw o color value s of th e Im age inputs

Final Touch e s

You can now h ook up a Vie w e r node and a Com pos itor node to th e Im age output of th e M ixe r node You w ill s e e th e com bine d im age s w ith th e Glow e ffe ct If all w e nt corre ctly you s h ould now h ave a picture th at h as inte ns ity along all of th e e dge s th at e xh ibit s pe cularity or inte ns e ligh t diffus ion

You can us e th e Factor s e tting in th e M ixe r node to control th e m ixing of th e tw o Im age inputs Fine tuning m ay be re q uire d and th e e xtra Vie w e r node s w ill h e lp m ak e tuning e as y

Be low you w ill s e e th e output s e ttings for th e

diffe re nt value s at e ach s tage in th e com pos ition A ls o include d is th e s ch e m atic for th e Glow node s e tup

07



Im age 3 Th e Noodle s for Soft Glow

Th is s ch e m atic s h ow s th e Glow node s ins ide a Group node calle d Glow Th is is not re q uire d for th e final outputYou s h ould find a re fe re nce Ble nde r file include d w ith th is is s ue to track and trace a w ork ing e xam ple of th is s e tup

Be s ure to vis it h ttpw w w ids tudios org for m ore inform ation on cre ating Glow and oth e r s pe cial e ffe ct node s

NO TE

NO TE Th is article w as cre ate d us ing a CVS ve rs ion of Ble nde r and s om e fe ature s s h ow n in s cre e ns h ots m ay not be available at th e curre nt publication of th is article Th rough th e m ain Ble nde r re le as e h ow e ve r th e e ffe ct de s cribe d h e re can be us e d in th e curre nt Ble nde r re le as e

NO TE

D e pth of Fie ld (D O F) is a ve ry popular e ffe ct to be s im ulate d in com pute r ge ne rate d im age ry as it adds to th e ove rall re alis m of an im age True D O F as your e ye pe rce ive s it is not ye t pos s ible w ith Ble nde r but a ve ry clos e s im ulation of fore ground and back ground blur can be ach ie ve d W e w ill be look ing at one m e th od us ing Ble nde rs built in Com pos itor Node s

Pre re q uis ite s

Th is article as s um e s th at you h ave a s ce ne w h ich e xh ibits a ne ce s s ity for D O F and th at you k now your w ay around Ble nde r It is s afe to s ay th at th is is for inte rm e diate to advance d us e rs

Ge tting Starte d

To cre ate D e pth of Fie ld in Ble nde r w e ne e d to do s e ve ral th ings Firs t e nable th e Com pos itor and pas s th e Z Ch anne l (Ble nde rs de pth ch anne l) to th e Com pos itor To do th is ple as e re fe re nce Im age 1 w h ich s h ow s th e D o Com pos ite e nable d and th e Z Pas s e nable d You can find th e s e in th e Re nde r Buttons (F10) unde r A nim Pane l and Re nde r Laye rs Pane l

Now w e are re ady to be gin com pos iting our s ce ne w ith D O F O pe n up th e Node Editor W indow By de fault it s h ould h ave a Re nde r Laye rs node conne cte d to tw o output node s Vie w e r and Com pos itor It is probably a good ide a to ope n up th e UV Im age Editor W indow and s w itch th e im age to Vie w e r Node to ge t a large r vie w of th e Vie w e r

output Th is h e lps w ith fine tuning

Le ts tak e a look at th e im age as re nde re d originally O bvious ly th e s ce ne is s e tup and th e e le m e nts are arrange d to e xh ibit good D O F W e w ill be blurring th e color value s us ing th e de pth ch anne l

Now le ts look at th e Z Ch anne l de live re d in th e Z Pas s to th e Com pos itor To do th is add a ne w Vie w e r and conne ct th e Z input to th e Z output of th e Re nde r Laye r node In th e UV Im age Editor click on th e icon th at s h ow s th e Z value Th is is w h at th e de pth value s look lik e for th e s ce ne

M apping th e Z Ch anne l

Th e s e value s alth ough appe aring corre ct w ont actually cre ate a prope r D O F e ffe ct if s e nt to th e Blur Filte r node as th e Siz e input To fix th is w e ne e d anoth e r node calle d M ap Value Th is node w ill tak e th e value s as inputs and adjus t th e m Th e Value input s h ould be conne cte d to th e Z output of th e Re nde r Laye r node Th e re are s e ve ral s e ttings including clam p functions to s e t th e M inim um value range and th e M axim um value range Th e tw o s e ttings w e w ill us e are

O ffs e t and Siz e O ffs e t in m y e xpe rie nce h as alw ays be e n a ne gative value and it appe ars to be th e Ble nde r grid units from th e cam e ra to th e focus Siz e appe ars to be a gradie nt filte r th at controls th e abruptne s s of th e trans ition be tw e e n s h arpne s s and blurrine s s w h e n us e d w ith th e Blur node

Pos itive value is us e d for back ground blur and a ne gative value is us e d for fore ground blur Th e clos e r

th e value is to 0 th e s ofte r th e gradie nt Ne gative value s are typically ve ry s m all us ually no m ore th an - 0250 You can tak e a look at th e ne w Z ch anne l output by h ook ing up a Vie w e r node to th e Value output and look ing at th e Z ch anne l in th e UV Im age Editor

08


3D W ork sh op - D e pth O f Fie ld Us ing Ble nde rs Com pos itor Node s

D e pth O f Fie ld U sing Ble nde rs Com positor Node s


Im age 1 Enabling node com pos itor and Z pas s


Cre ate tw o M ap Value node s and h ook th e m up to th e Z output of th e Re nde r Laye rs node Se t O ffs e t to a ne gative value approxim ate ly th e s am e num be r of grid units from cam e ra to focus point Th e O ffs e t value s s h ould be ide ntical or ve ry clos e Th e Siz e value for one s h ould be a ne gative value be tw e e n - 0050 and - 0250 and th e oth e r s h ould be a pos itive value be tw e e n 0250 and 1000

Blurring th e Im age

Ne xt w e ll ne e d to us e th e s e value s to blur th e im age Th is is w h e re th e Blur node com e s into play Add tw o Blur node s and h ook up th e Im age input to th e Im age output of th e Re nde r Laye r node H ook up th e Siz e input to th e Value output of th e M ap Value node Re pe at for th e oth e r M ap Value node Th e Blur node h as s e ve ral s e ttings I h ave found th at Q uadratic filte r type and Gam m a e nable d w ork be s t Th e X and Y s e ttings control th e radius of th e blur e ffe ct in pixe ls For m ore blur us e a h igh e r num be r If you h ook up a Vie w e r node to th e Im age output you w ill s e e th e re s ults of th e D O F and you can e dit th e M ap Value s accordingly Th e one Vie w e r node w ill s h ow th e fore ground blur and th e oth e r w ill s h ow th e back ground blur

Now w e h ave th e tw o im age s blurre d but w e ne e d th e fore ground and back ground blur com bine d Th e re are s e ve ral w ays to do th is but th e prope r w ay is to us e anoth e r s pe cialty node Th is node is calle d Z Com bine H ook up th e Im age output of one Blur node to th e firs t Im age input of th e Z Com bine node and th e n h ook up th e oth e r corre s ponding M ap Value s Value output to th e Z input of th e Z Com bine node

Re pe at for th e oth e r Blur node and M ap Value node Notice th at th e corre s ponding Im age input goe s to th e oppos ite Value output of th e M ap Value node Th is is im portant to prope rly com bine th e tw o im age s w ith out artifacts

Final Touch e s

You can now h ook up a Vie w e r node and a Com pos itor node to th e Im age output of th e Z Com bine node and you w ill s e e th e com bine d im age s w h ich w ill s h ow th e D O F e ffe ct If all w e nt corre ctly you s h ould now h ave a picture th at h as fore ground blur and back ground blur w ith th e ce nte r range s h arp and in focus Fine tuning m ay be re q uire d and th e e xtra Vie w e r node s w ill h e lp m ak e tuning e as y

Be low you w ill s e e th e output s e ttings for th e diffe re nt value s at e ach s tage in th e com pos ition A ls o include d is th e s ch e m atic for th e D O F node s e tup

W h at About Anim ations

A nim ating D O F w ith Com pos itor node s is a little too le ngth y to e xplain but th e ide a h it m e one day

w h ile trying to m ix value s Th e s e cre t to anim ate d D O F is to m ix ldquok e yfram e drdquo M ap Value s along a Tim e node As long as you h ave th e D O F s e t for a particular fram e you can control th e M ixing us ing th e curve in a Tim e node Th is can ge t re ally bulk y and I cant w ait for th e Ble nde r de ve lope rs to cre ate an input for th e M ap Value O ffs e t but until th at fe ature is im ple m e nte d you can us e th e re fe re nce s ch e m atic be low

You s h ould find a re fe re nce Ble nde r file include d w ith th is is s ue to track and trace a w ork ing e xam ple of th is s e tup

09



Im age 3 Th e Noodle s for D e pth O f Fie ld

Th is s ch e m atic contains a cus tom Group node for adding D O F to th e final com pos ition and is not re q uire d for th e final output

NO TE

Special thanks go to Claas Eicke Kuhnen (aka cekuhnen) of BlenderArtists who helped explain the node setup for a similiar DOF approach to the Blender Community

10


3D W orkshop - Artistic Glow Using Blenders Compositor Nodes

Image4 DOF Noodles for Animation

Im 17 and have been a freelance since I was 15 doing everything from website design to graphic design Nothing too importantArtist [wwwidstudiosorg]Writer [wwwblendernationcom]Developer [wwwmonsterwebnet]

Ble nde rs gam e e ngine is fairly s im ple as s uch th ings go but w ith a little h ard w ork one can s till cre ate re lative ly re alis tic gam e s In th is article Irsquom going to try to h e lp you le arn h ow you can us e th e s e fe ature s to m ak e your Ble nde r gam e s as re alis tic as pos s ible

Planning

Be fore you be gin m ak ing a gam e s ce ne you s h ould h ave a s e t ide a in your m ind of w h at you w ant th e s ce ne to be D e cide W h at doe s th e are a look lik e W h at is th e playe r m e ant to accom plis h h e re W h at is th e are as ldquore alrdquo purpos e (ie - if th e are a re ally e xis te d w h at purpos e w ould it s e rve )

O nce youve w ork e d out th e ans w e rs to th e s e q ue s tions yoursquore re ady to ge t to w ork on your s ce ne Som e pe ople pre fe r to m ak e s k e tch e s of th e ir gam e s ce ne s ah e ad of tim e but I us ually jus t go s traigh t to Ble nde r

W h e n de s igning your s ce ne re m e m be r th at th e playe r ne e ds to be fe nce d in s om e h ow No m atte r w h at pe ople alw ays s e e m to w ant to go be yond th e confine s of your gam e m ap and youll ne e d to com e up w ith a good e xcus e as to w h y th e y cant Pre ve nting th e playe r from le aving th e m ain part of th e s ce ne is not e nough you m us t als o convince h e r th at s h e doe s not w ant to le ave it

Th e m os t popular form s of e nvironm e nt bounds are as follow s

Is land is us ually w h at it s ounds lik e Th is is an e xtre m e ly popular m e th od of de fining s ce ne boundarie s s im ply put in a vas t oce an and pe ople im m e diate ly as s um e th e y cannot trave rs e it In m y gam e Th e Voyage of th e Golde n A rm I us e d th e Is land te ch niq ue in a de s e rt as w e ll one of th e gam e s le ve ls tak e s place on a large h ill w h ich is s urrounde d on all s ide s by a de s e rt w as te land Th e e ffe ct is th e s am e th ough th e ldquooce anrdquo is an oce an of s and and not w ate r A noth e r variation is th e ldquobutte rdquo in w h ich th e gam e are a is atop a h igh cliff s urrounde d on all s ide s by ve rtical drops Is lands can als o be com bine d w ith invis ible w alls to pre ve nt th e m os t de te rm ine d playe rs from w alk ing too far into th e oce an

Canyon is an e nvironm e nt w h ich is s urrounde d on all s ide s by ins urm ountable w alls Pre fe rably th e s e s h ould be h igh w alls s h ort fe nce s te nd to frus trate pe ople as in re al life th e y w ould s im ply s te p ove r th e m Th e be s t Canyon w alls s h ould be m uch h igh e r th an th e gam e ch aracte rs h e igh t

Tunne l w as populariz e d in gam e s lik e D oom w h e re all th e action tak e s place ins ide clos e d- in corridors Tunne ls h ave falle n out of favor be caus e th e y allow for ve ry little varie ty in your gam e s ce ne ry

D e ath Z one is th e le as t re com m e nde d of th e acce ptable boundarie s A de ath z one is an are a outs ide th e m ain gam e e nvironm e nt w h ich caus e s ins tant de ath if e nte re d A n e xam ple is th e dark cave rns of th e te xt adve nture Z ork in w h ich

w ayw ard playe rs are de voure d by ldquogrue s rdquo Th e s e are not re com m e nde d be caus e th e y s e e m unfair to th e playe r and cos t live s If you de cide to us e a de ath z one m ak e s ure th at th e playe r is w e ll-inform e d of th e are as s tatus Noth ing is m ore frus trating th an a ldquos urpris e rdquo de ath z one

In th is article w e w ill be w ork ing tow ard a re alis tic Is land s ce ne Im not e xpe cting you to follow along w ith th e tutorial s im ply re ad it and look at th e s te ps I tak e to im prove th e is lands re alis m Le arn th e s e te ch niq ue s and youll h ave all th e tools you ne e d to w ork on your ow n cre ations

H e re s th e little is land w e ll be im proving

In all lik e lih ood your gam e art is not as bad as th is but th is doe s de m ons trate q uite a fe w of th e proble m s Ive s e e n in be ginne r art W e ll us e te ch niq ue s of s h ading te xturing and m ode ling to m ak e th is is land m ore re alis tic

11


3D W ork sh op - Cre ating Re alistic Environm e nt For Th e Ble nde r Gam e Engine

Cre ating Re alistic Environm e ntFor Th e Ble nde r Gam e Engine

- by Jh on Allie

Im age 1 D iffe re nt e nvironm e nt bounds

Im age 2 Th e Is land s ce ne

Sh ading

Sh ading is h ow w e s im ulate ligh ting in th e gam e e ngine Sh ading de fine s ligh t and dark ne s s on your m ode ls and is one of th e m os t im portant tools for adding re alis m

Th e e as ie s t w ay to s h ade your m ode ls is to m ak e th e m ligh t- s e ns itive Se le ct th e m ode l you w ant to m ak e ligh t- s e ns itive pre s s F to e nte r UV face -s e le ct m ode and pre s s W to ope n th e Spe cials m e nu (Its im portant to m e m oriz e h otk e ys e s pe cially unintuitive one s lik e th is one ) Se le ct Ligh t from th e Spe cials m e nu

O ur h orrible little is land is m ore re alis tic alre ady Re al is lands are nt face te d lik e th is th ough

Now th at its s m ooth th e is land look s m uch m ore re al H e re s w h at it w ould look lik e if w e s e t Ligh t

for all th e obje cts

Ligh t s e ns itivity is not a good s olution for inanim ate obje cts th ough be caus e it e ats a lot of proce s s or pow e r

12



Im age 3 Enabling Ligh t Se ns itivity

Im age 4 Ligh t- s e ns itive is land)

Im age 5 Enabling Sm ooth Re nde ring

Im age 6 Sm ooth e d ligh t- s e ns itive is land

Im age 7 Re al- tim e s h ading

Ble nde r h as anoth e r ligh t- s im ulating fe ature th ough w h ich s im ulate s th e ligh t only once th e n bak e s it to th e obje cts ve rte x colors Sim ply s e le ct th e obje ct you w is h to apply th e e ffe ct to and click th e Ve rtCol bak e button in th e Edit Buttons

Th e Ve rtCol bak ing option is gre at w h e n youre in a h urry but th e re s ult te nds to be k ind of dark Adding m ore lam ps can h e lp re m e dy th is proble m as th e value s are calculate d from th e s ce ne s lam ps H e re s th e s am e s ce ne w ith ve rte x colors bak e d from tw o lam ps

Th e las t s h ading m e th od is to paint th e ve rte x colors by h and Th is is m y pre fe rre d m e th od be caus e it give s m uch m ore control but it doe s tak e m uch m ore e ffort If you de cide to s h ade your m ode ls th is w ay m ak e s ure th at you try to s im ulate th e ligh t corre ctly Try to re m e m be r w h e re th e ligh t is com ing from and s h ade your m ode ls accordingly

In ge ne ral w h e n painting rounde d m ode ls lik e Suz anne I us e th e Ve rte x Paint brus h W ith angular m ode ls s uch as buildings I s e le ct th e face s individually and fill th e m us ing th e Se t Ve rtCol button Som e tim e s Ill als o add a s ligh t gradie nt w ith Ve rte x Paint

13



Im age 8 Bak ing Ve rte x Color Sh ading

Im age 10 Bak e d Sh ading w ith Tw o Lam psIm age 11 Re m e m be r Ligh t D ire ctions

Im age 12 Se tting Ve rte x Colors By H andIm age 9 Bak e d Sh ading

To le arn h ow to s h ade w e ll pay atte ntion to your s urroundings Try to le arn w h ich are as are brigh te s t or dark e s t You m ay w ant to run s om e Radios ity or A m bie nt O cclus ion s im ulations in Ble nde r for re s e arch (D ont us e Radios ity output in th e gam e e ngine th ough - th e m ode ls it ge ne rate s are e xtre m e ly com ple x)

Care ful us e of ve rte x colors can do w onde rs for your gam e e nvironm e nt In th e re al w orld one ne ve r e ncounte rs an obje ct w ith out s h ading s o its im portant to k e e p th is in m ind w h e n m ak ing your gam e e nvironm e nts Sh ade e ve ryth ing no m atte r h ow s m all it is

M ode ling

Now w e ll look at h ow to im prove your gam e m ode ling Le ts tak e a look at th e w ire m e s h of our ugly little is land

W h at appe ars to be a s im ple s ce ne is not ve ry s im ple from th e e ngine rsquos point- of- vie w Th e is land is m ade from a com ple x UV s ph e re th e m onk e y h e ad h as be e n ldquos ubs urfe drdquo and th e tre e s and building colum ns are both m ade from cylinde rs at th e de fault s e tting 32 Its im portant to re m e m be r h e re th at th ough Ble nde r can be us e d to m ak e gam e s its prim ary purpos e is cre ating re nde re d im age ry

Th is is w h y th e re are m any Ble nde r fe ature s w h ich are incom patible w ith th e gam e e ngine and m any m ore w h ich th ough com patible s h ould not be us e d

Subs urf is an e xam ple of th e latte r Th ough s ubs urf

is now com patible w ith th e GE it s h ould not be us e d on gam e m ode ls Th e inte ntion of gam e m ode ling is to cre ate ldquolow - polyrdquo m ode ls w h ich are as s im ple as pos s ible Subs urf w ork s by turning e ve ry face of your m ode l into m any s m alle r face s and is th e re fore an e xtre m e ly counte rproductive m e th od w h e n it com e s to th e gam e e ngine

W h e n w ork ing in th e gam e e ngine your inte ntion s h ould be to k e e p your m ode ls as s im ple as pos s ible avoid us ing anyth ing w h ich m ak e s your m ode ls m ore com plicate d

Le ts ge t s tarte d on our gam e m ode ls by im proving th e ldquote m ple rdquo

14



Im age 13 H and- painte d gradie nts

Im age 14 D ark e ning corne rs can im prove re alis m

Im age 16 Te m ple M e s h

Im age 15 Is land M e s h

W e ll fix th e colum ns firs t Th e colum ns as you can s e e in th is im age appe ar to be alm os t a s olid color W h e n your gam e m ode ls look lik e th is itrsquos a fair be t youve us e d too m any polys Th irty- tw o th e de fault s e tting for cylinde rs is ove rk ill for th e gam e e ngine Te n ve rtice s s h ould be e nough you can probably ge t aw ay w ith only 7 and you s h ould ne ve r ne e d m ore th an 15 or 20

W e ll cre ate a ne w colum n m ode l and s e t it to 10 ins te ad of 32As you can s e e a colum n w ith 10 ve rtice s s till look s ve ry round Its not im portant to m ak e e ve ryth ing in your gam e h ave a ldquope rfe ctrdquo s h ape Pe ople e xpe ct gam e obje cts to h ave s ligh tly jagge d s h ape s and th e m ind can e as ily fill out th e m ode l to its corre ct s h ape

Th e trick is to find th e h appy m e dium be tw e e n too m any ve rtice s and not e nough Te n is jus t about righ t for th is colum n For a bigge r colum n 20 m igh t be m ore appropriate For ve ry s m all obje cts you m ay w ant to re duce th e num be r to four or e ve n th re e Avoid 6- or 8- s ide d cylinde rs th ough th e m ind is fam iliar w ith th e s e s h ape s and your playe r m ay h ave a h ard tim e ignoring th e m

Low - poly m ode ling als o m e ans re m oving anyth ing th at is not ne e de d w h ich include s face s th at cant be s e e n Th is colum n h as face s on e ith e r e nd w h ich cannot be s e e n Click th e ldquoface s e le ctionrdquo

button s e le ct th e h idde n face s at both e nds w ith th e B- k e y s e le ct m ode pre s s th e D e le te k e y and click Face s

Re m e m be r to ch e ck for th e s e face s Th e yre ve ry com m on and th e y do te nd to add up Unim portant as th e y m ay s e e m h aving large num be rs of th e m can le ad to a gam e s low dow n

Cons ide r th is Each colum n h as 10 face s on e ach e nd none of w h ich are vis ible to th e playe r W ith all four of th e buildings colum ns th e re are 80 e xtra face s A lw ays re m e m be r to ch e ck for and e lim inate gam e e ngine w as te

Now le ts tak e a look at th e te m ple s te ps

Som e tim e s w e ne e d to divide face s into s m alle r face s in orde r to cre ate s om e th ing O ne w ay to cre ate m ore face s is to us e th e Subdivide tool but th is tool divide s e ve ry face into lots of s m alle r face s cre ating a lot of unne ce s s ary e xtra face s and adding to gam e e ngine w as te A m uch be tte r option is to us e th e K nife tool

15



Im age 17 Se tting num be r of ve rtice s for a cylinde rIm age 20 Care le s s ly m ade te m ple s te ps

Im age 19 D e le ting H idde n Face sIm age 18 Ne w colum n from 10- ve rte x cylinde r

Th e K nife tools purpos e is to add e xtra ve rtice s to an e dge Th is w ill allow you to divide up your m ode ls face s only as m uch as th e y ne e d to be divide d and pre ve nt gam e e ngine w as te To us e th e K nife tool s e le ct th e e dge s you w is h to ope rate on and pre s s Sh ift+ K Th e K nife m e nu w ill appe ar Se le ct Exact Line for now and th e n draw a line th rough your e dge s and pre s s Ente r

O ur face is now cut in h alf and re ady to be e xtrude d into s te ps If w e h ad us e d Subdivide th e face w ould h ave be e n divide d into four s e ctions far m ore th an w e actually ne e d Now w e can e xtrude th e face and finis h cre ating our s taircas e

Th e re s ult w ill be a bas e for th e te m ple w ith fe w e r th an h alf th e face s of th e original D ont forge t to de le te th e unde rs ide of th e te m ple s bas e it w ill be unde rground s o th e re is no re as on to s ave it

Th e te m ple is pre tty good now Le ts le ave it alone and tak e a look at th os e obnoxious

palm tre e s

Th is is not a palm tre e Th is is a cartoon of a palm tre e and a ve ry h igh - poly one at th at Th e trunk lik e th e colum ns on th e building is a 32- ve rte x cylinde r It is abs urdly s traigh t th e natural w orld s im ply doe s not h ave s uch s traigh t line s O ur firs t orde r of bus ine s s w ill be to im prove th is trunk

Add a 7- ve rte x tube and re s iz e it until its long s traigh t and narrow Scaling it s m all th e n e nlarging it on th e Z axis s h ould w ork (M ak e a h abit of us ing tube s in place of cylinde rs w h e n ne ith e r e nd w ill be vis ible In th is cas e one e nd of th e trunk w ill be be low ground and th e oth e r w ill be above playe rs h e ads Ne ith e r w ill be s e e n s o you can us e a tube in place of a cylinde r and s ave yours e lf s om e polys ) O nce your tube is re ady us e th e K nife tool to s lice it up a fe w tim e s th e n give it a s ubtle be nd Scale it dow n a bit tow ard th e uppe r e nd

Th is trunk is not only m ore re alis tic it h as fe w e r polys as w e ll

To cre ate th e le ave s add a plane and e xtrude once from e ach e nd

Now s e le ct your e nds one at a tim e pre s s W and s e le ct M e rge

Th e re s ult w ill be a plane w ith a triangular face attach e d at e ach e nd Now us e th e K nife tool to divide th e plane ve rtically dow n th e m iddle

Se le ct th e ne w ve rtice s and m ove th e m up s o th at th e le af w ill curve in th e m iddle

16



Im age 21 Us ing th e K nife tool

Im age 25 Us ing th e M e rge tool Ste p 2

Im age 24 Cre ating Palm Le ave s Ste p 1Im age 22 Palm Tre e

Im age 23 Ne w tre e m e s h

Im age 26 Cre ating Palm Le ave s Ste p 3

Im age 27 Com ple te d Palm Le af m e s h

Th is is our bas ic le af m ode l You can tw e ak it a little if you lik e It m ay not look ve ry m uch lik e a palm le af ye t but th e te xture w ill im prove th at It s h ould be note d th at s ince le ave s are clos e to be ing flat it is pe rfe ctly acce ptable and re com m e nde d to portray th e m w ith plane - bas e d obje cts lik e th is one In th e gam e e ngine try to portray com ple xity th rough te xturing rath e r th an m ode ling w h e ne ve r pos s ible Th is palm le af doe s not ne e d to be ve ry com ple x be caus e its true re alis m w ill be applie d th rough its te xture W e w ill be cove ring te xturing s h ortly but Ill jum p ah e ad jus t a m om e nt to s h ow you w h at th e com ple te d palm tre e look s lik e

Look h ow grote s q ue th e original palm tre e look s now th at its s h ow n be s ide one th ats s o re alis tic Its alw ays w orth going th e e xtra fe w s te ps to m ak e your gam e look good D ont be afraid to inve s t th e e xtra tim e - in all lik e lih ood your gam e w ill not only look be tte r but it m ay run fas te r as w e ll

Th e large Suz anne h e ad I w ill s im ply de le te A lw ays try to m ak e your ow n m ode ls th e yll m ore clos e ly re s e m ble your ow n s tyle and th e y m ay e ve n be m ore com patible w ith th e gam e e ngine Th e re is no ne e d for a giant s tone m onk e y h e ad h e re th ough s o th e re is no re as on to include it If you are m ak ing a Ble nde r- th e m e d gam e h ow e ve r incorporating Suz anne is e ncourage d

Le ts s pe nd s om e tim e re building th e is land its e lf At th e m om e nt its jus t a big round th ing Th ats fine if your gam e is about Th e Far Side but if youre aim ing for s om e th ing m ore re alis tic w e h ave to im prove it a bit

Th is is one tim e w h e n I cons ide r th e us e of Subdivide to be jus tifie d Add a plane s cale it up a bit and s ubdivide it a fe w tim e s

Th e illus tration s h ow s th e plane afte r four s ubdivis ions Th at s h ould be e nough Now pre s s [O Ke y] or ope n th e m e nu to activate Proportional Falloff e diting m ode

17



Im age 28 O riginal amp Im prove d Palm Tre e s

Im age 30 Subdivide d plane

Im age 29 Subdivide button Im age 31 Proportional Falloff M e nu

Now s e le ct a fe w ve rtice s and be gin m oving th e m You w ill s e e th at ne arby ve rtice s w ill be gin follow ing th e m along You can m ove th e m ous e w h e e l to adjus t th e e xte nt of th e e ffe ct Pull up th e ground to m ak e s om e s ubtle h ills I pre s s e d Z w h ile trans lating to lock m ove m e nt to th e ve rtical axis

Your com ple te d is land s h ould look s om e th ing lik e th is Note th at th e h igh e s t points of th e is land are in th e

m iddle and th e e dge s s lope dow nw ard into th e oce an Th is is actually a pre tty good is land m ode l alth ough th e s te e p s lope s m igh t m ak e it difficult to navigate Its als o w orth noting th at s om e vide o cards (m any Inte l ch ips e ts e s pe cially) e xpe rie nce a s trange proble m w h ich caus e s lands cape s lik e th e s e to ldquos q uirm rdquo If you e xpe rie nce th is proble m s im ply s e le ct th e e ntire m ode l in e dit m ode and pre s s Control+ T to triangulate th e m e s h

O ne las t th ing to look at be fore w e m ove on to te xturing - th e ldquoSk yboxrdquo

As you can s e e th e cloud te xture is lite rally

m appe d onto a giant box Som e pe ople can m ak e th is te ch niq ue w ork ve ry w e ll but Ive found th at its e xtre m e ly difficult to dis guis e th e fact th at its a h uge box I pre fe r to us e tube s s ph e re s or plane s to cre ate clouds Th e rounde d e dge of th e tube or s ph e re is m ore s ubtle th an a cube s righ t angle s and th e re fore h arde r to s pot and e as ie r to h ide

Th e tube is a gre at w ay to m ak e clouds It re q uire s a bit of e xtra w ork on your part to m ak e its s pe cial te xture but th e re s ult is w orth th e trouble You s im ply ne e d to cre ate a good cloud te xture and th e n us e your painting program to add a color- to-trans pare ncy gradie nt s k y color at th e top to ach ie ve a re s ult lik e th is

Th e n m ap th e te xture onto th e tube and s e t Ble nde rs w orld color to th e s am e s k y color as th e im age Th e re s ultPre tty nifty e h Not only doe s th e Tube m e th od cre ate nice

s e am le s s clouds around th e h oriz on but it h ide s th e corne rs of th e ground or oce an plane as w e ll A nice w ay to anim ate Tube clouds is to m ak e th e

tube rotate ve ry s low ly Th e e ffe ct is s ubtle but e ffe ctive

Th e Sph e re s k y m e th od w ork s bas ically th e s am e as Tube but I find th at its h arde r to m ap te xture s onto a s ph e re and th e y h ave m ore polys as w e ll Th e advantage of Sph e re is th at it allow s clouds to be on all s ide s of th e s ce ne

Th e Plane m e th od is fairly s im ple You can s im ply add a plane above th e s ce ne and cloud- te xture it W h e n I us e th is m e th od I ofte n cre ate an obje ct lik e th e one on th e le ft and ve rte x paint it as s e e n on th e righ t

18



Im age 32 Us ing Proportional Falloff to M ak e H ills

Im age 36 Tube Clouds

Im age 34 Ugly Sk ybox

Im age 35 Cloud Te xture for Tube

Im age 33 Ne w Is land M e s h

I

th e n m ap it w ith a black - and- w h ite cloud te xture and s e t it to Add in Face - Se le ct m ode Th e s e s e ttings cre ate s im ple clouds w h ich fade

out around th e e dge s Th e y h ave th e appe arance of all Add- re nde re d obje cts but you can alw ays ch ange th at by cre ating a te xture de s igne d to be opaq ue ins te ad

Note th at plane - bas e d clouds appe ar only above

w h e re as Tube clouds appe ar only at th e h oriz on Sph e re can be cons ide re d ldquoth e be s t of both w orlds rdquo but its a bit h arde r to w ork w ith H ow e ve r s om e pe rs e ve rance can ge t you a nice e ffe ct

O ne las t w ord about clouds youll probably

e xpe rie nce s om e proble m s due to th e fact th at face s are by de fault vis ible on one s ide but not th e oth e r Youll h ave to re calculate th e cloud obje cts norm als to m ak e it vis ible from th e ins ide In e dit m ode s im ply s e le ct all its ve rtice s and pre s s Ctrl+ Sh ift+ N Th is s h ould fix th e proble m

Final th ough ts about gam e m ode lingTry to us e th e s m alle s t num be r of polys pos s ible Sm all obje cts can ofte n ge t aw ay w ith ve ry ve ry fe w A h andle on a door for e xam ple m igh t be m ade out of a th re e - s ide d tube Large obje cts ofte n ne e d a h igh e r- re s olution m e s h th ough dont be afraid to give th e m w h at th e y ne e dRe s is t th e te m ptation to cre ate h igh - poly m ode ls and th e n de cim ate th e m D e cim ation cre ate s ugly com plicate d m e s h e s w h ich are h ard to te xture and e xtre m e ly difficult to anim ate

Th e D e cim ate d ve rs ion of th e H igh - Poly Suz anne is not e q ual to th e original Eve ryth ing w ill be e as ie r if you s tart out m ode ling low - poly in th e firs t

place D ont try to ch e at by m ode ling h igh - poly and de cim ating it late r

19



Im age 37 Planar Cloud O bje ct m e s h and ve rte x colors

Im age 41 W h y D e cim ation is Not Your Frie nd

Im age 39 Planar Clouds

Im age 40 Sph e re Clouds

Im age 38 Enabling Add Re nde ring

Te xturingTh ough s h ading and m ode ling are both crucial to cre ating re alis tic gam e e nvironm e nts your m os t pow e rful w e apon by far is te xturing It doe s not m atte r h ow pe rfe ct your m ode ls are or h ow w e ll th e yre s h ade d if th e y h ave bad te xture s th e y w ill look te rrible Te xturing is th e final w ord it alone ldquom ak e s or bre ak s rdquo your e nvironm e nt

I m ak e ne arly all of m y te xture s m ys e lf I tak e ph otograph s of inte re s ting s urface s and conve rt th e m into te xture s us ing Gim p Th e re is no alte rnative to ph otograph ic te xture s w h e n one w is h e s to ach ie ve re alis m

Th e m os t im portant th ing to re m e m be r w h e n cre ating te xture s is to m ak e th e m s e am le s s You can do th is q uite e as ily in Gim p by navigating to Filte rs - gtM ap- gtM ak e Se am le s s in th e m e nus Th is

e ffe ct is not pe rfe ct but it doe s h ide th e s e am s in your te xture s q uite nice ly You m ay s till ne e d to dodge burn by h and a little to e ns ure a uniform s h ade but for th e m os t part m ak ing te xture s is painle s s

Im not going to give a w h ole te xture -cre ation tutorial h e re Suffice it to

s ay te xture - m ak ing cons is ts m os tly of alte ring ph otograph s until th e y can be re pe ate d w ith out obvious re pe tition

If you look at th e is land yoursquoll s e e th at its te xture is obvious ly re pe ating Th e ground te xture contains a s trongly de fine d ldquopurple rdquo s pot w h ich is re pe ate d again and again for a craz y ldquopolk a- dotrdquo e ffe ct

O ne q uick w ay to re m e dy th is is to s w itch from th e de fault 11 UV te xturing s e tting to a diffe re nt

s e tting In th e UV face s e le ct m ode pre s s A to s e le ct all th e face s and pre s s U to ch oos e a m apping option Ble nde r 242a de live rs a h orde of ne w UV m apping options and Ill adm it th at Im not fam iliar w ith all of th e m ye t Ive found h ow e ve r th at for re lative ly flat obje cts lik e our is land th e ldquoproje ct from vie w rdquo option w ork s nice ly Se le ct it w h ile vie w ing th e is land from above th e n s im ply s cale th e e ntire UV m ap up and dow n in th e UV w indow until you lik e th e re s ult

As you can s e e th e is lands appe arance is alre ady

dras tically im prove d Th e purple s pots th ough not gone are not s uch a big proble m any m ore You m ay s till w ant to try to ch ange th e ir tone th ough w h ich can be e as ily ach ie ve d th rough s om e s m all Gim p tw e ak s Th e e as ie s t and ofte n m os t e ffe ctive m e th od is to s im ply s e le ct a gre e nis h color th e n brus h ove r th e purple are as w ith th e brus h tool s e t in ldquoColorrdquo m ode

20



Im age 45 Im prove d UV m apping

Im age 43 Non- s e am le s s and s e am le s s te xture s

Im age 44 Se le cting a UV m apping optionIm age 42 M ak ing a te xture Se am le s s in Gim p

Th e is land look s a lot be tte r now th at th e ugly purple s pots h ave be e n e lim inate d but be fore it can look re alis tic w e ne e d a fe w m ore diffe re nt

te xture s on th e re Le ts s tart by adding a be ach w h ich runs around th e e dge

Firs t cre ate a s and te xture and th e n cre ate a s e cond te xture w h ich ble nds th e s and te xture into th e gras s te xture It s h ould look s om e th ing lik e th is Im going to as s um e h e re th at you h ave s ufficie nt k now le dge of Gim p (or Ph otos h op) to do th is Th ough a s te p- by- s te p guide to cre ating te xture s

w ould be us e ful it is be yond th e s cope of th is article

Now m ap your plain s and te xture (w ith out gras s ) onto th e face s around th e e dge of th e is land (Se e Im age 49 )

Ne xt is th e tim e - cons um ing part M ap th e ldquoble nde drdquo te xture w e m ade to th e face s in be tw e e n th e gras s face s and s and face s I find th at th e 11 s e tting w ork s be s t for th is Ge tting th is pe rfe ct can tak e a w h ile s o be pre pare d to s pe nd a good de al of tim e on it

21



Im age 49 Is land w ith Tw o Te xture s

Im age 48 Gras s - gt Sand Te xture

Im age 46 Elim inating Color Variation in Te xture s

Im age 47 Is land w ith Im prove d Te xture sIm age 50 Tw o Te xture s Sm ooth ly Ble nde d

Look at h ow re alis tic th e is land is now com pare d to th e w ay it look e d at th e e nd of th e M ode ling s e ction Th is s h ow s h ow im portant te xture s are to your s ce ne ry W e could call th is finis h e d now but le ts apply a fe w m ore ch ange s firs t

Firs t le ts fix th e te xture on th e oce an plane Th e re s noth ing w rong w ith th e te xture but w e ne e d to s cale up th e UV m apping s ligh tly to incre as e th e de tail on th e w ate r s urface

Notice h ow e ve n s ligh t ch ange s can im prove th e ove rall appe arance dras tically I als o tw e ak e d th e s e as ve rte x colors s ligh tly to m ore clos e ly m atch th e s k y

Now le ts add s om e s ubtle w ave s th at lap at th e e dge s of th e is land Add a plane at th e e dge of th e is land and be gin e xtruding it s o it follow s th e e dge clos e ly Ke e p doing th is until youve circum navigate d th e is land th e n m e rge th e e nds toge th e r to cre ate a continuous ring

M ak e a nice black - and w h ite ldquoripple s rdquo te xture and m ap it 11 to th e face s Se t all th e face s to ldquoAddrdquo re nde r m ode and paint th e oute r ve rtice s black

Th e s e s m all ripple s inte grate th e is land w ith th e s e a finally pulling toge th e r e ve ry as pe ct of our gam e s ce ne If youd lik e you can e ve n anim ate

t

h e m w ith th e ldquoUVs crollrdquo Pyth on s cript

For one final touch you m ay w is h to cre ate s h adow s for your palm tre e s A nice tutorial about cre ating s h adow te xture s for gam e s w as cre ate d by m as te r gam e m ak e r ST150 and is available at

h ttpw w w ble nding-online couk 850150779 h tm l

Clos ingM aybe you didnt w ant to cre ate a s im ple is land lik e th is one and m aybe you didnt e ve n try to follow along It doe s nt m atte r m y h ope is th at

w h ile re ading th is article you gaine d a be tte r unde rs tanding of h ow to th ink lik e a gam e de ve lope r W h e th e r or not you now h ave a little is land s ce ne doe s not m atte r w h at m atte rs is th at now you be tte r unde rs tand th e conce pts and application of gam e s ce ne cre ation in Ble nde r

Plan ah e ad to cre ate th e be s t s ce ne pos s ible Try to s tart w ith s om e ide a of w h at you w ant th e finis h e d proje ct to look lik e Cre ate conce pt s k e tch e s if you pre fe rSh ade your m ode ls e ith e r th rough ve rte x colors or by us ing ligh t s im ulation Ke e p your e ye s ope n in th e re al w orld and try to le arn h ow ligh t be h ave s

Th ink w h ile you m ode l ne ve r us e 10 face s if th re e w ill do and us e face - dividing tools s paringly D e le te unne e de d face s and ne ve r m ak e your m ode ls m ore com plicate d th an ne ce s s ary Try to s e e h ow s m all a face count you can ge t

22



Im age 54 Com ple te d Is land

Im age 52 M ak ing W ave s

Im age 51 Im prove d O ce an


Cre ate your ow n te xture s w h e ne ve r pos s ible Bring your cam e ra w ith you on trips and ph otograph as m any diffe re nt s urface s as pos s ible W h e n proce s s ing your te xture s s trive to obs cure th e re pe titionNe ve r be afraid to add re alis tic de tails e s pe cially one s w h ich h ave little e ffe ct on polycountAs a final touch you m ay w ant to e xpe rim e nt w ith adding m otion A s ligh t s w aying to th e tre e s or a s pinning w e ath e r- vane can add to th e gam e s look be autifully Th e w orld is full of m otion and a little m otion can be a gre at addition to your gam e Try to m ak e s ure th at th e playe r is not th e only th ing m oving in your w orld

A nd th ats th at I h ope you e njoye d re ading th e article Ive s trive d to include in th is article e ve ryth ing a be ginning gam e artis t m igh t find us e ful Adm itte dly th e re are a lot of th ings I didnt m e ntion but th e re is e nough m ate rial h e re to ge t s om e one on th e ir fe e t and s olve s om e com m on proble m s W ith th e s e s k ills in place yoursquoll be w e ll on your w ay to cre ating a gre at Ble nde r gam e Go s tart up Ble nde r and ge t to w ork I look forw ard to s e e ing w h at you cre ate

23



I h ave be e n us ing Ble nde r s ince A pril 2000 M y curre nt gam e proje ct is an adve nture gam e calle dInto th e Titan

W e bs ite w w w gorilla3dcom plantpe rs on

Joh n A llie PlantPe rs on


Introduction

Ve ctor Blur is an inte re s ting s olution th at goe s be yond th e lim itations of re gular M otion Blur It re lie s on th e Com pos ite Node s Editor to pe rform But e ve n if th e Node s Editor m ay look intim idating at firs t glance it is in fact ve ry e as y to s e t up Th is s h ort tutorial w ill go th rough th e bas ic s te ps for e nh ancing your re nde rs (both s tills and anim ations ) w ith good look ing m otion blur

Th e m ain th ing to unde rs tand is th at th e obje ct to w h ich th e M otion Blur w ill be applie d s h ould h ave be e n anim ate d be fore h and Th is m e ans th at th e obje ct m us t follow a curve or be anim ate d us ing IPO s In fact th e re nde re d picture w ill be turne d into a 3D m ode l w ith de pth and a s pe e d ve ctor w ill be calculate d for e ach pixe l of th e picture As a pos t- proce s s th e Com pos ite Editor w ill add th e m otions to th e final pic in a blurre d w ay Th is is w h y de fining th e m otion of th e obje ct is abs olute ly m andatory

A ve ry brie f e xam ple file of s uch an anim ation can be found at th e follow ing URL h ttpfe e ble m indtuxfam ilyorgdotcle arim age s ate lie r- im probable ve ctor

A s te p- by- s te p of th e Ve ctor Blur proce s s

Firs t you w ill ne e d to turn one of your 3D vie w s into a Node Editor vie w Th is is done by click ing on th e grid- lik e icon at th e le ft e nd of th e H e ade r of th e vie w A m e nu w ill pop up and le t you de fine th e type of vie w ne e de d Ch oos e th e Node Editor

In th e H e ade r of th e Node Editor you w ill find a m e nu for th e vie w (Vie w Se le ct Add Node ) and th e n tw o icons (th e gre y s ph e re icon) e nable s M ate rial Node s and (th e s m all face picture icon) e nable s Com pos ite Node s Click th e Com pos ite Node s Th e de fault Com pos ite node s ne tw ork s h ould be dis playe d on th e s cre e n Us ing th e [LM B] draw a box th at w ill cros s th e link be tw e e n th e Re nde r Laye r node and th e Com pos ite node th e link s h ould dis appe ar Now us e th e Add m e nu Addgtgt Filte rs

gtgtVe ctor Blur A ne w node s h ould appe ar title d Ve ctor Blur M ove it be tw e e n th e tw o pre vious de fault node s and s tart th e m agic conne ct th e output Im age Z and Spe e d from th e Re nde r Laye r node to th e input Im age Z and Spe e d from th e Ve ctor Blur node us ing th e [LM B] O nce done conne ct th e output Im age from th e Ve ctor Blur node to th e Im age input of th e Com pos ite node

24


3D W ork sh op - Ble nde r And Ve ctor Blur

Ble nde r And Ve ctor Blur

-by O livie r Saraja

Im age 1 A n e xam ple of IPO curve s affe cting a m oving obje ct

Im age 3 Turn one of th e vie w s into th e Node Editor

Im age 2 H e re s h ow it w ould look on a re gular anim ation re nde ring w ith out ve ctor- bas e d m otion

blur

Im age 4 Click on th e Com pos ite m ode icon and th e n activate th e Us e Node s button

But lik e anyth ing e ls e in Ble nde r tak ing into account th e e ffe ct of th e Ve ctor Blur is noth ing but an option You ne e d to te ll Ble nde r th at it m us t do th e pos t- proce s s ing s im ulating th e m otion blur e xplicitly Th is is done in th e Sce ne [F10] m e nu in th e Re nde r buttons in th e A nim pane l You w ill h ave to activate th e D o Com pos ite button As a final pre - re q uis ite for Ve ctor Blur m otions you w ill ne e d to activate th e Ve c option in th e Re nde r Laye rs tab

You can now re nde r your picture in tw o w ays

You obvious ly alre ady k now th e [F12] s h ortcut or th e REND ER button in th e Re nde r pane l

You can als o re nde r th e picture us ing th e tiny Re nde r icon in th e Re nde r Laye r node

Som e e xplanations on th e Ve ctor Blur nodeTh is node only h as a fe w s e ttings m os t of th e m could w ork q uite w e ll w ith th e ir de fault value s But s om e tim e s (if not e ve ry tim e ) you ne e d to go be yond de fault s e ttings to ge t re al cool re s ults Th e re are four s e ttings to k now about

Sam ple s - Th is s e tting controls th e blur e ffe ct inte ns ity th e h igh e r th e s am ple s th e m ore blurre d th e obje ct w ill look M inSpe e d - If e ve ryth ing is blurre d but s om e obje cts are a lot s low e r th an oth e rs (or totally s tatic as th e back ground of th e pic for e xam ple ) th e n th is param e te r w ill h e lp diffe re ntiate h igh -ve locity obje cts from null- ve locity (or s low -

ve locity) obje cts Th is is re ally us e ful during cam e ra m ove m e nts or s ligh t back ground m ove m e nts M axSpe e d - If you h ave e xtre m e ly fas t obje cts in th e s ce ne but th e blur doe s not re nde r w e ll e nough th e n you can m ak e us e of th is param e te r to be tte r th e ve ctor blur Note th at a 00 value m e ans th at no m axim um is us e dBlurFac - Th is param e te r w ill s cale th e ve ctor s pe e ds calculating from th e m ove m e nts of th e obje ct Th e vis ual e ffe ct is clos e to th e s h utte r s pe e d of a re gular cam e ra

Conce rning th e us e of Ve ctor Blur a good tip is to put fas t m oving obje cts on a Re nde r Laye r s low or s tatic obje cts on anoth e r and to s pe cify inde pe nde nt param e te rs for e ach for be tte r control

M ore ove r large obje cts not e ntire ly s e e n from th e cam e ra s h ould be s ubdivide d s o th at at le as t s om e norm als of th e obje ct are actually s e e n from th e cam e ra or th e blur e ffe ct could be draw n on th e w rong s ide com pare d to th e m ove m e nt

Th e re are s om e lim itations th at you s h ould k now about

25



Im age 2 H e re s h ow w ould look th e s am e anim ation re nde ring w ith ve ctor bas e d m otion

blur e nable d

Im age 4 Th e Com pos ite node s are s e t to de live r a Ve ctor Blur bas e d re nde ring

Im age 5 D o not forge t to activate th e

D o Com pos ite

button in th e A nim pane l

and th e Ve c button in th e

Re nde r Laye rs tab

Since Ve ctor Blur is a pos t- proce s s e ffe ct

if an obje ct is ve ctor blurre d itrsquos s h adow is not blurre d

if a ve ctor blurre d obje ct is m oving be h ind a (Z Trans p or RayTrans p) glas s it w ont appe ar blurre d th rough th e glas s

if a ve ctor blurre d obje ct is m oving in front of a (EnvM ap or RayM ir) m irror it w ont appe ar blurre d in th e re fle ction

26


3D W ork sh op - BLe nde r And Ve ctor Blur

O livie r Saraja is an O pe n Source e nth us ias t running

on Linux s ince 19 9 9 or s o H e us e s Ble nde r s ince

ve rs ion 163a and alw ays de dicate d h im s e lf to w riting

tutorials for th e com m unity both in fre nch and in

e nglis h H e h as jus t w ritte n a fre nch book about

Ble nde r La 3D Libre ave c Ble nde r (w h ich could be

trans late d as Fre e 3D w ith Ble nde r) at

Eyrolle s Editions

h ttpw w w e ditions e yrolle s com Livre 9 782212119 59 6la- 3d- libre - ave c- ble nde r

H e is als o a cas ual W ik i contributor of Ble nde rs

docum e ntation

O livie r Saraja

Introduction

Bum p m apping and D is place m e nt m apping are tw o s pe cial te ch niq ue s for m ak ing an obje ct appe ar to h ave a rough or irre gular s urface

W h at is Bum p m apping Bum p m apping tak e s a grays cale im age and re ads th e ligh t and dark inform ation to s im ulate an irre gular s urface W h e n you re nde r an obje ct w ith a bum p- m appe d m ate rial ligh te r (w h ite r) are as of th e m ap appe ar to be rais e d and dark e r (black e r) are as appe ar to be low e re d Note th at bum p m apping doe s not m odify th e ge om e try only th e norm als

Th e bum ps are a s im ulation cre ate d by pe rturbing face norm als be fore th e obje ct is re nde re d Th e re fore bum ps dont appe ar on th e s ilh oue tte of bum p- m appe d obje cts Bum p m apping is us e ful for adding de tail to an obje ct w ith out incre as ing th e polygon count

W h at is Dis place m e nt m apping D is place m e nt m apping is ve ry s im ilar to bum p m apping w h e re a tw o- dim e ns ional im age s grays cale inform ation is us e d to ch ange th e appe arance of a th re e - dim e ns ional obje ct Ligh te r tone s cre ate rais e d bum ps and dark e r tone s cre ate low e re d inde ntations as us ual Unlik e bum p m apping w h ich only affe cts th e obje cts te xture dis place m e nt m apping affe cts th e obje cts ge om e try cre ating additional polygons according th e dis place m e nt m aps prope rtie s

D is place m e nt m apping can be ve ry de m anding on your com pute rs pe rform ance as it te nds to cre ate

an e xtre m e ly large am ount of polygons Th is h igh re s olution obje ct can appe ar m uch m ore ph oto-re alis tic th an bum p m apping if us e d prope rly As com pute rs are be com ing m ore and m ore pow e rful dis place m e nt m apping m ay s oon be able to re nde r at s pe e ds ne ce s s ary for a re as onable gam e e ngine H ow e ve r curre nt te ch nology doe s not m e e t th e h e avy proce s s ing re q uire m e nt

Be fore you s tartBum p m apping amp D is place m e nt m apping te ch niq ue s are ve ry fas t and e as y to do in Ble nde r e ve n if you are ne w to Ble nde rs te xturing tools Ple as e note th at dis place m e nt m aps are not dis playe d in th e 3D vie w port Bum p m aps can dis play a ve ry bas ic pre vie w w ith s h ading [Sh ift+ Z ] turne d on

Bum p m apping in Ble nde r For th is tutorial I w ill us e one of Ble nde rs m any proce dural te xture s M us grave Fe e l fre e to pick anoth e r type or e ve n us e your ow n bum p m ap im age Be gin by ope ning Ble nde r and cre ating a ne w obje ct I us e d th e popular Suz anne (m onk e y) m ode l for th is e xam ple Ne xt cre ate a ne w

m ate rial in th e M ate rial Sh ading Pane l [F5] and add a ne w te xture Now s w itch to th e Te xturing Pane l [F6] w h e re w e w ill cre ate th e bum p m ap From th e Te xture Type box s e le ct M us grave I le ft th e de fault s e ttings alone but you m ay ch oos e to play around w ith th e m You can als o add a ram p- s h ade r h e re if you are planning on adding uniq ue colors to th e te xture

Now w e ne e d to configure th e m os t im portant s e ttings for th e bum p m ap Th e s e controls are locate d in th e M ate rial Sh ading Pane l [F5] unde r th e M ap To tab You m ay ch oos e to dis able th e te xture s color (Col) w h e n m odifying your bum p or dis place m e nt m aps Th is can s om e tim e s give you a be tte r ide a of w h ats going on w ith e ach s e tting

To e nable bum p m apping pre s s th e norm al (Nor) button You can adjus t th e s tre ngth of bum pine s s w ith th e s lide r button labe le d Nor Us e bum p m aps w h e n you w ant to tak e th e s m ooth ne s s off a s urface or to cre ate an e m bos s e d look Ke e p in m ind h ow e ve r th at th e de pth e ffe ct of a bum p m ap is lim ite d to th e norm al (Nor) s lide r

27


3D W ork sh op - Bum p amp D isplace m e nt M apping for Be ginne rs

Ble nde r amp D isplace m e nt M apping for Be ginne rs

-by M ich ae l W ach

Im age 4 Enabling Nor M apping

Im age 1 Re gular Te xture

Im age 2 Bum p M ap

Im age 3 D is place m e nt M ap

Dis place m e nt m apping in Ble nde r Th e w ay you cre ate a dis place m e nt m ap is ve ry s im ilar to th e w ay you cre ate a bum p m ap Th e only diffe re nce is you m us t e nable th e dis place m e nt (D is p) button You m ay turn off th e norm al (Nor) button de pe nding on your de s ire d e ffe ct

Th e dis place m e nt s lide r controls h ow far aw ay from th e original m e s h th e ve rtice s w ill be m ove d Th e norm al (Nor) s lide r als o h as a gre at im pact on your dis place m e nt re s ults Be care ful w h e n us ing dis place m e nt m aps be caus e th e y can be ve ry proce s s or de m anding

Conclus ion O ve rall bum p m apping and dis place m e nt m apping are ve ry h andy tools if you k now h ow to us e th e m M aps th at s h ade be tw e e n w h ite and black ge ne rally w ork be tte r th an m aps w ith h ard e dge s be tw e e n th e w h ite and black are as I h igh ly re com m e nd playing around w ith th e s e ttings and re nde ring your re s ults to h e lp de e pe n your unde rs tanding of th e m both

28



Im age 4 Enabling D is place m e nt M apping Is an 18 ye ars old from Cle ve land O h io Curre ntly s tudying at th e Unive rs ity of Advancing Te ch nology H e w ork s ove r inte rne t for a Ne w York City bas e d pate nt attorne y cre ating 3D re pre s e ntations of h is ide as us ing Ble nde r 3D and YafRay A ls o m ak e w e bs ite s com pos e digital audio re cord and e dit digital vide os and w ork s w ith a lot of 2D illus trations te xture s and ph otograph s

Ch e ck w w w m ik e w ach com or contact h im at m ail m ik e w ach com

M ich ae l W ach

Introduction Th is tim e w e w ill le arn th e proce dure for cre ating a ligh tning bolt s prite from th e GIM P Ligh tning bolts find good us e in 3D gam e SFX lik e z apping an ite m or e ne m y from an e le ctric w e apon de noting te ns ion in s ci- fi s ce narios or jus t a natural ligh tning bolt to e nh ance th e e nvironm e ntal m ood

Le ve l Ne w bie to Inte rm e diate

Ste p1 Launch th e GIM P and cre ate a ne w 256x768 im age Go to Filte rs gtgtRe nde rgtgtSolid Nois e In th e pop- up e nte r th e value s as s h ow n in Im g1 or ch oos e one of your ow n by h itting Ne w Se e d button Finally pre s s th e

O K button to re nde r th e nois e

Ste p2 Cre ate a ne w laye r ove r th e curre nt laye r Go to th e Tool Box and s e le ct th e gradie nt tool and in th e Tool O ptions s e le ct th e s h ape of th e gradie nt as Bi- line ar and e nable lsquoAdaptive -

Supe rs am plingrsquo Cre ate a ne w laye r ove r th e nois e laye r and draw a s m all gradie nt ove r th e ne w laye r (s e e Im g3)) O ne th ing to re m e m be r h e re is th at you s h ould try to draw th e gradie nt ove r th e part of th e s olid nois e w h ich contains m os tly w h ite and itrsquos s urrounding are as are dark e r Th at is w h e re you ge t good contras t for th e ligh t bolt

Ste p3 Go to th e lsquoLaye rs rsquo dialog box and ch ange th e laye r- m ode of th e gradie nt laye r to lsquoD iffe re nce rsquo s e e im g 4 Im m e diate ly you can s e e th e form ation of th e bolt Now go to Im age gtgtFlatte n Im age to flatte n all th e laye rs into one s ingle laye r Now go to Laye rgtgtColorgtgtInve rt to inve rt th e color of th e laye r

Ste p4W h at you ge t is a s tre ak of tw o ligh tning bolts (Se e im g5) but th e s e

bolts are h ardly us able as th e y appe ar virtually glue d toge th e r Go to Laye rgtgt Colorgtgt Le ve ls Th is w ill bring up th e Le ve l adjus t dialog box (s e e im g6) D rag th e input le ve ls m id- pointe r tow ards th e righ t

W h ile you do th is you can als o s e e th e form ation of tw o ne at ligh tning bolts (Se e im g7) Adjus t th e am ount of s h arpne s s you w ant th e n pre s s lsquoO K rsquo

29


2D W ork sh op - Cre ating A Ligh tning Bolt in th e GIM P

Cre ating A Ligh tning Bolt in th e GIM P

-ble nde rart

Im age 1 Solid Nois e pop- up

Im age 2 Gradie nt s e ttings

Im age 3 D raw n Gradie nt

Im age 4 Laye rs D ialog

Im age 5 Ligh tning bolts

Im age 6 Le ve l adjus tm e nt

Ste p5 To s e parate th e ligh tning bolts as an A lph a ch anne l you w ill ne e d to conve rt th e black color to alph a To do th at go to Laye rs gtgt Trans pare ncygtgt Color to A lph a In th e Color to A lph a dialog click th e lsquoFrom rsquo button and ch oos e a black color th e n pre s s lsquoO K rsquo You now h ave an alph a- bas e d ve rs ion of th e ligh tning bolt (Se e im g8) Th e las t th ing to do is s ave it in a file form at th at s upports trans pare ncy lik e PNG or TGA

Conclus ionA lth ough th is m e th od only ge ne rate s pre tty s traigh t ligh tning bolts you can com plim e nt it w ith th e nois e ge ne ration plug- ins for th e GIM P calle d lsquoPlas m a2rsquo e tc Th is w ill allow you to h ave

random nois e ge ne ration w h ich can re s ult in m ore varie d ligh tning bolts I h ope th is h as provide d you w ith a nice and e as y w ay to cre ate ligh tning bolts

30



Im age 7 Re nde re d ligh tning bolts

Im age 8 Ligh tning bolts w ith alph a ch anne l

Sandra Gilbe rt and I dis cus s e d th e fact th at w ith all of th e ne w fe ature s com ing from th e Ble nde r re le as e s it is ofte n h ard to k e e p up w ith th e m O fte n you ne ve r actually ge t to us e th e fe ature in a proje ct be caus e you are s im ply too bus y e xploring all of th e diffe re nt w ays of us ing th e ne w functionality To h e lp th os e ge t up to s pe e d fas te r Ill give a q uick ove rvie w of th e Com pos itor Node s ys te m

Com pos itor Node Sys te mTh e Com pos itor Node Sys te m is an advance d pos t- production e ditor th at allow s for q uick and e as y configurable m odifie rs calle d node s to be h ook e d toge th e r (us ing noodle s ) bas e d on various inputs and outputs Th e configurations are fle xible and th e re s ults can be q uite dram atic or ve ry s ubtle bas e d on de s ign and ne ce s s ity Th e m ajor fe ature of th e Com pos itor Node Sys te m (Com pos itor) is th e ability to m ix various re nde r pas s e s (com bine d RGBA Z Ve ctor and Norm al value s ) w ith oth e r inputs to ach ie ve advance d e ffe cts Th e s e fe ature s h ave com e about m ainly th rough th e de ve lopm e nts m ade by O range Studio

and jus t re ce ntly by th e proje ct Plum ife ros A lth ough de s igne d for anim ations and com pute r-ge ne rate d im age ry th e Com pos itor h as found its w ay into th e toolbox of m any graph ic artis ts w h o us e 3D and 2D program s to cre ate illus trations and artw ork Th e pos s ibilitie s are only lim ite d by your im agination and abs traction of th e node - bas e d layout

Inputs Value s

Inputs are variable s e ttings on all Effe ct and O utput node s Input node s do not contain inputs th e m s e lve s th e y us e th e inputs from th e actual Sce ne A n input can e ith e r be an RGBA value (Im age inputs ) or a range value (Factor Siz e Value inputs ) Th e k e y diffe re nce be tw e e n RGBA value s and range value s are th at e ach pixe l re pre s e nts a coloralph a value or a value re pre s e nting an input am ount (0- 255) RGBA value s are typically th e pixe ls th at m ak e up th e final im age w h e re as range value s are typically value s th at control th e trans form ing of th e pixe ls and are us ually Z Ve ctor Norm al A lph a or oth e r range value s

Inputs can only acce pt one input ch anne l and re pre s e nt th e e ntire picture on a pe r pixe l bas is Inputs are e ith e r from th e s ce ne or tak e n from th e output of anoth e r node or a s e t value (s uch as Im age inputs w h ich can s im ply us e an RGBA value )

A n RGBA value input is alw ays ye llow and a range value input is alw ays gray Blue inputs are s pe cial inputs w h ich only w ork w ith th e as s ociate d s ce ne data (Norm al and Ve ctor ch anne ls ) A n RGBA value input m ay h ave to be conve rte d to be us e d as a range value input A n input th at re pre s e nts e ach pixe l in an im age is ofte n re fe rre d to as an pixe l or im age m ap

O utput Value sO utputs value s are variable s e ttings on all Effe ct and Input node s O utput node s do not contain outputs th e m s e lve s th e y dis play th e inputs Jus t

lik e Input Value s O utput Value s are e ith e r RGBA or range value s A n RGBA value output is alw ays ye llow and a range value output is alw ays gre y and s pe cial ch anne l value s (Norm al and Ve ctor ch anne ls ) are alw ays blue To vie w range value s you m ay h ave to conve rt it to an RGBA value or us e s pe cial filte rs w h e n vie w ing A n output th at re pre s e nts e ach pixe l in an im age is ofte n re fe rre d to as a pixe lm ap or im age m ap

W ith th at q uick prim e r on inputs and outputs and w h at can and cannot be us e d le t us tak e a look at h ow th e s e inputs and outputs can be us e d toge th e r w ith node s Ple as e note th at in th e follow ing e xplanations an actual w ork ing m ode l w ont be de s cribe d but rath e r h ow e ach s e tting can be us e d w ith in e ach node and h ow w h e n com bine d w ith oth e r inputs th e y w ill ch ange

Input Node s

Re nde r Laye r Node s are inputs from th e Sce ne Curre ntly th e only available output s e ttings for th is node include Im age (RGB) A lph a Z (de pth ) Norm al (m apping) and Spe e d (ve ctor) Th e Re nde r Laye r Node contains an Im age Pre vie w and a s e le ctor for s e le cting Sce ne s and Re nde r Laye rs from th e s e le cte d Sce ne Note th at th e Norm al and Spe e d value outputs are colore d blue th is is be caus e th e y are s pe cial value outputs Th e y can be tre ate d th e s am e as any range value but only w ork for re late d node s

Th e Im age output dis plays th e RGB color value s for e ach pixe l Th e A lph a output is a black and w h ite range value w h ich re pre s e nts th e opacity for e ach pixe l w ith a range from 0 (black trans pare nt) to 255 (w h ite s olid) Th e Z output is a range value th at give s de pth inform ation (th e dis tance from th e cam e ra to th e virtual obje ct) on a pe r- pixe l bas is

31


Ble nding - A Com pos itor Node O ve rvie w

A Com pos itor Node O ve rvie w

-by D anie l LaBarge

NO TE Th e de s cription of h ow e ach node w ork s is bas e d only on th e utility and not on th e actual m ath e m atical or graph ical functionality of th e node A m ore accurate de s cription of h ow e ach node functions and ope rate s is be yond th e s cope of th is article and w ill probably appe ar in future article s on th e Ble nde r W ik i at h ttpm e diaw ik ible nde rorg

Im age Node s are inputs from an im age file A n im age file can e ith e r be a valid im age type file (jpg png bm p e tc) or a range im age type file (e xr h dri e tc) or e ve n a m oving im age file (avi m pe g m ov e tc) Curre ntly th e only available output s e ttings for th is node include Im age (RGB) A lph a and Z (de pth ) Th is node als o contains an Im age pre vie w

W h e n a file is loade d a s m all icon re pre s e nte d by film tape appe ars W h e n you e nable th is m ore options be com e available You can s e t th e num be r of fram e s in th e anim ation and s e t th e s tarting fram e and w h e th e r or not to cycle th rough th e fram e s Th is m ak e s us ing raw im age output from th e anim ation re nde r e as y to load into th e com pos itor for pos t production s ince Ble nde r nam e s e ach fram e bas e d on a num be r

A ls o Ble nde r can re ad th e file nam e and ge t th e ne xt fram e of th e anim ation A noth e r icon als o s h ow s up and can be e nable d w h ich w ill tak e e ach fram e from th e file if th e file is a m oving im age Typically only th e Im age (RGB) output is us e d but if a s ce ne file is cre ate d you can us e it as input w h ich w ould de live r th e A lph a and Z value s to be us e d

Value Node is a ve ry s im ple node You s e t a num e ric value (000 to 100) and th e value output de live rs it as a range Program m e rs can th ink of th is as pre de fine d variable

RGB Node is bas ically th e s am e th ing as a Value Node e xce pt th at it outputs an RGBA value ins te ad of a range value Th is node contains a color pale tte w h ich m ak e s it e as y to s e le ct th e de s ire d color

Tim e Node is a ve ry practical node be caus e it is e s s e ntially a variable Value Node Th e diffe re nce is th at th e variation is bas e d on th e num be r of fram e s Th e Factor output is a range value w h ich is s e t us ing a curve You can s e t th e Start and End fram e for w h ich th e curve re pre s e nts Th is node is

us e ful for controlling th e ch ange s th at occur during an anim ation and is ofte n us e d as an input for anoth e r node

Te xture Node is s im ilar to th e Im age Node e xce pt th at it us e s inte rnal te xture s from th e Ble nde r s ce ne as th e inputs Th is give s you a lot of control be caus e you can us e Norm al m apping to control th e O ffs e t and Scaling dynam ically and can us e th e RGBA value s as e ith e r a range Value output or an RGBA Color output Th is node als o include s an Im age pre vie w w h ich dis plays th e te xture s e le cte d from th e s ce ne Th is is good for adding proce dural te xture ove rlays and gradie nt e ffe cts

O f all of th e Input Node s only th e Te xture Input actually h as input s e ttings Th e s e are lim ite d to th e Ble nde r s ce ne h ow e ve r th e y are s till dynam ic O ve r all th e Input Node s are e s s e ntial to us ing th e Com pos itor as th e y s e rve as th e bas e to w h ich ch ange s are m ade Th e y als o allow for control ove r e ffe cts applie d to oth e r inputs Th e th re e m os t com m only us e d Input Node s are th e Re nde r Laye r Im age and Tim e node s

O utput Node s

Com pos itor Node s ounds k ind of re dundant but it is actually th e only w ay to output th e final ch ange s to th e Re nde r Buffe r Curre ntly th e re can only be one Com pos itor pe r s ce ne and it only acce pts Im age A lph a and Z inputs Th e node us e s an Im age pre vie w for dis playing th e re s ults in th e Node W indow Th e Re nde r Buffe r (F11) w ill als o dis play th e Com pos itor node output If no Com pos itor node is found th e re nde re r w ill

produce an e rror

Vie w e r Node is ide ntical to th e Com pos itor node e xce pt th at ins te ad of dis playing re s ults to th e Re nde r Buffe r it utiliz e s th e UV Im age Editor unde r th e Vie w e r Im age Th is is a dynam ic im age th at dis plays th e pre vie w of th e curre ntly s e le cte d Vie w e r node Th is m e ans th at you can h ave m ultiple Vie w e r node s w h ich w ill dis play th e various outputs of oth e r node s us e ful for de bugging and te s ting diffe re nt attribute s of th e com pos ition

Color Node s

RGB Curve s Node is a ve ry pow e rful node be caus e it can control th e color of th e im age by varying th e influe nce of e ach color s e parate ly and all of th e colors toge th e r Th is node h as a Factor Input (range value ) and an Im age Input (RGBA value ) Th e Im age O utput is a com bination of all of th e RGB Curve s w h ich include Com bine d Re d Gre e n and Blue Th e re are ldquo+ rdquo and ldquo- rdquo s ym bols w h ich z oom in and out accordingly s o th at you can fine tune th e curve and align it m ore e as ily to th e grid

Th e w re nch icon allow s for control ove r th e grid vie w and th e curve h andling (A uto and Ve ctor) and it als o allow s you to re s e t th e curve to th e line ar de fault A n orange grid icon allow s for clipping to control th e m axim um value s Th e ldquoXrdquo icon de le te s th e curre ntly s e le cte d point Points are s e le cte d us ing th e Le ft M ous e Button (LM B)

Ne w points are adding by us ing Ctrl+ LM B Th is node is m os t com m only us e d for contras t control and for fine tuning th e color range s It is e as y to m ak e ve ry boring im age s inte re s ting us ing th is node

32



NO TE At th e tim e of th is w riting CVS ve rs ions of Ble nde r include ne w output node s Th e s e node s w ill not be dis cus s e d in th is article as th e y h ave not ye t m ade it into th e official Ble nde r re le as e You s h ould note h ow e ve r th at advance d node s do e xis t and w ill probably be m ak ing th e ir w ay into future Ble nde r ve rs ions

M ix Node doe s e xactly w h at it s ounds lik e ndash it m ixe s tw o Im age inputs bas e d on a Factor and filte r type and outputs th e re s ult as an RGBA value Th is node h as tw o Im age inputs but it w ill acce pt range value s Th is m ak e s it good for m ixing a pre s e t value w ith a Tim e Node value to h ave a varying range value for node s th at dont h ave m ultiple range inputs A m ong th e filte r type s are m ix m ultiply add s ubtract divide s cre e n ove rlay dark e n only ligh te n only and m any oth e rs Th is node is good for m ixing colors as w e ll be caus e th e Im age inputs can be s e t as a fixe d RGBA value ins te ad of a pixe l m ap

H ue Saturation Node is pe rfe ct for fine tuning th e RGB colors If blue is nt blue e nough th is is th e node th at you w ill find th e m os t us e ful It acce pts an Im age input and a Factor range value input and outputs th e m odifie d Im age Th e H ue s lide r controls th e H ue value s (s im ilar to RGB) w ith 0500 be ing no ch ange Th e Saturation (inte ns ity) s lide r controls th e s aturation of th e H ue s w h ich can be us e d to flood a ph oto or jus t s ligh tly tint an im age Th is node is ve ry us e ful and is m os t popularly us e d as a tint filte r for s uch nigh t s ce ne s w h e re a s ligh t blue tint is ne e de d

Alph a O ve r Node is th e title e ffe ct life s ave r Th is node allow s one im age to be laid ove r anoth e r and trans pare ncy is us e d as th e ldquow indow rdquo in w h ich th e back ground is le t th rough Th is node h as tw o Im age inputs and a Factor range value input Th e Factor can be e as ily conne cte d to a Tim e Node and th e n you can fade inout th e e ffe ct Conve rt Pre m ul us ually ble nds th e trans pare nt e dge s toge th e r be tte r s o artifacts are re m ove d It als o conve rts RGB black to A lph a w h ich w ork s w e ll for cre ating A lph a m aps

Its im portant to k e e p a ldquolaye rrdquo m e ntality w h e n w ork ing w ith th is node Th e top Im age input is th e ldquolaye rrdquo w h ich is place d on top of th e bottom Im age input and tak e s pre ce de nce ove r th e pixe l A ny trans pare nt pixe ls th e n allow th e back ground to s h ow th rough Th is node is gre at for ove rlays and

title w ork as w e ll as com pos iting s ce ne s

Z Com bine Node is a ve ry inte re s ting node in th at it can e as ily ge t tangle d It h as a s ingle Im age output but acce pts tw o Im age inputs and tw o Z range value inputs It com bine s th e pixe ls bas e d on th e Z range value s and pas s e s th at com bine d im age to th e output Th e proble m w ith th is is th at th e Z value th at corre s ponds to th e Im age (at le as t in th e s ce nario w h e re th is node is us e ful) is th e be low th e oppos ite Im age input

Th us th e noodle s th at conne ct th e node s can e as ily ge t cros s e d and follow ing th e m ge ts m e s s y if m ultiple node s are us e d Th is node is m os t com m only us e d w ith s ce ne com pos iting In th is m e th od th e s ce ne is re nde re d in s e ctions and laye rs Th e laye rs are re as s e m ble d afte r pos t-production is com ple te d Us ually th e s ce ne s Z ch anne l is us e d to do th is

Ve ctor Node s

Norm al Node h as to be one of th e coole s t node s available I only re ce ntly figure d out h ow am az ing it re ally is Bas ically you can th ink of it as a pos t-production ligh t It us e s th e Norm al ch anne l as its input and th e n you can m ove a little s ph e re around to re locate th e ligh t s ource Th e available outputs include th e re m appe d Norm al ch anne l and a D ot range value output w h ich re pre s e nts th e ligh t and norm al inte ns ity in a grays cale pixe l m ap Th e pos s ibilitie s for th is include s pe cular m apping nigh t ligh ting s ubs urface s catte ring and m uch m ore

Ve ctor Curve s Node is s im ilar to th e RGB Curve s node in th at you can control th e Ve ctor ch anne l value s for th e X Y and Z axis Th e only input and output are Ve ctor ch anne l data w h ich m us t be loade d e ith e r from a Norm al node or th e s ce ne its e lf It contains th e s tandard curve w idge t and control fe ature s Th is node is m os t us e ful for re m apping th e Ve ctor ch anne l for fine tuning m otion blur e tc

M ap Value Node is anoth e r us e ful tool for ch anging value range s It acce pts any range Value input and can lim it its M inim um and M axim um value s and can be furth e r m odifie d bas e d on Siz e and O ffs e t value s Th e s e s lide rs are not lim ite d to 00 and 10 be caus e th is node is not de s igne d only for range value s of th at k ind It als o acce pts Z Norm al and Ve ctor ch anne ls and can is ofte n us e d in com bination w ith th e Z ch anne l to re m ap it for fore ground and back ground blur or in com bination w ith a Ve ctor ch anne l to produce m otion blur

Filte r Node s

Filte r Node is th e m os t com m only us e d node in th is s e t It can be us e d for a broad range of e ffe cts s uch as s oft blurring e dge e nh ance m e nts for cartoons ne on s igns de cals and m uch m ore Th is node acce pts an Im age input w h ich can be controlle d us ing a Factor range value and w ill th e n m odify th e pixe ls bas e d on a diffe re nt filte r or e ffe ct type Th e re s ult is pas s e d to th e Im age output Th e s ofte n filte r type applie s a ve ry s m all blur to th e pixe l to e lim inate s m all artifacts Sh arpe n atte m pts to e nh ance th e e dge s be tw e e n th e pixe ls to de fine th e e dge s be tte r (th is ofte n cre ate s artifacts ) Laplace Sobe l Pre w itt and K irs ch are all ve ry s im ilar and th e y e nh ance th e e dge s and dark e n th e re s t Sh adow is k ind of lik e e ngraving and applie s a s e lf s h adow on th e e dge s Th is node is ofte n us e d to m ak e im age s th at are ldquotoo pe rfe ctrdquo s e e m cris pe r

Blur Node is a ve ry s im ple node It tak e s an Im age input and (bas e d on a Siz e range value w h ich influe nce s th e am ount of blur) w ill blur th e pixe ls bas e d on diffe re nt filte rs or m e th ods It w ill filte r it bas e d on an X and Y value and can e ve n be applie d to Gam m a corre cte d value s Enabling Bok e h filte ring w ill us e a circular filte r ins te ad of th e s im ple s q uare m e th od A m ong th e filte r m e th ods available are Flat Q uadratic Cubic Gaus s ian CatRom M itch and Te nt

33



Each one filte rs diffe re ntly and any one of th e m can be us e d to obtain th e de s ire d e ffe ct Th e re s ulting e ffe ct is applie d to th e im age and pas s e d to th e Im age output Th is is ve ry us e ful for D e pth of Fie ld and m otion blur It can als o be us e d cle ve rly for inte re s ting title w ork and ove rlays

Ve ctor Blur Node is bas ically a one - purpos e node but it doe s its job ve ry w e ll It re q uire s th re e inputs to ge ne rate th e de s ire d output Th e s e th re e inputs are an Im age a Z ch anne l m ap and a Ve ctor Spe e d input A ll of th e s e can be gath e re d from th e s ce ne and Ve ctor Node s Th is m e th od us e s all th re e ch anne ls toge th e r to blur th e im age bas e d a pixe l s tre tch ing m ode l Th e inne r w ork ings of th is m e th od are be yond th e s cope of th is article but th e functionality is a ve ry fas t and e fficie nt pos t-production e ffe ct It us e s a Sam ple value to control th e q uality of th e blur a M inSpe e d to s e t th e m inim um s tre tch for e ve ry pixe l and a M axSpe e d for th e m axim um s tre tch for any pixe l It th e n us e s a BlurFactor w h ich can be us e d to fine -tune th e blur from s trong to w e ak Th e h igh e r th e Sam ple s and th e h igh e r th e BlurFactor th e s tronge r th e blur It is im portant to s e t th e M in and M ax s pe e ds to inclus ive e nough value s but not too broad to be com e m e m ory inte ns ive Th is node is m os t ofte n us e d for m otion blur

Conve rte r Node s

ColorRam p Node is a dual purpos e node in th at it ble nds colors and value s and outputs both an RGB Im age output and a range value A lph a output Th e alph a output can be us e d as any value output but is m os t ofte n us e d for trans pare ncy Th e Factor input can be e ith e r a range value or a tim e line control to control th e influe nce of th e node Th e ram p s lide r can us e colors and trans pare ncie s to cre ate a gradie nt w h ich is us e ful for gradie nt e ffe cts on ove rlays and for value tuning

RGB to BW Node is th e s im ple s t node available It tak e s an RGBA Im age input and outputs a range Value output Th is is a grays cale re pre s e ntation of

th e RGBA Im age input and can be us e d as s uch or as a value output

Se parate RGBA Node is ve ry ve rs atile be caus e it allow s you to m odify e ach color ch anne l inde pe nde ntly It acce pts an RGBA Im age input and outputs th e corre s ponding Re d Gre e n Blue and A lph a ch anne ls as grays cale value s At th e tim e of th is w riting th e ne xt official re le as e of Ble nde r w ill include a Com bine RGBA Node w h ich w ill do th e re ve rs e of th is node

Se parate H SVA Node is e s s e ntially th e s am e as th e Se parate RGBA node but it s e parate s th e H ue Saturation Value and A lph a ch anne ls for th e im age Th e y are grays cale value s jus t lik e th e Se parate RGBA node At th e tim e of th is w riting th e ne xt official re le as e of Ble nde r w ill include a Com bine H SVA Node w h ich w ill do th e re ve rs e of th is node

Se t Alph a Node is good for title w ork and ove rlays but h as its purpos e in oth e r node s as w e ll It acce pts an RGBA Im age and th e n allow s an A lph a value to be s e t or ove rw ritte n by a Value input A lph a value of 00 is trans pare nt and 10 is opaq ue Th e com bine d RGBA value s are pas s e d to th e Im age output Th is node is ofte n us e d w ith a Tim e node to control th e fade in or fade out of a s ce ne

Trans late Node is th e only m oving anim ation node available at th e m om e nt (m ore advance d node s for rotation e tc are be ing de ve lope d) Th is node w ill trans late or m ove an Im age input a s e t value from th e top le ft of th e bas e canvas s iz e It w ill be m ove d X (h oriz ontal) pixe ls by Y (ve rtical) pixe ls Th e s e value s can be variable X and Y inputs w h ich is us e ful for anim ations w h e re a Tim e node can be us e d to s lide a s ce ne or im age acros s th e canvas Th e re s ulting Im age is output w h ich can th e n be place d on top of anoth e r Im age for ldquom e rging dow nrdquo

Group Node s

Group node s are noth ing m ore th an cus tom node s w h ich are m ade by tak ing th e ge ne ric node s and grouping th e m w ith Ctrl+ Gk e y Th is group is th e n available as a duplicate to th e curre nt group To ungroup th e node s you can pre s s A lt+ Gk e y To add a group node you can e ith e r us e th e Add m e nu or pre s s Sh ift+ Gk e y for a lis t of curre ntly available node s W ork ing w ith group node s can s ave a lot of tim e for re pe titive e ffe cts but s h ould be us e d w ith caution A ne w group s h ould be adde d th e n ungroupe d and re groupe d as a diffe re nt group node Th is ge ts around th e proble m of copy node s ins te ad of duplicate node s Group node s are m os t ofte n us e d in th e de fault Ble nde r file th at w ay com m only us e d e ffe cts can be done q uick ly

Conclus ionI w ould lik e to e ncourage you to e xplore th e various s e ttings and us e s for th e node s A ls o vis it th e s upport forum s for various re fe re nce s ch e m atics w h ich can h e lp you unde rs tand th e m ath e m atical and graph ical functionality of e ach node For practical purpos e s th e Com pos itor is a ve ry pow e rful tool and s h ouldnt be cons ide re d a glorifie d Se q ue nce r ndash you can do a lot m ore w ith th is th an you could e ve r do w ith th e Se q ue nce r In fact I w ouldnt be a bit s urpris e d if you ne ve r us e th e Se q ue nce r again

Th is h as be e n a brie f de s cription of th e Com pos itor w h ich is only h alf of th e Node w indow Th e re is m ore to le arn s uch as th e inte rface th e M ate rial node s and th e various w ays in w h ich th e s e node s can be us e d toge th e r

Again I e ncourage e ach us e r to practice us ing node s and le arn th e ldquoins and outs rdquo of th is tool H ave fun

34



Inde x of Re fraction

Re fraction occurs w h e n th e e ne rgy of an incom ing ligh t w ave m atch e s th e natural vibration fre q ue ncy of th e e le ctrons in a m ate rial Th e ligh t w ave pe ne trate s de e ply into th e m ate rial

and caus e s s m all vibrations in th e e le ctrons Th e e le ctrons pas s th e s e vibrations on to th e atom s in th e m ate rial and th e y s e nd out ligh t w ave s of th e s am e fre q ue ncy as th e incom ing w ave But th is all tak e s tim e

Th e part of th e w ave ins ide th e m ate rial s low s dow n w h ile th e part of th e w ave outs ide th e obje ct m aintains its original fre q ue ncy Th is h as th e e ffe ct of be nding th e portion of th e w ave ins ide th e obje ct tow ard w h at is calle d th e norm al line an im aginary s traigh t line th at runs pe rpe ndicular to th e s urface of th e obje ct Th e de viation from th e norm al line of th e ligh t ins ide th e obje ct w ill be le s s th an th e de viation of th e ligh t be fore it e nte re d th e obje ct

Th e am ount of be nding or angle of re fraction of th e ligh t w ave de pe nds on h ow m uch th e m ate rial s low s dow n th e ligh t D iam onds w ould not be s o glitte ry if th e y did not s low dow n incom ing ligh t m uch m ore th an s ay w ate r doe s D iam onds h ave a h igh e r inde x of re fraction th an w ate r w h ich is to s ay th at th e y s low dow n ligh t to a gre ate r de gre e

O ne inte re s ting note about re fraction is th at ligh t of diffe re nt fre q ue ncie s or e ne rgie s w ill be nd at s ligh tly diffe re nt angle s Le ts com pare viole t ligh t and re d ligh t w h e n th e y e nte r a glas s pris m Be caus e viole t ligh t h as m ore e ne rgy it tak e s longe r to inte ract w ith

th e glas s As s uch it is s low e d dow n to a gre ate r e xte nt th an a w ave of re d ligh t and w ill be be nt to a gre ate r de gre e Th is accounts for th e orde r of th e colors th at w e s e e in a rainbow It is als o w h at give s a diam ond th e rainbow fringe s th at m ak e it s o ple as ing to th e e ye

D e finition of Inde x of Re fraction tak e n from h ttps cie nce h ow s tuffw ork s com ligh t12h tmFor a m ore te ch nical de s cription you ch e ck out th e e xplanation at h ttpe nw ik ipe diaorgw ik iRe fractive _ inde x

Now w h y is th is im portant W h e n cre ating m ate rials you ne e d to tak e Inde x of Re fraction into account O th e rw is e your m ate rials w ill not be convincing A nd w ith th e ne w trans m is s ivity fe ature adde d in th e las t re le as e in addition to th e IO R s e ttings pane l alre ady in place ble nde r is capable of convincing IO R value s

H e re is a lis t of IO R value s for your re fe re nce Th is im age is rath e r s m all for a cle are r copy ple as e ch e ck th e pdf include d w ith th is is s ue

35


Know H ow - Inde x O f Re fle ction

Inde x O f Re fle ction-by Sandra Gilbe rt

Th e las t ye ar h as s e e n a m ajor incre as e in us e r docum e ntation W ith th e arrival of ne w book s in s e ve ral language s dow nloadable m anuals and clas s book s cours e s le arning Ble nde r h as be com e e as ie r th an e ve r Le trsquos tak e a look at w h at is curre ntly available for our e ducational e njoym e nt

Book slsquoIntroducing Ch aracte r A nim ation w ith Ble nde rrsquo by Tony M ulle n w ill s oon be finis h e d and is now available for pre - orde r at A m az oncom It is 432 page s and is an ide al s tarting point for anybody inte re s te d in cre ating e ngaging convincing ch aracte r anim ation giving a th orough and practical introduction to th e functionality of Ble nde r

It com e s w ith a com panion DVD th at include s th e com ple te Ble nde r ins tallation e xe cutable for W indow s M ac and Linux th e s h ort film Ele ph ants D re am all th e Ble nde r and s ource file s us e d to produce th e e xam ple s and tutorials in th e book e xte ns ive link s for tutorials and Ble nde r- re late d re s ource s and oth e r valuable O pe n Source s oftw are dis cus s e d in th e book including th e popular Ble nde rPe ople s cript

ldquoLa 3D libre ave c Ble nde rrdquo (Fre nch m anual) by O livie r Saraja is available in France It is around 356 page s fe aturing s om e color plate s by w e ll k now n artis ts of th e com m unity (Ste fan Z s olt Robe rtt H ark ym anhellip)

lsquoBle nde r 3D - Guia do O s oriorsquo (Braz ilian Portugue s e m anual) by A llan Brito Th e book is aim e d both at th e be ginning and th e advance d Ble nde r us e r and it counts 448 page s

lsquoBle nde r Be ginne rrsquos Bible rsquo (Japane s e m anual) by Sh inich i Tas ak i w as re le as e d in Se pte m be r lsquoBle nde r Be ginne rrsquos Bible rsquo is aim e d at th e be ginning Ble nde r us e r cove ring all th e ne w fe ature s and tools th at h ave be e n adde d to Ble nde r s ince th e las t Japane s e book w as re le as e d in 2003

Apre nde e n 24 H oras Ble nde r amp Yafray Dis e no Grafico 3D con Softw are Libre (Spanis h Ble nde r 241 M anual)h ttpw w w boxe linfom orcyinde xph pe ntry=e ntry060805- 185712

Th e printe d book (or PD F ve rs ion) is actually a com pilation of th e tutorials from th e cours e Anim ation for Com m unication w h ich w as taugh t at th e Es cue la Supe rior de Inform atica of Cas tilla- La M anch a Unive rs ity in Spain in 20052006 by Carlos Gonz ale z M orcillo

Cours e W ork Guide d Tutorials

lsquoBle nde r Bas ics rsquo by Jim is th e s e cond e dition of lsquoBle nde r Bas ics rsquo h is clas s room tutorial book It is a ve ry th orough re ady to us e guide of 118 page s

Ne al H irs ig from Tufts Unive rs ity offe rs com ple te cours e m ate rials for Tufts Unive rs ity 3D D e s ign clas s can be found at h ttpocw tufts e duCours e 28 or th e Black board cours e s ite at h ttpblack boardtufts e du Us e rw ord ble nde r Pas s w ord ble nde r Th e re is a link to th e cours e s ite lis te d unde r M y Cours e s on th e h om e page dis playe d afte r login Th e Black board s ite is not available daily from 100A M - 200A M Eas te rn Standard Tim e

Th e cours e contains w e e k ly le arning units cons is ting of ove r a h undre d vide o tutorials and s om e 25 PD F tutorials A ll as s ociate d file s including com ple te d tutorials can be dow nloade d Th e vide o tutorials are in s tre am ing Re al M e dia form at and re q uire broadband or D SL acce s s Th e s ite als o include s 4 cours e proje cts and e xam ple s of prior s tude nt w ork

Ne al invite s com m e nts on th e cours e m ate rial and can be re ach e d at nh irs ig tufts e du

O fficial D ocum e ntationh ttpm e diaw ik ible nde rorginde xph pM ain_ PageUs e rs M anual Gam e Engine D ocum e ntation Glos s ary Q uick Start Noob to Pro w ik ibook Ble nde r Sum m e r of D ocum e ntation

36


Know H ow - Educational Re source s

Introduction to Pyth on Scripting by Ste ph e n Sw ane y (stivs) Introduction to th e Gam e Engine by Mal Introduction to Ch aracte r Anim ation by Ryan D ale Introduction to Rigging Robe rt Ch ristian (w ave z) Introduction to Ph ysical Sim ulation by Fe lipe Be rgam in Boralli Introduction to Mode ling by M ich ae l W orce ste r (M ick McMack ) Introduction to Ligh ting by Gu ille rm o S Rom e ro (gsrb3d) Introduction to th e Principle s of Anim ation by W illian Padovani Ge rm ano (Ianw ill)Introduction to Mate rials and Proce dural Te xturing by Colin Litste r (Cog) Introduction to th e Ble nde r D atabase by Freacutedeacuteric van de r Esse n (e fb ie )

IInnttee rree ssttee dd iinn ww rriittiinngg aarrttiiccllee ss ffoorr BBllee nnddee rrAArrtt MM aaggaazziinnee

1 W e acce pt th e follow ingTutorials e xplaining ne w Ble nde r fe ature s 3d conce pts te ch niq ue s or article s bas e d on curre nt th e m e of th e m agaz ine

Re ports on us e ful Ble nde r e ve nts th rough out th e w orld

Cartoons re late d to ble nde r w orld

Inte rvie w s of w e ll k now n Ble nde rh e ads

2 Se nd subm is s ions to ss aannddrraa bbllee nnddee rraarrttoorrgg Se nd us a notification on w h at you w ant to w rite and w e can follow up from th e re

Som e guide line s you m ust follow Im age s are pre fe re d in PNG but good q uality JPG can als o do Im age s s h ould be s e pe rate from th e te xt docum e nt

M ak e s ure th at s cre e ns h ots are cle ar and re adable and th e re nde rs s h ould be at le as t 800px but not m ore th an 1600px at m axim um

Se q ue ntial nam ing of im age s lik e im age 001png e tc

Te xt s h ould be in e ith e r O DT D O C TXT or H TM L

A rch ive th e m us ing 7z ip or RA R or le s s pre fe rably z ip

3 Ple as e include th e follow ing in your e m ail Nam e Th is can be your fullnam e nick nam e or a nam e of your ch oice

Ph otograph As PNG and m axim um w idth of 256Px (O nly if s ubm itting th e article firs t tim e )

A bout yours e lf M ax 25 w ords

W e bs ite (optional)

Note All th e approve d subm is s ions can be place d in th e final is s ue or subs e q ue nt is s ue if de e m e d fit All subm is s ions can be croppe d if ne ce s sary


Galle ria

LaBarge - Gam e r

38

Galle ria

Guilh e rm e Lope s - Coca

39

Galle ria

Salvador Gracia Be rnal - H orm ijas

40

Galle ria

Scoot M orris on - Gavins Toy Robot

41

Galle ria

Z oltan M ik los i - Air Surfing

42

Galle ria

Z oltan M ik los i - Janine

43

Galle ria

Z oltan M ik los i - Je nny

44

Galle ria

Ge orge M - Coffe e xp

45

Upcom ing

Is s ue 8 January 2007

Th e m e Car M ode ling M e ga Spe cial

M ode ling Cars M ode ling Tyre s Car Paint and m ore

ble nde rartorg doe s not tak e s any re s pons ibility both e xpre s s e d or im plie d for th e m ate rial and its nature or accuracy of th e inform ation w h ich is publis h e d in th is PD F m agaz ine A ll th e m ate rials pre s e nte d in th is PD F m agaz ine h ave be e n produce d w ith th e e xpre s s e d pe rm is s ion of th e ir re s pe ctive auth ors ow ne rs ble nde rartorg and th e contributors dis claim all w arrantie s e xpre s s e d or im plie d including but not lim ite d to im plie d w arrantie s of m e rch antability or fitne s s for a particular purpos e A ll im age s and m ate rials pre s e nt in th is docum e nt are printe dre - printe d w ith e xpre s s e d pe rm is s ion from th e auth ors ow ne rs

Th is PD F m agaz ine is arch ive d and available from th e ble nde rartorg w e bs ite Th e ble nde rart m agaz ine is m ade available unde r Cre ative Com m ons lsquo Attribution- NoD e rivs 25rsquo lice ns e

D is claim e r

Th ink you h ave s om e proficie ncy in w riting article s W ant to contribute article s and s h are your k now le dge w ith ble nde rh e ads around th e w orld

Le arn h ow to contribute to Ble nde rart M agaz ine h e re


46

ED ITO RD ESIGNERGaurav Naw ani gaurav ble nde rartorg

M A NAGING ED ITO RSandra Gilbe rt s andra ble nde rartorg

W EBSITENam Ph am nam ble nde rartorg

PRO O FERKe rnon D illonPh illip A RyalsKe vin C BraunD e re k M ars h

W RITERSO livie r SarajaD anie l Le BargeJoh n A llieM ich ae l W ach

CO PYRIGH Tcopy 2006lsquoBle nde rA rt M agaz ine rsquo lsquoble nde rartrsquo and ble nde rA rt logo are copyrigh t of Gaurav Naw ani lsquoIz z yrsquo and lsquoIz z y logorsquoare copyrigh t Sandra Gilbe rt A ll products and com pany nam e s fe ature d in th e publication are trade m ark or re gis te re d trade m ark s of th e ir re s pe ctive ow ne rs

CO VER A RTW is e M e n by M ath ias Pe de rs e n

03



D O F U sing Ble nde rs Com positor Node s

Cre ating Re alistic Environm e nt for BGE

Ble nde r And D isplace m e nt Mapping

Ble nde r and Ve ctor Blur

6

8

11

24

27

CO NTENTS



















Izzy Talk s


04






05


Izzy Talk s








Ble nde r Ne w s


Pre re q uis ite s


Ge tting Starte d









06












Final Touch e s





07






NO TE


NO TE


Pre re q uis ite s


Ge tting Starte d











08












Final Touch e s







09





NO TE


10






Planning













11




- by Jh on Allie



Sh ading







12












13








M ode ling








14
















15









palm tre e s








16















17


















18








I










19



















20












21













t








22









23







Introduction








24








blur












25




blur e nable d



D o Com pos ite








26










Eyrolle s Editions



docum e ntation

O livie r Saraja

Introduction












27







Im age 2 Bum p M ap





28





M ich ae l W ach











29




-ble nde rart










30








Inputs Value s







Input Node s



31















O utput Node s


produce an e rror


Color Node s




32











Ve ctor Node s




Filte r Node s



33





Conve rte r Node s








Group Node s





34













35


















36





















Galle ria

LaBarge - Gam e r

38

Galle ria


39

Galle ria


40

Galle ria


41

Galle ria


42

Galle ria


43

Galle ria


44

Galle ria


45

Upcom ing






D is claim e r




46



















Izzy Talk s


04






05


Izzy Talk s








Ble nde r Ne w s


Pre re q uis ite s


Ge tting Starte d









06












Final Touch e s





07






NO TE


NO TE


Pre re q uis ite s


Ge tting Starte d











08












Final Touch e s







09





NO TE


10






Planning













11




- by Jh on Allie



Sh ading







12












13








M ode ling








14
















15









palm tre e s








16















17


















18








I










19



















20












21













t








22









23







Introduction








24








blur












25




blur e nable d



D o Com pos ite








26










Eyrolle s Editions



docum e ntation

O livie r Saraja

Introduction












27







Im age 2 Bum p M ap





28





M ich ae l W ach











29




-ble nde rart










30








Inputs Value s







Input Node s



31















O utput Node s


produce an e rror


Color Node s




32











Ve ctor Node s




Filte r Node s



33





Conve rte r Node s








Group Node s





34













35


















36





















Galle ria

LaBarge - Gam e r

38

Galle ria


39

Galle ria


40

Galle ria


41

Galle ria


42

Galle ria


43

Galle ria


44

Galle ria


45

Upcom ing






D is claim e r




46






05


Izzy Talk s








Ble nde r Ne w s


Pre re q uis ite s


Ge tting Starte d









06












Final Touch e s





07






NO TE


NO TE


Pre re q uis ite s


Ge tting Starte d











08












Final Touch e s







09





NO TE


10






Planning













11




- by Jh on Allie



Sh ading







12












13








M ode ling








14
















15









palm tre e s








16















17


















18








I










19



















20












21













t








22









23







Introduction








24








blur












25




blur e nable d



D o Com pos ite








26










Eyrolle s Editions



docum e ntation

O livie r Saraja

Introduction












27







Im age 2 Bum p M ap





28





M ich ae l W ach











29




-ble nde rart










30








Inputs Value s







Input Node s



31















O utput Node s


produce an e rror


Color Node s




32











Ve ctor Node s




Filte r Node s



33





Conve rte r Node s








Group Node s





34













35


















36





















Galle ria

LaBarge - Gam e r

38

Galle ria


39

Galle ria


40

Galle ria


41

Galle ria


42

Galle ria


43

Galle ria


44

Galle ria


45

Upcom ing






D is claim e r




46


Pre re q uis ite s


Ge tting Starte d









06












Final Touch e s





07






NO TE


NO TE


Pre re q uis ite s


Ge tting Starte d











08












Final Touch e s







09





NO TE


10






Planning













11




- by Jh on Allie



Sh ading







12












13








M ode ling








14
















15









palm tre e s








16















17


















18








I










19



















20












21













t








22









23







Introduction








24








blur












25




blur e nable d



D o Com pos ite








26










Eyrolle s Editions



docum e ntation

O livie r Saraja

Introduction












27







Im age 2 Bum p M ap





28





M ich ae l W ach











29




-ble nde rart










30








Inputs Value s







Input Node s



31















O utput Node s


produce an e rror


Color Node s




32











Ve ctor Node s




Filte r Node s



33





Conve rte r Node s








Group Node s





34













35


















36





















Galle ria

LaBarge - Gam e r

38

Galle ria


39

Galle ria


40

Galle ria


41

Galle ria


42

Galle ria


43

Galle ria


44

Galle ria


45

Upcom ing






D is claim e r




46






Final Touch e s





07






NO TE


NO TE


Pre re q uis ite s


Ge tting Starte d











08












Final Touch e s







09





NO TE


10






Planning













11




- by Jh on Allie



Sh ading







12












13








M ode ling








14
















15









palm tre e s








16















17


















18








I










19



















20












21













t








22









23







Introduction








24








blur












25




blur e nable d



D o Com pos ite








26










Eyrolle s Editions



docum e ntation

O livie r Saraja

Introduction












27







Im age 2 Bum p M ap





28





M ich ae l W ach











29




-ble nde rart










30








Inputs Value s







Input Node s



31















O utput Node s


produce an e rror


Color Node s




32











Ve ctor Node s




Filte r Node s



33





Conve rte r Node s








Group Node s





34













35


















36





















Galle ria

LaBarge - Gam e r

38

Galle ria


39

Galle ria


40

Galle ria


41

Galle ria


42

Galle ria


43

Galle ria


44

Galle ria


45

Upcom ing






D is claim e r




46


Pre re q uis ite s


Ge tting Starte d











08












Final Touch e s







09





NO TE


10






Planning













11




- by Jh on Allie



Sh ading







12












13








M ode ling








14
















15









palm tre e s








16















17


















18








I










19



















20












21













t








22









23







Introduction








24








blur












25




blur e nable d



D o Com pos ite








26










Eyrolle s Editions



docum e ntation

O livie r Saraja

Introduction












27







Im age 2 Bum p M ap





28





M ich ae l W ach











29




-ble nde rart










30








Inputs Value s







Input Node s



31















O utput Node s


produce an e rror


Color Node s




32











Ve ctor Node s




Filte r Node s



33





Conve rte r Node s








Group Node s





34













35


















36





















Galle ria

LaBarge - Gam e r

38

Galle ria


39

Galle ria


40

Galle ria


41

Galle ria


42

Galle ria


43

Galle ria


44

Galle ria


45

Upcom ing






D is claim e r




46






Final Touch e s







09





NO TE


10






Planning













11




- by Jh on Allie



Sh ading







12












13








M ode ling








14
















15









palm tre e s








16















17


















18








I










19



















20












21













t








22









23







Introduction








24








blur












25




blur e nable d



D o Com pos ite








26










Eyrolle s Editions



docum e ntation

O livie r Saraja

Introduction












27







Im age 2 Bum p M ap





28





M ich ae l W ach











29




-ble nde rart










30








Inputs Value s







Input Node s



31















O utput Node s


produce an e rror


Color Node s




32











Ve ctor Node s




Filte r Node s



33





Conve rte r Node s








Group Node s





34













35


















36





















Galle ria

LaBarge - Gam e r

38

Galle ria


39

Galle ria


40

Galle ria


41

Galle ria


42

Galle ria


43

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28





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28





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27







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28





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27







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28





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Galle ria

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38

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39

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41

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42

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27







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28





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27







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28





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27







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28





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30








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27







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28





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27







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27







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28





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23







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Eyrolle s Editions



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27







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Upcom ing






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Introduction








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Eyrolle s Editions



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27







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Upcom ing






D is claim e r




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Eyrolle s Editions



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27







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Eyrolle s Editions



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