Creating Model 3

An earlier version of this model, a helicopter was modeled, however, after finding some blueprints for a Harrier aircraft, this could have a more interesting effect to the final outcome.

The first attempt at the harrier was unsuccessful. This is because when extruding the wings and the rest of the aircraft, there was not enough thought given to the later stages of the model. The missiles were incorporated into the wings rather than extruding them later from the wings, which made it difficult to effectively edit.

Instead, a second attempt has been made to make it resemble an aircraft more efficiently. Furthermore, on this model the symmetry technique on the modifier list has been used. This means that detail can be added to one side without needing to worry about it being symmetrical on the other.

The next step for this model is to begin adding the missiles. Once the main bulk of the model has been created, the smaller details can be added.

This is an image of the harrier before materials have been added to it. The symmetry technique has been used in this model along with the extrude tool to add parts to the harrier.

The finished model now includes missiles and camouflage.

The symmetry tool has been very useful and effective as it ensures that the model is created symmetrically. Although this is very obvious however, this technique was not used in the first model; the car, and the final result compared to this model is very obvious.

To create the material for the harrier, 'swirl' was used, this meant that when rendered in different view perspectives, different shades of the swirl can be observed. This was very effective in creating a camouflage effect for the plane. To create a different material for the windows and the back part of the engine, the 'Paint Selection Region' was used. This acted similar to a paintbrush, this tool allows faces of the main object to be selected so that a multi-sub object could be created. This meant that the black could be added to the window and engine whilst having the camouflage material could be added to the rest of the object. This added to the objects validity, thus adding to the representation of how a harrier aircraft should look like.

This model was not actually feature in "You Only Live Twice", however to show a more varied collection of models, a harrier aircraft was created. The scene that will be made is car chase between Bond with the car in the villains behind in their car. Instead of creating two cars which would use very similar techniques to create and not showing a variety of skill and technique. The scene will be changed slightly, the car with Bond will try and escape this enemy Harrier. Therefore, three very different models have been created. It is not exactly to the film scenes of James Bond however, the theme of James Bond will be incorporated. This will be accomplished by the music and the trailer will be filled with action like a James Bond trailer.

Cameras

Cameras are a useful tool in creating an effective animation. There are two main types of camera to use in 3DS Max; Free and Target. Target is self explanatory, the object that is chosen is the target and the camera simply follows the object. Free, on the other hand, allows the user to place the camera in a space and observe, it is free standing as it does not follow an object.

Very easily quick animations can be produced using cameras, by selecting a section on the timeline and altering the camera, the program automatically alters the camera view to the animation.

It is possible to see through the camera view port the effects of the camera before rendering the production.

Final Details to Model 2: Character

Hair needed to be added to the character to resemble James Bond. In many of the Sean Connery films he has a side parting in his black hair. This is the effect that will be aimed for in this model.

This was the outcome, by manipulating the vertices and faces it created an interesting effect. This was the effect after MeshSmooth was applied which makes it appear more realistic as it has removed the sharp edges.



Next, the eyes and mouth needed to be added to show the character's expressions and behaviour. This was particularly difficult to produce effectively, and time permitting once the third model is complete, more time maybe spent on this model to adjust all of these final details.

It is a shame that this model was going very very well up until the final details were added, however, these small details are detrimental to the overall effect of this character. The eyes and their lids were created from the one shape and then cloned. The eye itself was pushed in by its faces to indent into the shape, to make the eye lids stand out. A sphere was then added to the eye to give eye colour. On the other hand, the final details that have been added do adhere to the generic conventions of Lego characters.

Furthermore, this model would have been more efficient if it had been created from one main shape, rather than using a variety of shapes. This would have helped the render time so it doesn't take too long to produce itself on screen. At present, with no special effects or animations included the render time is relatively quick, however, it is unlikely that this will still be the case later.

The penultimate step for this model is to link the eyes to the face so these are not left behind during the animation stages.



Finally as shown in the above picture and the one below, the character needs to be in the 'Da Vinci pose'. This means legs and arms spread apart so once they are animated, each of the limbs are recognised as separate ones. The way the model was positioned before meant that arms and body and both legs would not be able to be animated, as it would see only one limb for each. This way it ensures that there is maximum flexibility for the animation.



Adding Details to Model 2: Character

The first step in creating the character was to find the reference plane for the character. This was added to the scene so the modeling could begin. The head was the first part of the anatomy that was made. The shape that was used was an oil-tank. This was very effective at creating a head shape. To extend the neck, the extrude tool was used to make it conform to the lines of the reference plane.

Next, the body and the hands. The body was made from a box which was then extruded with its segments to make it into a trapezium shape. As there is no top view in the reference planes, it was necessary to keep rotating the shape to ensure it was still to scale. The hands were accomplished by creating a cylinder shape and once it was converted to a poly, the vertices were then taken up so it created the arc shape for the hands.

The belt was next to be added. This was simply created by inserting a box into the viewport, the same depth as the body and then with one of its segments extruding so that it came down to make the legs join together.

The legs were created by again another box which then had segments extruded, and this appears to have worked very well.

The arms by far were the most difficult part to create effectively so far from modeling this model. It was created by using a box and then bending some of the vertices to make it appear to be a joint. MeshSmooth was then applied to it and it made it look much more effective. This is shown when it was rendered.

Now the basic shape had been made for the character, it needs to be made to look more like James Bond, therefore a more formal attire was required. Each of the objects were converted to black. His white shirt was made by using cones to make it appear to be a buttoned suit.

The final details to the body were the tie and belt again made by using cones for the tie and a box with text for the belt.

Introduction to Lighting

In this scene various lighting techniques have been incorporated such as spot lights and a free direct light. This creates an interesting effect. Even though there aren't any shadows in the scene, it has still rendered well.

The torus has had a material map added to create a chrome effect. This was accomplished by selecting 'raytrace' in the menu for reflection, and the material was added to the shape. Whereas, the teapot has had a glass effect added for when it is rendered. This was achieved by choosing 'raytrace' in the refraction option in the material editor. These are both very effective tools that can be incorporated into the trailer.

The more lights, shadows and materials that are added to the shapes add significantly to the render time. This is because each individual pixel in the scene needs to absorb light and take the colour of surrounding objects into the colour of that object itself. So in a small scene there could be thousands of pixels all trying to encapsulate their own colour as well as their numbers, which as a consequence takes a long time to render. This will need to be taken into consideration when making the trailer.

Whilst the scene is being created resolution levels can be lowered to make the rendering much quicker, so that the basic concept can be established and once complete ready for the final render the levels can be restored to their higher states. It is very important to remember that the gamma levels on each workstation that is used in this production is set to 2.2, as this will also affect the final render if it is set lower or higher. This can be altered using the menus provided by 3ds Max.

Adding details to Model 1: Car

Now the basic shape of the car has been created some more details can be added to it, these include wheel arches and more shape to the car as shown above.

The first stage was accomplished by creating a box that was then stretched to add some more of the detail. The wheel arches were created by using the tool. A line of the wheel arch was drawn in one of the viewports, followed by a circle near it. The loft modifier is selected followed by selecting get path, which then makes a three dimensional version of the line previously created. The wheels were created by adding four cylinders. This is used to make the black tyres. The alloys were created by making multiple small cylinders linked to a sphere as the centre of the alloy. At first these were grouped together. Once all of them were created, they were linked together. This will make it a lot easier during the animation stages.

By adding some details like this, altogether it gradually begins to conform to the reference planes. So far the model seems to be making good progress.

The modelling technique that has been used so far to create the wheel arches and the outline for the window was the loft tool. By placing the objects partly inside the main object it creates the illusion that it has been joined to the rest of the car.

Again the loft modifier was used to create a top for the windscreen. In hindsight it would of have been more beneficial to have extruding to make it a low poly object. The details such as the bumper of the car were also pushed inside using the select tool.

Details such as the side mirrors have now been added, everything is still in red at the moment whilst the basic shape is created.

Again, it would have been more beneficial to extrude the bottom of the windscreen, to reduce the number of objects within the scene, thus reduce render time. However, at the time of creation, familiarity of all of the tools was significantly lower than towards the end of the course.

One of the difficulties with this model would be how many contours there are, makes it very difficult to make it look as close to the reference plane as possible. Although some of the basic contours have been established it is still far from being a three dimensional replica of the reference plane.

To create the side mirrors, spheres were created, once they were an editable poly, using the vertices button, the top part of the sphere was selected and pushed inwards, thus making it give the impression of a side mirror. Indeed, on this model, due to such basic techniques used thus far, the sophistication of this model is limited.

Some more details such as the number plate have been added to the car, this car will be the car that carries James Bond in the trailer. Again, using the loft tool by creating a line around the bumper using the front view port (if the perspective port is used, the intended effect is not reached), creating a circle and selecting 'get path'. The bumper is then dragged into place. It is conforming to the basic shape of a car.

If the cut tool had been used instead of the cut tool, the faces of the car could be cut to then extrude and smooth into wheel arches. If there is time remaining, this model could be significantly improved.

The number plate was added by using a box with a text field added to it, these have then been linked together so wherever the number plate moves so does the text. This has also been the case on all of the elements of the car. The schematic view allows all of the shapes that have been used to be observed and linked to other objects within the file. This is a useful tool, as when it comes to the animation stages, when the car body is moved, all of the elements linked to the car move with it as well. If this was not completed, whenever the car needed to be moved, every element for the car would need to be moved the same distance and at the correct perspective, which would prove very difficult and the results would inevitably look very poor.

Using an extended primitive, the capsule shape was used which created an interesting representation of the tail lights for the car. The loft tool for the outline of the doors was not the greatest choice that has been made during this exercise. It doesn't conform to the generic conventions of a car with this effect. If this model was to be created again, the extrude tool and cut and remove tool would be used to make this appear more effective.

The capsule shape was modified by readjusting its vertices so that the lights sloped like the reference plate. A sphere was then placed within it, to give the impression of a tail light. Indeed, to make the model appear more sophisticated, using other methods of creating the lights may have been more appropriate. When the lights are on both the front and the back, it gives the impression that they have a design and they are meant to be that way, which works better. The capsules were pushed into the car body so that they weren't just sitting on the outside of the car. 

The next step for this model is to make it a multi sub-object, so that different gradients and materials can be added to the shape, to make it closer to the representation of a car.

The image below shows the car with windows. This was achieved by creating boxes and then modifying them by using the scale tool to adjust the windows to the size permitted by the car. This was repeated for each window in the car. If the faces had been cut and then extruded a more effective final outcome may have been achieved, and thus less objects within the file to significantly reduce the render time.

The material editor has not been used on the car yet, and this won't be used until the details have been finished on the car. So far this is proving to be a problem as it is not looking realistic or like the reference planes. This is most prevalent with the door frames of the car and the lights. Due to time constraints as two more models still need to be made, some more time will be dedicated to this model. However, soon the other models will need to be completed. Overall, the car does conform to the generic conventions of a car, by having windows, wheels, lights and number plates, so at least the basic idea will be portrayed.

This is the final screen shot of this model. Materials have been added to the model ready for rendering. This has made the model appear more realistic. A grey material has been added rather than the red as this makes the car look better when it is rendered. The red makes it appear more like a toy car rather than a real one. The windows have a material of a Manhatten skyline combined with a dark blue colour using a high anistrophy and specular level. This creates a very light blue colour once it has been rendered. When the persective view port is turned and then rendered, there are some views that then include some of the skylines from the bitmap. Careful attention will need to be taken during the animation stages of the trailer.

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Creating Linear Arrays of Objects

Creating a linear array of objects makes it effortless to create multiple clones of an object. This is particularly useful if a design is comprised upon using many instances of one object. The array can either be two or three dimensional. 

The higher the counter in each of the axis, the higher the number of instances of that object on each axis.

Using the Loft Tool

Loft is used when the line tool has been used, and it then needs to be made into a three dimensional shape.

It is important when using the tool to move the pivot to the centre of the object, as the positioning of the pivot influences the final output of the object. It is also important to add a small circle before using the loft tool, followed by clicking the button that says "get shape". This then converts the simple line into a three dimensional shape.

This technique will be very useful when adding details to the car model in the trailer.

Multi Sub-Object Materials

A multi sub-object is when an object is created, and its different faces have their own set IDs. This enables different colours and materials to be added to each face. This is a crucial technique that will be incorporated into the trailer as one of the models in the trailer is a character. Thus, the character will not be all one colour/material, but in fact a variety of them.

To use this technique, the object needs to be converted to a poly so that it can then be modified and IDs can  be allocated to the objects faces. Once IDs have been set, different materials can be allocated to their corresponding IDs.

 

Producing a High Shine Metallic Material

An effective tool to create shiny metallic objects is created by combining a dark colour with a light coloured bitmap such as a Manhattan skyline. This can be achieved by dragging the shape to be the metal object into the perspective view port. Once complete, using the material editor, the anastropic shader needs to be selected, as this is best for creating metal materials. To make the material as effective as possible, a dark blue colour should be selected from the diffuse section. To ensure it is a very shiny metal, it needs to have a high specular such as approximately 60 and a high anastrophy of approximately 80.

Now, the dark part of the metal is complete the reflection needs to have the image inside. Once the material has been added to the object, it is now a shiny metallic object.

This is a very useful tool, as one of the models that will be used in the trailer is a car, which is made of various shiny metal objects. This can be incorporated to create a very interesting effect, as this shows in the image below.

 

Making a Leaf

A very useful tool for creating objects from bitmaps to add to the scene of an animation, is to find an image of what is needed in the background. Once found, import the bitmap into Adobe Photoshop onto a layer. Then create a second layer in the hierarchy and using the magic wand tool, select the white space, fill this with black. The remaining white pixels should then be filled in black too.

The finished effect of the saved black and white image and the original image used as maps within the material editor in 3ds Max combines the images and eliminates the white space in the original bitmap. This gives the illusion that it is an object without a white background.

Added textures for example, a leaf can be used with the bump tool to make it seem less flat and two dimensional. Finally, by then bending the leaf, it then creates the representation of the characteristics of the leaf, and embodies the needs and aspirations of the leaf.

This will be very useful in creating realistic backgrounds in the final production if this technique is incorporated. This is what the leaf looks like once completed.

Initial 3D Models for Three Models for James Bond Trailer

The three models chosen to appear in the trailer comply with the storyboard; a helicopter, which will represent "Little Nellie", a car which will represent the white and black cars in the car chase,and finally, a Lego like character (The Lego Group, ND) to represent James Bond. This model will act as a template for any other characters within the trailer.

By having three very different models, this will ensure the trailer will be varied in its contents.All three models inhabit different environments, which will add to a varied display to the audience. Thus, it doesn't give the impression that the film is only comprised of close combat, or car chases or in air combat, but instead, it is a mixture of all three. This is important as a trailer should target allof a target audience (James Bond fans), not just some of them.

Based upon the initial modelling of the character, drastic works needs to be added to this to make it more realistic. However, the initial model didn't have reference planes to ensure it was as similar as possible. On the next iteration of this model, this would need to be used, as the clear difference between this model and the helicopter, it is clear to see that using reference planes is beneficial to the validity of the model. Furthermore, the character model would be more realistic if organic modelling was to be used more, to add a feeling of a living object rather than having rigid edges. This would only be used to an extent as the point of Lego is to have rigid edges whilst resembling a living object.

The following image is of one of the cars that will be used in the car chase scene. It is progressing well, reference plates have been used to make the model as accurate as possible. There is a lot of room for improvement as there are many details yet to be added such as lights, windows etc.

Written Storyboard for Idea

    Scene 1: Intro

The scene begins by James Bond (Sean Connery) standing on the bar top of a cocktail bar, wiggling his bum as he dances to the rhythm of the James Bond theme tune. Whilst dancing, Bond shakes his martini in its cocktail shaker. As the music begins to change for the chorus, Bond continues to dance as he walks on the bar top, he then turns towards the camera and points the shaker towards the camera as a gunshot sounds. The screen gradually fills with blood red.

    Scene 2: Bedroom Scene

Bond is laying in bed facing the camera, leaning on his left arm next to Aki (Akiko Wakabayashi). Bond grins towards Aki, suddenly the door to their room flies open as gunfire sounds all around as the enemies try to shoot Bond. Meanwhile, the bed swivels on its hinges in the wall, so that the bottom of the bed is now the highest point of the bed, as the bed disappears into the wall.

    Scene 3: Drive-by

Bond walks out of hotel and follows the path out of the hotel which is the shape of a semi-circle. As he walks a black car with a head poking out of the back window with a gun in the man’s hand, slowly follows Bond as he walks away from the hotel. Bond is unaware of their presence. As the man in the car gets ready to shoot, Aki in her white convertible suddenly drives in between the black car and Bond acting as a shield as the man fires his gun. Bond jumps in the car, and the two cars begin a car chase. The white convertible drives under a lorry which is situated on a cliff, the black car following swerves to avoid the lorry and falls down the cliff and the car and its passengers explode into a ball of fire.

    Scene 4: Little Nellie

Bond and Agent Q are talking in the Tokyo ninja ground, as Bond is briefed on his latest gadget to test. Agent Q requests that Bond brings Little Nellie back intact this time. The scene flashes to Bond in the air flying over mountains, as he engages in an air battle between enemy helicopters. Missiles fill the air along with mines dropping from Bond’s helicopter.

    Scene 5: Blofeld

Bond and his ninja companions are now inside the crater on their endeavour to stop World War, as they battle Blofeld’s men by hand and weapons. The camera then zooms in on Bond’s face, as he looks to his upper left. The camera then focuses on Blofeld as Blofeld says to Bond “You only live twice Mr Bond”.

    Scene 6: Conclusion

Black screen as large silver writing shows the title of the film. Underneath the title, it will state that it is available now.

Scene to Animate

Due to time restraints, only one of these scenes will be animated to ensure plenty of detail can be added to the scene, rather than having many basic scenes. It is important to create the intended effect, depth is wanted rather than breadth. The scene that will be selected will be used is scene 3: Drive By. As this will incorporate three models, a car, a Lego character and a harrier aeroplane.

Ideas for the Trailer

    Idea 1:

The trailer begins by Blofeld saying to his workers that they will start a new war. As Blofeld finishes this sentence, the screen then shows a space ship beginning to consume another. The camera then cuts to the Pentagon, where there are international talks between UK, USA and Russia. Each country blaming the other for the accountability of the ship eating space ship.

Agent M begins to explain Bond's mission at HQ "Now 007, your mission is to prevent more ships being destroyed and thus prevent World War".

Bond is now with Agent Q, as he is shown the gadgets he will need during his mission. "007, please bring these back in one piece". Bond replies "Of course." as he smirks.

There are now explosions, fast car chases and helicopter battles. The trailer then finishes by the screen going black as the theme tune plays. Bond begins to walk across the screen, he turns towards the camera and shoots. The screen turns red.

The title of the film is displayed on screen with it's release date.

    Idea 2:

The trailer begins by M talking in HQ stating that only one agent could stop an evil mastermind such as Blofeld. The camera then shows Bond in bed after he has been shot, as he is pronounced dead. The camera then reverts back to HQ where Bond and M are talking. "One of these days we won't believe you are truly dead 007". 

As the theme tune begins to play, car explosions, helicopter battles and fast car chases are displayed. The camera then cuts to a scene with Bond in bed with Aki, and then jumps back to the explosions from before.

The trailer finishes by Bond performing his traditional walk, as he walks along the screen, turns towards the camera and then shoots, as the screen turns red.

    Idea 3:

The trailer begins by Bond standing on the bar in a cocktail bar, dancing with a martini in a cocktail shaker to the rhythm of the James Bond theme tune. As the music reaches the chorus, he then turns with his shaker towards the camera as a gunshot sounds. The screen then turns red.

Next, Bond is laying in bed with Aki facing the camera. The room then fills with gunfire as enemies try to kill Bond. The bed then disappears into the wall.

Car chases begin followed by the pursuer crashing down a mountain. Next the helicopter battle between Bond and enemy helicopters. 

The trailer finishes with Bond looking to his upper left whilst his ninja companions are in battle. Blofeld shouts down to Bond "You Only Live Twice Mr Bond!". The screen goes black with silver writing stating the name of the film. In the background the "007" logo behind it.

    Evaluation of the three ideas

Based upon the research boards that were created, generic conventions that are incorporated into James Bond trailers and films were introduced into these ideas. These included the theme tune, the James Bond shoot and walk, and also showing many explosions and car chases emphasising the all new action film to be released. 

Ideas one and two do not appear to flow as well as idea three. The way in which the main points are joined together work better than ideas one and two. Although, the main point of the storyline is explicitly stated in ideas one and two, whereas this is not the case in idea three.

However, many action films normally focus on there being disaster about to strike at any moment, and the whole point of the action is to prevent this event from happening in a fast paced atmosphere (Dirks, ND).

The idea that will be used will be idea three, due to it being much more fluent and smooth. Some extra thoughts to consider would be to decide whether to create the representation of a real person, or to exploit this being an animation and to perhaps create the representation of Lego like characters. This idea has been incorporated into video games and now there are series based upon this idea. It would suggest that perhaps there is an audience for this type of trailer.

These are some initial sketches of some Lego like characters, and this seems to be very effective. This is because combining the basic shapes such as boxes and cylinders, these could then be extruded or beveled to create a character similar to the drawings to create the representation of a person. This will be incorporated into the trailer.