Creating The Scene When Bond Walks And Shoots

Based upon the initial research of the James Bond films, one of the most dominant generic conventions is that there is always the scene when James Bond walks across the scene, followed by turning to the audience and concludes the scene by shooting towards the camera, as the scene fills with red representing blood. Therefore, as it is such an iconic part of James Bond, this will be incorporated into the trailer. For the beginning of this scene, the small white circles move across the stage in a straight line like the image below (Elcaru1989, 2008).

This was my interpretation:

This was created by simply adding a geosphere to the stage of a radius of 10 with 20 segments to make the objects smooth around the edges. To make it like the colour in the film, the material that was applied was a white diffuse colour, that had a specular level of 80, a glossiness level of 80, the soften was left to the default settings of 0.1 and the self illumination was set from 0 to 100. This made the object very bright when moving across the stage, rather than a greyish colour that occured when the self illumination wasn't applied.

The number of frames within this part of the animation was 60 frames which equates as 2 seconds. Using Auto Key, the geosphere was toggled from one side of the stage to the other, at 60 frames, a clone copy of the geosphere was made and toggled to the left of the original object, so that when played the clone moved away from the original like the films did.

This worked rather well, the next step, is to make a cone which the camera will look through for James to walk across the scene like the original films did. The model to make James walk across the stage will be the same model that will be used throughout the trailer. Indeed, there will be some alterations to the model, as in the original trailers he is wearing a suit, as the model was created in different attire, and given the time restraints he will be wearing a more casual attire, but the pose will be still be the same as the original.

This will be the chain of events that the storyboard will follow in the trailer. To ensure that it all fits in within the 30 seconds, this will be slightly quicker than the original, by editing some of the parts out. Once there is a clearer idea of how long it takes, this can then be edited down to size.

This is the image to begin the animation for James to walk across the stage...

The bottom left view port is the view from the camera, there is a material that has been added to make it look similar to clouds in the background, as it is not rendered, it is not possible to see it in this image. When the animation begins on this part, the camera will pan following Bond like the original does, always looking through the cone. The swirl tool was applied to the material to make it give a similar look to the original as well.

The New and Improved James Bond Character

This is the body of the new character that will star as James Bond within the trailer. As mentioned from the reaction to the feedback, more modelling tools would be incorporated into the making of the model and this has been the case for this model. Tools and techniques that have been used thus far include, Inset, Extrude, Bevel, Connect, Ring, Loop, Chamfer, Soft Selection and the use of 'See Through'.

The boots were created first, by creating a box and then extruding. To make them appear less boxy, highlighting the edges of the boots, and selecting the loop tools, it selects all of the edges and the connect tool, connects them together by adding more faces, which can then be modified. The reference plate was then used to guide the shoe into place. The bend tool was used to make the boot bend slightly with the foot, as the position he is standing in would not make his shoes go completely straight to the floor.

To create the legs, the cylinder shape was used with extrude to make the leg bigger. The rotate and scale tool was used to make the leg shrink and enlarge to the contours of the legs, to match the reference plate. This work much better than previous attempts of the models. The inset tool was used to make the gap in his trousers at the top, this allows you to see all the way through the trousers looking through the top view port. This was also completed for the boots as well. For both the boots and the legs, instance clones were created and flipped into place using the symmetry tool.

To make the T-Shirt, the plane shape was created, and then extruded around the outline of the reference plate uisng the left view port. This was particularly difficult to master, and took many attempts before reaching a standard that would be satisfactory to include in this post. The vertices were then amended to match the outline of the reference plate. Using the loop tool on the outer edge of the plane outline, all of the edges are then selected on that side. Holding the shift key as the move tool is used, it extrudes the same outline again and again, until the bulk of the t-shirt has been completed before reaching the sleeves. Before the sleeves were begun, the bridge tool was used to join the edges from one side to the other to add some more basic details to the t-shirt. There was still a gap in the clothing for where the arms would go.

The arms were created by making a cyclinder and extruding, rotating and scaling the arm using the front, side and top view ports to conform to the guidelines. Once the arm was made, the hand was created by making a simple box that had been put into place with the guidelines. Each vertex was modified so that each edge was in line for where the fingers would go. To create a space for the fingers, the chamfer tool was used to add some extra sections, so that when the faces of each finger were extruded and beveled, they would not mesh into one large mitten like feature. This was completed for each finger and the thumb which required some more rotation and scale. The arm and the hand were attached together. Upon completion, the faces of the hand and arm were bridged together to make it one object. This again was mirrored using the mirror tool in the main tool bar and then put into place.

To bend the fingers, soft selection was used and the edge distance was altered from the default 1 to 4. This meant that the other fingers would not be effected when one was moved. They moved down to make them appear more organic and less box like. The rotation tool was then used to make the fingers appear slightly bent.

So far, this model appears to be making much better progress than any of the previous models that have been created in this project. To accomplish this model, a very useful tutorial is available in 3DS Max in their tutorial section.

This is the head as it is begins to take shape. This was made from a box with the vertices moulded to fit the reference plate. There is only half of the face as the symmetry modifier will be applied later. The nose was created by using the cut tool and making the basic shape of a nose, which was then extruded and rotated into shape ready for the symmetry tool to be activated.

The mouth was then created by adding faces using the connect and cut tools. The vertices were then moved and rearranged to create a small mouth with a result like below:

Next, the shape for the eyes needed to be made using the cut tool. Once, cut the outline was then inset to make the eyes sink into the face. The vertices were then atered to reduce stretch lines where it had been inset. The face of the eye was then removed, and replaced with a geosphere placed within the head. The vertices were then adjusted again so that the eye lids cover the eye rather than the eyes escaping them as this would be unrealistic. Compared to the previous attempts for models especially the previous posts for heads, this has made a lot of progress. The cut and connect tool was also used to define the cheeks, forehead and chin a little more.

When this was mesh smoothed, it had puzzling results as the nose kept caving in on itself, this was overcome by deleting the two faces on the side of the nose, which was preventing the edges from being bridged together. Once this was achieved the nose looked much more sophisticated. Furthermore, the shape of the nose began to take more shape, when more edges were added using the cut tool so that vertices could be pulled out in different positions to give it more shape and the effects were like so...

To complete the face so it can be attached to the rest of the body, the ears and hair need to be added and then the character will be ready for animation.

The next step was to create ears for the Mr Bond. This was achieved by using the cut tool on the side of the head, using the symmetry modifier this meant that the cut tool worked on both sides of the head. The faces that had been created by the cut tool were then extruded and the vertices were then adjusted so that they began to resemble a pair of ears better.

Next, the top of the head was extruded to make a hair line. This was basic as the vertices were adjusted and it now makes James Bond look like one of the disastrous hair cuts from the 90's. Upon completion, the stack for the head was collapsed so that when the file was merged with the body the neck could be bridged together without only half the head showing. Once both of the files had been merged together the body and the head were then attached to make one large object.

To make the character ready to walk in the trailer, the Biped tool was used and merged together with the object. The Biped tool can be located in the create panel followed by selecting systems. The biped was formed in the front view port and made to scale to the model. The shoulders were adjusted on the biped to match the model. It was then merged to the model. To test if all of the objects within the biped were controlling the corresponding model limb, using the footstep tool, the model is able to walk across the screen following a set layout of footsteps. The parts that are not being controlled by the biped leave nasty stretch marks that will move on the model. In this case, there were marks on both the feet, the arms and the head. This was adjusted by altering the radius on the physique envelope modifer along with the parent and child contols. The way to know if it should be the parent or the child control to adjust is thinking which limb is being adjusted. For example, the hand to the arm is the child to the parent. The toes on a foot is the child to the parent. Or vice versa, the thigh to the shin on a leg is the parent to the child.

Once, there were no stretch marks, the limbs of the biped were then moved and adjusted by selecting figure mode when the biped was selected. This was so that when the trailer plays, the audience doesn't see a mixture of both models but rather just James Bond and not his skeleton trying to get to the spot first.



To complete this character ready for animation is to apply some materials to him to make him appear more sophisticated.

Using the paint selection region tool, the individual faces were able to highlighted rather quickly, so that materials could be made and applied to the different body parts quickly and effectively. A skin texture was found from the internet (Filter Forge, 2006) which were applied to the arms and face. This had the bump modifier applied as well with the same skin bitmap and applied at 30. This added extra texture to the skin and worked rather well.

The t-shirt was made again by finding a fabric texture from the internet (Hart-Davis, D (2011) which was then mirrored to create the effect shown in the image above. To create the khaki style trousers, an image of a khaki fabric was located from the internet (Lings Designs, ND) and then given the bump modifer with smoke, this added an interesting effect especially when the specular level was adjusted as well.

The boots were given a leather bitmap to begin with, again taken from an internet source (InetGiant, 2009), which was then adjusted by mirroring and tiling was adjusted to 10. Furthermore, it was also selected to be an environ rather than a texture. This made it look better as before this was applied, the boots looked very bumpy and not shoe like at all.

The hair again selected using the paint selection region tool was made by finding a bitmap from the internet (Bangin, 2007). This didn't appear very sophisticated when adjusting the qualities of the bitmap, and is more a shade of black than having a texture of hair. Alternatively, the hair and fur modifer was going to be applied but then the file size and render time would be severly affected, so this was a decision that would have to be kept.

The final step for this model so that animation can begin is to add eyes and apply the textures to those eyes.

Here is an image with the model with eyes:

To create the eyes a basic geosphere was created and copied. They were then converted to editable poly's, so that faces were able to be selected and adjust the specular levels to make there be a light reflecting off of it. These are very basic eyes but the animation will not focus on it for very long at all so, to ensure that there is enough time ot complete the animation, this detail will be left as it is.

Creating the head for the new Character

For this model, I was determined to use new modelling techniques that had not been used in the previous models. It is clear from the feedback, that using more techniques other than extrude and mesh smooth, there is a lot more potential. Indeed, for this model there is a lot of work still to be completed in the alloted time, however, the difference between the original and this shows a lot of progress and an obvious learning curve. In this head alone, the techniques and tools that have been used so far include:
Cut
Remove
Relax
Smooth

This can be seen in the images below.

This is an example of when the back of the head was being created. The cut tool was used a lot here so that the model was as close to the reference plate as possible. It also meant that when editing hte vertices, to make them curve, not much was needed to be applied, and it did not result in horrid stretch marks, which is what happened before.



This view is when the shape was beginning to come together, and some of the details of the nose was beginning to be applied. In this example, this has the relax tool, which transformed straight square edges into smaller caved in ones. This was beneficial for the curves and contours of the face and worked rather well.

This was when the noise was being finished and the lips were beginning to be applied. The remove tool was important as, the head needed to be created twice, as there were so many faces that the program was unable to cope and crashed to the extent that the file will not even open anymore.

This is what the face looked like after the symmetry tool had been applied, this was to make sure all of the features of the face were symmetrical. I am not as pleased as I thought I would be after seeing the progress of the face, this could have gone better.

Reference plates for the Characters Head

To ensure the character looks as realistic as possible some reference planes have been collected from the internet to use in each view port. These will act as guidelines whilst creating the face. 

This reference plate (above) will be used in the front view port as a guideline.

This reference plate (above) will be used in the left view port and as a guideline for the side view of the head. This is quite a feminine face so exceptions will need to be made later, but for getting the general shape of the face, this will suit fine. There are only two reference plates that have been found rather than one from each viewport, this is because when the symmetry modifier is used, the other side will be taken care of.

Attempt 3 Creating the Character Model

Based upon the feedback received from the prototype design, it would seem appropriate to try to do the character again. This time, to ensure it is the last time that this model is created, a mood board has been created of all different images of James Bond focusing on the contours of his face, various suit designs and the male anatomy to make this model as effective as possible.

This will act as a reference when the model is created again. The sooner this model is completed, the sooner the animation can continue. More modelling tools will be used such as the cut and remove tool to add a more sophisticated look to the model.

Reaction To Prototype Feedback

After submitting the models for some feedback, there is a lot of room for improvement, and this will be discussed throughout the written work, as the blog posts will be updated. Furthermore, the models will also be updated and in some cases remade based upon some of the feedback.

Although, there was a lot of initial research into the brief using words and images, more of this will be incorporated into the later stages of the work as well. This is because, research doesn't just stop once the first bit is done, to make a model sophisticated, constant reference to images and research is vital to keeping to the intended outcome that is desired.

One of the crucial elements that requires a lot of attention in the remaining time left before the deadline, is to become more confident with using the different tools available within 3DS Max 10, and not just sticking to the basic extrude and mesh smooth tools. Instead, using the cut and remove tools along with more of the tools and modifiers available in the program to produce more sophisticated models. This will be the biggest challenge, and will produce the largest learning curve throughout the course.

Plus, one of the fundamental elements about this trailer that has been overlooked thus far, the character model was based upon a Lego toy, although everything else was intended to look realistic. However, it should be one or the other, if they are both combined, it would appear that one is in the wrong reality, it should all appear unrealistic and toy like or all life like. The decision that has been made, is to make it as realistic as possible. If the lego theme was to be incorporated throughout, I run the risk of it not looking like anything rather than it looking like something if were realistic. Therefore, the character model will need to be created again.

Overall, the project is making good progress, but there is a lot of room for improvement, and this will be addressed throughout the remaining time until the final application is submitted.

How The Hotel Was Created

The main element of the introductory scene is the hotel, that James Bond will walk out of, turn around and see the harrier about to fire at him as he runs for his car. Therefore, as there will be a lot of focus upon the hotel it is important that it looks sophisticated.

As a building such as a hotel can vary in different ways, some are very elegant, some appear to be very cheap and cheerful, whereas some others appear to be very lavish. As there are different ways it could be interpreted, some pictorial research was collated and used as a reference to create the hotel. It was not used as a reference plate as a material on a plane, but rather my own interpretation of the hotel was sketched and then used and referred to when creating the hotel. This is the original image (Venere.com, nd).

This is my interpretation of the hotel and how I intend the hotel to look.

This was achieved by first creating a box onto the stage of substantial height, weight and depth. The number of segments was 20 across all three dimensions before converting it to a poly. Using the extrude tool, the windows and door was pushed inwards, making a nice frame for each of them. The roof was extruded in multiple layers to represent a roofs generic conventions of gradually ascending to a higher level. There is also a arch on top of the door naming the hotel. This was again accomplished using the extrude tool, and completed by moving the vertices closer together to give the impression of a curve.

The material that was used on the building was a combination of maps, including the marble effect that with a tiling of 20, made the hotel appear to be the grey colour with the vertical lines going down the hotel. To add a texture to the building, the bump tool was also used approximately 80 to add a lot of texture of the same material (marble) to give the impression of a tile like texture. This has worked well for this model.

The next step was creating a path for James Bond to walk across as he heads for his car. The intended effect for gravel was used by searching on the internet (REFERENCE) for a suitable image that could be imported as a bitmap and used within the material editor. This worked very well, better than what was intended as there appears to be a hint of blue that has come through on the material when rendered. This works because of the lighting coming from the hotel, it appears that there is something reflecting onto the path. Along with hotel patios tend not to be controversial with the designs of their pavements outside the hotel.

Lamp posts were created by making thin cylinders with a bend modifier on the piece at the top, so that a cone could then hang from the object. The omni light, found in the create>light>omni panel acts as a small beam of light, the same as you would expect from a lamp post light. Therefore, this works very well. Other lights were used, such as sky light among others, but the light source seemed to great for the intended effect.

Many hotels tend to have a garden feature in front of it to make it more aesthetically appealing, thus to draw more customers to their hotel. Therefore, to add to the hotel's authenticity, a garden feature has been used in this model. First a thin cylinder was created which would act as grass. The material that was used for this was swirl with the tiling adjusted so that it made small circles. When the bump tool was then applied and adjusted to 100, it made a green grass and mud effect. It was green and brown as these were the colours that were adjusted from the swirl instead of the standard yellow and brown used within the default. It was not intended to appear to have long grass, firstly, as the render time is horrendous, but also a garden feature appearing in their kind of destination would ensure it was cut short, thus this was the intended effect.

Once the grass effect had been added to the feature, foliage was then applied. This was achieved by selecting the create panel and selecting from the drop down menu "AEC". Foliage can then be selected which gives a large menu of various plants and trees to choose from. A small plant from the menu was selected and then arranged in a small pattern following the shape of the circle. This were adjusted and moved into place to appear symmetrical. Finally, to complete the foliage, a tree was then added to the centre of the feature which has worked well. Various trees were tried and tested, each appeared to give a different representation of what type kind of building, it was supposed to represent. An exotic tree was chosen, as the idea of exotic trees, in my opinion links to the idea of holiday destination, thus hotel. To add to the idea of holiday and hotels with their stereotypical features, more exotic trees were added in between lamp posts to add to the scene. 

To finish the scene, another omni light was put within the hotel, to appear that the hotel was open and so that the audience can then see Bond leaving the hotel.