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Transport<br />
Adding fine details<br />
Refining the model and adding textures<br />
Having the basic<br />
09 vessel and cockpit<br />
completed, it was time to add<br />
the details inside it. First of all<br />
I modelled a simple chair and<br />
then the handlebars for the<br />
steering control. These were<br />
placed inside the cockpit.<br />
Then I added seals around the<br />
windows and small air vents<br />
in the hull rear. All these<br />
elements were modelled with<br />
simple shapes and applied<br />
with symmetries.<br />
Initially I wanted to present the vehicle in a neutral<br />
10 environment. With time, however, I decided the hangar<br />
would be more to the point. I modelled it with a cube, thicker<br />
layers of gauze and I added an undulating shape of the roof, the<br />
whole thing slightly asymmetrical so that sides were not very<br />
equal. The side structures were done with lines, giving them<br />
a proper thickness and rendering options.<br />
Lighting<br />
the image<br />
I wanted to present the<br />
scene at a certain time<br />
of day with the sun<br />
slowly setting<br />
westwards. A V-Ray<br />
light to simulate sunlight,<br />
using a spherical shape,<br />
and a light orange-pink<br />
colour was created<br />
outside. The hangar<br />
doors were fixed open<br />
so that this sunlight<br />
could then come in from<br />
outside. I used the<br />
interesting shapes of<br />
the structures and<br />
accessories to create<br />
chequered shadows<br />
around the hangar.<br />
The aircraft was also<br />
illuminated with spots<br />
of light arranged around<br />
the area where it rested<br />
so that it was nice and<br />
bright, despite the<br />
sunlight outside. I also<br />
tweaked the reflections<br />
on the paintwork so<br />
that they had a more<br />
realistic effect.<br />
10 hours<br />
render time<br />
Resolution:<br />
4,000 x 2,250<br />
The UV maps were prepared for the<br />
12 vehicle using the Unfold program and<br />
exported. Mapping was prepared only for those<br />
elements on the side nearest the camera. Knowing<br />
that the ship would only be visible from one side<br />
helped simplify the UV mapping. The walls of the<br />
hangar, as well as smaller items of equipment,<br />
possessed a simple map that was added directly<br />
in <strong>3d</strong>s Max. Then I was ready to take on the UV<br />
texture making.<br />
The modelling of this scene ends with creating the<br />
11 hangar interior. It needed barrels, bottles, boxes of<br />
tools and such elements. I wish I had the room to include<br />
a convincing character as well, but the perspective would<br />
have looked off with someone in it. Most of the objects were<br />
created from simple solids subject to minor modification.<br />
Besides those, I had taken a cable to connect things up and<br />
use fuse boxes and all kinds of electrics. That concluded the<br />
modelling process.<br />
The textures were<br />
13 prepared in Photoshop,<br />
mainly for the vehicle itself.<br />
A 4,096 x 4,096 resolution<br />
texture map turned out to be<br />
high enough. So I prepared a<br />
Diffuse, Bump and Specular<br />
channel render. Other textures<br />
were already lower resolutions,<br />
but this didn’t matter as they<br />
were in the background.<br />
The floor needed a higherresolution<br />
texture as the<br />
camera was positioned quite<br />
low and close to it. Most of the<br />
textures I got free from<br />
cgtextures.com.<br />
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