3D Modelling Production Pipeline

I've looked at different skills, requirements and experience that prospective 3D Modellers generally need when applying for jobs as Professionals. To complement this research, I've looked at the different pipelines that 3D Modellers follow to narrow down a specific workflow that I should be following. This differs slightly depending on the position

Brandon Hix documents the pipeline that he uses in the software Blender. He makes a point that 'As a 3d artist you can choose to familiarize yourself as much or as little as you want with each step, but choose carefully' and that you increase your prospects and desirability to be employed if you can boast a broader range of skills. That as a 3D Artist, you should research as much as you can into the fields he mentions:

Modelling

The initial 3D Modelling/Sculpting of the assets using polygon modelling. This creates the base mesh with which to work with

Shading

Using materials and textures to add depth and detail to the models. Bump maps, specularity maps and diffuse colour maps define the surface of the 3D Model. He makes the point that Blender uses a Physically Based Rendering system to create realistic lighting, which is noted as a requirement in a lot of the Job Listings I looked at, to be able to work with PBR to produce photo-realism.

Lighting

Using lights to compliment the textures and geometry of the model. There are lights that give realistic lighting, enable for manual control of lights and can define the mood for the entire scene.

Animation

This area is where characters, objects and environments are animated using keyframe animation, pose-to-pose animation and recommends researching the history of animation in general, rather than just 3D animation.

Rendering

Though commonly viewed as a final step, Hix discourages this attitude, making the case that a 3D artist should always be thinking about how their work is going to work in the final render.

However, Castillo and Novak focus on 3d modelling from the perspective of the level designer. Emphasis is placed on concepts, laying out the ground works for level designs. For example, Castillo and Novak cover a section in their book called ‘blocking in’ which goes over creating grey box builds of levels. Though not always the job of the 3D Modeller, they can be involved in this process and still need to be aware of the workflow that has preceded their involvement.

(Castillo and Novak, 2008. Pg. 132)

This relates to the job search I conducted, as a lot of roles call for level design experience, or knowledge of it. In comparison, a level designer will follow this workflow:

Concepts and paper design

Concepts and rough designs on paper allow for easy iteration and serve as a template when blocking out levels, usually in a top down perspective, like a map

Blocking in

Level designers block the level in as grey boxing. Some of the job adverts I looked at used the phrasing ‘white boxing’ This is where the top down map creation helps to establish composition and scale. Castillo and Novak refer to this a ‘’Broad Strokes Theory’ testing the composition of the map, scale alongside character models with engine perspective

Asset creation

This stage is the actual 3D Modelling, and involves taking the geometry from grey box builds, and refining it. This is then reimported into engine to replace the grey boxing elements

Lighting

This covers colour and shadows, setting a model up to be lit and rendered to create a certain mood or atmosphere.

Post processing

Image editing, such as bloom, exposure control and tint to the colour of the scene

Rendering

Final render showcases the model using all the lighting and composition methods.

Sources:

Castillo, T. and Novak, J. (2008). Game development essentials. New York: Delmar.

Hix, B. (2016). Making Sense of the 3d Production Pipeline – Blender Unleashed. [online] Blenderunleashed.com. Available at: http://www.blenderunleashed.com/tutorials/making-sense-of-the-3d-production-pipeline/ [Accessed 9 Sep. 2017].