When I started the tutorial I decided to switch to mental ray rendering, this showed me the shadows but lost me some textures. I completed the steps in the tutorial but it just decided to be very uncooperative me at the end.
Friday, 19 December 2014
Friday, 12 December 2014
Thursday, 11 December 2014
WIM - Key Asset - House - COMPLETE
I have finished UV mapping my house and had to change the design just so I can easily texture the key asset ready to be imported into my final render.
Creative Partner's archived.
Kavia Bala11 December 2014 at 19:19
You're nearly there Julia !!!
Kayliegh Anderson3 December 2014 at 16:11
Are you not going to model the tower from your concept piece? It looked really interesting.
Me : Guys!! How do you import a model to another model thingy on Maya? My Lamppost, house and Gates are all on separate maya windows O.O
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Lewis Maddison File, Import scene I believe
December 10 at 1:25pm
Wednesday, 10 December 2014
WIM Lamp Post Model and UV
Managed to get the UV Mapped on my Lamp Post. Just the house's and trying to get the tower or other building done.
WIM - Final Models - Key Asset 2 - Gate - UV Mapped.
With my Maya deciding to give me a heart attack. I managed to recover the screenshots of my work on my second key asset I have been working on. The Gate to ''Ertasia'' (Thought of a city name finally.)
Just to provide proof of my almost heart attack I took a picture of my screen when I began to work on my lamp post asset. It froze maya, closed photoshop and I lost my progress on the lamp. But I had only just started to UV Map it so its alright.
The following screenshots show the stages I went through to model my gate. I had to change the designs a few times because the UV Grid and Map didn't assign well to its shape.
Tuesday, 9 December 2014
Repulsion Movie Review
Repulsion.
Fig 1. Film Poster. |
Repulsion, directed by Roman Polanski, is a 1965 black and
white physiological horror based on a young beautician and her decent to
insanity. Carol Ledoux spends a little time alone in her French apartment,
which is situated in London, when her sister goes away with her boyfriend. This
apartment is run down, large and very antique. This reflects in how Carole
acts. At work, she is well known for ‘’spacing out’’ on the job and over the
time her sister was absent she got worse and worse. It didn’t help that, as
Peter Bradshaw quotes, ‘’she is
intimately disgusted by her sister's obnoxious (and married) boyfriend, and by
the way this man comes over for noisy sex in the bedroom next to hers, and
casually leaves his razor in her tooth-glass.’’ (Bradshaw, 2013.)
There is only so much a woman can take when she fells
repulsed by the thought of a man touching her. During the days that the sister
was absent, Carole begins not to attend work, leave a rabbit out on the plate to
rot and slowly digress into a state of complete mental break down. Bosley
Crowther speaks about the change in set design as Carole becomes even crazier. ‘’Distortions in the rooms of the apartment
tacitly reveal her mental state. Phantom arms that punch through the walls and
seize her visualize her nightmare insanity.’’ [See figure 2]
Fig 2. Phantom Arms |
It also seems apparent that with her growing insanity, she
seems to envisage the apartment getting larger, the rooms were growing, like
the space in her mind, and the cracks in the wall representing her sanity dithering
away.
With that said the sound that Polanski uses is very
powerful, like the ticking alarm clock that surmises Carole’s, as Elaine Macintyre
describes, nightly visits. ‘’At night she
is visited by terrible hallucinations (or are they fantasies?) in which men
appear from beneath her bedclothes and rape her violently, yet silently, the
relentless ticking of her alarm clock the only sound to be heard.’’ (Macintyre,
2014). The dramatic music that flows through the film riles up the tension that
explodes in abrupt violence just as Carole does when her sanity reaches
breaking point, the point in which she murders as, Crowther continues you out, ‘’within the maelstrom of violence and horror
in this film, Mr. Polanski has achieved a haunting concept of the pain and pathos
of the mentally deranged.’’ (Crowther, 1965). [See figure 3].
Fig3. Landlord Pre-Murder |
In conclusion, the film was utterly confusing, flicking
between her mind states, giving the impression that we should be going insane
too. In all it was a well-executed film and a challenging mind set to challenge
you to figure out what’s going on.
Illustration List.
Polanski, Paul. (1965) Fig 2. Phantom Arms. http://popcultureandfeelings.com/wp-content/uploads/2010/12/repulsion_shot13l.jpg (Accessed on 09/12/2014).
Polanski, Paul. (1965). Fig 3. Landlord Pre-Murder. http://twentyfourframes.files.wordpress.com/2013/08/repulsion3.jpg (Accessed on 09/12/2014).
Bibliography.
Bradshaw, Peter. (2013) Repulsion.
http://www.theguardian.com/film/2013/jan/03/repulsion-review. (Accessed on
09/12/2014).
Crowther, Bosley. (1965). Repulsion. http://www.nytimes.com/movie/review?res=EE05E7DF1739E471BC4C53DFB667838E679EDE.
(Accessed on 09/12/2014).
Macintryre, Elaine. (2014). Repulsion. http://www.elainemacintyre.net/film_reviews/repulsion.php.
(Accessed on 09/12/2014).
key Asset/Production Design Orthographic Revised.
Monday, 8 December 2014
Lamp Post Model.
Once Maya started to work I managed to model my second key asset, the lamp post. It's modeled after the shapes and curves of Erte's models present in his work.
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