Month: November 2021

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Maya – Week 7 and 8 Blending Shapes and Subsurface

In these two weeks, we were given a simple head and worked with rigging and animating the head using parent constraints and blend shapes. We started by adding in some very simple and small blend shapes like furrowing the brow and by using the sculpting tools with symmetry on

After this i added in some small other blend shapes using the same technique done before, adding in a nasal and a grimace, making sure to use the soft selection tools when making the lips to not affect the entire area but only one surface so i could do each lip separately.

I ended up going through a couple different shapes with the lips as i wasn’t quite getting very satisfied with the results, so i went in and used a lot of the smoothing tool to try and smooth out certain areas and pulling out certain areas to make creases in the face.

After this i added in another small sulk to the character.

Then i went about lighting this so i could see it properly in the arnold viewport. I used a spotlight and had to change all of my textures to set as an AI Standard surface so that arnold would render these properly, i also had to adjust the lighting multiple times as i’ve found sometimes using spotlights that they really aren’t bright enough a lot of the time and had to crank the intensity up to a lot. I also removed all unused nodes to make sure the model wasn’t going to be using any unused textures and to just clean up the overall file.

After this i went about creating a joint structure to move the head, and then binding the skin of the mesh to the actual joints to move it around.

After this i also went about parenting things that weren’t attached to the headto the joint structure so they would still move accordingly, ie the eyes moving with the head, but made sure to tie the teeth to both the head controller for the top row and the jaw controller for the bottom row so they would open properly.

This was great and all but unfortunately when moving the jaw, the face would warp due to have auto generated weights around the joints. Admittedly i’m not great at doing weight painting, though i did a fair amount of practice by failing so many times, especially when failing to get the mouth to open properly. The key of this was to switch between the addative and smoothing options and tweaking the opacity. With painting these, the head shape needed to be half of the top portion of the jaw, and the jaw controller needed to be the lower jaw to the neck, with the smoothhing being in between the cheeks, then using selection tools and hammering verts that wouldn’t cooperate properly to average out their position and weight.

After this i used some simple circle splines to create controllers for the head, then zero’d them out by deleting the history and freezing them and constrained them to the joints, making sure to keep an intact hieracrchy.

Next i went about making a lip shape that would make a puh effect when going past a certain point on the z rotation. i did this by learning how to use the drive keys to essentially make two different objects affect the other in different ways, for example a rotation of one sphere affecting the scale of the other.

After this i went about creating some blinking face shapes, using the soft selection tool to grab certain faces and morph them to making the eyelids close.

After this i rendered out a couple small frames of the face shapes.

Next we learned about some of the ways that certain things in terms of rendering work in maya. Using four spheres with different textures to illustrate this, with using more samples to reduce graininess and increase light passes and refractions. I also learned about using subsurface texturing to have light pass between an object if it was thin enough, an example being how light hits your ear and passes through and is coloured red by the blood in the ear. I used this to make a subsurface map in photoshop that would appear under the skin when light would hit it hard.

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Nuke Week 7 – Colour Correction

This is what my my Nuke tree loks like at the end, and what i was meant to comp in and colour correct, so lets see how i got there and the end result.

I started out before doing my primary corrections with putting in an unpremult node to properly color correct the edges, i also pulled up my colour scopes to try to correct more accurately and make sure i didnt have any whites or blacks clipping with any of the corrections.

I went about doing my primaries by originally adjusting the exposure with an exposure node slightly and then moving onto a grade node to bring adjust the highlights, shadows and midtones and try to give it some more overall contrast as the original image looked fairly washed out.

II then added in a color correct node to try and add an orange tint to the shadows and highlights of the plane, to simulate the orange sunset in the back hitting the plane and washing it out with orange tones, especially on the highlights. This gives it a little bit more of a red look because i didnt want to blow out the colours super hard until i could use my huecorrect node later.

The midtones on this felt kind of dark, so i took a grade node and slightly lightened the midtones a bit.

After this i took a last stab at bumping up the orange tones with lightning them through a hue correct, as i didnt want to blast out the midtones on the previous colour correct node but wanted the colour as more orange, i went about doing this by adjusting the oranges on the hue correct and toning down the blues and greens.

For now i think this looks better then it originally did for sure, but i want to come back to this and try to add in a lightwrap and adjust some more of the highlights to make it seem as though the light is hitting off of the jet a bit more.

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Mise-en Scène – Squid Game’s “HoneyComb” Scene

In the Netflix Series “Squid Game” Contestants are put in a life-or-death game in which they are meant to compete against each other. With the second game of this challenge being a game called honeycomb in which the players are to cut a shape out of honeycomb within 15 minutes, failure to do so results in the elimination and death of the characters. I will be doing my Mise-en Scène on the “Honeycomb Game” scene from the show.

https://www.youtube.com/watch?v=8_XHjj-u_ig&ab_channel=Trending

The Setting and Props

The setting of this scene is meant to be a childhood playground, with many of the colours in the scene being bright vibrant colours on the background, with painted blue walls and colourful playground equipment. This all would feel very safe aside from the guns being carried around by the game’s hosts and the overall reality of this game being life or death.

The Costumes

The costumes of this scene are made to be all the players in a green almost indigo colour, ready to play the game. The hosts of the game that always hold weapons wear masks and bright red or pink clothes, almost as if a warning that an animal gives off. The hosts also always wear masks, adding to a level of dehumanization or mystique in that you never know who they are and always seem automated or cold.

The Facial Expressions and Body Language

In terms of the facial expressions throughout the scene, all characters go through varying stages, with some being happy about getting easier shapes, some in distress, and many being brought back to the reality of the situation after the first player is eliminated, going to hopelessness or even fear, their body language usually being tense, cowered over in fear. This contrasts heavily with the masked game hosts showing no emotion having very calm body language and walking around without even reacting to the death around them, adding to the player’s fears and tension of the scene.

The contraring facial featurs between the players and the hosts, with even the shot being filmed shooting down at the player and up towards the host, showing the disparity between them.

The Lighting and Colour

The lighting and colour of the scene is meant to be very colourful in the prop designs, but in terms of actual grading, a lot of the colours are toned to have very blue and green colours purposefully, attempting to blend even the more colorful tones to more drab and darker tones to enforce the overall tension in this scene. This is also exemplified with many shots having a vignette, especially on wider shots to make it feel more claustrophobic or tense.

The darker tones of the scene. Colour swatch generated via www.canva.com

This contrasts heavily with a lot of the grading within scenes out of the game, with an in-between showing a character being taken out of the game immediately going back to lighter tones.

The lighter tones after one of the players has left the game successfully and is now safe. Colour swatch generated via www.canva.com

The positioning of Characters and Camerawork

The positioning of characters and camerawork of this scene both exemplifies the game being played and the overall entire game throughout the series. There are many shots in which the hosts of the game are framed either standing above the contestants or being above them. This Is being used to exemplify that the players truly have no power and are at the whims of the game and their own skills in order to survive. Even with top-down views, the players are still shown all on the floor with even some on their knees, with the hosts standing above them with weapons.

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Maya – Week 6 Character animation practice

We next went about creating a character and rigging it for animation purposes. I created a head and torso out of simple squares, and made sure to keep these all grouped in a parent structure in which affecting one would affect all others in said group, also making sure to change pivot points as to where it would make sense for a body part to rotate from.

The arms follow a hierarchy in when the parents moves, the children must move along with them, an example being if the arm moves then the forearm, hand and fingers must move with them.

Next i went about building some legs for the character. After which was the much harder portion of using bones to make a leg structure to build a way for the legs to move as opposed to a parenting structure used on the arms.

These joints had a similar parent child hierarchy to before, and were paired with

I also mirrored the joints to make a secondary leg and simply set on to Hips L instead of Hips R. I then created a hip joint and constrained both legs to the hip joint. This would make the hierarchy have it where the pivot points from the bones would all work downwards.

I started creating some IK Handles, in which moving one joint to another would move the joints in between, for example moving the ankle joint would then move the knee joint inbetween the ankle and hip joints.

I then made a simple circle spline and used this as a hip controller, parent constraining it to the hips so that i could use a spline to then control the IK Chain instead of grabbing individual pivots and moving those. While both work, samply grabbing larger splines would be easier.

After our professor, Nick had taught us these concepts he gave us a fully rigged model with all the handles and parenting completed for us to use in works of animation. I Went about using the same techinques learned in the previous lesson and also the techniques used in the physics animation of easing keyframes to create a smoother, realistic animation in which i could have the character properly pick up a ball, slowing down in certain parts and speeding up in others, specifically having him slow as he crouched and having him speed up on the height of him standing up. Making sure to always rotate the splines as joints would rotate and not move on a human being. I also tried to use a very slight movement in the right leg pivoting to make the movement of knees separating when the character bends down.

I had a decent animation, but it could still use some tweaking and wasnt actually picking up the ball at all.

I fixed this by making it so that when the character’s hand goes over the ball, between one frame it would toggle the ball and constrain it to the hand inbetween two keyframes being on and off

After this i had a much better animation going.

Then i added some simple textures and made a full render, adding a chrome texture to the sphere being picked up.

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Maya – Week 6 Animation Physics Practice

I started this practice with going about doing this by making a staircase, this was as simple as making a stair spline in the viewport and then using the CV Curve tool to build up and then make a loft out of the two splines.

Next i went about using a combination of the graph editor and the the viewport to start adding in keyframes to making a sphere move down the stairs. Right now there was only two keyframes, one at the top of the stairs and one at the bottom affecting only the y and X coordinates.

I then started adding in some keyframes to the y coordinates for it to start going down the stairs.

However this was looking extremely flat, so i started tweaking the interpolation of the Y keyframes to go from non linear to a drop off moreso to mimic the physics a dense object would have when falling down stairs.

I tweaked these keyframes a bit more as they were still very rigid using the graph editor, and was a bit more satisfied with the result.

Next i put in a second ball that would have a lot less density and have a lot higher bounce then the previous ball, i followed the same techniques but simply let the ball have a lot more time in air then the hard ball to give the appearance of a lot more weightlessness on the Y axis.

After this i went about adding in a rotating affect on both of these., i added a checker pattern on both so i’d be able to see the rotation, and simply used two keyframes with interpolation that would speed up at the start and slow down towards the end, giving the appearence of them both slowing down the rolling towards the end. I then went about rendering this out by going into the rendering workspace as opposed to animation and tweaking the render sequence to render out all existing frames as an EXR

I then went into media encoder and converted this into an MP4 And was happy with the result on a simple animation physics test, though i think the animation could still use some more smoothing.

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Nuke Week 6 – Roto Practice

In Gonzalo’s class we were given the task of doing some roto on around 100 or so frames of animation regarding a man running down a bridge where both the man and bridge were meant to be cut out.

I started out with getting a roto for the ground and pillars on the bridge as the camera isn’t quite a still and would need to be tracked. I made a track and then had it tracked fairly well as while there is movement on the camera, it’s very subtle and doesn’t move a whole lot.

I managed to get a roto of all parts of the bridge and afterwards went about slightly adjusting and matching the tracker’s movements onto the roto coordinates.

Afterwards i went about attempting to track portions of the guy running’s body in an attempt to make rotoing slightly easier as opposed to moving the roto every 5 or so frames but this ended up not working in the end and ended up scrapping the tracks.

I went about breaking the roto into different sections of the body to get a bit more control, starting with separating the legs into four different roto portions.

Afterwards i went on to doing the chest and torso portions to try and separate out the roto to get more overall control.

Lastly i went about separating the arms and head from the roto, as I’ve learned prior that using as few points as possible and separating it into as many shapes as possible gives both more control over a roto and makes it easier to do as you’re not tweaking thousands of points.

This is what the alpha looked like on just the guy running, as well as what the mask looked like on him while moving.

Next i combined the alphas using a merge and this was the result of that. I plan later on to do some more experiments with just refining the roto, feathering in places and getting both the feet and hands, but as this was mostly just to experiment with how Nuke’s roto works, for now i’m content with it.

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Maya – Week 5 Fireplace build and other Small models

We started this week by attempting to use Mudbox to create some proper bricks for my fireplace. To start i went about making a proper displacement map out of an existing brick texture in Photoshop. I did this by adding a black and white filter, and then adjusting colour levels to try and make this texture as black and white as possible, meaning making the divets in the bricks as black as they can be and the bricks being as white as possible with little grey inbetween to get a more defined bump map.

After i’d used things like photo filters and literally painting out some of the bricks into white, i went into Mudbox and made a simple plane to test out the brick texture on. I first increased the subdivision level on the plane to get more detail on the bricks, and then used the bumpmap i had created as a stencil overtop of my plane. I then used the sculpt tool and started painting the stencil onto the plane, tweaking the strength on the sculpt brush to a higher sensitivity occasionally.

The bricks weren’t as defined as i had originally wanted, so i went about going back into photoshop and a combination of levels, curves and a gaussian blur to remove a lot of the noise and grey little pieces inbetween.

I then made another plane and repeated the same process, making a new stencil with the new bump map.

This was looking a lot better compared to what i had previously and was something i was a lot happier with. I then scaled it a bit more on the Y Axis to make the bricks more defined with the divets and liked the result a lot more.

I Then went about trying to extract a displacement map through mudbox’s extract texture map, though unfortunately, Mudbox’s 2022 version absolutely refused to work in terms of exporting this, meaning this now stands more of a proof of concept with mudbox, as i’ll have to use Maya to do my bump mapping.

After this i went about using a simple cube and using the Duplicate special, and spaced them apart and created a load of identical copies of the cube in a row.

After this i sculpted a couple of them to look not so linear and made one in particular higher then the others in the middle as i wanted this to be the keystone of the fireplace, then i used a nonlinear deformer and bended the cubes into an arc. I also built a very rudimentary fireplace interior simply using the extrude tools.

After this i was having some problems with the UV’s on the interior of the fireplace, this was due to some of the way it had been modeled as i needed to use a combination of multi cut tools and adding divisions as the mesh wasn’t symmetrical, and then smoothing the UV’s using the smooth UV tools.

After this is textured the keystones, using the sculpt tool to also make them look more non uniform and adding a high bump value. I also textured the actual floor and interior of the fireplace, I also used a high bump value on this to give these a lot more geometry. I also extruded out some parts to make the fireplace look a bit more blocky on the hearth.

This fireplace was looking a lot better now.

However a big empty fireplace was looking a little bit empty, i remembered how i’d tried to build out some logs for a log cabin earlier on, so i repurposed that and used it to put some logs into the scene, making them have a high bumpmap for geometry and using the sculpt tools to make them look a bit different from eachother.

I then wanted to populate my scene with a couple other things, like a couple wineglasses, so i used the same skills i had used for the bottle but did the same thing in making the spline of a wine glass.

I also took the time to build a book, using the extrusion tools and adding edge loops along the way.

The glass was textured fine as it was simply a default glass texture, however the book still needed to be textured properly. I sorted out the UV’s to a decent amount and went about separating out the textures, i originally had some issues with this due to some small bugs but managed to work it out and put some placeholder textures on just to make sure it would work.

After this i added in some better textures. I then went through and made some variations in photoshops, and created two better bumpmaps for the pages and leather book casing.

I then started adding all of these things into my scene, attempting to make the scene more lively and full of items.

An issue that i had for a long time was attempting to make my lantern cast light properly, as the glass object encasing it was preventing light from coming through even with transmission on, i originally tried to fix this with multiple different ways, such as tweaking transmission, specularity, intensity and exposure of the light, and finally i found some solutions. I set the texture to turn shadow casting off and it was finally going through the glass.

The problem with this was that it didn’t cast shadows on anything at all, meaning the light was shining through objects that it wasn’t supposed to. I fixed this by turning cast shadows back on and then going into the attribute editor spread sheet and turning off cast shadows on the actual object instead of the light. this then made the light look a lot better.

I then went about positioning the objects around and tweaking the lantern a bit more and then rendered out some still that i’m much more happy with.

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ZBrush and Maya – Mounted Deer Head

I wanted to make a mounted deer head for my rustic cabin scene as to experiment around with ZBrush. I’d seen that the smoothing and sculpting tools were easy to approach in ZBrush and could make some highly detailed things but when making things before i’d started off with a basic human head shape. I Decided to start off with a basic reference photo from google images and make a geometric low poly deer head.

After this it was just a simple task of adding in edge loops with symmetry and pulling apart polygons until i had a very rough shape of what it was going to be. I did this in an orthographic view port facing head on just to pull apart polygons as i found it easier to do then using a proper spline setup.

After this it was looking fairly good in an orthographic viewport but it had no depth to it on the Z Axis. Using just the perspective view and the soft brush i went about pulling out vertices on the Z Axis and giving it more depth.

It started coming along with adding more edge loops into parts like the horns and pulling out the edges very quickly.

After this the low poly head was done, i got both versions of what it would look like subdivided and polygonal and took it into ZBrush afterwards.

In ZBrush i went about both using the DemStandard cut tools and the move tool to pull apart and smooth the mesh down to get some results that i liked. I focused on deforming both the horns to look a little more organic then before and tweaking the eyes a lot. A lot of the difficulty i found with doing this was finding out the organic shape of what a deer’s head looks like with muscular structure, as all deer have fur covering the skin, and had to deduce through a lot of refrence images what it would look like.

Overall i’m happy with the way it looks now aside from the hole in the mesh that i’ll need to sort out, and may just add some more polys to flesh it out a bit more. Afterwards i’m not concerned on adding texture to the skin as this will be covered with fur and i may do so using Maya’s Bifrost engine.

After working with my professor Nick later on, i managed to fix this small hole in the bottom left of the mesh by closing up the hole using the move tools as much as i could, and then remeshing the subtool. I made sure to go inbetween undoing and redoing this to get the hole closed while still trying to keep the mesh as detailed as possible, as remeshing at a high level destroyed all detail. I let the project lay dormant after a while as i had some other things i needed doing, and then came back into the project after revisiting some of the ZBrush work from Week 5. I used the polypaint to make a very simple colour outline, and then decided to record the rest, using a combination of different colours in painting, smoothing the colours together, adding in textures via alphas, going back and subdiving the mesh more to get better detail on the alphas, and overall making the deer look much better.

Below is the process of doing this at over 2500x speed.

After this the deer was finshed, after being subdivided at around 5 million polys. i took this into Maya after using the UV Master tools to create a UV and making a displacement map / texture, after adjusting the bump on the displacement map to not explode all over the place, i realized something was wrong with the actual mesh.

I had some theories as to what was happening, but most of them stemmed from when i began subdividing in the process of creating this in ZBrush, as after remeshing my mesh had lost a lot of polys and when adding in alpha detail i had to divide again. I believe this broke the mesh in a weird way in ZBrush, as after consulting my prof Nick and getting his gracious help, The problem was in fact that ZBrush had broken up the mesh when exporting, which would cause major issues when applying textures and displacement. This was solved by turning off textures and displacements, grouping together all subtools, and then checking using the grid feature inZBrush to make sure the mesh was all in one object. I eventually used this exact process again when creating my Nordic Axe to make certain it would transfer properly into Maya. I imported the Deer into Maya and fixed the bump map once again blowing up even though it looked fairly neat.

After this it was finally done. I imported it into my scene and rendered it out. Overall i learned a fair amount i feel, and got a bit of a better feel about what i should and shouldn’t do when using ZBrush in terms of the workflow and also helped me learn to troubleshoot some issues like things not grouping or holes in a mesh.

I also built a very small plaque for the head to rest on in the scene out of wood in the shape of a pentagon simply using some edge loops and moving them around, though as this was in a dimly lit area in the scene for my room its not as visible

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Analysis – The Blair Witch Project

The Blair Witch Project was a movie in 1999 that challenged a lot of the conceptions of what a movie of the time should be. The movie is based off the premise of a camera crew going into the woods to film a documentary about the legends of a witch in the nearby woods. This adds an element of the film being very Meta and feeling more real as the cameras, audio equipment and crew are all referenced in the story of the movie. The movie seemed so real in fact, that in a quote from The guardian: https://www.theguardian.com/culture/2018/may/21/how-we-made-the-blair-witch-project

The co-director of the film, Daniel Myrick stated that: “We were listed as deceased on IMDb. Our parents started getting condolence calls”

The film consisted of only 3 cast members and cost around 26,000 pounds to shoot.

At first, the film doesn’t appear to have a very concise beginning, middle and end. The end is very abrupt and the climax at first appears to happen within 5 minutes of the ending. This works to the movie’s effect of realism, as in real life, things can proceed or go down hill quickly, but as a movie it’s somewhat different from the traditional Three act structure seen in most movies.

Exposition: The Exposition for The Blair Witch Project is longer then most films, with the conflict not starting until much later on in the film. The exposition starts with introducing us to the main characters and giving us a bit about each of their personalities through their interactions with each other, and then giving us small hints about what or who the Blair witch might be through interviews with local residents.

Conflict: The conflict in the film occurs when after filming shots over a day in the woods, the group finds themselves lost on the second day and can’t find their way back, attempting to stick to a map and compass to find their way home.

Rising Action: The rising action in this film takes up the longest portion of the film, with the climax, falling action and resolution only taking up around 15 minutes at the end of the movie. The rising action consists of the characters fights between each other, stressing over being lost, and having an unidentified entity consistently antagonize the characters night after night. This leads to a lot of smaller elements like losing the map to get out, interpersonal fights between characters, and revisiting the same areas or finding weird symbols on trees, all being separate conflicts that come together as one to quickly deteriorate the character’s mental states.

Climax: The climax of this film happens very quickly over a short period of time and its slightly difficult where to determine where the climax actually is. One of the characters is taken in the night, and throughout the next day the remaining two characters attempt to find him with no success. The small action portions in this movie occur over night, leaving the days to feel like a reprise, with this day being the shortest out of all others and not letting the viewer feel much relief at all from the previous night.

Falling Action: The falling action for this movie comes with both the viewer and character’s slow realization that the group most likely isn’t going to make it out of this situation. Over the course of around 5 minutes, the characters find an abandoned house while hearing their friend call out to them and scout around to try and look for their friend. It could be perceived that this is also a continuation of the climax, with the falling action not being a main emphasis and the story ending abruptly.

Resolution: The resolution of this film ends with the implied death of the characters on screen. With this being made to be a handheld or found footage style film, the audience only sees what the character sees as long as the character is filming. This leads to intentional gaps in the viewers knowledge when the characters are not filming, leaving the audience to piece together or interpret what has happened or other story elements throughout the film.

Overall: This film is difficult to analyse in a typical 3 act structure as by design, it is made to have portions that are very quick and others that are very long. The beginning of the film with both the exposition and conflict follows the typical three act structure, but the rising action and climax go far past the 2/4rd portions of the runtime, with both the climax, falling action and resolution all happening so quickly that it’s difficult to place exactly where the climax starts and where the rising action does. This does make the story feel rushed towards the end or even chaotic, but the intention was to make this story feel real with chaotic quick segments making it feel all the more real.

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Maya – Week 4 Curtains, HDR Box and scene lighting tweaking

Firstly, i noticed in my room build that there were some issues with the walls, as this was made to look like a log style cabin, the logs are meant to be lined up and roughly the same size, though one of the walls was not the same. I used the viewer tools to disable the grid in the viewer, then went into the UV Editor and lined it up by moving it and scaling around more.

I went about making some tweaking to the lighting of my scene, as i needed to start making a couple changes as the scene seemed much to bright. I used the lofting techniques similar to the revolve technique used for the glass. i used the CV Curve tool to build a short wavy spline to look like a curtain, then used duplicated this twice and pulled them down to use for the loft.

After this i used the Loft function on the splines and set it to use control points and output polygons.

After this i applied a brown fabric style texture and started and added a low amount of transmission allowing light to pass through similar to glass. I went about tweaking the curtain’s control points as it was looking really blocky originally, this was due to some of the control points overlapping so i went about going through these points and separating them. I also used the soft selection tool to move some of the control points around and make the curtain look a bit more organic and like a fabric.

After this i put a side by side of the spline before and after i had fixed the blockiness and made it look a bit more organic,

Unfortunately i noticed that the top of the curtain was clipping into the top of the windowsill fairly hard, so i went about adjusting those control points to make it just overlay on top of the windowsill. I also saw that there were some holes in the above board mesh and that there was a lot of messy and really sharp geometry, so i used the smooth sculpting tool to fix it up a little bit.

At this point i really was hating the colour and design of this fabric, so i went about changing it to a more grey fabric texture, and adjusting both the transmission and the specularity, as a semi see through cloth shouldn’t have almost any reflectivity.

I liked these curtains a lot more, though i felt like a snowy log cabin might be better for the outside HDR Box, and may change the overall feel of the lighting.

I Experimented for a while with the lighting, however i realized using an HDR Of a snowy background wouldn’t have a whole lot of lighting difference and would be a lot more blue in terms of lighting and decided to stick with the original, though i tweaked the Lamp’s colour tempurature and the exposure levels of the HDR lighting.

I Then decided to add in some other things i’d built, such as a plate and the chairs i had built in week 2, i tweaked the bump mapping and textures on both and also added in the cheese i had built, then scaled everything properly and edited them in scene.

After this i tweaked the lighting for a couple hours as i was really finicky with it, experimenting with exposure and intensity, and eventually settled on this. Overall i’m happy with the end result.

Next i’d like to add more of the models i’ve previously worked on into the scene.