Making Giants - The Scene

Music : [intro music]
Joey Korenman : Well, we've got a story and an animatic. It's like the skeleton of our short film. And now we have to start getting specific. Like what the heck is this thing going to look like? So there's really three big pieces to the puzzle, the plant slash vines thing, the building and the environment, the desert, let's start with the environment since we'll need that anyway, to get some lighting and reflections to, you know, kind of show up on our two main actors, the plant in the building. So let's just do it. Let's hop into cinema 40. I've already made a copy of the first shots scene. And you know, here it is. And one of the great things about working this way is that we've already figured out where the camera's going to be and how far away all this stuff is from the camera. And so a lot of the decisions about how much detail we need to add and all that kind of stuff have already been made.
Joey Korenman : And that's really important because, you know, for example, if we were going to be flying over the tops of these mountains and flying through them, we'd need them to be a lot more detailed and probably a lot more, I guess, specific in terms of their shape. All right. So let's start by dealing with the ground now, you know, I want that low poly look for the ground. I want like some lumps and I want it to feel faceted. And I'm just going to open up a new project here. The basics of the low poly look right, are, um, you know, you've got, you've got to shape, which on the surface, you know, you can see all these little polygons, right? You can see them on. Let me, let me actually go ahead and just bring the segments down. Um, when I render this, it's still looks perfect right now.
Joey Korenman : We've actually got a render perfect setting on the sphere. So let's turn that off. But even with render perfect turned off, it still looks smooth. Right? Well, I mean, basically what you do is you delete this font tag, just kill it, right? And now there's no more smoothing. You get that nice, low poly look you're done, right? And the rest is just lighting, compositing, texturing, modeling, you know, all the easy stuff. So what I'm gonna do is create a, I need to basically lump refy this a little bit and make it, make it feel a little less. Even now here's the problem. Here's the ground. And let me, let me go into my isometric views here for a second. If we look at this ground, it's enormous, right? This scene is very big. You know, I have to zoom away way, way, way, way in here.
Joey Korenman : If I want to look at the building, for example, right? The building is like way here and it's like, it's tiny compared to everything else, you know, you've got, um, like here's the building and then you got to go way out and here's the mountains and here's the ground. So, um, the problem is if I want this ground to get a little lumpy and say, I want to take a, you know, the way I would typically do that is just take a displacer deformer let me go ahead and delete this Fong tag that's on there. And in the displacer deformer, I'm going to go to shading and just add some noise. All right. And what that's going to do, let me, I'm going to do this quite a bit. I have a feeling is jumping to, uh, a fresh cinema project so I can, um, I can demonstrate stuff a little bit easier before we go back to the big project.