Posts Tagged ‘Alias Studio’

But I’m Not Dead Yet…

Saturday, May 10th, 2008

Hey all! It’s been a super busy couple of months. I’ve been a bit pre-occupied at work among other things.

Among those other things though have been helping Jenn with her shop and getting some of her ‘branding’ elements in place. New business cards are on their way along with some new website assets (when the cards get here). We’ll be getting some fabric labels for her handmade goods soon. Oh and we had rubber stamps made for addressing her shipments.
I’ve also been learning a bit of PHP (well, how to copy and paste it from tutorial sites and modify it) and so I have a new email system for the site. Click the contact me link in the right sidebar and drop me a line. I might even reply!
I did a bit of freelance work recently and grabbed myself a license of zBrush as a result. I plan to have fun with it at some point – although for those who aren’t up to speed on the whole zBrush thing – the user community has been waiting for an updated Mac version for quite some time now and it should be here at any moment. For now, I’ll install it on my Boot Camp partition, which just means I won’t use it much until the Mac version ships.
Speaking of shipping new software… Alias 2009 is right around the bend. Yup. Any day now.
As soon as we get our copies at work, I’ll put up a mini review. Maybe they’ll even have fixed the ‘tab key’ behavior that has become one of those little niggling under-my-skin things. It’s the first thing I check with every release of Alias, and then immediately file a bug report and then feature request. I’ve done so since version, um, 9? We’re coming-up on version 15 (a.k.a 2009) now; but whose counting?

Taking a rendering for a spin.

Monday, January 28th, 2008

Yay! A post for 2008! Happy New Year (and a few days… or more). 
Sometimes Often times I struggle to come up with neat tricks for this blog. Then I stumble on something and someone points out that it would be good blog fodder. Here’s one case and point..Anyone who knows me, knows that my current design tool fascination is real-time rendering. I just think it’s the most time saving thing for us product designers. It just eliminates so many steps of the ‘process’ and accelerates us toward our visions faster than ever.   

Alias Studio (my design tool of choice) has some pretty nice real-time visualization features, but since the features are fairly new to the tool, there are always additional features I wish for whilst using them. One such is to have a bit more control over the Image Based Lighting (IBL) set-up. There are some nice tone-mapping features, but no features that control the placement of the IBL image itself.

In this example, I have a product design from my archive that has had shaders assigned, ambient occlusion calculated and an image loaded into the IBL slot of my environment. The image is from HDRI-Studio and is a panoramic image of a professional photo-studio set-up. It’s a nice quick way of getting a real photographic look without much configuration or knowhow.   

But by definition, the image based lighting set-up uses a static image to generate both the lights and reflections you see on your display. Without the ability to move the IBL, you can’t really move the lights. They are one and the same.   
Inevitably, there are things about the light set-up that don’t suit the image. I’ve outlined a few things in this image that didn’t suit me. Aside from the details highlighted – one of the main features of this particular IBL image is the warm/cool lighting. From this vantage point, the face of the product is getting the full brunt of the blue-tinted light.
My workaround is pretty simple – I group the model geometry to the 3D view’s camera.

Now when I select the top level of the group, I can rotate about the z-axis and the model and the camera spin in tandem. The visual effect though is the opposite – it looks like the IBL image is spinning and now I can find my perfect lighting set-up. Below is the mouse shortcuts from the Alias manual. I use the right most mouse button to constrain my object rotation to just the z-axis. (You can rotate about other axes, but if you are using the reflection plane in your shaded view, you’ll get undesirable results because the plane itself is locked to the world coordinates – much like the IBL – and not the camera and/or the object.)   
This movie should illustrate the effect. Keep in mind, it’s the model and the camera moving, not the lights…  
Click to See Movie


After finding an angle that best shows off the form and materials, I can tweak my tone-mapping controls, make any last minute shader adjustments and I have a final image.

 

Another nice thing about this set-up is that the camera “eye” is still free to move within the 3D viewport. So I can navigate to the back of the product, then select the top level group again and adjust the lighting and I have an instant other view.   

This whole image (not including the documentation) took less than an hour to set-up and output.

Give me a brake…

Friday, July 13th, 2007

Ok, the real name of this post is “faking anisotropic shading for real-time rendering applications”, but that made even me yawn. But that’s what this post is about. It’s the first, in what I hope to be a series of tips and tricks revolving mostly around Alias Studio. I’ve found the documentation out there limited at best and this is my opportunity to give a little.

Just to set the expectations low – I seem to be blogging about once a month. So for what it’s worth – that’s my pace. On the other hand, if there’s anybody reading out there, please feel free to drop me a comment and let me know what you’re interested in and I’ll see what I can do.

So, when I was creating the shaders for the car renderings I posted about a while ago, I encountered a particular problem. One that I’ve encountered before, but never had the planets align to solve. Much of what I learn involves planets aligning and this time was no different. The problem was how to create a convincing anisotropic reflection effect that looks cool while tumbling the model live on the screen. If you’re not sure what this is all about Neil Blevins has a good explanation on his site here.

When I went to create a shader for the brake rotors, initially I used the same soft-chrome looking shader I created for the little rivets around the hub (and incidentally, this is the same shader the is used for the overall spoked portion of the wheel). It is just a basic Phong shader with the shininess turned down (broad highlights) and the reflectivity off to give it that bead-blasted look (no crisp reflections). But look at what I got on the rotor. Compared to the rivets, it was totally flat! Which makes sense I suppose, because the rotor itself is just a simple cylinder which is, well, totally flat on the ends.

While I was thinking about the problem, I started trying things. Things like using photographs to simulate the look – which works for static images, by the way, but I think it looks funny when you tumble the model. It’s a static image and thus loses all the luster of a real spun metal disc. Another approach was to use a bump map to actually create the tiny grooves on the surface of the rotor to get the effect. That has never worked for me – real-time or other wise. I consider it a brute force approach which tends to result in brutish end results.

I wanted the effect of an anisotropic reflection – not a physically accurate model of one. Of course, the answer was right in front of me. The hub portion of the rotor had a very dynamic highlight that responded to light in a very interesting way when the model was tumbled. The hub portion of the rotor was conical in section. The effect of light on metal with tiny circular ridges on it is also conical. So when in 3D rendering is the effect of a highlight in direct opposition to the surface geometry? When you use a bump map!

So, I added a simple ramp to the specular channel of my shader and got this. Sweet! It’s just a simple black to white ramp that follows the U direction of the surface. Since the end cap of the cylinder is essentially a revolve, the UV directions are circular and thus the ramp essentially shades the end cap like it was a cone – resulting the effect I wanted.

From there I started building a layered shader. The base layer was a simple gray Lambert. This would allow me to control the overall tone of the rotor. The next was to take my ramp-modified shader and tune it a bit. I made it 100% transparent with no color, no diffuse or anything else other than the specular with the bump mapped into it. Tweaking the shininess of the Phong shader controls the amount of “splay” in the highlight, while the intensity of the bump map controls the, um, intensity. I ended-up using a huge value (1000) for the intensity. This makes the virtual bump mapped cone quite tall. This may be somewhat related to the fact that I’m just using the default “Abstract IBL” rendering environment for this example – this scene just has a really strong single light coming down from the top. I’m sure if I used a scene with more complex side lighting, the value may not have to be so high.

As an experiment, I duplicated the anisotropic reflection shader I just made, layered that on top of the others and set the intensity of the bump map to -1000. So now I have two ramps layered on top of one another – one with a positive value and one of an equal, but negative value. This made the highlight symmetrical on either side of the center axis. It is hard to show in static images, but as you rotate the model, the effect is more obvious.

Lastly, I added yet another layer. This one has an image map of the cooling flutes. I used a solid projection for this. Three actually. One in specular to choke the highlight out of the holes, another in transparency to prevent the anisotropic shaders below from shining through and one as a bump map to get a highlight around each edge (this map had been blurred in Photoshop).

Here’s a slightly different view that shows how the conically shaped highlights travel across the rotor.

That’s it! I hope you enjoyed this first whack at a tips and trick series…       

Cheers,
J.

 

 

Car Design…

Monday, May 21st, 2007

I don’t really consider myself a “car guy”. I enjoy racing games. I’ve seen the Pixar movie. I know my fair share of the latest models on the street and many of the classics. But I don’t crave them. I don’t talk about them all the time. I don’t care if I’m driving the latest or fastest. I can’t fix them. I’ve never seen Bullitt.

 

As a designer though, there is a certain allure. I never had the chance to take a legit transportation design class in college, but there was that temptation. That niggling little voice in my head that said, “yeah, cars are cool.”

There is just something inherently interesting about the shape of cars; the whole format; the platform if you will. Four wheels, two headlights, etc. It’s amazing there are so many variants out there. So many interpretations for a fairly limited archetype.

 

That little voice told me to give it a spin. Get it out of my system. I started this project, a long time ago. I just had to finish it so I could move on to other projects that I need to get out of my system. So about a week and half ago, I dug out my old files and started over. It’s nice to step away from something and come back to it. You see new things.

 

I started with this as my basic idea: make a “super car”. Yeah, I know – cliché, but if you have to get a car design out of your system, might as well make it big and fast (looking). I wanted something that evoked classic 60′s cars (Dinos and Cobras and such) but still feel modern. I always loved this era since car design really was about the shape of things rather than how contorted the sheet metal could be or how many vents something could have (all functional of course!). Keep it simple. Make it nice.

 

I know there is a lot missing with this one. No side markers. No exhaust (hydrogen power?). The grille isn’t really finished. I didn’t do an interior since I didn’t start from the inside-out and no-one could possibly fit in it… or maybe they could. I took the basic dimensions from a Murcielago; overall XYZ dimensions, the track width and wheel base (although I ended-up stretching it a bit).

 

I took this on as a personal challenge. There was a lot I didn’t know about car surfacing and overall proportions, but I know what I like. I like Cobras (as mentioned). Harald Belker’s Lexus from Minority Report is pretty cool. I love the DBR9 Aston Martin. The Ferrari P45 and Enzo are nice as far as super cars go. So yeah, I took bits and pieces from all of these to make my car. As such, I didn’t set out to make it fit any existing brand. I don’t have a name for this car. It’s working title was just J-car in all my 3D files. It could really use a logo on the nose and tail. Details…

As an aside, I should mention that all of this was done in AliasStudio 2008 running on my new Mac Pro. Overall, I am super impressed with the performance. The images are not renderings, but screen captures directly from the CAD application (with a bit of Photoshop for the depth of field and lighting effects). Real-time rendering has simplified my life in so many ways. I love to look at a product as it is developing and evaluate in under a variety of lighting conditions and in different materials. The “image base lighting” features added in the 2008 edition make for some fantastic images. These have a nice airbrush quality to them more than photorealistic. Not hyper real, but convincing. Maybe one day, I’ll do some Maya Mental Ray images of it.

This has been a really fun project. I learned a lot. I learned how many tools are in AliasStudio are tailored for car design that I don’t use on consumer products. I also picked-up some cool shading tricks that I may share at a future date.

Oh, and here’s one for the Cobra fans…

Alias Studio on a Mac

Monday, December 4th, 2006

One of my long time dreams has been to have Alias Studio running on my Mac. I’ve been using Alias since ’96. Life wasn’t so bad when it primarily ran on SGI hardware. SGI’s were fun and esoteric enough to maintain my interest. I didn’t ever really wish to run the Class A modeling software on anything else until Alias (now Autodesk, but I’ll still call them Alias) ported Studio over to the NT platform and my SGI’s were replaced with hardware that cost a tenth as much. Not that cost had anything to do with it, but anyone who weathered the transition knows how rocky it was – especially if you were quitting SGI’s cold turkey and suddenly had half the features you were used to and a buggy GUI among other things.

I had been using Mac’s since ’85 and Alias’s migration away from IRIX (a flavor UNIX) coincided with Apple’s migration toward Mac OS X (also a flavor of UNIX). It seemed logical that eventually Alias would port their preeminent industrial design software over to hardware that won the most design awards. Well that’s the way it worked in my world.

It never happed. Or, at least it hasn’t happened yet.

Until now. Well, sort of.

My wife and I purchased a new MacBook Pro to replace an aging iBook. Within the first week of having it, I couldn’t resist loading on a copy of XP via Boot Camp just to see how it ran Alias.

I have been really impressed with the results. Considering that it uses an unsupported ATI GPU, I have been very pleased. I have completed a couple projects for Teague from the comfort of my couch and returned to a few projects for myself that I’d started over the years. It’s been a total joy.

At work, I’m currently running a Dual Woodcrest PC with two SLI Quadro FX4500 graphics cards. The little MBP doesn’t support much of the real-time visualization that I can achieve with the nVidia’s, but for most modeling needs, it really rocks! Definitely a mobile CAD solution if there ever was one.

I’ve been pleased with it’s ability to tumble large assemblies, even in shaded mode and with real-time reflections turned on. This makes modeling smooth curvature continuous surfaces very effective and efficient – one of Studio’s strong points.

I’ll continue to post my experiences as I live with the MBP and Alias solution. My preference would still be to have the software as a native Mac OS X application, but for now, Boot Camp and XP works well.

PS: Yes, I tried CrossOver first, but Boot Camp worked the best. I could never get CrossOver to launch past the splash screen.