probably create it by lofting cross-sections along a path. These cross-
sections are like the bulkheads in a plane's fuselage. They're a very good
way to create accurate proportions on something where people are likely to
notice if it's out of whack, and believe me, Star Wars fans notice that stuff.
Lofting cross-sections is also a good way of creating subtle rounded corners
that would be difficult to add later. The rest of the parts are pretty much
basic geometric shapes like cylinders and boxes, but with raised-panel
details.
Razor-sharp corners don't usually appear in manufactured objects, and
they're one of the things that make CG models look like CG models. Even
where a part is clearly just a box, I try to use chamfered edges with at least
one facet to help "break" the edge. This creates an almost subliminal roll-
off of the shadow around the shape, plus a little highlight along the edge
that just looks much more natural.
The last step is texture mapping. In the case of the X-Wing, we were lucky
to be able to photograph the actual physical model used in the films. We
scanned and cleaned up the photos, then applied them as texture maps. If
we didn't have photo reference, then we would have had to paint realistic
textures in Photoshop. It was worth spending the time to do the textures
well, because so much of a model's character and sense of reality comes
from its mapping.
Q: Do you have any other tips or tricks for modeling or anima-
tion to help people improve their work?
A: I look at a lot of 3D work on different web-boards and forums, and the
most common problems I see are with lighting and composition. Most peo-
ple don't pay enough attention to those aspects of their images and the
results end up being far less dramatic or interesting than they could be.
Ironically, composition and lighting are among the easiest things to learn
to help you make your images look better. Read books on filmmaking or
photography to learn all you need to know. Tens of thousands of people
have spent the last 170 years experimenting with photography and refin-
ing these ideas, so it's all there for the taking.
The other thing is to not get caught up worrying about tools and features.
I've seen great work from artists using very low-end tools and hardware,
just as I've seen a ton of crap from people with $50,000 worth of equipment
and software. If you have something worthwhile and interesting to share
with the world, the tools you use should make little difference.
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