Real World MODO：3D技术深度探索

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"Real World Modo - 在3D领域的实战指南" 《Real World Modo》是一本专注于MODO软件在实际3D制作中的应用书籍，由Wes McDermott撰写。MODO是一款强大的3D建模、纹理、渲染和动画工具，广泛用于电影、游戏、产品设计和广告等行业。本书旨在帮助读者深入了解MODO的功能，并将其应用到真实的项目中。书中内容深入浅出，从基础操作到高级技巧，全方位地展示了如何在工作流程中高效地使用MODO。作者Wes McDermott凭借其丰富的行业经验，将理论知识与实践案例相结合，使读者能够快速掌握MODO的核心技术。书中的章节可能涵盖以下知识点： 1. **MODO界面与工作流程**：介绍MODO的用户界面，包括工具栏、视图窗口、属性编辑器等，以及如何设置高效的工作环境。 2. **建模**：讲解多边形建模的基础和高级技巧，如细分表面、变形工具、布尔运算以及NURBS建模等。 3. **纹理与材质**：探讨MODO中的材质系统，包括颜色、贴图、法线贴图、置换贴图的使用，以及创建复杂的材料效果。 4. **灯光与渲染**：深入学习MODO的照明系统，包括点光源、聚光灯、环境光等，以及渲染设置、全局光照、焦散效果的实现。 5. **动画与动力学**：介绍MODO的骨骼系统、蒙皮、关键帧动画，以及粒子系统和刚体动力学的运用。 6. **后期合成与输出**：讲解如何在MODO中进行基本的合成操作，如遮罩、调整层，以及导出图像序列和视频文件。 7. **实例分析**：通过真实项目案例，演示从概念设计到最终成品的完整过程，帮助读者理解如何将所学知识应用于实际工作。 8. **插件与脚本**：介绍MODO的扩展性，包括使用Python进行脚本编程，以及第三方插件的集成和应用。 9. **最佳实践与优化**：提供工作效率提升的建议，如场景管理、资源组织和项目协作的方法。 10. **社区与资源**：分享MODO用户社区的信息，包括论坛、教程和共享资源，以持续学习和交流。这本书对于无论是初学者还是有经验的MODO用户，都是一本宝贵的参考资料。通过阅读和实践，读者可以提升在3D领域的技能，应对各种创意挑战。

Introduction

Trench Warfare

Trench warfare is kind of gruesome topic for an introduction, especially an

introduction for a book about 3D software. So what am I talking about? I

definitely don’t want to compare being a 3D artist to something as horrible

and frightening as war, to say in the least. Maybe it’s the fact that I just finished

watching HBO’s Band of Brothers series for the first time or that I’ve been

playing Call of Duty on Xbox LIVE that’s got my mind entrenched in epic battle

sequences and an awe-inspiring respect for the comradery of brothers in arms.

There’s a particular episode in Band of Brothers about the Battle of Bastogne

that really resonates in my mind. In this episode, the heroic men of Easy

Company are in the dead of winter, pinned down in their foxholes with hardly

any supplies, doing what they need to do to not only survive but to complete

a mission. Being a 3D artist, working up against a tough deadline, can

sometimes feel like I am in the dead of winter, pinned down in the trenches,

low on supplies, with a huge deadline exploding all around me like mortar fire.

I am doing everything I can to hold the line, but shrapnel is exploding all

around me. It’s at this point where I, too, need to dig in and do what I need to

do to complete the mission, to finish the project on deadline.

Before you start thinking that I’m off my meds and decide to close this book,

let’s explore this analogy a bit further. Let’s say that you being a 3D

artist—either working contractually or for a company—is like a soldier. A

project is your commanding officer, and it might require you to take the hill or

secure the forward line. The gear in your pack is your computer, software, and

other equipment like a camera. Your battlefield training is your 3D skill set and

experience. Now, there will be times in the heat of “battle,” finishing on

deadline, where it might feel that you are fighting impossible odds and

against a formidable foe, but much like Easy Company in the Battle of

Bastogne, you need to dig in deep. You need to pull out of your pack the tools

needed for the specific task and rely on your battlefield training to provide you

with the skill or technique that works best for the given situation. Your gun

might jam, which is a sudden software crash, but your battlefield training will

kick in and you’ll complete the mission. It might get messy and may not be the

perfect solution, but you’ll get the job done.

Introduction

How Is This Book Different?

If you’re like me, you’re probably at the bookstore standing in the computer

graphics aisle, sifting through books, and trying to fill in some of your

knowledge gaps. I’m glad you found this book and are reading this section.

I think that if you continue reading, you’ll find that this book takes a unique

look at developing your skills as a 3D artist. I’ve read dozens—and I mean

dozens—of books on 3D over the years, and I know from experience how hard

it can be when you’re trying to teach yourself. I also know how frustrating it

can be when you purchase a book, excited about increasing your skill set, only

to find that the book stops short right at that critical moment when the light

bulb is about to go off in your brain, and you are left with even more questions

than when you started reading.

I’m not saying that this will be the only modo or 3D book you’ll ever need. In

your career as a 3D artist, or even as a hobbyist, you’ll find out that your path

to becoming a great 3D artist will be the culmination of gathering various bits

of knowledge and experience. I don’t work on the West Coast at a prominent

visual effects studio, and I’m not creating high-profile imagery for a big-time

marketing firm. Not to say that I don’t have a great job; but to make the point

that I’m just the everyday 3D artist, in the trenches, doing what I know to get

the job done, in the best way I know how. You see, I’m like you. I want to be

the best I can be. I love working in 3D and I’m very enthusiastic about my job.

This book is about being a 3D artist, and more specifically a 3D artist working

from “the trenches” on real-world projects. In this book, you won’t find

step-by-step tutorials, or what I like to call “3D-by-number.” What’s the point

of me showing you exactly what buttons to press to model X when your

project needs you to model Y? Believe me, I’ve read my fair share of tutorials

and books, and while 3D-by-number has its place for the first-time user, it’s not

what you need when working in the field.

This book is about experience, principles, and techniques, and that’s what I’m

going to share with you: my understanding and enthusiasm for 3D that I’ve

gained over the years through reading, experimenting, and working in the

field. I don’t want this book to read like an instruction manual, so I’m going to

explain the concepts of working in modo from my perspective, which is that of

an artist. I sometimes make the joke at work that I’m severely right-brain

handicapped. The fact is that working as a 3D artist is going to get technical,

and in the following chapters, I’m going to share with you how I, the

right-brained guy, manage to overcome the technical issues that arise on

each project.

This book discusses the topics that I couldn’t find in any other book, the areas

that I have spent many hours researching online in the forums and

experimenting with. These topics include learning how to create game assets

xvi

Introduction

beyond just modeling a character, and using modo with other applications

like Maya and Mudbox, to establish a linear workflow in modo. As a

connoisseur of books on 3D, this book was written to be the guide I was

always looking for but could never find.

What I Do

For the past six years, I’ve been working as a 3D artist/multimedia developer in

the communications department for UPS in Louisville, Kentucky. Technically,

I work for UPS Airlines, which means most of what I do pertains to flight and

aircraft maintenance training. My day-to-day 3D projects might have me

modeling aircraft, animating the effects of jet blast, or even creating animated

characters of an aircraft package container. The other half of my job is creating

multimedia presentations using Flash to create computer-based training

modules or CBTs. I use 3D to help create rich, interactive media through Flash

and Microsoft’s XNA Game Studio.

Working at UPS has taught me a lot about creating images in a corporate

environment. Some people might tell you that working for a corporate entity

will zap you of your creativity. Well, I guess that could be true, but I don’t see it

that way. In fact, the way I look at it, creativity is what you make of it. I may not

be working on the most exciting projects such as this summer’s blockbuster

film, but I do get a chance to make each project unique in the way that I

choose. In other words, my projects will be as creative as I want them to be. The

subject matter may not be the most entertaining, but that’s half the challenge.

I started out wanting to be a professional photographer. In fact, I studied

commercial photography in college. I took different internships with various

studios and also freelanced while working as a staff photographer for my local

parks department. I was on my way to becoming a photographer while

building a small client base and honing my skills. This, of course, was before

the digital revolution rocked the photography industry.

As digital photography began to mature and equipment was becoming

cheaper, clients began bringing their work in-house, and jobs were becoming

scarce. It was at this point that I started to rethink my career options. Without

boring you too much by blabbing on and on about my career path, the short

of it is that I had to reconsider my strong objection to using computers to

create images. Yeah, I was a purist, which meant I wouldn’t think of

manipulating an image on the computer. To me, everything had to be done in

camera and on film. I still had a love for creating images, so I decided to work

with moving images and got yet another internship at a local video production

company. It was at this internship that I first saw a 3D program—LightWave 3D

5.0. It blew my mind! I mean, this was it, and this was what I wanted to do. 3D

had it all. It was like having my own photography studio in a box; it was simply

xvii

Introduction

amazing. From there, I got hired at the video production company I had been

interning with and spent every spare moment learning LightWave and

becoming a 3D artist. This brings me to my point, which is adaption. Adapting

to your environment is a vital skill to have in your pack. I hated computers, but

to continue on and grow as an artist, not to mention make money to survive, I

had to embrace my mortal enemy—the computer. After all, I had to eat.

Hello, I am a Mac, and I’m a PC

I always get into a platform war with the Mac guys in the graphics department

at work. “Mac is for elitists, Vista sucks” is the kind of banter we yell over our

cube walls. It’s all in good fun. Actually, I use both Mac and PC. This book was

written on a MacBook Pro 2.66 GHz Intel Core 2 Duo with 4 GB ram and NVIDIA

9600 GT 512 MB. At work, I use a MacPro Quad Core Xeon. I used BootCamp to

install a Vista 64 partition so that I can run Visual C# Express and XNA Game

Studio for certain training projects and Eyeon Fusion, which is not available on

Mac, for my compositing work. The great news is that in my experience, I have

found modo to run equally well on both PC and Mac platforms. I find that

using an Intel Mac gives me the best of both worlds in one box.

Bonus Resources

This book has a companion Web site where you can find useful resources, such

as specific scene files for some of the projects discussed. You will also find

video walk-throughs as well as bonus videos that will further illustrate the

topics covered. These videos will expand on the topics discussed in each

chapter by providing a different perspective than can be covered on the

printed page. The site can be found at http://wesmcdermott.com. The

username for the login is rwmodo, and the password is optimus.

Well, that’s it for the introduction. It’s now time to flip the page and head into

basic training, where we’ll take a look at some fundamental concepts of 3D

that you’ll need to use throughout various tours of duty while working

through the everyday challenges that arise in the field of 3D. So grab your

gear, soldier, strap on your boots, and follow me into the trenches! We’ve got a

mission to complete.

xviii

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