I had a great time at museum, and these are a few of the follow-up images I tried to take of the Rodin hands.
And for your viewing pleasure, a few of the other images from the day.
Showing posts with label retopology. Show all posts
Showing posts with label retopology. Show all posts
7/10/12
Rodin Gallery
So, I think I spent more time trying to figure out an image gallery for this blogger blog than I did at the museum. Not literally, but it sure feels that way. And we'll see how this works. Please, let me know how this style of image gallery works for you, and if you prefer this gallery style. Or if you would rather the larger, expandable version of the images, I would love to know that too.
I had a great time at museum, and these are a few of the follow-up images I tried to take of the Rodin hands.
And for your viewing pleasure, a few of the other images from the day.
I had a great time at museum, and these are a few of the follow-up images I tried to take of the Rodin hands.
And for your viewing pleasure, a few of the other images from the day.
7/6/12
Rodin Hands, part 2
I went down to the Gates of Hell today. However, the weather was actually fairly pleasant.
I was able to take some helpful photos of the hands in their natural museum environment. I also learned a valuable lesson - always check your equipment before shooting. I was shooting in JPG mode, not Camera Raw, unfortunately. It actually is not a huge deal, as these are just reference images.... but it still bothers me. Live and learn, I suppose.
So, these are the best quality, but I sure had fun taking them. I will probably wander back through the Cantor Arts Museum- it's both free and awesome. Not a combo you see very often!
In the mean time, a smattering of some of the many, many images I took today.
I was able to take some helpful photos of the hands in their natural museum environment. I also learned a valuable lesson - always check your equipment before shooting. I was shooting in JPG mode, not Camera Raw, unfortunately. It actually is not a huge deal, as these are just reference images.... but it still bothers me. Live and learn, I suppose.
So, these are the best quality, but I sure had fun taking them. I will probably wander back through the Cantor Arts Museum- it's both free and awesome. Not a combo you see very often!
In the mean time, a smattering of some of the many, many images I took today.
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| Rodin, 1885-1886: Left Hand of Pierre and Jacques de Wiessant |
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| Rodin, 1888: Large Clenched Left Hand |
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| Rodin, 1903: Large Left Hand - detail |
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| Rodin: Small Clenched Right Hand - detail |
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| Rodin: (behind) Small Clenched Right Hand, (foreground) Clenched Left Hand, 1900 |
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| Rodin, 1880-1884: Blessing Left Hand |
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| Rodin, 1886: Left Hand of Eustache de St. Pierre - detail |
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| Rodin: (foreground) Blessing Left Hand, 1880-1884, (behind) Large Left Hand, 1903 |
7/5/12
Rodin Hands
So, The Cantor Arts Center, one of the museums at Stanford, has a wonderfully fantastic collection of Rodin sculptures, including:
Admission into the museum is free, happily enough.
We, however, are going to be working with the Rodin Hands.
Not as well known, but supremely interesting. One of the professors here at Stanford even uses the hands as a way of teaching, as 5 out of the 8 hands display a pathological condition.
A sneak peak into (one of the things) we are doing here at Stanford- Rodin in 3D. I have been working on fitting a model from a segmented data set containing broken metacarpals. Fairly severely broken metacarpals, even. However, I am jumping ahead of myself.
The Stanford Clinical Anatomy department has been working on getting the hands laser scanned and converted into 3D models. This is where I come in.
While I can't really show images of the project in progress, rest assured that it's a lot a fun. Leslie White and I are working on the hands together. We're having to fill in the 3D models where the laser scanning technology didn't pick up the surface. Holes, sometimes giant holes, were left in the models. These need to be filled in carefully, keeping as true to the original surface as possible. I will be heading over to the Cantor Arts Center tomorrow to take more reference photos for this process.
Afterwards, we will be superimposing pathological anatomy, the same types of conditions the hands express, into the scans. I just finished putting the shattered metacarpal scan into one of the hands this afternoon.
We have a crack team of interns that have been working on segmenting out the metacarpal data from a CT scan. With a little bit of clean up in Amira from yours truly, it was ready to be exported as individual bones, rigged in Maya,
and repositioned into the Rodin hand scan. An interesting process, to be sure. Next, our crack team will be working on retopo'ing the hands themselves so they can be used in a real-time environment. It's going to be awesome. They are going to be learning 3D Coat to do the retopo'ing process.
In any case, I can't wait to see where this project is headed. It looks to be a great start, and I can't say how excited I have been to be involved!
and "The Burghers of Calais."
Admission into the museum is free, happily enough.
We, however, are going to be working with the Rodin Hands.
Not as well known, but supremely interesting. One of the professors here at Stanford even uses the hands as a way of teaching, as 5 out of the 8 hands display a pathological condition.
A sneak peak into (one of the things) we are doing here at Stanford- Rodin in 3D. I have been working on fitting a model from a segmented data set containing broken metacarpals. Fairly severely broken metacarpals, even. However, I am jumping ahead of myself.
The Stanford Clinical Anatomy department has been working on getting the hands laser scanned and converted into 3D models. This is where I come in.
While I can't really show images of the project in progress, rest assured that it's a lot a fun. Leslie White and I are working on the hands together. We're having to fill in the 3D models where the laser scanning technology didn't pick up the surface. Holes, sometimes giant holes, were left in the models. These need to be filled in carefully, keeping as true to the original surface as possible. I will be heading over to the Cantor Arts Center tomorrow to take more reference photos for this process.
Afterwards, we will be superimposing pathological anatomy, the same types of conditions the hands express, into the scans. I just finished putting the shattered metacarpal scan into one of the hands this afternoon.
We have a crack team of interns that have been working on segmenting out the metacarpal data from a CT scan. With a little bit of clean up in Amira from yours truly, it was ready to be exported as individual bones, rigged in Maya,
and repositioned into the Rodin hand scan. An interesting process, to be sure. Next, our crack team will be working on retopo'ing the hands themselves so they can be used in a real-time environment. It's going to be awesome. They are going to be learning 3D Coat to do the retopo'ing process.
In any case, I can't wait to see where this project is headed. It looks to be a great start, and I can't say how excited I have been to be involved!
6/22/12
Retopology Revisited
Well, it's been a while since I was last posting in this blog, and the landscape of 3D reoto'ing has changed a bit. At least, the section that I use has changed. I found a little program called 3D Coat, and I never looked back.
So I wanted to just mention some of the overarching things that I now do... No details (yet). I regularly use 3D Coat in my daily activities. Truthfully, I prefer the tools within this program to be much more intuitive and easy to use compared to the other software that also does retopo'ing. And I've done quite a bit of retopo'ing, let me tell you. So far, I've looked at the bones of the arm, including the shoulder girdle, and every. single. muscle. Seriously.
So I wanted to just mention some of the overarching things that I now do... No details (yet). I regularly use 3D Coat in my daily activities. Truthfully, I prefer the tools within this program to be much more intuitive and easy to use compared to the other software that also does retopo'ing. And I've done quite a bit of retopo'ing, let me tell you. So far, I've looked at the bones of the arm, including the shoulder girdle, and every. single. muscle. Seriously.
The muscles were segmented from grind data from a cadaver, edited in Maya to ensure accuracy, exported into 3D Coat, given a new topology, initially painted also in 3D Coat, refined in Photoshop, assembled in Maya, and then brought into Unity 3D for the (eventual) final app delivery.
Both normal maps and the initial diffuse maps were created in 3D Coat. The diffuse maps were modified in Photoshop for a better blend of tendon and muscle belly, but the placement of those elements was first conceived in 3D Coat. Every model is definitely under 10,000 polys, and most are under 5,000 polys. So, normal maps were essential in getting the look and feel that we wanted for each muscle and its fibers.
The same process can be used (and will be used) for the rest of the body.
3/1/09
Retopology
Retopology... retopologization... however you slice it, it's a difficult word to say. But immensely useful to actually do. For example, most items that have been scanned by a device have an ugly, ugly mesh. Usually very dense, and all triangles.
This is a mesh from a femur that was edited in Mimics. It is from a CT data set, taken from the skeleton that I'm currently modeling. Mimics is a program similar to OsiriX - it can take DICOM data (CT, MRI, etc) and export a file that can be read by a 3D program. This is wonderful for achieving highly accurate models, but not so good for clean meshes.
The .obj file is being viewed in a program called MeshLab. It has the ability to handle high-polygon meshes very well.
The femur that I am working with exported with around 139,000 faces. This actually isn't that bad, comparatively speaking. I've easily come across a 4 million poly export from a DICOM program. Even so, this mesh would be a pain to texture and animate with.
This is Zbrush. My main love for Zbrush (and it's a recent discovery) is the retopology tool.
By drawing new polygons on the surface of your high res model, you can export a low res stand-in. The model that I generated has 3,200 polygons. A far cry from 139,000.
I could have made it with fewer polygons, but I found that the mesh reacted best to a slightly denser layout. Perhaps because I'm new to this whole retopology endeavor and haven't learned all the tricks yet. I do have an entire skeleton to work on, so hopefully I'll continue to learn.
The wire frame is now as clean as you make it, allowing for potentially great edgeflow. This makes texturing and animating much, much simpler.
However, this is not what I find the most useful attribute of retopologization. Zbrush allows you to project your original high res mesh back onto the low res model. By matching how many times you up the density during retopologization, subdiving the low res obj that many times again, and then importing the high res mesh on top of this highest division, it becomes a smooth stepping process between the lowest and highest resolutions.
Did that sound complicated? It was very fun for me to figure out, let me tell you. If it didn't... well, you are smarter than I am. Kudos.
In any case, there are tutorials out there on the retopology tool. If you are interested in my entire workflow from Mimics/OsiriX to Zbrush, let me know.
These images that you see are screen shots of the femur as exported from Mimics. I have not done any further editing to it yet. I plan to do so, of course. I will post more images as my bones are completed.
This is a mesh from a femur that was edited in Mimics. It is from a CT data set, taken from the skeleton that I'm currently modeling. Mimics is a program similar to OsiriX - it can take DICOM data (CT, MRI, etc) and export a file that can be read by a 3D program. This is wonderful for achieving highly accurate models, but not so good for clean meshes.
The .obj file is being viewed in a program called MeshLab. It has the ability to handle high-polygon meshes very well.
The femur that I am working with exported with around 139,000 faces. This actually isn't that bad, comparatively speaking. I've easily come across a 4 million poly export from a DICOM program. Even so, this mesh would be a pain to texture and animate with.
This is Zbrush. My main love for Zbrush (and it's a recent discovery) is the retopology tool.
By drawing new polygons on the surface of your high res model, you can export a low res stand-in. The model that I generated has 3,200 polygons. A far cry from 139,000.
I could have made it with fewer polygons, but I found that the mesh reacted best to a slightly denser layout. Perhaps because I'm new to this whole retopology endeavor and haven't learned all the tricks yet. I do have an entire skeleton to work on, so hopefully I'll continue to learn.
The wire frame is now as clean as you make it, allowing for potentially great edgeflow. This makes texturing and animating much, much simpler.
However, this is not what I find the most useful attribute of retopologization. Zbrush allows you to project your original high res mesh back onto the low res model. By matching how many times you up the density during retopologization, subdiving the low res obj that many times again, and then importing the high res mesh on top of this highest division, it becomes a smooth stepping process between the lowest and highest resolutions.
Did that sound complicated? It was very fun for me to figure out, let me tell you. If it didn't... well, you are smarter than I am. Kudos.
In any case, there are tutorials out there on the retopology tool. If you are interested in my entire workflow from Mimics/OsiriX to Zbrush, let me know.
These images that you see are screen shots of the femur as exported from Mimics. I have not done any further editing to it yet. I plan to do so, of course. I will post more images as my bones are completed.
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