Jasmine Masters, BA (Hons) Computer Animation Arts, UCA Rochester.

The Life Cycle of a Slime M... by Jasmine Masters on Scribd

Maya Skinning Methods: Inte... by Jasmine Masters on Scribd Skinning Method 1: Interactive Weighting, Component Editor & Paint Weights. Skinning Method 2: Post Weights & Interactive Bind.

Tree Concepts. Fantastic Voyage Modelling #4. by Jasmine Masters on Scribd *Pipeline So Far at end of Scribd document.

Lighting & Rendering 1:... by Jasmine Masters on Scribd Maya Light Filter Outcomes: Gobo. Gobo and Mix, Gobo, Light Decay and Barn doors. Light Blocker. Stylistic Interior Lighting Outcomes: Ai Standard Surface Outcomes: Before. After. Playing with Presets.

Fantastic Voyage Modelling #3. by Jasmine Masters on Scribd

Continuing on with completing the spore model, I then moved onto laying out the UVs ready for texturing. In addition to this I will also have to consider how I am going to 'light' the spore so that it has the glow effect aesthetic am aiming for.

Fantastic Voyage - Modellin... by Jasmine Masters on Scribd

I started to look at some set designs to start to get to grips with what other additional pieces that need to be modeled for the Fantastic Voyage animation; as well as possible colour schemes that will enable the Slime Mold Concepts to really pop and contrast within the setting, but making sure to still contain the neon glow effect that I am aiming for. Influences. Initial Set Designs. Initial Set Designs - Colour Variants. Since I set the time of day for the animation to be around dusk (sunset), I started to look at the different types of colours and hues you would see around that time of day. Ranging from blues, yellows, oranges, reds, pinks and purples; as well as considering possible different atmosphere effects within the scene that relate to that time of day. Secondary Influences. Colour Swatches. Final Set Concepts. Experimenting with Layer Modes.