Here is a in-depth making-of from the ICE workshop held @ Psyop NYC, enjoy: http://www.psyop.tv/psyop-softimage-ice-workshop/
This video demonstrates the process of creating and animating a procedural deep sea like creature.
Starting as a research and development project on wrinkles, my main focus got attracted by the possibility to create a procedural creature almost completely with ICE. As there never was a real goal, the end product emerged from total artistic freedom and the vast possibilities within the system.
The main areas of development included:
- Custom forces which drive the procedural motion, creating the soft and skin like appearance of the body.
- Tools for the definition of different behaviors contained in the same system of simulation.
- Tools for abstraction and interpolation of different geometric contexts for optimized performance and artistic workflow.
- Mechanisms for the transport of arbitrary attributes throughout the architecture for later use as reference systems or information for the rendering.
- A system for animated procedural texture synthesis decoupled from the geometric topology for a seamless coverage of the whole body.
As the whole system depends only on a few input parameters, it's very easy to make topological and behavioral changes very fast. Because the Lagoa simulation itself is done only on the point set derived from the Delaunay triangulated base geometry, the process of developing the right movement can be highly iterative as the simulation times are very low.
The actual thick mesh is generated through a marching cube algorithm (Polygonizer) but could be replaced by any arbitrarily derived mesh loosely fitting the initial shape of the point set.
Rendered with Arnold
Music by Ball of Waxx - Tetramorph: http://ballofwaxx.bandcamp.com/track/tetramorph
Lighting and progress breakdown for "The Monk & The Monkey".
All shots were created with Maya and rendered using Renderman for Maya.
Point-based colorbleeding and deep shadows were used for every shot. Subsurface scattering shaders were placed in sets to speed up render times. Gobos were used to fake shadow patterns (leaves.) Reflective objects were isolated with trace-sets using proxy geometry reflections.