ฝึกพูดภาษาอังกฤษด้วยเทคนิค Shadowing จากวิดีโอ: I Entered the Biggest 3D Art Challenge…

เลือกโหมดฝึก

แต่ละโหมดจะเปิดห้องฝึกแบบเต็มจอ

496 ประโยค

หากประโยคสั้นหรือยาวเกินไป กดที่ Edit เพื่อปรับแก้

1700 artists entered the biggest 3d challenge of the year

this was gauntlet of the gods the 13th major community challenge

from clint jones welcome back to the channel my friends who hosts these massive 3d competitions on his youtube channel

i've wanted to enter one of these for years

and this time i just couldn't resist the challenge was to

create your own original animated card for this trading card game

and you only have 30 days to do it

so i downloaded the template and gave myself 30 days to see

if i could actually pull it off it's already august 3rd

i feel like i'm already screwing up tonight

i'm gonna just start blocking out um i guess to make a 3d character

but it's pretty crazy the schedule honestly is pretty crazy

and even to make a character in a month

but to do a full -on animated thing i mean

it's insane first thing i did obviously i went on the website

and i got the stuff i got the template i set it up in unreal and i you know

Played the game a little bit

and I tried to figure out what would be a cool thing to do I narrowed

it down to a couple there's a character I've always wanted to do which is essentially a female elf kind of mage

But that's a cool kind of archetype and this is my excuse to just try to make something in that vein

So I kind of know I want to go down that road then after playing and then watching

Clint play I thought

Rage rage is mine I think rage is a cool card

because it's getting damaged and then you do more damage and

that card can get super super powerful

you know with this kind of a character i just think

it needs to be very graphic you know very like iconic

and readable you have a couple seconds

but this is going to be for me a big challenge just in restraint

and i'm going to have to continually remind myself keep

it simple keep it simple i also think it has to be a custom animation to not only get to

that final frame which is the card

and you want to look unique in the deck

and look cool at the end when it's an image

but also clint said multiple times we're looking for renders

that can tell a story tell a story see what you

can do on the story let's see about your story

i don't even know how to tell a story in two seconds other than like i'm strong

you know the fact

that this rage card is wild damage deals double damage

you know immediately popped in my head this idea of like the first frame could be she's far away

and we see her back and it's a battlefield

and there's bodies here and it looks like you know again dawn right

and there's you know arrows and people are dead maybe wearing the same color as her

and she gets some arrows shot at her and they're sticking in her

and she's trying to block them and she turns around

and she gets pissed so she we actually can maybe in the two

or three seconds show the story of that card just getting to

that final frame you know she could look like ah with arrows sticking out of her

and you get the whole idea of the card.

So that's what I'm committed to as of right now on August 3rd.

And we'll see all the sacrifices that we have to make to make something actually finish.

Now I'm going to use Unreal Engine.

As you see, I did the renders already in Unreal Engine because I'm going to use MetaHuman.

I think that's a big time savings.

I've done it enough where, you know, we can make a human, we get a rig, we get good materials.

I can attach some cloth to it, you know, and it's, it's Unreal Engine.

It's real time.

I should be able to iterate a lot more.

But anyways, I've convinced myself enough that I like this plan to move forward.

How do you do arrows and how do I do cloth sim

and how do we break an arrow and how to do magic effects?

I don't know.

It's a lot to do in one month,

but right now I'm just going to listen to music the rest of the night and jam on making the bass.

So after downloading the initial template, I do a quick test render and get a play blast out.

Now I've got my first initial scene set up and ready to go.

To start the modeling process, I download and import the MetaHuman topology that's free it's on fab

and that's the topology that you can use to auto rig your stuff with metahuman

so pretty early on i decided that

if i was going to do this i'd stick with my own workflow

and techniques i'm familiar with

and focus on the things i really care about creating cool characters

that feel alive and have personality

and emotion the first part of this modeling process is really just pushing

and pulling things around on the universal topology into the shape of the character

that i want to create

so once i've got the proportions feeling close enough

i start extracting shapes to explore the costume design

i still don't really know exactly what the costume is going

to be yet i'm just pulling out shapes dressing up the character

and seeing what works

and for the hairstyle i'm sticking pretty close to one of my favorite references from the board

it's this elf girl painting

that has a few loose locks of the hair poking out

now the whole time i'm doing this i know i need to get the model finished in about a week

or two at the max

so i really need to move quickly through this whole high poly phase

there's not a ton of time for trial and error.

Pretty early on, I start gravitating towards this leather, black, and gold.

And I also like this idea of the yellow kind of gold eyes and yellow cloth to match.

And since she's some kind of fire worshiper, I want that idea to influence the design language.

So I'm going to use lots of flowing lyrical shapes, curves, and ornamentation inspired by flames and shapes like that.

That becomes the visual language of her culture, or at least that's the idea, and she's some kind of fire worshiper,

which is good enough, so let's just keep going.

We're multiple days into this now, and honestly, nothing's finished yet really, so I really need to start locking things in.

And that's when I decide to just go all in on this flame -inspired metal ornamentation,

start adding the shapes around the neck, and just embedding them.

And the cloth that's hanging down the front, I just used the cloth transpose brush and just collapsed it.

100

That looked good enough too.

101

Clutch, let's go doing this as a part of a speed run contest really does help me just lock in

102

and go forward and just sometimes your first idea has to be the idea you go with.

103

So really need to wrap this model today because today is day 10

104

so I have 20 more days

105

and I need I think got to get more than five days in the end

106

you know to do the rendering and stuff.

107

So yeah this is the model I definitely spent way more time on the modeling

108

but it is my thing

109

so I'm kind of trying to you know put all my points in in this one most of them

110

and then using some tricks and using some lighting hopefully can make it cool

111

so yeah that's the general state of the model almost done tonight's got to be the last night

112

that I finished the high poly and yeah and then

113

so in terms of modeling like again

114

I did this kind of a motif thing based on one of my references I thought it was cool

115

so I'll carry that on the back

116

so it's like leather work it's these s curves it's like fire

117

and sun maybe like you know heat that's one of the things

118

i decided is other than this top pad right here

119

which i thought could be like a focal point a little bit everywhere else like along

120

this belt uh the stitch detail this part i'm gonna finish in painter

121

so i had stitches in painter

122

i'll do leather emboss design exploration in there you know maybe put little flames here

123

or something you know doesn't need to be perfect same with the metal i might add more detail

124

so i'm just kind of doing a basic model the animation uh i'll show the latest idea

125

and i i already have an update

126

that i think i need to do this is kind of the thought i had

127

that i got to right is

128

that she would start here

129

you know her cloth would come down she's got gonna have

130

two swords two like elvish twin blade kind of things

131

and she's gonna be the idea she's gonna be like blocking

132

some arrows like parrying some arrows out of the sky

133

then she gets hit by one she probably will already have one sticking out of her

134

and then she turns around to the camera pissed and

135

and that's rage that's the idea so i think it's too much stuff

136

when you're in trouble you just think what did lord of the rings do

137

and that's that's what's really going to save me i thought you know what boromir

138

Boromir gets shot with a bunch of arrows

139

and he goes rage mode too and I think

140

that might be an easier beat

141

because right now it's a lot of beats right I feel like

142

if the opening frame is like boom I'm a warrior person

143

and then she gets hit with an arrow and she goes ah

144

and then she falls to her knee

145

and then like does the Boromir like I got more energy of it you know and then pops up it's less stuff.

146

I feel like that's what needs to happen.

147

Again, right now, I just got to focus on finishing the model ASAP so we can get it in Unreal.

148

Actually start making something.

149

I mean, I haven't even made a scene or anything.

150

So yeah, dude, I don't know.

151

It's kind of crazy.

152

With the high poly model finished now, it's time to turn this into a character I can actually use and animate.

153

The first step is going to be creating the custom metahuman in Unreal.

154

So I I take my meshes for my head, body, eyes, and teeth and bring everything into Maya.

155

Here, I'm just making sure the topology is exact and I'm making a few adjustments.

156

I'm also customizing the teeth a little bit to give her some vampire fangs because I think that'd be pretty cool.

157

Once everything's ready, I export the meshes and bring them into Unreal as static meshes.

158

And from there, I can load them into the MetaHuman creator.

159

I can conform the MetaHuman to fit my shape.

160

And once I've got the shape looking right, I can start creating the skin and the eye materials,

161

choosing eyebrows and setting up the rest for appearance.

162

And as you can see right out of the gate, we're getting some really high quality stuff, which is a huge time saver.

163

Then I can assemble and export the character with a fully functional rig, both for the body and face.

164

And the quality of these rigs is super high.

165

So now that I got my character, I'm going to bring her into the level.

166

I'm replacing the meshes from the original template.

167

So we're finally starting to build the actual scene with my own character.

168

Next, I want to get some basic lighting established.

169

I know I'm going for that dark and moody thing with a little bit of a gothic horror atmosphere here.

170

So I start by adding a few lights, mostly focusing on just some rim lighting and positioning to help the character read from the camera.

171

It's still too bright right now.

172

I'm trying to just establish kind of the overall look.

173

I also bring in ultra dynamic sky.

174

That's a little plugin for unreal.

175

It's just basically a really nice blueprint

176

that gives you a bunch of controls for your sky

177

and atmosphere and everything to do your look dev all in one place.

178

Again, just trying to save time and make something look good.

179

With the lighting roughed in, I start opening up fab and looking for I don't know some environment assets

180

and start placing them around the scene to get some depth and start to anchor some positions of some stuff.

181

Not really trying to build a complete environment yet.

182

I don't even know what it's going to be.

183

I'm just looking for interesting shapes and adding layer and depth.

184

I also add a little localized fog around the character.

185

I'm using Easy Atmos from William Foucher for that.

186

Shout out to him.

187

Just trying to get overall atmosphere and depth in the scene.

188

Now for animation, I decided to try something new.

189

MetaHuman Animators Markerless motion capture plugin.

190

That's a mouthful.

191

It's a pretty new tool.

192

And to get the whole thing working, I actually had to upgrade my computer to Windows 11,

193

which meant going into the BIOS and messing around with settings.

194

So I felt very IT that day.

195

But apparently this was the thing that finally motivated me to figure out how to get

196

Windows 11 on my machine.

197

Anyways, once I got everything installed, I recorded my performance using my phone and I imported the footage into Unreal and then I let it process.

198

So here you can witness my incredible acting skills.

199

But I was seriously really surprised and impressed with the result

200

so now boom i've got some animation on my character

201

and here's that first render with the new character and scene setup

202

so pushing it further

203

i thought some architecture in the background could help with the story give some depth

204

you know some visual interest with these vertical lines

205

and shapes overall iterating on the scene and the spooky spooky vibes

206

so at this point i'm making pretty good progress

207

now back to the character model for the low poly meshes i'm going to take a pretty fast

208

and dirty approach most of these are just lower subdivision levels

209

or auto topology from zbrush i'm not making like a production ready beautiful asset here

210

i'm just trying to get something that works

211

so i start separating the meshes of my costume into how i'm going to add

212

it i'm getting all the different pieces for the armor

213

that are ready to attach to my character and then i bring

214

that into unreal once it's in i can start getting everything attached

215

so for the armor pieces i convert them to skeletal meshes transfer the skin weights

216

and add them to the blueprint i run into some issues with the pieces not following the character correctly

217

so after a bit of trial and error

218

and figuring out the right setup getting everything attached properly eventually i get it working

219

and boom now we've got some armor following along with the character

220

it's currently the 18th we are past the halfway mark

221

and uh still have a ton to do

222

and i know it's going to be like way more this morning i got some costume in

223

so you can see hey she's got a costume with her tighty whiteys

224

but got it into painter and then baked it

225

and has pretty much you know like base materials and everything

226

so wanted to get in there to see like you know where to spend the time

227

and the detail i also think like i've spent all my time

228

so far in the model i think that is my thing

229

so i've seen some entries that are looking sick and

230

so there's a lot of stuff going on the scene my scene's pretty simple

231

so I'm really trying to curate

232

that final frame where it looks like there's a it's a detailed character

233

it looks cinematic it looks like it's expressive and alive

234

so I'd like to iterate on the animation too

235

but I'm I'm pushing that down the road

236

because I feel like I could just like ship what I have had to

237

and I have to keep going

238

and everything that's where I'm at right

239

now textures are there materials set up the scene's a mess

240

I think I want her to be a lot more clean behind her.

241

So it's like a lot more bright.

242

Maybe that means the moon comes down, but I like kind of the creepy werewolfy vibes.

243

So this kind of thing, I kind of like this where like there's a winding road.

244

So that might be what I ended up doing.

245

And we have a little bit of detail in the sky.

246

So it might be something like this,

247

this kind of thing where there's like more atmosphere and then silhouetted and then the fire is what brightens her up.

248

So I think this is the direction to try and go to.

249

The one thing that I'm concerned about with just going in this direction is

250

that it could be too simple

251

that might not be a bad thing I mean once there's fire

252

and tattoos this actually might be a good thing

253

because like I think the character will have so much going on

254

and that'll be its own balance making sure the character is

255

readable like a good first impression pretty scary like I have all the scary stuff left

256

and and the time it's getting closer to the deadline normally I would put the scary stuff up front

257

but just how it works with the character you know it has to be modeled first

258

so yeah man we'll see now it's time to tackle some

259

of the scariest parts of this project cloth sim hair

260

and fire this is probably the most important week of the entire challenge

261

so far jumping in we're going to start with the cloth

262

I've got these different pieces of fabric hanging off the character

263

and I originally modeled them as separate pieces

264

so I could bring them in

265

and figure it out later I knew I need to create simpler geometry for the simulation because these original meshes are dense.

266

So a lot of that geometry was automatically generated.

267

I bring everything in in Unreal and I start working in the cloth asset editor.

268

Eventually, I get the cloth assets attached to my character blueprint.

269

And there we go.

270

They're actually simulating.

271

And of course, there's still a lot of work to do.

272

Learning how to paint masks, do collision layers, tweak things, all that stuff.

273

Honestly, I'm continuing to work on this throughout the rest of the project.

274

But getting this initial setup working was a pretty big hurdle that I'm glad to get done.

275

Next, took a little break to make some new models.

276

Somehow I haven't modeled these swords yet, so I take a session and speed run through making them.

277

Of course, I turned into some

278

Lord of the Rings artwork.

279

for inspiration and I like these elvish shapes.

280

I borrow from heavily because it looks awesome.

281

Quickly create the models and create a new

282

Substance Painter project for them.

283

And I quickly texture it up and bring everything into Unreal.

284

I attach the swords to my character's hands so I can finally see what they look like in the animation.

285

And there she goes.

286

She got two swords now, two thumbs up.

287

Meanwhile, I'm still bouncing around the project and I'm refining materials

288

and adding details

289

and working on the textures whenever I can the cloth for example looking way too white

290

so added a little bit of dirt

291

and variation to help it sit better in the scene

292

and just continuing to refine things as I move between different parts of the character

293

so here's where we're at right now with the cloth

294

and the swords next

295

I jump on the hair hair is always scary on any character project for this one

296

I figured the best approach would be to model the locks directly rather than do a groom

297

I've done this kind of a hairstyle before

298

and I had a pretty good idea how I wanted to approach

299

it I spent a lot of time in ZBrush just carefully modeling

300

and positioning each of the locks and just trying to get the overall shape.

301

I added some noise to break it up

302

and then once I was happy with the placement I brought it into Maya to unwrap them

303

so they could be straight up and down.

304

Spirit of moving quickly I decided to use Fibershop to make the textures.

305

I already have a license and it's a quick convenient way to make hair textures.

306

I can quickly create the different maps I need and export all the channels I need for the hair material.

307

In Unreal I bring everything in.

308

I do my first pass on the hair.

309

Once I have the material and the textures hooked up,

310

I fit the hair onto the character and I started adjusting the shaders to make it look white.

311

And there we go.

312

First draft of the hair.

313

It doesn't look amazing yet, but honestly, these little milestones are really motivating.

314

Just getting something working for the first time feels like a huge accomplishment.

315

And once you've got that initial setup behind you, you can start focusing on tweaking and making things better.

316

So now that the hair is in, I'm adjusting some of those rim lights to help it work better with the hair

317

and rendering out a few tests to see how it's looking.

318

So here you can see everything together.

319

Now, there's still one obvious problem.

320

She's basically running around in underwear and boots, which is an insane look and not what I'm going for.

321

So I finally get around to making her pants.

322

Originally, I thought I might just texture her legs directly,

323

but I thought actually in the end would be simpler to just make a new model in UV.

324

So I ended up making a new mesh, unwrapping them, and I just created a new substance paint a project just to make things easier

325

so I could keep moving and I experimented with some different leather looks.

326

Once the textures are ready and the mesh, I bring the Unreal.

327

I attach it to the character just like I did the armor.

328

I apply the new material and now she's finally fully clothed.

329

I'm also making a few adjustments to the eyes.

330

I open up the MetaHuman eye shader

331

and I customize it to add some emissive elements

332

so I can make her eyes glow because I thought they'd be more cool and magical looking.

333

Now it's time to tackle one of the biggest challenges of the entire project, the flaming swords.

334

My plan is to use Embergen to create the fire simulations

335

i have made a flaming sword in there before i export everything into maya

336

and i prepare the sword meshes i paint some vertex colors where i want the fire to be

337

and i bring everything into embergen embergen is this specialized software for doing vfx

338

and volumetric simulations so i know i can export that

339

and bring it into unreal i started out with some template

340

and i started experimenting i got some cool things pretty quickly

341

but it just this whole thing turns into a much bigger undertaking than I ever expected.

342

I just wasn't happy with the results so I'm just gonna have to work with what I can get.

343

Now that I'm doing all this

344

and looking at some more test renders the pose feels flat

345

and I think the whole thing could just be a lot more dynamic

346

so I decide to redo the animation and I know

347

that means redoing the sims and the fire and everything but I want to give the pose more depth.

348

This time I also decide to handle the face separately rather than just relying on that initial body capture.

349

There's portions where my face aren't there and it's smaller, but I record a dedicated facial performance at a higher quality that I can process separately.

350

This gives me a cleaner facial animation and a little bit more high quality that's independent.

351

So in sequencer, I can layer both of them together.

352

So now I've got a little bit more control over the final performance and hopefully something that feels more expressive and dynamic.

353

So with the updated body and facial animation in place, I render out another test

354

and here's where we're at it's august 26th now i think there's 31 days in august

355

so this is the last week

356

but i updated the animations we have like a new direction

357

that i'm trying in general i like it more still don't like it the best also

358

you can't see a lot of the costume now

359

so i am toying with like can i do something that's more dynamic

360

but also contrived in a way

361

that shows the torso more i don't know right now the dynamic essentially is like the faces closest to camera

362

but yeah so we got to set up with a new animation figured out slow motion that's huge

363

that took a long time shout out to josh tuning thank you josh fucking dope the thing

364

that i'm kind of like thinking is maybe i spend some time on the whole animation first

365

because if i could lock that then i could do the fire work once sounds.

366

That would be better.

367

So since I have till Friday, that's going to be my plan.

368

So I'm going to try to polish this animation, planning to get everything in pretty good shape to send

369

and make sure also I get the frame count and all that stuff.

370

So that anyways, hopefully he can react on stream Friday.

371

If not, still good to have a deadline like that.

372

And then it gives me two days to polish, but it needs to be seen complete by Friday, which is in three days,

373

two days, two and a half days.

374

Now I'm trying to get this thing looking as good as possible before submitting it for review.

375

There's still a ton to do one of the biggest things that's missing is the actual story.

376

Tell a story.

377

See what you can do on the story.

378

Let's see about your story.

379

I need to show the arrow hitting her so the whole rage transformation makes sense.

380

So I quickly model an arrow in Maya and ZBrush.

381

I make some UVs and I throw together some textures in Substance Painter.

382

I add some blood around the tip since it's supposed to have gone through her body

383

when we see it up close and some dirty feathers to give it a more sinister look.

384

Then I bring that all into Unreal and position it so it reads clearly in her silhouette.

385

The environment is also still feeling pretty empty, so I'm adding more trees, I'm adjusting the lighting, and trying to give the scene an overall atmosphere.

386

I also found this free pack of dead body poses by Nikoff.

387

Thank you for that, which gives me an idea.

388

What if she's lost one of her sister in arms?

389

So I create a duplicate fallen elf and stick a few arrows in her and place her in the foreground.

390

Now it starts to feel like it's an actual battlefield, but I still need some enemies.

391

I thought it'd be fun to resurrect an old character of mine, this orc I made years ago,

392

which some of you might recognize from the channel.

393

So I dug up the old model and I created a simple proxy mesh.

394

I used Mixamo to automatically rig it and I could transfer the skin weights in Unreal.

395

It's pretty quick and dirty, but for a background character, it's going to work fine.

396

So now we've got a little bit more story happening in the scene.

397

I'm adjusting the lights, adding some moonlight from behind and just trying to make the whole composition feel more intentional.

398

At this point, I'm bouncing around the scene, polishing the animation, trying to get everything ready for review.

399

But there's still one pretty big problem the swords aren't on fire, which is kind of the whole point of this rage transformation thing.

400

So I make another attempt.

401

I export the updated animation.

402

I bring everything back into Emmergen and I regenerate the fire simulations, but getting everything aligned with the animation,

403

especially with the slow motion is proving to be really difficult.

404

I've already spent so much time on this.

405

I'm starting to realize I might not get the fire working in time for review.

406

Yo, Jay Hill, shout outs to Jay Hill for working on this challenge, man.

407

Freaking awesome.

408

Having the swords in the final card frame, you know, I think it would help.

409

Biggest thing with this is just the first few frames.

410

It just feels like she's standing there and waiting.

411

Excited to see the final.

412

Thanks for entering.

413

It's cool, man.

414

Very cool.

415

All right.

416

Got some feedback from Clint and chat.

417

I think it's good notes.

418

Want to get her pose better.

419

I spent all the last day adding final touches like the tattoo.

420

One last fire sim.

421

Even a little nose piercing

422

and then with an hour left my unreal sequence broke shit shit shit shit shit shit shit shit

423

i am uh legitimately freaking out now please don't be broken please don't be broken

424

oh thank god dude saved a backup holy shit okay

425

i think i'm just gonna render this i mean it's 11 40 dude it's 11 40

426

so with 20 minutes left i finally hit render

427

while my project's rendering I head over to the Gauntlet of Gods website to get my submission ready.

428

First, I have to upload my artwork to create my trading card.

429

So I load up my image, fill out the details, and get everything looking good.

430

Then there's one final step.

431

I head over to the official submission form.

432

I fill out the questionnaire and upload all my files.

433

And finally, my submission is ready.

434

ah guys mine's disqualified i just double checked so yeah

435

so this is what happened

436

while i was working i would have punisher's streams on playing in the background

437

and at one point i heard him say

438

when i wake up i'm gonna close submissions okay

439

so the submission link will only be open for another eight hours

440

or so um after the deadline and i thought oh cool

441

so it's kind of a soft deadline okay cool

442

because i'm an idiot because what he said literally five seconds before

443

that was every time we do these challenges you know there's always people who submit late

444

and those people get uh dq'd from top 100 dq'd from top 100

445

and i ended up submitting almost 50 minutes late

446

so that's an l no chance of making that top 100

447

or being a part of the competition

448

but after having some time to process

449

i started thinking about why i wanted to do this challenge in the first place Please to take on new challenges,

450

learn new techniques, and hopefully go a little bit further than I normally would, and to be a part of something with other artists.

451

And in that sense, the challenge was actually a success, because I did get all those things.

452

But ultimately, I did fail the challenge.

453

So I started thinking about how I could turn that into a win.

454

And I thought I've come this far,

455

why not go a little bit further and make something I can really be proud of and add to my portfolio.

456

So I took a little break and I came back to the project

457

and I started tackling all those little things

458

that I didn't have time to do or that I learned from the first time.

459

I went back and improved the animation, trying to make the action feel more dynamic, get those swords in frame.

460

I also redid the facial performance to get something more expressive.

461

I revisited the hair and I added the X -Gen Groom to give it even more detail and blend in.

462

I spent more time on the textures including completely redrawing the tattoos adding some polish here and there

463

i reworked parts of the costume

464

and i even used marvelous designer to rebuild the waistband to make

465

it look nicer i went back to the cloth simulation to improve all the layering

466

and the physics and collisions with each other and the biggest challenge of all the fire

467

i was never really happy with the results so i tried something different and i went with Niagara Fluids inside of Unreal.

468

It's something I'd never done before and it's relatively new.

469

But after some experimenting and lots of playing around and following some tutorials, I got something I think looked pretty decent.

470

A really big shout out to Redefine Effects.

471

If you're at all interested in learning this kind of stuff, I super recommend checking out his free series that put together

472

so now finally i've got my flaming swords

473

and i started working on the final presentation

474

and i refined the lighting based on the new pose

475

this time i wanted to render everything at the highest quality i could

476

so instead of just rendering out the final video from unreal

477

i rendered it as an exr sequence with multiple passes

478

and i brought everything into nuke to composite

479

which added a lot more time both for the rendering and the compositing and the exporting,

480

but it gave me even more control so I could adjust everything and pretty much do whatever I wanted.

481

I even added the depth of field in post, which helped me pick and choose and add other elements.

482

I also updated the card frame.

483

Now that this is a portfolio piece too, I spent even more time polishing the character in some bits that you didn't see before,

484

and I created some presentation shots and a turntable video showing off the model.

485

You can check those out at their the full quality in my portfolio in the link below.

486

Looking back, even though I didn't get to compete in the challenge, I'm really glad I took this on and entered initially.

487

It pushed me to try so many new things.

488

I learned a ton and ultimately created something that I wouldn't have otherwise.

489

So after a whole nother month of working on this thing and making all those little improvements, here is my final card animation.

490

Thank you for watching link down below to my full resolution work that I did for this project

491

Thank you to ponisher for hosting these 3d our challenges is super epic

492

and special shout out to the top five winners of this competition I'm linking their work down below two of

493

which were also done in unreal shout out to everyone who participated

494

Thank you for watching.

495

I'll see you in the next one.

496

Peace out

ดาวน์โหลดแอป

ทุกอย่างที่ต้องใช้เพื่อพูดได้คล่อง

AI ให้คะแนนการออกเสียงให้คะแนนทุกประโยค

ฝึก IPAเชี่ยวชาญทุกเสียง

คำศัพท์สร้างคลังคำของคุณ

เกมคำศัพท์เล่นไปเรียนไป

สแกน QR

Download on theApp Store Get it onGoogle Play

FOR YOU

วิดีโอแนะนำ

166 ประโยค

Aura 999999% motocross show stunt freestyle #motocross #usa #motorcycle #fmx #fyp

Daily ConversationWorking Adults

148 ประโยค

Building a REAL pawn that transforms into a queen (automatically)

Daily ConversationWorking Adults

169 ประโยค

Can This Vibe Coder Beat a Senior Developer?

Daily ConversationUniversity StudentsWorking Adults

243 ประโยค

World's Tallest Elephant Toothpaste Volcano

Daily ConversationWorking Adults

303 ประโยค

I gave 16 Editors 48hours to Create the Best Edit!

Daily ConversationWorking Adults

คำศัพท์และข้อสังเกตด้านการพูดสำหรับบทเรียนนี้

บทเรียนฝึกพูดนี้ใช้วิดีโอ “I Entered the Biggest 3D Art Challenge…” เป็นสื่อ วิดีโอนี้มี 496 ประโยค และ 5982 คำ สำหรับฝึกพูดตาม ช่วงที่มีเสียงพูดยาว 28:41 ผู้พูดพูดเร็ว ประมาณ 208 คำต่อนาที จึงมีการเชื่อมเสียงและลดเสียงค่อนข้างมาก มีเพียง 79% ของคำที่อยู่ใน 3,000 คำที่ใช้บ่อยที่สุดในภาษาอังกฤษ คำศัพท์จึงค่อนข้างยาก

คำศัพท์สำคัญในวิดีโอนี้

คำที่ควรเรียนรู้ 15 คำจากวิดีโอ พร้อมคำอ่านและความหมาย:

คำศัพท์	คำอ่าน	ความหมาย
animation คำนาม	/ˌæn.ɪˈmeɪ.ʃən/	แอนิเมชัน
cloth คำนาม	/klɒθ/	ผ้า
sword คำนาม	/soɹd/	ดาบ
arrow คำนาม	/ˈæɹəʊ/	ลูกศร, ศร
export คำนาม	/ˈɛks.pɔɹt/	การส่งออก
shout คำกริยา	/ʃaʊt/	ตะโกน, กระโชก
atmosphere คำนาม	/ˈætməsˌfɪɹ/	บรรยากาศ
flame คำนาม	/fleɪm/	เปลวไฟ, อัคนิคณะ
painter คำนาม	/ˈpeɪntɚ/	จิตรกร
template คำนาม	/ˈtɛm.plɪt/	แม่แบบ
scary คำคุณศัพท์	/ˈskɛə.ɹi/	น่ากลัว
leather คำนาม	/ˈlɛðɚ/	หนัง
deadline คำนาม	/ˈdɛdˌlaɪn/	เส้นตาย
armor คำนาม	/ˈɑːɹ.mɚ/	เกราะ
attach คำกริยา	/əˈtæt͡ʃ/	ติด

กริยาวลีที่คุณจะได้ยิน

คำศัพท์	คำอ่าน	ความหมาย
fill out คำกริยา	/fɪl ˈaʊt/	กรอก

ประโยคที่ควรฝึกพูดซ้ำ

ประโยคสั้น ๆ ที่สมบูรณ์จากวิดีโอ ซึ่งนำไปใช้ในบทสนทนาประจำวันได้:

I think that's a big time savings.
I feel like that's what needs to happen.
I'm replacing the meshes from the original template.
I don't even know what it's going to be.
I'm also making a few adjustments to the eyes.

ไวยากรณ์ในวิดีโอนี้

โครงสร้างที่ผู้พูดใช้บ่อยที่สุด พร้อมคำพูดจริงจากวิดีโอ:

โครงสร้าง	ในวิดีโอ
Present perfect have/has + กริยาช่อง 3 — เหตุการณ์ในอดีตที่ยังเกี่ยวข้องกับปัจจุบัน	i've wanted · I've always wanted · I've done
Relative clauses who / which + อนุประโยค — ข้อมูลเพิ่มเติมเกี่ยวกับคนหรือสิ่งของ	friends who hosts · frame which is · stuff, which is
Passive voice be + กริยาช่อง 3 — เน้นสิ่งที่เกิดขึ้น ไม่ใช่ผู้กระทำ	be modeled · was automatically generated · be seen

การออกเสียงที่ควรระวัง

ผู้พูดใช้รูปย่อและรูปลดเสียง 136 ครั้ง เช่น I'm, I've, don't ให้พูดแบบสั้นตามที่ได้ยิน

เสียง “th”: cloth /klɒθ/, leather /ˈlɛðɚ/
เสียง “sh” และ “zh”: animation /ˌæn.ɪˈmeɪ.ʃən/, mesh /mɛʃ/, shout /ʃaʊt/, polish /ˈpɑ.lɪʃ/, simulation /ˌsɪm.jəˈleɪ.ʃn̩/
คำยาว — ลงเสียงหนักให้ถูกพยางค์: animation /ˌæn.ɪˈmeɪ.ʃən/, portfolio /pɔːtˈfəʊ.liˌəʊ/, essentially /ɪˈsɛnʃəli/, experiment /ɪkˈspɛɹ.ə.mənt/, transformation /ˌtɹæns.fɔɹˈmeɪ.ʃən/

เสียงที่คนไทยมักออกเสียงยาก:

เสียงท้ายคำ — ออกเสียงให้ครบ ไม่เปลี่ยนเป็นตัวสะกดแบบไทย: unreal /ʌnˈɹi.əl/, cloth /klɒθ/, mesh /mɛʃ/, rage /ɹeɪd͡ʒ/, polish /ˈpɑ.lɪʃ/
/v/ — ไม่ใช่ /w/ ให้ฟันบนแตะริมฝีปากล่าง: curve /kɚv/, vibe /vaɪb/, universal /ˌjunəˈvɜɹs(ə)l/, convince /kənˈvɪns/, convenient /kənˈviː.niənt/
/z/ — เสียงก้อง ไม่ใช่ /s/: pose /poʊz/, anyways /ˈɛn.iˌweɪz/, presentation /ˌpɹɛzn̩ˈteɪʃn̩/, designer /dɪˈzaɪnɚ/, physics /ˈfɪz.ɪks/

วิธีฝึกกับวิดีโอนี้

ฟังวิดีโอให้จบหนึ่งรอบโดยยังไม่ต้องพูด แล้วจดคำที่ยังไม่รู้จัก
เริ่มที่ความเร็ว 0.75× พูดตามทีละประโยค แล้วกลับไปใช้ความเร็วปกติเมื่อเริ่มคล่อง
อัดเสียงตัวเองแล้วเทียบกับต้นฉบับ โดยสังเกตคำอย่าง animation, cloth, sword เป็นพิเศษ

เทคนิค Shadowing คืออะไร?

Shadowing เป็นเทคนิคการเรียนรู้ภาษาที่ได้รับการรับรองทางวิทยาศาสตร์ พัฒนาขึ้นสำหรับการฝึกนักแปลมืออาชีพ วิธีการนี้เรียบง่ายแต่ทรงพลัง: คุณฟังเสียงภาษาอังกฤษจากเจ้าของภาษาและพูดตามทันที — เหมือนเงาที่ตามผู้พูดด้วยช่วงเวลาห่าง 1-2 วินาที การวิจัยแสดงว่าเทคนิคนี้ปรับปรุงความแม่นยำในการออกเสียง ทำนองเสียง จังหวะ การเชื่อมเสียง การฟังเข้าใจ และความคล่องแคล่วในการพูดได้อย่างมีนัยสำคัญ

เทคนิค shadowing: อ่านคู่มือฉบับเต็มทีละขั้นตอน →

ฝึกพูดภาษาอังกฤษด้วยเทคนิค Shadowing จากวิดีโอ: I Entered the Biggest 3D Art Challenge…

เลือกโหมดฝึก

ดาวน์โหลดแอป

AI Animation Pipeline: How I Make Cartoons 100% With AI

I Bought A Modded RTX 3080 From Aliexpress...

HOW TO WIN A TRIATHLON!!

My Favourite Games From GMTK Game Jam 2026

I Built a GIANT LEGO Castle…

I made a fully automatic hammer

A Quiet Artist Vlog

Aura 999999% motocross show stunt freestyle #motocross #usa #motorcycle #fmx #fyp

Building a REAL pawn that transforms into a queen (automatically)

Can This Vibe Coder Beat a Senior Developer?

World's Tallest Elephant Toothpaste Volcano

I gave 16 Editors 48hours to Create the Best Edit!

คำศัพท์และข้อสังเกตด้านการพูดสำหรับบทเรียนนี้

คำศัพท์สำคัญในวิดีโอนี้

กริยาวลีที่คุณจะได้ยิน

ประโยคที่ควรฝึกพูดซ้ำ

ไวยากรณ์ในวิดีโอนี้

การออกเสียงที่ควรระวัง

วิธีฝึกกับวิดีโอนี้

เทคนิค Shadowing คืออะไร?