please help...don't fly away

so you people seem to be scared of the trex thing and want to pass by without making any comments?shame on you :stuck_out_tongue: :stuck_out_tongue: :stuck_out_tongue: .tonight i saw “the lost world” once again.i think i can do the animation with its help.but i wonder how did the ILM team texture the dinosaurs so nicely that they look just photoreal!! :o …any ideas?please help.

but i wonder how did the ILM team texture the dinosaurs so nicely that they look just photoreal!! …any ideas?

Probably a combination of several things:

  1. Lots of talent.
  2. Lots of experience.
  3. Lots of time (it’s their job… they aren’t doing it in their spare time).
  4. Programmable shaders.
  5. Displacement mapping.
  6. Lighting.

There are a lot of people that think “it’s artist, not the tool”. To some degree, that is true. But the tool is important too. After all, who do you think could do better: someone with Maya and PRMan, or someone with a text editor and Povray? It’s not entirely the artist, nor is it entirely the tool.

Face it: Blender is not up to par with the high-end 3d animation programs out there. Blender is a very nice tool, but it simply doesn’t have the rich feature-set that the high-end programs have. Blender is like colored pencils, whereas the high-end programs are like paint brushes. Blender can do much of what the high-end programs can do, but there are some key things that it lacks.

I have a feeling that the amount of TIME (people hours, keep in mind that more than 1 person was working on it) that they put into that project probably was up to 1-2 years. Spend that much time on a project with the goal of makeing it look photoreal and you probably will be sucessful.

But the key will be to paint a custom UV map using GIMP or Photoshop and then carfully apply it. You might want to pick up some reference pictures of what we think dinosours look like.

you guys are thinking of much greater not forget that the most of the people whom you are mentioning “a lot of people” are animators there(ILM). i suppose only one man makes a single model of a t-rex or a velosiraptor or like that. it is true that they have separate texture artists and they do not have to bother about making the texture.but they are the people who wrap the texture around the model i think.that was my question in the previous one that i sent a few days to wrap the texture around the dinosaur that it looks seamless as well as photoreal.i am not working on an entire project like “the lost world”.i’m making only a single thing like it.didn’t you see the “rob-dino” in some blender-site’s gallery?if not then see can do atleast some photoreal creatures in blender if not then that’s the fault of the artist himself not the it?

I think I saw a behind-the-scens-program about Jurassic Park. There they said that they painted the texture, bump-map, specularity-map and the whole thing onto the dino pixel by pixel. :-? Must be quite boring…

And for the texture I think they have taken photos of lizzards and stuff and manipulated the photos in the computer so that they´ve got a big, non-repeating texture for the dino. I guess they´ve colored the parts differently and so for the different species. But that´s just a theory.

Man, my spelling really suck today. Sorry.

And for close ups they used real models, so the textures can’t be that good :wink:


If they use models for the close-ups, maybe they have used photos of the models for texturing? I mean, if you want to have a well coloured and lighted texture for the use in real shots , why not shoot it in its later environment?


I think Kos wanted to know best way to texture in Blender his T-Rex.

With one map, how? There is that facial texturing tut, but i don’t think it will work.

Multiple maps(map for head, limbs, …), how to make edges smooth?

How would you texture complex organic character?
I’d like to know that too.

It doesn´t matter that much if you have one big image or several small ones. Unless you can make a T-Rex-shaped texture, seams remain a problem to solve. You have to think a bit like a tailor (is one around here?) Imagine something really cruel. Imagine skinning your Rex. Where would you cut, where would you stretch? Make it on paper. Use arrows to indicate stretched parts, because those areas will appear smaller when applied to your teethpet. Make several textures of the same shape. It can help a lot, if you don´t start with the real skin. Start with lines and numbers, so you can see what parts of your texture come together and how. Then you can either alter the image or stretch the UV, until the lines match (the reload button is handy there, I think). If you lay a pattern of a different colour under your lines, you will also see where the texture stretches very much and where not. The less difference, the better (imagine polka dots as a reference). YEAH, a T-Rex with measles! :smiley:

Now the seams: If you take the right border of the left image for the left border of the right image, they should match, because you don´t have to take the whole picture for the texture in blender. This is of course tricky, if you don´t have straight edges.

This is an approach that I would try until I get a better one. Has anyone searched the net for a tutorial from a pro?


thanx for you advice…i was searching for something like that.seems a lot of work.but it would not matter so much if my model looks atleast 30% real of the lost world giants!afterall most of the things depend on the texturing here!you can check out my poor texturing skills in these following URLs: finished yet)

here’s a thought. use the uv editor to unwrap the surface, put a checkermap on so that scale/stretching is pretty uniform throught (map render tweak , map render tweak)
a- do one map for the whole thing.
b- do more than one map, with multiple material ids. then either:
b1- make sure the seams work by careful map painting.
b2-if you have two maps that meet at an edge, create 3 material ids. and make sure you have alpha channels to fade out the edges of your maps. id1 has map1, id2 has map2, id3 has both with the alpha channels used to blend the colors at the seams.

ps. your texturing skills ain’t that bad, and , yes I realize all this is a boatload of work. there are some unwrapping scripts out there, don’t know the urls. there’s also a script to render out the uv editor window for paintovers in gimp/pshop/etc. I have that script (modified to work on tri, quad, and mixed meshes) so I can email it/post it if your interested. I don’t have the permission of the original script writer for mod/redistribution, so maybe I should secure that first.
pss. I would really try to get it to have one image for any contiguous mesh. much less management / pain that way.

T-Rex texturing tutorial here:

It isn’t Blender specific, but you may be able to use the techniques. I tried to post this earlier, but the link was dead. It looks like the site is back up now.

Good Luck,

thanx for the link,i think it will help me a lot.thanx again.seeya.