july 2024 | laboratory
Researching and developing a 2D to 3D workflow that can utilize the powerful real-time and reactive tools in full 3D software.
This laboratory post goes over my experimentation with a 2D to 3D workflow, starting first with environments, though technically could be done with characters as well. For the future I suppose!
The main purpose of this workflow was to try to create a mesh close enough to the illustration to be able to fully utilize Blender’s systems, lighting, simulations, and more. These experiments, mainly R&D for me, was to test if it was not only feasible to do, but also if it was worth doing within a production pipeline. This lab was really fun for me, the perfect mix of nerdy technical stuff and 3D artistry.
Timeline: 1 Week (July 2024)
(breakdown pictured below)
Tools
Role
Photoshop
After Effects
Element 3D
Trapcode
Blender
Rigging
Animation
Visual Effects
Art Breakup
Layering
Compositing
3D Artist
01 - River scene
Texture Atlasing
This is a texture atlas created within Photoshop.
There are programs and workflows to achieve something like this, though this particular atlas was created using a technique from the great Daniel Gies!
This was later used within Blender for materials & shaders.
(Illustration by Takehiko Inoue, Mangaka of Vagabond)
Environment Building
Here’s the workflow in action, (without proper lighting) you can see the depth gained in the rocks, allowing them to take full advantage of Blender’s shadow systems, bouncing and wrapping around the more complex geometry.
In my opinion, this scene is weaker than the next one, but regardless you can certainly see the power of this workflow.
composite
After the set was built, I composited it in Element 3D (inside of After Effects), which in my opinion, doesn’t stand the test of time, or at the very least, doesn’t really fit in this workflow at this stage. Losing the real-time capabilities of Blender and lighting changes just isn’t ideal.
Ideally, more time would’ve been spent in Blender. Still, I think the results are very, very interesting. With more compositing, this could be seriously awesome!
02 - forest scene
Texture Atlasing
This is a texture atlas created within Photoshop.
(Illustration by Takehiko Inoue, Mangaka of Vagabond)
environment building
Here’s the set I built from the texture atlas.
I’m very pleased with how the curvature of the trees came out, it allowed the lights from the lighting from the campfire to bend around, and fall off the trunk perfectlty.
composite
After I finished building the set, I implemented lights and lighting that I knew couldn’t be replicated inside of After Effects.
I then exported as OpenEXR, to allow for more in-depth compositing inside of AE (and so I didnt have to deal with Element 3D).
I’m really, really happy with how this turned out. There’s definitely still a lot more to learn, but for the time spent, I think this was a great result, and overall a very successful tech demo!
Reflection & takeaway
A 2D to 3D workflow is absolutely possible. Though still limiting (less so than 2D itself), it opens plenty of new doors and much faster workflows. Theoretically, you could take a 2D character cut-out, sculpt, or add geometry to it in 3D space, then rig it using 3D tools.
3D environments created from 2D assets are also seemingly a viable route. With good set construction, knowledge of lighting 2.5D meshes, and great compositing, I could see this being extremely versatile and useful.
This lab was super fun, dipping my toes into 3D software(s) to complete my 2D workflow was super interesting, and the results surprised me. There’s certainly a use for this workflow somewhere, and I found it much more fun than projection mapping, but both definitely have their different use cases.