Well…the 2-3 weeks of computer rest didn’t do much good, sadly. We’re continuing to pursue other treatment options. In the meantime, I’ve been easing back into a bit of computer use, and I thought I’d share some of my (slow) progress with the terrain beneath the Sorcerer’s Stone castle.
Here I’ve resumed adding the next layer of detail to the area under the Great Hall:
I admit detailing everything manually was getting tiresome, so I finally started making use of this fabulous rock sculpting brush set from Blend Swap. I figure if the original modelmakers could use a mold of a big slab of coal, there’s nothing wrong with me using some photoscanned rocks for additional texture. This can be a good way to expedite the process of adding the countless tiny crags and crevices to the major forms I’ve sculpted. Then I can go back in and sculpt more details myself where necessary.
Blender’s “geometry nodes” system is getting better and better, so I started setting up a node tree that would add greenery to the top faces of the rocks:
Still needs work, but we’re headed in the right direction. I’ll round out today’s post with another angle and different time of day:
Still on computer rest, but here’s a post I’d been working on before that happened.
I woke up one morning with an itch that needed scratching: I wanted to work on the version of Hogsmeade Station from the first film. Despite only being featured briefly in two scenes, this environment really contributed to the magical feel of the film for me.
It’s really just two shots that make such an impact: the first shot of the station and the last. The first is a misty nighttime shot under the footbridge as the Hogwarts Express approaches. The last is the final shot of the whole film, a gorgeous reverse shot from higher up, complete with a distant Hogwarts sparkling in the sunlight as John Williams’s music swells. Both scenes were shot on location at Goathland Station.
I have no technical drawings for the station, so I resorted to more creative methods to get the scale right: aerial photos from Bing Maps and Google Maps, plus motion tracking and photogrammetry from shots in the film and on YouTube. Here’s some stuff lined up in Blender:
I also tried to match up the position of Hogwarts in the final shot. I don’t know if I’m going to make these all part of the same file, but it’s worth exploring:
The digital matte painting in the film used a photo of the miniature. Sadly, the castle perspective isn’t going to match exactly, because the lens used to photograph the miniature doesn’t match the lens used for the Goathland plate. (By my calculations, they would have had to move the camera about 160 feet away from the miniature to get the right perspective. I can appreciate why they didn’t.)
Here’s a plan view, showing the relative sizes and positions of the station and the castle:
They’re not super far apart…not much room for the lake. Another complication is that the platform seems to be about 100 feet below lake level, in the imagined real-world scale of it all. This allows the castle to appear higher and more impressive, but it raises more questions about how I could faithfully integrate these into the same environment.
But for now…let’s start the model!
At this point I shared a brief video on YouTube:
Aaaaaand then not long after, the doctor told me to stop using the computer altogether for 2-3 weeks. (I’ll be hitting 2 weeks this weekend…but I’m still hurting, so looks like it’ll be 3.)
Good thing WordPress still let me publish this draft from my phone!
Still having RSI issues, but fortunately, sculpting doesn’t seem to aggravate them too much if I stick to the Wacom stylus in the right hand and the 3D mouse in the left. Anyway, more base meshes to be sculpted into the Hogwarts terrain:
You can see that I switched over to the first film’s castle there. I love the way the cliffs just under the back of the Great Hall buckle inward. They create a really cool silhouette that you can see in the first couple films. That area underwent small changes in Prisoner of Azkaban and then bigger changes in Goblet of Fire. It ended up with a convex shape that I find…more realistic, but less interesting. In fact, I think that whole corner of the terrain looks best in the early versions. It’s got some cool, designy rhythms to it, with asymmetrical outcroppings leading your eye upward to the Great Hall. They’re not as evident in the base mesh, of course:
We’re off the edge of the map here. Literally – I don’t have any technical drawings that go all the way out to this corner. But that doesn’t really matter, because it turns out the drawings aren’t very accurate for the terrain anyway. I don’t have any photogrammetry of this version of this area either, so it’s just a lot of flipping back and forth between different reference photos (with different lighting, focal lengths, resolutions, image quality, etc.) and trying to match every angle I can. It’s definitely a challenge. But it’ll be worth it to be able to showcase the way the landscape changes around the castle!
Anyway, that completes the base mesh for this chunk of the terrain…time to sculpt! I was a little nervous about the terrain on the two sides of the boathouse stairs matching up, since I’m building in two completely separate chunks. So it was exciting to see them starting to visually come together as if they’re one continuous landmass!
One of the amusing parts of this technique is just how insanely weird the undersides get:
It becomes very obvious that I started out by mushing a bunch of blocky shapes together, with no regard for how the bottom looks. Why not clean it up? I might at some point. But it’d probably be more work than it’s worth. I’m gonna stay focused on the parts that are visible.
The render below really showcases the difference in detail between my first sculpting pass and my second. The stuff to the right of the boathouse steps has had the second pass, while the stuff to the left hasn’t had it yet:
Even so, that’s starting to look positively Hogwartian!
This was the point at which I jinxed things by being too excited about the results I was getting. Something went wrong and shifted the whole cliff out of alignment in a weird way…twice. Still not sure how it happened. I had to revert to an earlier auto-save and redo a bunch of work in the area below…twice. Definitely frustrating. But it would have been way worse if not for the auto-saves…thanks, Blender!
That completed the first sculpting pass for this whole chunk of terrain beneath the Great Hall. The more detailed second pass should be in the next post!
My arms have still been giving me intermittent RSI problems. But even when I can’t work on the project, that doesn’t mean my computer can’t! I’ve always wanted to figure out the layout of the indoor queue for Harry Potter and the Forbidden Journey at Universal Studios Hollywood, and without floor plans, photogrammetry is the best method I have for measuring it out. So I set up some Meshroom projects, prepared frames from some YouTube videos, and let ’em run while I rested my arms.
All I’ve got so far are the dungeons, on the ground floor. Functionally, these are just a way to get people from the entrance in the front of the building to the greenhouses in the back. In terms of story, these give the rider a chance to see the Mirror of Erised, the statue from the third-floor corridor in the first film, the entrance to Potions, the entrance to the kitchens, and so forth.
Kinda hard to understand what you’re looking at. Maybe a plan view with a faint aerial photo beneath it will help?
Funnily enough, the entrance to the kitchens does seem to be beneath the Great Hall, just as it is in the books.
Anyway, for good measure, here’s a quick flyaround animation:
Of course, this is missing the lockers and the retail space and the ride exit and any number of behind-the-scenes areas that I assume fill out the rest of the ground floor. Maybe someday.
Eventually I’ll do the main part of the indoor queue on the upper levels. Then the hope is to actually build a proper model of the exterior, and probably as much of the interior as I can as well. But since I’m busy with other parts of the H4D project right now, I thought I’d at least share a glimpse of what I’ve got so far.
Let’s continue adding the terrain! Almost all the land from the viaduct clockwise around to the south side of the quad building changed in Goblet of Fire. That’s when the Great Hall was relocated, the viaduct courtyard replaced the Chamber of Reception, the viaduct itself changed angles slightly, and boathouse steps were reconfigured, and the footpath up to the south side of the quad building was added. I mean, the basic idea is still the same, but it changed enough that I’m going to need to do a separate sculpt for the GOF version.
Anyway, what you see here is the beginnings of the version from the first three films. (I happen to have the POA castle visible here, but it could have been any of the first three versions.)
It can be an interesting challenge to divide the terrain into these blocky shapes, especially for areas where the reference images are few and photogrammetry isn’t possible. But I’m really glad I’ve chosen this approach. It forces me to think about the big forms first – a critical skill in both 2D and 3D art, and one I sometimes neglect.
As you can see, I didn’t worry about the spots where these blocks overlapped with the boathouse stairs – I knew I’d be able to carve out the appropriate sections later. Right now, I’m only focused on everything to the right of the stairs:
In fact, as the first sculpting pass begins, you can see I’m not even touching anything to the left of the stairs:
That’s all just overflow, soon to be clipped off and replaced with a separate sculpt for that side of the stairs. By the way, the techniques here are exactly the same as the ones I previously used in this video, albeit with less photogrammetry reference. I know I could get away with following the original landscape less closely overall, but I’m trying to keep it close – partially because it’s fun, partially to indulge my perfectionism, and partially because this way I’ll be able to show how the terrain changed along with the castle.
I was relieved to find that my plan for splitting the landscape into chunks should indeed work. The seam isn’t completely invisible in this render, but it should become less obvious with further detailing and finessing:
Speaking of which…next came further detailing and finessing! I clipped off all that excess rock to the left of the stairs and sculpted smaller ridges and crags:
That render reminds me that my lake water material will need more work. It’s also a clear illustration of the difference that detailing makes – notice how I haven’t touched the rocks toward the bottom right yet, and they, like…suck.
I fixed that next!
That brings all this terrain to a consistent level of detail. I must admit, I’m realizing that some of it’s getting a little too…sedimentary. I started really going for it with the strata in some places, but when I return to the photo references for the miniature, the rock has a rather different character to it. It may help if/when I use textured sculpting brushes to add the next level of fine detail? We’ll see.
Anyway, we’ll wrap up with some orthographic views of the POA castle so far! (Backsides and undersides of the terrain have been removed for clarity.)
This post has been delayed by my repetitive strain injuries; progress is definitely slow right now. But as promised, it’s time to share my progress on the terrain surrounding Hogwarts!
The rocky crags have some rather squarish forms, so I thought I’d rough out the geometry with a bunch of separate low-poly rocks:
The idea is to create sections of rock that can be swapped in and out for different films. This entire swath of rock remained mostly unchanged throughout the films, so I was able to base the forms on photogrammetry from the Warner Bros. Studio Tour:
It may look awful like this, but it’s exactly what I was looking for. From there, I was able to start sculpting the individual crags to be more…craglike, and then using Boolean operations to join them into continuous objects for more sculpting. Here are some work-in-progress views:
I was feeling pretty good about this so far, so I started working in smaller details on the left…
…but I didn’t like the way that looked. It’s not the worst thing in the world; it’s just kinda…mushy. Indecisive. I wanted something that looked more confident, intentional, and realistic. I wanted to do better.
Fortunately, I’d saved a copy of the less detailed sculpt, so I went back and tried again. (I’d been reading Adam Savage’s Every Tool’s a Hammer – great book on creativity – and I was feeling fired up about the value of learning through failure and iteration.) This time, I more deeply studied photos of the miniature, as well as photogrammetry of the rockwork at Universal and photos of real coal. (The rocky areas of the miniature were molded from a huge slab of coal.)
The next attempt felt better:
Another difference is that I shaved off some areas on the left – I realized that those changed in Goblet of Fire, and this chunk is just supposed to be the parts that remained the same until Deathly Hallows.
Here I’ve finished that medium-scale detail pass for the whole chunk (and made the temporary gray material less shiny):
The left edge is where the terrain starts to diverge starting in GOF, the top edge is where the terrain changes in COS to accommodate the greenhouses, and the big opening at the lower right is actually how the miniature was built. (In the films, this is generally where the miniature joins up with the surrounding landscape, accomplished through digital matte paintings and CG and whatnot.)
Here’s the same shot with some texturing applied:
I’m calling that chunk finished…for now. I still need to add grass, trees, and shrubs. I also might go in and sculpt a finer, sharper level of detail, probably using textured brushes, but I’m going to see if I can get away with this level for now. It’s always a tradeoff between getting enough detail and avoiding inordinately long render times (and slow overall performance).
Want to watch the whole process come together? Check out the video!
Next I’ll need to apply the same techniques to create the rest of the landscape. Hopefully I’ll have more progress to share soon!
Bah, my repetitive strain injuries have gotten bad again. This is going to delay my next post, sadly. I’m trying to get the issue taken care of, but it’s resisting treatment, and the American healthcare system is particularly unkind to the unemployed. (Thanks, COVID!)
If you’re enjoying this project and want to support my healing process so I can see it through, donations of any size are appreciated. I’m on Venmo as @Joe-Cardello.
Regardless, I’ll hope to have more for you before too long!
Today’s post is mostly a big block of text, so let’s at least start with a few random renders of the project so far:
The viaduct area in Prisoner of AzkabanThe Transfiguration courtyard in Prisoner of AzkabanThe Alnwick Castle-based training grounds in the first two films
Now for some words! Lots of them!
So up till now, my castle models have been floating in the air, hundreds of feet above the lake. But I’ve hit a major milestone in the project: I’ve begun creating the rocky landscape the castle sits on!
Here are some factors informing my approach:
Many of the films have shots that repurpose views from previous films. These create significant inconsistencies within individual films. I’m disregarding them altogether.
At least for the first six films, the environment really has to be treated as two distinct entities:
The terrain that surrounds and supports the main 1:24-scale castle miniature.
This terrain was carved out of polystyrene, with rocky outcroppings of plaster molded from slabs of coal.
This terrain is quite consistent within each film and changes incrementally between films.
The lake and mountains that surround the miniature in the films.
Typically, the visual effects team integrated photography of Scotland into digital matte paintings and layered those onto 3D geometry.
Unlike the miniature, these CG environments change drastically from one scene to the next, not to mention from one film to the next. (The second film contains a particularly dramatic example: there are two establishing shots that use similar or identical plates of the castle miniature, but the surrounding terrain is totally different.)
The upshot is that you can’t create one single environment that will be 100% consistent with every shot in a given film. You can do it with the miniature, but beyond its borders, it’s literally impossible. So my approach there will be impressionistic. Still, I gathered reference images from each film. I carefully took note of common features between films and annotated them with color coding. I even had fun unrolling some of the panning shots into rough simulacra of the original matte paintings.
But you can only do so much researching and strategizing. Eventually you’ve just got to get started! So I hit the major milestone of starting to model the landscape a few days ago…but I’m going to save the renders for the next post. I should have a video for you as well. Doesn’t look like much yet, but the work has started; I’m just having to pace myself right now because of my repetitive strain injuries. But I didn’t want to go too long without at least posting something.
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Before we get into today’s post, I was asked to share a plan view of the original quad in my model, so…voila! Can’t make any guarantee of its absolute accuracy, but it should be close. (Still missing the terrace along the north side…I don’t have any good references for that.)
Anyway, in our last installment, I’d finished a rough sculpt of the Chamber of Secrets Whomping Willow’s trunk, roots, and major branches. But I decided it would be better to let Blender grow the newer, denser growth on top. I created a particle system to generate paths leading away from the tree’s knuckles. Negative gravity pulled those paths upward to create the right shape. Here’s an early attempt:
After adjusting the parameters some more:
It was at this point that I spontaneously made a work-in-progress video tour of the SS castle, which then morphed into a tour of the COS castle too. This has been up on YouTube for a bit but I’ll include it here in case you’re crazy enough to not have already subscribed there.
But anyway, back to the Whomping Willow. The next step was to add smaller twigs. I created a handful of different shapes and used another particle system to distribute them over the shoots on top. To keep the distribution from being unnaturally even, I painted a “weight map” to control the density. Looks kinda cool on its own:
But of course, the point isn’t to have the weight map look pretty. The point is to get the twigs in place:
Then I went back to the trunk and main branches to sculpt the final levels of detail, giving them a texture that hopefully resembles tree bark. This took a while. Lots of virtual scraping with my Wacom tablet. (For fellow Blender users – I did most of my rough sculpting with the wonderful Clay Strips brush, and then I adjusted the falloff of the Scrape brush to dig all the grooves into the bark.) In the next render, you can also see me starting to experimenting with procedural normal maps to add another level of detail:
Then it was just a matter of refining the coloration of the tree and texturing the rocks at the base!
That flat lawn texture doesn’t look horrible from a distance, but it’s pretty obvious that there’s no actual grass here when you get close like this. So I did something I’ve been meaning to do for a while: I used Blender’s relatively new geometry nodes feature to create actual blades of grass.
This was my first foray into geometry nodes. Initially, I just wanted to add blades where the lawn approached other objects (like the Willow). That way I could at least get rid of the hard edges but still keep my computer from blowing a gasket. But the performance seems to be better than with the existing particle tools, which is really exciting. I’d been worried about how to tackle the surrounding landscape if my computer couldn’t handle that many blades of grass, but this has me more optimistic. I went ahead and just covered the whole lawn with actual blades, and it seems to be working fine!
Anyway, here are some views of the complete COS Whomping Willow!
Hogwarts 4D 