The pre-modeling process consists of two main phases: dimensional data capture, and vertex tracing. We begin with the gate and chevron models:

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1 OVERVIEW My multimedia term project consists of the modeling, texturing, and animation of a working Stargate and DHD (Dial Home Device). Taken from the SG-1 series, and original Stargate Movie, the gate itself serves as an interplanetary travel device, functioning in the same fashion as a phone; albeit on a galactic level. This paper will trace the evolution of the project, as well as outline the technical aspect of each gate segment, and provide details of the respective methods used for bringing the initial two-dimensional data to binary life.

2 PROCESS The pre-modeling process consists of two main phases: dimensional data capture, and vertex tracing. We begin with the gate and chevron models: - The main components to the gate are the inner and outer rings, and the seven visible chevrons distributed along the outer edge. Each chevron locks into place over a specified glyph of the inner ring, resulting in a stored seven glyph address. The result is a seven-point position fix on the desired destination planet, triggering the event horizon, or puddle, to open. - Using Adobe Photoshop, dimensional vectors were constructed via outlines from static pictures. Pictured below is the first phase of Chevron construction, as well as the source image for the DHD layout. - Once created, the dimensional vectors were converted to bitmaps for import into Macromedia Freehand, where the vertex trace was then exported as an Adobe Illustrator 7.0 file; making the dimensional data for the chevron (left) and gate (right) ready for import into Maya. Bitmap Data Freehand Vertex Trace

3 - Having concluded the roles of Photoshop and Freehand in the modeling process, we focus our attention to Maya. Using the vertex trace export, the dimensional data is imported as curves into the Maya interface: Maya Import (including DHD face buttons, to be summarized later) - With the pre-modeling completed for the gate and chevron components, only the DHD remains. Using DHD concept art, the preliminary curve is outlined using the CV curve tool; proving a means to construct the skin of the DHD. DHD Concept Art CV Curve Outline

4 With Pre-modeling complete, construction can begin. Via the use of the planar surface, revolve, loft, and extrude face tools, polygonal and nurbs objects are constructed from the imported and outlined curves. Inner & Outer Ring Nurbs Constructed via revolving gate curves around the y-axis. Chevron Polygons constructed from face extrusion of the planar surfaces created from the imported curves. DHD Base Nurb constructed via the lofting of 3 CV curves

5 - With the initial conversion to three-dimensions complete, detail work can commence. Via vertex manipulation (scale / position tools), the components of the chevron are transformed from rigid polygons to more realistic ones via the use of dimensional references. Initial Gate / Chevron assembly upon face extrusion Chevron reference Refined Chevron Model

6 - With the Gate and Chevrons taking shape, all that remains is the final modeling of the DHD and glyph placement. - Using a Stargate Glyph font to create curves, planar surfaces are again created within Maya. Each glyph is then arranged around the inner ring, using the section subdivisions as angle reference points. Similarly, the DHD glyphs are arranged according to the button panel (imported earlier). ABCDEFGHIJK Glyph Font Inner Ring Glyph Placement Final DHD model, with added top panel and rim nurbs - For the final aesthetic touch, a gate platform is constructed from polygon cubes. Base Reference

7 SUMMARY With the modeling complete, concentration shifts towards scene production. As textures and galactic night sky paint effects are added, the scene finally begins to come alive. Textures Gate/DHD Chevron Base Gate Glyph DHD Glyph Tweaking the incandescence and glow attributes of the blinn texture used for the lights and the puddle (constructed from a nurbs circular plane), and the addition of some background terrain leaves us with the final static scene.

8 ANIMATION OUTLINE Spotlight & Animation Cameras Storyboard

9 SMPTE time code VISUAL AUDIO 00:00:00:00 Title Screen Audio 1 00:00:03:28 Dissolve Trans. 00:00:06:05 Fade In: Animation 1 00:00:15:18 Fade Out: Animation 1 00:00:17:02 Fade In: Animation 2 00:00:34:05 Fade Out: Animation 2 00:00:37:11 In: Chevrons (Animation 3-9) 00:00:46:24 Out: Chevrons 00:00:48:08 In: Animation 4 00:00:58:06 Fade Out: Animation 4 00:00:59:05 End Audio 1: Evanescence: Bring Me To Life