Skip to main content

Hydraulic Crane Renders

I

t has been over eight hundred and thirty five days since I began modelling the hydraulic crane (amongst many other things in my spare time) and I can finally say I have completed texturing it!

This was without a doubt one of the hardest pieces of machinery to construct so far for D_ROGUE. Not only due to the number of parts involved (over one hundred individual pieces) but also the lack of any decent close-up reference. Almost every photo taken of a hydraulic crane, on board the boats seen in the TV show Deadliest Catch and elsewhere online, are either too far away or out of focus. I chose the F/V Saga crane as this was the most 'well-documented'. Eventually, it came down to just hours of staring at blurry images, learning all the major components, as well as a bit of creative licence!

Here we have the final renders of the model below. I quite enjoyed weathering parts such as the hatch and lifting hook; adding a story with all the scratches, dinks and rust. I was careful not to overdo the rust (the F/V Scully having only been built a few years prior) and added only a light coating here and there (even though the rough Bering Sea can work quick on metal!). For example, where continued spray from the sea would make contact with the crane and things like the hook to give a sense of realism from use.


Jason Bartlett ©


Jason Bartlett ©

Jason Bartlett ©


Jason Bartlett ©


Jason Bartlett ©


Jason Bartlett ©

Jason Bartlett ©


Jason Bartlett ©


Jason Bartlett ©


Jason Bartlett ©


Jason Bartlett ©


Above is an orthographic spread of the crane. I was very pleased after all this time to see it come together all in one image.

Next time, texturing and rendering the rope coiler!


Thanks for reading :)

Comments

Popular posts from this blog

Timeless Terror: Jaws @ IMAX (50th Anniversary Re-Issue) Review/Analysis

T he 50 th Anniversary Re-Issue IMAX screening of Steven Spielberg's  Jaws  (1975) was not just a revisit to a classic, but a thoughtful re-education and celebration of cinematic history. From the moment the MCA Universal logo and the iconic JAWS title card graced the colossal IMAX screen, the experience justified every penny. The stunning clarity plunged the audience into Amity Island’s perilous summer like never before. The enhanced resolution revealed details previously lost to small screens and the compression/conversions to old VHS and DVDs. A prime example of this is immediately apparent in the opening sequence. The day-for-night shots where Tom is running after Chrissie on the beach, is remarkably clearer. This allows for a much richer appreciation throughout. As someone with deep admiration for analogue artifacts, particularly works shot on ARRIFLEX or Panavision cameras with anamorphic lenses, this IMAX presentation elevate...

Arnold Render Tests

A fter months and months of modelling, UV unwrapping and exporting assets, it has been very refreshing to now open up Maya 2026 and experiment with all the new features. The first thing I just had to do was to try out the latest version of the  built-in ray tracing renderer, Arnold 7.4. Excitedly, I opened up the wheelhouse interior scene, dropped in a HDRI map on a skydome light, and experimented with all the settings. I increased the brightness of the lights in the attribute editor (as it is an interior space it will be inherently darker), and played around with the number of samples to improve the overall image quality (more iterations for rays to bounce and do their thing). I'm incredibly pleased with how these greyscale renders of the wheelhouse below turned out. They not only bring the space to life visually, but also motivate me to get back into the creative flow. Jason Bartlett © Jason Bartlett © Jason Bartlett © Jason Bartlett © Next time, I'll show some development of...

Crab Pot

For the next step of the modelling process of the crab pot, I was challenged with another huge hurdle ( to say the least). This stage was where all the painstaking problems crawled in again.  The rope. I thought making some bendy cords would be simple enough, but believe me, it was anything but. There aren't many tutorials, covering the whole modelling process to the end 'game ready' product, for rope. So, like previous obstacles I faced in the modelling stage, I used multiple methods and trial and error to find the best path.  Actually, creating a tube following a manually placed path, was the easiest part for me. I had picked this step up while at University. However, I had to manually place and move each Bezier path to form the guide lines, for yards of rope, in a natural and realistic way. Hundreds of them. I spent more hours than I would have liked, setting up the paths to guide the rope along. I kept asking myself that there must be an easier way to tie...