Hey everyone, there is a new look 3D world magazine out on the shelves (in the UK) and everywhere else as a digital download. Personally I love the new look, and as ever there is a huge range of articles an indepth tutorials, which this month I am pleased to say are starting to show how to use Octane Render, as well as a ton of wonderful ZBrush articles.
There is also a chance to view my setup, which since this article has been written has been augmented by a PC which I built to take over as my primary 3D station to really help me to get the most of Octane and mari.
There is also a look at my good friends Glowfrog VFX, one of london's leading VFX boutique studios, which showcases there brilliant portfolio which is created by Nigel and his amazing team.
My article on the future of 3D rendering which was originally published in 3D world magazine is now available on creativbloq.com. Since writing the biggest thing that has chnaged is the introduction of the new mac pro, which is taking GPU acceleration via an AMD route rather than Nvidia, which leaves a lot of 3D artists, such as myself, who now use GPU enabled renderers such as Octane scratching our head as we start to ponder new hardware in the possibilities which unfortunately are now windows based :sigh:
GPU rendering is here to stay, and if you want to go deep and see what the future of GPU rendering looks like watch this fxguide TV talk from Nvidia's Wil Braithwaite on the past and future of GPU tech
Hey everyone, be sure to check out 3D World Magazine #179, not only does it contain the final part of my CINEWARE VFX tutorial, it also has my camera fundamentals article and my thought on Houdini 13, (which can also be found at creativbloq.com).
But enough about me here is what else there is:
'3D World 179 features a new ZBrush tutorial from one of the industry's leading artists as Pascal Blanché reveals how to create an atmospheric scene in ZBrush that tells a story. Inspired by his hero French comic artist Moebius, Pascal's latest work features his trademark use of colour and form, discover how he does it only in issue 179 of 3D World.
Also inside issue 179 are tutorials on how to concept and model a character for mocap animation. Two of Framestore's best artists share their process, as first Dan Mason designs the character and then modeller Adam Dewhirst sculpts the model for rigging in a VFX scene.
There are more VFX insights in issue 179 and the team track down the artists and animators behind the best TV VFX scenes, including tips and reports from the team's behind Game of Thrones, Fringe and Atlantis. Discover what it takes to work in the fastest growing VFX industry in issue 179.
The 3D World team also track down the best emerging and legendary animations talent, including an interview with Framed Roger Rabbit's Richard Williams and tips and insights from the best 3D animators, featuring the award-winning Kirk Hendry on mixing Maya into his After Effects workflow.'
Yet more tips, but this time it is for the all seeing all doing After Effects
I think that deserves a 'like'?
Hi everyone , its a new year and time for a new application, so if you haven't got into playing with Premiere Pro, nows the time !!
Time for another case study.
The above animation was for the lovely people at Icon-World and their client VCCP Live for the launch the Oasis Mango Medley soft drink. The brief was to deliver a set of animations/lower thirds and still game assets to Icon_world for a Java based game they were creating for a Huge HD screen that would be parked on a barge on the river thames in which Oasis prize winners would be up for prizes as a massive game of spin the bottle was played on the screen which synced the game graphics with the light show on the Bank- so for one night in Summer 2013, the River Thames would be awash in Oasis - awesome, and to be a small part of project like this was great fun.
I had to make my animations exactly fit the client graphic style. Due to the nature of the project I had to create a new bottle in 3D from scratch which needed to be ‘photoreal’ and would allow the appearance of the juice floating around inside.
Creating the bottle was reasonably straight forward. I bought a bottle of Oasis, photographed it using a portrait lens and used the photographs as a backdrop items in 3D software modo where I modelled it up. I used modo’s splash kit for the droplets.
Creating the fluid was the same process, with a custom shader to allow the correct amount of SubSurface light to flow through. The label was a front projection as it needed to line up with the existing artwork rather than be a ‘true depiction’ of a bottle label. Half the battle of a CG artist is balancing the understanding of what is technically photoreal with the needs of the clients ‘reality’ which is always about making the clients work look the best. Even if your technically ‘cheating’ reality, the winner should always be what the client wants!
The only worry I had was matching the lighting, but luckily I had the chance to work with a copy of HDR Light Studio for the first time using the beta version of the new live connection with MODO.
Using the combination of HDR Light Studio with modo’s Live Preview was heaven, and what I feared would be a painful lighting solution of a couple of days of testing in terms of setup to get the highlights correct along with acceptable render times, took a couple of hours on a Tuesday afternoon, this was coupled with radically faster render times as I was only lighting with one HDR image from HDR Light Studio and the enhancements in modo 701’s ‘Environment Importance Sampling’ or what I have come to refer to as ‘the magic button’.
For the animations I rendered out stills of the bottle empty and full, and then used a series of masks in After Effects to animate the effect of the fluid moving around in the bottle, which when a decent amount of motion blur was applied was convincing for the client. The white ferris wheel animated element was a Cinema 4D model which was rendered face on and outputted as an object buffer only, to give the white line look.
So two stills from modo were used to create a huge range of animated assets, and using HDR Light Studio meant everything was delivered on time and with a lot less setup than I had been expecting. With links to most 3D software HDR Light Studio has become my ‘Joyous Surprise’ of 2013, and I now use it for most of my 3D work no matter which software or render engine I am using.
For more about the brilliant evening for the lucky Oasis Winners check out the following youtube clip by BrandatMHP, which shows the full implementation and amazing work of Icon-World with VCCP Live.
Just found this little video which reminded me of the Brilliant time I had at HP ZED as a panelist for 3D World Magazine. It really was a great event/space over the time it was up in Oct 2013 which brought together the best and brightest from 3D and VFX.....and me.
Hope there is an HP ZED 2014, bookmark the page now - and that I meet the gang from 3DW more in 2014!!
Hi everyone, here is to an awesome 2014, and to help celebrate, why not pick up a copy of the new 3D World magazine, which as well as coming with the usual great range of reviews and features from Scott Spencer on Hobbit Creature creation and my article for the new 3D artist on creating cities, illustrated with an image created in OSM importer for Cinema 4D, and renderer with Vray4C4D 1.8.
The one standout in this months magazine is the great article on how to build your own workstation, very timely, especially if your a mac user.
Hi everyone, my 3D world article on creating fur and hair is now available on creativbloq :) Just in time to make Santa Hat's!
Hi everyone, just a quick note to say to check out the latest issue of 3D World magazine (issue 177) which is focused on game development, which I have added my fundamentals article on 3D asset creation techniques. Also in this months issue is my review of VrayforC4d, which is also available on creativbloq.com (thanks to Chris Cousins for the render image) which is a hugely important plugin for those of us who are heavy Cinema users.
Speaking of Cinema plugins, the render for the game fundamentals (pictured) was created in Octane Render with the Cinema 4D plugin, which is at the RC stage, so will become a full product imminently. Soon we will get Octane 1.5, which introduces cloud rendering, alembic support and motion blur, enhancing to what is already imho an essential renderer (if you run Nvidia cards)
Hi everyone, delighted to say that part 1 of my CINEWARE tutorial for VFX is in this month's 3D world magazine, as well as looking at specific workflows with CINEWARE, I also look at projection mapping and tracking between After Effects and Cinema 4D.
Also in this issue is an excellent tutorial from Alex Alvarez from Gnomon on Matte painting, and since the whole issue is focused on Landscapes so is my fundamentals this month, its available on all most readers now, and paper in the UK.
Find out how to get the magazine by visiting creativbloq.com the new online home for 3D World