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Anyone here (know) a good character animator looking for some side work? Message me.
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Oct 25, 2012 06:03
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International Log posted:And their couch (OCD material tweaking bonanza): This is looking really nice man! Very believable. Here is a portfolio render of a Chupacabra illustration I did a little while ago. I was lucky enough to have Pixologic ask me to put it in their turntable gallery. You can check out the textured turntable here: http://www.pixologic.com/turntable/ (the first thumbnail). 
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Oct 25, 2012 08:59
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SVU Fan posted:This is looking really nice man! Very believable. Awesome stuff man. How did they find out about your model? That's a good one for the portfolio!
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Oct 25, 2012 10:36
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concerned mom posted:Awesome stuff man. How did they find out about your model? That's a good one for the portfolio! Thanks man! Not sure, actually. I just got an email from somebody that works at Pixologic saying they really liked the work I was posting, and that they wanted me to submit work for the turntable gallery. My guess is they check through threads on Zbrushcentral and look for work that meets their standards of quality, but that largely use ZBrush in its completion.
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Oct 26, 2012 07:32
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SVU Fan posted:This is looking really nice man! Very believable. Thanks, and that is some excellent saliva modeling, I gotta say.
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Oct 26, 2012 15:46
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Due to some poo poo at work we're now missing our one and only full time renderer right before a major client presentation. I have Maya with mentalray installed on my machine, and it looks like it's going to fall onto me and one other person to pull some professional rendering skills out of our asses in the next two weeks to make photorealistic renders for our client. I have not touched Maya beyond doing the free tutorials from Autodesk. My job up to this point has been to put models together in Rhino then send them off to the renderer for him to work his magic so I've had no reason to learn until now. I can put materials on models, but my UV mapping and lighting never turns out right. What are the best tutorials to learn how to light and render interior room shots? Free is preferred, but in this crunch if there are some really good paid ones I can probably convince our project manager to buy them.
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Oct 27, 2012 04:40
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Why do you have a full time renderer and the jobs broken up like that? Everyone should be able to do everyone else's job. It's honestly really bothering me that the company you work for is ran like that. Considering you've not touched maya, they need to be photo realistic, you've got 2 weeks, and you're using maya and mental ray - for interior images you're kinda screwed on tutorials there. my advice is hire a freelancer or send it out. cubicle gangster fucked around with this message at 08:57 on Oct 28, 2012 |
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Oct 28, 2012 08:52
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cubicle gangster posted:Why do you have a full time renderer and the jobs broken up like that? Everyone should be able to do everyone else's job. I'm not in the 3D industry, only do it as a sidehobby, but while it seems silly the jobs are broken up that way, I think there's at least some valid reasons I can think of. Like, I'm best at working out things from a logical perspective, I'm good at rendering and lighting and texturing and whatnot, to match a physical object. On the flipside, I'm horrible at modelling things because it takes a bit more creativity than I have. It's a fairly safe guess that I'm not the only one like this, and tons of people are the exact opposite, so pairing them up isn't the worst of ideas. Although when it comes to an actual job, only having one of each available is.. a bit silly.
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Oct 28, 2012 11:13
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It's not a design studio, it's primarily an engineering firm with a tiny set of designers in a back corner. All the project managers are engineers as well, so they don't quite understand our needs. The system worked when there were just three designers and one project, but now there are seven designers and two projects. They were planning on putting a line in the budget for next year to get all of us formal training in Maya/mentalray so we could all make renders, but then this rear end in a top hat got himself fired and we're hosed. The guy who's our "principal" designer is really old-fashioned and every time we ask for more digital stuff he goes on a tangent about how in the old days they did it all by hand in watercolors and blah blah blah blah. Now that we have younger, less old fashioned designers in we're trying to change it up. They only very recently gave us all Maya so we could all do renders, but never gave us training (or a break in our to do list to have time to go through tutorials). They were going to get our full time renderer to teach us, but then he got himself fired. Renderer rear end in a top hat also kept putting off teaching us, because he liked being a condescending prick about how he was the only one who could do these renders so he couldn't get fired. But he got fired anyway. And now we are screwed. 90% of our work is done in Rhino and AutoCAD, and we only use Maya to make squishy things like furniture and to do our final renders. We've requested vray licenses so we can throw together some renders in Rhino, but we haven't gotten them yet and we aren't holding our breath that we'll get them any time soon.
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Oct 28, 2012 15:29
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I learned Mental Ray for Max using the tutorials on https://www.lynda.com. I can't vouch for the Maya (2011) one, but the Max one covered pretty much everything. You can get a one-month subscription to Lynda.com for $25.00 or $37.50. If you need free resources, it looks like Mental Images has their own, but I've never used them and don't know how good they are.
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Oct 28, 2012 19:02
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Digital Tutors has a pretty good looking tutorial for this kind of stuff. http://www.digitaltutors.com/11/training.php?pid=523
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Oct 28, 2012 19:29
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Ccs posted:Digital Tutors has a pretty good looking tutorial for this kind of stuff. I brought this to the project manager and his response was "[rear end in a top hat renderer] can teach you all for free" I think I'll bring it up again now that the situation has changed.
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Oct 28, 2012 23:47
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Seriously though, the best solution would be to get a freelancer on board for a bit in the time you have to do this project.
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Oct 29, 2012 01:05
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Does anyone have a good source of human figure photos front the front back and side?
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Oct 29, 2012 22:08
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3d.sk is all you need in that department. You'd need a months subscription but it's well worth it.
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Oct 29, 2012 22:54
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When I had a 3d.sk subscription I downloaded more than my days limit with a little bit of an exploit. I think they caught me out though since they eventually fixed it. Made sure to get my quotas worth of downloads on the  Front, back, side and all sorts of angles.
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Oct 29, 2012 23:19
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I believe I posted this before, but I don't think it got any replies. I'm having trouble getting a couple of things to render correctly, and I believe it has to do with materials: I'm using 3ds Max's Arch materials as a base for the plastic of the jewel case. The problems are that they are not casting shadows as opaque as real jewel-case plastic does (UV-treated plastic?) and that normals facing-away don't render through the "backside" of the geometry. Any ideas how to fix either of these? Is there somewhere I can adjust the opacity of the material (its set to 98% transparent) but alter the shadow to be roughly 10-15% instead of matching the material opacity?
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Oct 29, 2012 23:54
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^ in vray there is a material that allows you to set different materials for main render, GI, reflection/refraction & shadows. So you could have the same material again in shadows, but with less opacity. Do you have anything like that? it'd be a very quick fix. Should you be using transparency instead of refraction though? I don't know mental ray, but transparency/opacity isn't physically accurate and only used as a last minute cheat. Jewel posted:I'm good at rendering and lighting and texturing and whatnot, to match a physical object. On the flipside, I'm horrible at modelling things because it takes a bit more creativity than I have. Nobody is good at every job starting out. doesn't mean you should just never do it or try to learn though, if you're a fraction the speed of someone else and not as good, at least you can do it in a pinch. You will eventually learn it just as good too, you simply need to get over a mental block in the early stages. Theres a number of jobs I thought I was poo poo at or didn't think the right way for, but after 7 years of being told I had to do them and should practice at home I got better at them, and picked up the ability to think the right way for them. Some parts of the job feel more like work than others, and after doing a fun part the contrast is particularly rough. But thats all it is. It is too much work, and you don't find it easy. I tried to use the same excuse at times and got shot down years ago, and what do you know, they were right, I just needed to learn. I still don't enjoy modeling or matching photos or any number of things, but I can hold my own with them in the workplace now. cubicle gangster fucked around with this message at 19:38 on Oct 30, 2012 |
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Oct 30, 2012 19:26
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Forgot to render out this old zbrush sculpt I did a long time ago:
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Oct 31, 2012 00:24
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Thats awesome, nicely done! I've not been in work this week due to the lack of power in NY and my internet is running about 5kbps because it is poo poo. I've got some things to model, no copy of max, but an old copy of modo which i've never used and holy poo poo it's making me want to throw my loving laptop through the window. 2 full days i've been trying to make this cutlrey set - http://www.puiforcat.com/en/#!/collections/flatware-sets/deauville.html The knifes I've done fine, but I cannot for the life of me figure out how to make a reliable bowl shape to do the loving forks or spoons. I can think of 4 ways i'd approach the fork in max even, but I don't know if modo even has comparable features or what alternatives i'm supposed to be using. I also just spent 45 minutes looking through the help files trying to figure out how to attach 2 seperate meshes together and I still have no idea if it's even possible. It's like an hours work, tops in max. I'm seriously on the verge of a nervous breakdown, I feel like I've had an aneurysm and my iq has dropped to single digits because this should be the most basic poo poo and I simply cant figure it out. cubicle gangster fucked around with this message at 18:44 on Oct 31, 2012 |
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Oct 31, 2012 18:42
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Quick Zbrush question: With polypainting, I set up my material and filled the object, then projected a texture and painted that on and that works fine. But now when switching to a new subtool, I seem to only be able to project texture paint it, if I just simply turn off the texture, click on a colour and try to vertex paint the colour on to the subtool nothing happens (or nothing shows up). Do I need to do something different to just paint flat colour on instead of from a projected texture? Here's a little update on my progress if anyone's interested:  https://www.mattisaac.co.uk concerned mom fucked around with this message at 23:27 on Nov 2, 2012 |
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Nov 2, 2012 23:10
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I have some really weird poo poo going on in mudbox:  Certain areas in this specific part of the mesh seem to be unchangeable by any of the tools. As you can see I decided to randomly zigzag around that part with the foamy tool, and it seems that several parts there are left completely unaffected no matter how much I go over them. There's a part right in the middle of the screenshot that is especially telling. Also the further to the right I go the more the unchangeable parts seem to show up. Wtf is going on? Somebody fucked around with this message at 04:40 on Nov 5, 2012 |
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Nov 5, 2012 03:16
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It looks to me like your mesh is stretched and has a higher density of polys in the areas being most affected and less in the others. Have you turned wireframe on and had a look? Zbrush has dynamesh to fix this in the early stages, and you can always re-topologise. Can you do anything like this in Mudbox? *edit: sorry I saw this earlier on my phone and didn't realise the witeframe was on and actually looks fine. Hmmm Does anyone know the answer to my polypaint question ?  Edit: fixed it, not sure how but its working now. concerned mom fucked around with this message at 21:50 on Nov 5, 2012 |
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Nov 5, 2012 12:07
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It's now my Junior year at Ringling College of Art and Design as a Game Art student. I just finished a five week long project in which we were to make an environment in Unreal with realistic level of detail. This is my futuristic Engine Room of a spaceship. Click to enlarge  The textures are all hand-made. Nothing from photos thanks to the awesomeness of nDo 2. I highly recommend this software. http://www.quixel.se/index2.php I have a ton of process work but I have yet to put together a proper blog to compile it all in. I know I really need to get one but I just haven't had time to slow down and set one up. This project just ended and our next 5 week project is starting today. I'm going to make it my mission to set a good blog up this week because I am very happy with how this turned out and I know how important it is to show your process work. I learned a lot with this project, namely the importance of shaders, lighting, and post process. I can't wait to get started on my next project, which will be fantasy themed.
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Nov 5, 2012 19:04
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concerned mom posted:
Don't know, I'm still new to sculpting in general.
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Nov 5, 2012 19:08
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This is beautiful, very Mass Effect, great work. I have a question about 3DS/Mental ray. Is there a way to make a material that doesn't cast shadows? What about one that doesn't receive them?
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Nov 6, 2012 02:38
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Sourdough Sam posted:It's now my Junior year at Ringling College of Art and Design as a Game Art student. I just finished a five week long project in which we were to make an environment in Unreal with realistic level of detail. This is my futuristic Engine Room of a spaceship. Very nice stuff. It could benefit from differentiating parts a bit more though. Right now, the floor, ceiling, walls and machinery all blend into each other.
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Nov 6, 2012 02:52
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SynthOrange posted:Very nice stuff. It could benefit from differentiating parts a bit more though. Right now, the floor, ceiling, walls and machinery all blend into each other. I agree with this. I think he can fix it pretty much by changing the lighting. I did a quick paint-over, I hope you don't mind Sourdough.  -The Foreground is darker and hides some of the unimportant details while giving more depth. -The background is lighter so it has more contrast with the machinery. Also more depth. -The machinery has more contrast and saturated colors within, becoming the focal point. I might have overdone this a bit but you get the idea. I know it might be harder to achieve that in the engine but I figured this might help. Awesome work.
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Nov 6, 2012 07:34
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Sup guys, ran into a bit of a snag with something I'm working on and could use input: I modeled a character with bad elbow topology because apparently I followed a kind of lovely tutorial, and now he's rigged and animated and weird things are happening with the elbow. Can I change the topology on the model and keep the rigging and animation intact? Or did I really screw myself over. I'm using Maya, btw. Here's one of the lovely things happening with the elbow: 
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Nov 6, 2012 19:32
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How stupid is it for me to look into a Masters in 3D stuff at Academy of Art University in San Fransisco? My undergrad is complete garbage (the 3D teacher literally says "just download models off the internet and use them in your work!" I've been teaching myself modeling from Digital Tutors, so I really don't know poo poo and find it very difficult to imagine myself getting a job when I graduate. Also I only have a year left which isn't much to really become good at Maya. AAU is the only school that I've found that has an actual master's in it. Here's some terrible animations that I made last year before I learned about nCloth. Please tell me if I would even get into a master's with them or anything close to a job. I've improved at modeling slightly since then, but not by much. Ignore the names of them. Also, the pixelation is because of upload compression, the originals don't look like that. There's also a noose that didn't show up due the compression in one of them. (And yes, I know I can't present all these excuses when I apply for anything.  )The password for all of them is "art" https://vimeo.com/42244726 https://vimeo.com/42661563 https://vimeo.com/42663395
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Nov 6, 2012 20:04
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There's such thing as a masters in 3d? How much does that cost? I honestly don't see the point in that because it really isn't too hard to learn on your own, and it's not worth spending large amounts of money on unless the school you go the is at least good in teaching the subject. The way I see it, there's only so much that an actual school can teach you, and most of your knowledge simply comes from experience. I'm currently in my second year in a pretty decent 3 year 3d program, and my teachers mostly just tell me what assignments to work on, while I do most of the learning on my own (although that is mostly due to my own preference). The best part of my program are the core art subjects that come with it like life drawing, acting, and production art. It also doesn't really make sense to spend more than 3 or 4 years in school when it comes to 3d. All of my teachers so far have pretty much said that same thing; that school is only for learning the basic principles, while the vast majority of your learning will be done on your own. Ervin K fucked around with this message at 22:37 on Nov 6, 2012 |
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Nov 6, 2012 21:39
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If you really want to get up to speed I'd suggest participating in various contest and challenges across the 3d communities. Short deadlines and different subjects should help to get you comfortable with working in your software package of preference.
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Nov 6, 2012 22:43
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Ccs posted:Sup guys, ran into a bit of a snag with something I'm working on and could use input: Tip: When asking about topology problems it helps to post wireframes. But as for your problem, it looks more like a skinning problem than a topology problem. i.e Your bone influences could be better set up. Your arm bones area of influence should gradually blend in the elbow area. Synthbuttrange fucked around with this message at 22:46 on Nov 6, 2012 |
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Nov 6, 2012 22:44
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JoeyJoJoJr Shabadoo posted:How stupid is it for me to look into a Masters in 3D stuff at Academy of Art University in San Fransisco? My undergrad is complete garbage (the 3D teacher literally says "just download models off the internet and use them in your work!" Just chiming in to say that the second video is one of the weirdest things I've ever seen.
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Nov 6, 2012 22:44
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I'm gonna complain about Mudbox a little more, this has been happening for as long as I've been working on this model: As you can probably imagine, those bumps and scrapes are not supposed to be there, all of this appeared as I happened to be working on the back. These kinds of bumps seemed to consistently appear on the other side of where I'm working at the time, almost as if Z symmetry turns on for a millisecond, even though I always have X symmetry enabled. Anybody know why this is happening? Ervin K fucked around with this message at 01:55 on Nov 7, 2012 |
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Nov 7, 2012 01:50
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I'm a huge proponent of school and think my university program helped me out a ton, but at the prices art schools charge and how much you make in the industry once you're out, it's almost immoral to recommend persuing a traditional art education. You'll just be in debt for forever.
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Nov 7, 2012 02:14
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 Art school buddy.
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Nov 7, 2012 04:30
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JoeyJoJoJr Shabadoo posted:How stupid is it for me to look into a Masters in 3D stuff at Academy of Art University in San Fransisco? My undergrad is complete garbage (the 3D teacher literally says "just download models off the internet and use them in your work!" Ok here's my opinion, take it or leave it  There's good news and bad news, but first I want to ask you, what kind of 3d CG do you want to get in to? Do you want to do video games, or arch viz, or movie/tv or advertising or? It does make a difference. Going from your three videos, it would appear you want to go the movie/tv route which is a tough one to get in to. I'll be completely honest, your three vimeo videos don't really cut it. I'm not really sure what I'm supposed to be looking at. I can't see how good a modeller/texturer you are because all three are so dark it's very hard to see anything. I can't really see much animation in them, and besides an animation showreel would just have a tonne of animation in, so forget that. Rendering and lighting, you'd need to really study one of the hundreds of tutorials on the internet to understand that properly, the lighting in all three of your videos really does hinder them significantly. I'm actually kind of a rubbish lighter, and I do like your bloomy feel you have to the third vid, but anyone in the know would disregard them I'm afraid. I'm not sure what to take from your videos and I can't see what you're trying to show me other than an artistic feeling. That's the bad news. The good news is that actually a year is a hell of a long time to improve in 3d, and now, more than any other time are the tools and tutorials and help available to get a kickass understanding and portfolio developed. You clearly have an understanding of modelling, texturing etc, so its not like you're starting from scratch; but you could literally scrap these three vids, start today as day 1 of the final year and end the year with a better portfolio than anyone else on the course. You just have to believe in yourself, work really hard, CONSTANTLY ask for criticism and guidance, read tutorials and motivate yourself. It's hard, and unfortunately with 3d a lot of education institutions don't really have the answers. I'm a big proponent of education, but I'd advise heavily over doing a masters in any 3d subject beyond like animation at like Disney or something. You could take a year off, work part time or even full time, spend a really tiring year doing work and getting that folio together and you'd not have those crippling financial debts that a year in an american university give you. I think first things first you need to know what it is you want to do. Do you want to be an animator, do you want to light stuff, do you want to model and texture stuff. Do you want to work in TV or games or or or. This isn't to say you can't change your mind, but this will heavily impact your ability to get a job off the bat out of college. Don't make the same mistake I made where my final project had a bit of everything in, and nothing done exceptionally, because although there are jobs for generalists, if you literally just modelled one really nice model with excellent textures you'd be in better stead than an ok model with ok textures and ok animations. I hope this hasn't gotten you too down. Just remember, a year is a heck of a long time if you work every single day on your 3d and treat it like a mon-fri 9-5 job. You WILL and I really do mean WILL have a kickass portfolio if you follow tutorials, get decent 3d packages (most student editions are free) and keep getting constant criticism and take it on board. Tell me what you'd like to do, if you know, and I'll post you some relevant resources and materials for you to do. Treat it like a job, dedicate yourself and we'll help you through this year and you'll be in great shape
concerned mom fucked around with this message at 11:26 on Nov 7, 2012 |
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Nov 7, 2012 11:21
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whey, long time no post. finally got time to do some personal work, so myself and a friend decided to do a short for a festival here in sydney. https://vimeo.com/52547101 It was interesting following through an entire project from pre to post, which is something I haven't done for a long time.
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Nov 7, 2012 12:32
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That... that is amazing. It's ridiculously well done as well. Good job!
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Nov 7, 2012 12:42
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