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homo punching bag posted:This is really nice, but what's happening with that V shape support up front? It looks like it isn't touching the ground. Ah, yeah, that's been bugging me too. After taking a closer look, I can confirm that the reason the supports don't appear to be touching the ground is because... they aren't touching the ground.  The problem is the displacement I'm using for the water which is pushing it below the ground plane in that area. cubicle gangster posted:If you're doing this you should be going for very clear, bright images which explain the project well. your composition borders on abstract and it doesn't really explain the forms of the building properly. I definitely need to study traditional architectural photography more. It is certainly a somewhat stylized image, which is kind of what I was going for, though I do understand the importance of setting a more neutral mood in arch viz work since if I'm working for a client they want to see their building in that image, not my personal aesthetic vision for it. Thanks for the feedback - you've given me a lot to think about.
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Jul 1, 2014 21:11
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do you read archdaily? whole host of references here - http://www.archdaily.com/category/selected/ not every photo is good, but there are a lot of great ones on there. have a browse through, save out favorites & use them as reference.
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Jul 1, 2014 21:37
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homo punching bag posted:Once you rig a low-poly mesh for animation is it standard CG practice to subdivide+displacement map the low poly for the final shots, or can the vertex weights get transferred to the high poly version and keep the same deformations? You can absolutely subdivide and retain the rigging, at least with maya. Hope you modeled in quads! You can (with maya) also press 3 on the keyboard to smooth the model without altering the vertices, which can be the better option.
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Jul 1, 2014 22:02
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cubicle gangster posted:do you read archdaily? Thanks, this looks like exactly what I need - I've got it bookmarked and will definitely be doing some exploring there.
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Jul 1, 2014 22:51
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Update on my character, keeping posting so it keeps me motivated! Starting on the clothing now 
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Jul 2, 2014 08:50
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I'm in 3DS MAX, doing the second scene of a short that I eventually want to use as part of a portfolio to find some work, and I'm having some trouble getting the look right on some stuff. I want there to be a bunch of shards of glass that distort what can be seen in front of them, and are maybe also slightly reflective. How would I go about doing this in the optimal way? I could look up some tutorials but I'm sure you folks have long since figured out the best ways yourselves, so I thought I would ask before looking through five different methods that all produce slightly different results and whatnot.
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Jul 2, 2014 15:27
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Now another major Indian company has gotten involved in the Double Negative/Prime Focus Deal. "Anil Ambani owned Reliance MediaWorks has bought shares in Prime Focus and merged itself with Prime Focus. The trio will now be the world’s largest and most integrated media services group with over 5500 people across 20 locations offering services such as visual effects, stereo 3D conversion, animation and cloud-based digital media solutions that transcend the film, advertising and television industries." http://www.indiantelevision.com/tel...me-focus-140702 So maybe that means they'll have more bargaining power and be less likely to fail? I dunno how these things work.
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Jul 2, 2014 17:58
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Hbomberguy posted:I want there to be a bunch of shards of glass that distort what can be seen in front of them, and are maybe also slightly reflective. How would I go about doing this in the optimal way? Sounds difficult. I'd look up scripts for breaking stuff. Glass shattering is still a major achievement (in 3d Studio at least, probably others too) to get it done convincingly. The problem is glass breaks in a very unique and complex way that's difficult to replicate in 3d. In fact I bet it's so difficult most pro 3d fx houses just shoot a shot of actual glass breaking and key it in. Or it's so far away that no real detail can be seen (like a skyscraper collapsing). Anyway try one of these scripts, they can get you in the right direction. As far as reflection and refraction, those should be simple beginner material tutorials.
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Jul 2, 2014 18:27
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KiddieGrinder posted:Sounds difficult. I'd look up scripts for breaking stuff. Glass shattering is still a major achievement (in 3d Studio at least, probably others too) to get it done convincingly. Yeah, I've pre-broken the materials in incredibly unconvincing ways - what matters is the look of the glass texture itself. I'm going for a more artful, exaggerated scene than realism - the character is a poorly-modelled base torso with no head on a journey to find a way of drinking tea, so giving anything a 'realistic' look would just be weird. Also: If I want to do effects like depth of field or motion blur in After Effects instead of waiting ten years for 3DS Max to render every frame, what special thing do I have to render out that lets me track it properly? I know what I'm referring to but not what it's called. It's a bunch of weird shifting colors that represent 'distance' and 'velocity' that you can later plug into editing programs.
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Jul 2, 2014 18:37
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Hbomberguy posted:what special thing do I have to render out that lets me track it properly? I know what I'm referring to but not what it's called. It's a bunch of weird shifting colors that represent 'distance' and 'velocity' that you can later plug into editing programs. Z-depth. 
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Jul 2, 2014 18:40
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concerned mom posted:Update on my character, keeping posting so it keeps me motivated! Great likeness! Still scanning random stuff for cleanup later. Scanning cars is incredibly difficult. Mostly due to shiny paint jobs, but it doesn't help that my camera doesn't shoot RAW. Here is my latest attempt. Typically, cars with terrible paintjobs scan much better. 
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Jul 2, 2014 19:00
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sigma 6 posted:but it doesn't help that my camera doesn't shoot RAW. You saying you're using a point and click camera? I'd love to know because I don't have a lens for my dslr that let's me get close (shortest I have is 50mm and that's too zoomed in), but a normal camera would probably get the job done.
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Jul 2, 2014 19:07
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People have been using their iphones to get decent scans, believe it or not. I am using a Sony Cybershot WX350. Works pretty well, as long as you follow basic rules. Get as many pics as possible 10-15 degrees apart, and under the most even lighting conditions. As long as you know Zbrush fairly well, you can clean up the data later. Typical workflow for me is scan -> decimate -> dynamesh -> zremesher/retopo. Although, I suppose one could just retopo over the decimated mesh in topogun or something.
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Jul 2, 2014 19:38
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Hbomberguy posted:Also: Most render engines refer to these as z-depth and motion vector passes, or something close to that effect.
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Jul 2, 2014 20:28
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Man, scanning really is the future. You seriously need to set up a neutral light stage and scan tonnes of stuff in and make a lot of money.
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Jul 2, 2014 20:50
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It's definitely got me thinking about other solutions to creative tasks. For example, I've been subscribed to this Woodland Scenics YouTube channel just for fun, but now I'm watching videos like this in a new light: https://www.youtube.com/watch?v=w17K730ezGA The idea of using shaper sheet and plaster to make some cliffs and rocks and poo poo and then scan them in and paint textures on them is pretty intruiging. Same for miniatures. Depending on the style you were going for, someone could make game assets in miniature and then photoscan them in... It's a cool tool to add to the toolbox.
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Jul 2, 2014 22:19
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concerned mom posted:Man, scanning really is the future. You seriously need to set up a neutral light stage and scan tonnes of stuff in and make a lot of money. Not quite that easy. There is always some, if not a LOT of cleanup. Then there is retopologizing according to specific needs. However, creating a 3d model from a scan is a lot easier than creating one from drawings/photos etc. No doubt about that. Case in point: This is what that car looks like in zbrush with minimal cleanup and Zremeshed.  Not pretty. The better the scan, ideally, the less cleanup is required. sigma 6 fucked around with this message at 00:21 on Jul 3, 2014 |
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Jul 3, 2014 00:10
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concerned mom posted:Man, scanning really is the future. You seriously need to set up a neutral light stage and scan tonnes of stuff in and make a lot of money. It's really good for organics. Things like rocks, trees, terrain, even people all scan really well. Still does a poor job with hard-surface objects, things that are shiny and anything that moves a bit. However, at the very least, you do get a decent reference mesh and texture for only an hour's worth of work.
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Jul 3, 2014 03:44
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I ended up with a really thin edge (indicated by the green arrows in the image) due to a combination goofy moves, and I didn't notice. I've done a lot of work on the rest of the model before noticing it, so I'm not going to start over. I'm trying to smooth it out but it's really annoying. Was wondering if any of you goons had any tips on which tools work best for smoothing out a really thin flat piece of geometry back into the model without affecting too much of the surrounding geometry? Goddammit I have the worst time attaching photos. Never mind though I just masked around the edge and then severely smoothed over the edge. Listerine fucked around with this message at 07:20 on Jul 3, 2014 |
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Jul 3, 2014 05:25
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Gearman posted:It's really good for organics. Things like rocks, trees, terrain, even people all scan really well. Still does a poor job with hard-surface objects, things that are shiny and anything that moves a bit. However, at the very least, you do get a decent reference mesh and texture for only an hour's worth of work. Yeah - reprojecting the texture back onto a new mesh is kind of blowing my mind. Cuts down time texturing, as well as modeling, to cleanup and post processing stuff (as long as you have a decent camera and a little time.) Uncanny valley?  sigma 6 fucked around with this message at 08:48 on Jul 3, 2014 |
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Jul 3, 2014 06:29
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Viewing on my phone, his eyeballs stand out the most. They're too clean and perfect. "Too cg"
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Jul 3, 2014 09:04
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I think the eyes are okay, for me it's always the hair, espcially facial hair. It's always way too crisp and way too many holes. You don't see bare skin through hair you see even smaller stubble most of the time.
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Jul 3, 2014 09:15
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mutata posted:Viewing on my phone, his eyeballs stand out the most. They're too clean and perfect. "Too cg" Yeah, go find some reference of old eyes. The whites dull and yellow and the iris becomes quite cloudy. They look more watery than younger eyes too.
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Jul 3, 2014 12:18
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The making of / tutorial is here.
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Jul 4, 2014 07:46
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I have a sort of weird problem but hopefully you guys can help me out. I design jewellery for 3D printing and production in Rhino with an addon package called Gemvision Matrix, and it gets rendered with VRay for Matrix. I am currently building my website to start my business up after years in school, and I just found sketchfab. I think sketchfab would be AMAZING to use on my website so people can spin around rings and necklaces and whatever else I'm making. The issue I'm having is I have no idea how to get the materials on my models into sketchfab. There are no tutorials, and unfortunately no rhino exporter to make things easier, and I just learned (10 minutes ago) what baking materials to a model is but I still have no idea how to do it, or get the models+materials out of Rhino in general. I tried to save a .mtl file with the exported obj but while it made the .mtl file it did nothing in sketchfab (or at least it didn't seem to do anything). Is this an impossible task? Is it just really really hard? Would it be easier for me to just render a spin around .swf scene and call it a day?
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Jul 4, 2014 23:37
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There's unity plugins too, the problem is I'm guessing your jewellery is quite high poly? Also you'd need to somehow render the lighting in as you want decent lighting. It might be better to swf it.
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Jul 5, 2014 08:35
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Claes Oldenburger posted:I have a sort of weird problem but hopefully you guys can help me out. I design jewellery for 3D printing and production in Rhino with an addon package called Gemvision Matrix, and it gets rendered with VRay for Matrix. I am currently building my website to start my business up after years in school, and I just found sketchfab. I think sketchfab would be AMAZING to use on my website so people can spin around rings and necklaces and whatever else I'm making. The issue I'm having is I have no idea how to get the materials on my models into sketchfab. There are no tutorials, and unfortunately no rhino exporter to make things easier, and I just learned (10 minutes ago) what baking materials to a model is but I still have no idea how to do it, or get the models+materials out of Rhino in general. I tried to save a .mtl file with the exported obj but while it made the .mtl file it did nothing in sketchfab (or at least it didn't seem to do anything). I don't use Rhino but I can tell you that OBJs store vertex color info. If you can bake down the texture to vertex colors, that should stay with the OBJ and you can move it around between programs. For example, and OBJ can retain UVs and color data when moved between Zbrush and Maya etc. No idea how this works for Rhino though. Zbrush has a convert texture to poly paint (vertex color) option. No idea how to do that any other way however. Of course UVs are very important, any time you want to do this kind of thing.
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Jul 5, 2014 11:14
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Just render the .swf, its not worth the effort.
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Jul 5, 2014 15:59
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I am become DDO, destroyer of harddrives
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Jul 5, 2014 16:11
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Does anyone know if you can bring multiple map channels in to DDO/3DO? edit: Doesn't appear you can yet. There's still a way to go on DDO but it's a really solid alpha. Speaking of alpha, the alpha sorting is totally bad in 3DO at the moment but it's something they're aiming to fix apparently. Looks like I'm going to have to bring my character in to Marmoset to get the hair to work. Does anyone have any tutorials or set-up-scene videos for toolbag2?  
concerned mom fucked around with this message at 08:09 on Jul 7, 2014 |
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Jul 5, 2014 18:01
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Frankenfinger posted:I need to find a new job. This is my website https://www.tomhutchinsart.com. Aside from the fact that I live in the worst city on the planet for anything 3D viz related, how horrible are my chances? Do you have any interest in relocation and possibly working in programs other than Max? The work on your website is similar to the type stuff we produce (we actually have some of the same clients you've worked with as well).
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Jul 7, 2014 20:59
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I'm trying to get that glassy refraction effect I mentioned earlier in Vray, all-black diffuse and all-white refract (that appears to be the recommended setting), and it looks really bad. Look over to the right side - the stuff with that texture on it is always either all black or all white. Has anyone encountered this before? I haven't got much of a background, so it might be reflecting the skybox or direct light source or something, but that's all I got. What I'm going for is that glassy distortion-ness so the character warps slightly as they pass between the objects.
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Jul 8, 2014 17:36
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Might need to adjust your IOR, or max depth settings. Also what's the reflection set to? If it's anything high, and you don't have fresnel reflections ticked on, then the lack of environment will explain the blackness. Get some environment hdri maps here and plug them in: http://www.hdrlabs.com/sibl/archive.html KiddieGrinder fucked around with this message at 17:50 on Jul 8, 2014 |
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Jul 8, 2014 17:47
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I cant even tell what it's supposed to look like.
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Jul 8, 2014 18:25
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concerned mom posted:There's unity plugins too, the problem is I'm guessing your jewellery is quite high poly? Also you'd need to somehow render the lighting in as you want decent lighting. It might be better to swf it. It's not super high poly, but I was hoping for something that didn't require any extra plugins like unity. Yeah lighting is definitely important. sigma 6 posted:I don't use Rhino but I can tell you that OBJs store vertex color info. If you can bake down the texture to vertex colors, that should stay with the OBJ and you can move it around between programs. For example, and OBJ can retain UVs and color data when moved between Zbrush and Maya etc. No idea how this works for Rhino though. Zbrush has a convert texture to poly paint (vertex color) option. No idea how to do that any other way however. Of course UVs are very important, any time you want to do this kind of thing. I tried to figure out more about this but everything I did ended in failure. My plan was to get another program like blender, set up a scene with lights and whatnot and then just load my objects in and apply the metal and diamonds/gemstone textures to them. It's becoming more and more apparent that I have absolutely no idea what I'm doing and it might be just better to swf it. cubicle gangster posted:Just render the .swf, its not worth the effort. Okay!  I'll probably try to work out a system to do this in my spare time though, as I don't think it has really been done before and I think it would be cool! Thanks for everybody for the help.
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Jul 8, 2014 19:20
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cubicle gangster posted:I cant even tell what it's supposed to look like. The piece is meant to be super abstract and weird, it's also horrifically unfinished and I'm still trying to get a handle on the basics. Sorry to sully the thread with my lovely learning process. There are meant to be massive chunks of a glass-like substance just lying around. KiddieGrinder posted:Might need to adjust your IOR, or max depth settings. This helps a lot, I definitely need a lot of work to make it look right but this got me on the right track. Thanks!
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Jul 8, 2014 22:46
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Update gfycat: click for big 
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Jul 8, 2014 23:23
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Another 3DS Max question: After animating a biped's footsteps in footstep-mode, how can I make the biped do other things after it's finished walking? Right now it's refusing to let me do anything with it after the last walk keyframe.
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Jul 9, 2014 21:45
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Anyone running a workstation laptop? I can't use a macbook pro this time around and I'm looking at the HP Zbooks 14-15, the Lenovo Thinkpad 540w and Dell precision M2800 or M3800 series. I guess the budget is 1500-2500$.. anyone run anything like that? I like decent build quality/durability with the aluminum/magnesium cases and a quadro/firegl card.
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Jul 11, 2014 07:05
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Big K of Justice posted:Anyone running a workstation laptop? I have a 4 year old Thinkpad workstation that I got when I was working on some projects involving scientific imaging data, and needed something for when I was traveling or on vacation. I can't remember the specs off the top of my head since I don't use it that much anymore but it's got a Quadro card, i7 processor, and I think 16GB RAM. I definitely popped an SSD in it- can't stand running laptops without them anymore. Thinkpads have a good reputation in the business world for being durable, and I've found that to be the case with this one; the chassis is tough, but at the expense of weight. I mostly used it with confocal microscope image data but a few years back I used it to make some figures for a book chapter with Softimage; it chugged along fine- it wasn't as zippy as my desktop but I wasn't agonizing over the render times. I really don't care much for HP or Dell- their quality had declined a bunch over the past decade so I'd stopped buying from them about 7 years ago. I don't know if either brand has improved since, but my mom's Dell which I bought her 5 years ago just crapped out and I'm getting her a Levovo replacement.
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Jul 11, 2014 07:55
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