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SynthOrange posted:Stumbled across another wonder of open cg marketplaces. That's "mid evil" alright. Wait... does the 66% after the price mean it's on sale for 66% off? 
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Sep 9, 2014 08:02
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Do people make money out of assets like that? Or actual good assets?
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Sep 9, 2014 08:05
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Cyne posted:That's "mid evil" alright. On the page, it actually says: $7 (-66%) 
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Sep 9, 2014 08:07
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SynthOrange posted:On the page, it actually says: I love this guy. As for making money selling models, I imagine you could make a pretty decent business on Turbosquid or similar but you'd really need to be at the top of your game to cut through all the poo poo.
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Sep 9, 2014 08:13
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I got frustrated with a game prototype I was making, having to source models. So I've spent some time learning about low poly modelling and UV texturing in 3dsMax. Playing with some toony proportions here. Character Series (WIP) by cYnborg Read through the previous posts and saw the photogrammetry examples. Took some photos of a plaster skull with my phone... I'm a bit creeped out at how easy it is. Skull photogrammetry  Doesn't look like much, but it's a very close reproduction of the object. Cleaned up in max and mudbox, previewed in mudbox. cYn fucked around with this message at 19:10 on Sep 9, 2014 |
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Sep 9, 2014 08:20
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I figured out my FumeFX problem. I had inadvertently installed the optional Thinking Particles module.
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Sep 11, 2014 16:51
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cubicle gangster posted:Don't bother - just include your exteriors and show an interest in broadening your skill set in your cover letter. Be honest & upfront, and actually write a cover letter expressing an interest in working/having a career there. I'm quite glad I followed your advice (thank you), I got an interview! I didn't lie about any software knowledge which was a good move because they're going to do a long round of testing on what I did claim to know--3ds max, vray and photoshop. I use those programs every day and feel quite confident, but obviously I'm afraid of my blind spots. I plan to go through Viscorbel's exterior lesson, but I was wondering, have you done such skill tests for your interviewees? Should I memorize how to nail a good V-ray lighting setup & material, how to composite render elements, or...? Hernando fucked around with this message at 03:50 on Sep 13, 2014 |
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Sep 13, 2014 03:45
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I've done some free 3D/animation work for a pretty cool organization (trying to build a spacecraft & land on the moon, see my other posts in this thread). They'd pay me if they had the extra funds, but right now any money goes toward the engineering effort. I'm happy to do it free since I'm very much a beginner and I love the mission. Penn State University, where this is all taking place, has a public media arm that's doing, among other things, a documentary on the mission as it progresses (currently filming). I've spoken with the producer of the doc about doing graphics and animation for them too. They like the idea, and have asked me about getting the rights to some previous work I did for the team, as well as asking about my rate for creating new stuff. Obviously I'm thrilled at the prospect of getting paid to do what I would do anyway, but I've never been in this position before. The doc will be released in eight parts over the next ~24 months as a web series. Each part will be 8-10 minutes long, and probably include beetween 30s and 2 minutes of animation (totally guessing there). How do I charge for this? I'd be doing all the modeling, texturing, lighting, animation, composting, and post processing. It'll be spacecraft in space (and/or infographic style motion graphics), so no characters or lip-synching or fur simulation or anything "hard." I don't want to low-ball myself out of the gate, but I don't know what's reasonable. There are several people working full time on this documentary, so from just a salary standpoint it's a multiple six figure venture. Help!
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Sep 13, 2014 05:36
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Prolonged Priapism posted:I've done some free 3D/animation work for a pretty cool organization (trying to build a spacecraft & land on the moon, see my other posts in this thread). They'd pay me if they had the extra funds, but right now any money goes toward the engineering effort. I'm happy to do it free since I'm very much a beginner and I love the mission. Figure out how long it'll take you. Then pick a suitable hourly/daily rate.
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Sep 13, 2014 06:53
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Well, I don't know how long it'll take. Each episode will probably have pretty different requirements (that can't be known now), and they'll be made over the next two years. Obviously I'll get as much info as I can about the scope of what they're going for, but it'll still only be a rough idea. And even if I did know exactly what they wanted, I wouldn't be able to estimate how long it'll take me to do. I just haven't had enough experience. If I had to pick a rate, I'd say $50 per hour. I know that's towards the low end, but is it absurdly low?
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Sep 13, 2014 15:40
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Hernando posted:Should I memorize how to nail a good V-ray lighting setup & material, how to composite render elements, or...? Nope! You should learn it and read up on those things, but don't go into an interview with something you memorized yesterday and act like it's something you know in depth. Any holes will make it seem like you think you're better than you actually are, which is like the worst possible trait to have. However in the interview you should say that this is something you've started learning on a deeper level recently, you're familiar with the process but well aware you have more learning to do. excited about getting good at it etc. modesty and a willingness to learn will take you very far. You want to get as good as you can, and working in an environment like that is what's going to get you there - there's no need to pretend otherwise. Nice work on the interview  We actually dont do art tests here - we just ask a ton of questions about their portfolio work. nobody does their best work when rushing it in 3 days and you can spot bullshit a mile off when you start asking people not how they did something, but how they arrived at the decision to do it that way. e: I was actually talking to our ceo about this the other day - in that nearly every piece of advice ever written about getting a job is pretty much the opposite of how to actually get a job in the cg industry. they're all about lying a little, talking big and painting yourself as someone who is like the best it is possible to be, whereas any of that in CG will get you shown the door immediately. Anyone who's been in this industry longer than a few years knows that the more you learn, the more you realize you have left to learn. You're never 'done', you just get forever worse off (but your work does get better!) I have been playing with phoenix a lot recently. i'm making a video for one of my tracks, it's dark brooding techno so I figured slow moving fluids crawling across the frame would look good. 
cubicle gangster fucked around with this message at 20:10 on Sep 13, 2014 |
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Sep 13, 2014 19:42
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ImplicitAssembler posted:
As a PSU alumnus and former summer research assistant for the Architecture department, I can second this as the best option and the one that would most likely end up happening. They did switch to a lump sum payment for me halfway through the summer due to department budgeting, but the amounts ended up the same based on the hours I projected. Make sure you keep a timesheet listing what you worked on (they'll want to see one periodically) and try to get an idea of how many hours you'll need for your work as soon as you can. If you have any questions, send me a PM.
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Sep 13, 2014 21:01
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cubicle gangster posted:
This is good to know. Relatives and friends are always telling me to talk myself up, act as if I know everything about everything in interviews, and use lots of buzzwords like "touching base" and "actionable" because that's how they got their jobs. It's good to know that stuff doesn't work in the CG industry, because I'd hate to work in an industry that shallow.
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Sep 14, 2014 02:55
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In the film industry studios never release any wip or turntable stuff for artists to use in their reels so everyone's reels are full of finished shots and they can misrepresent how much responsibility they had for those shots. The same studio that gets burnt by this will then perpetuate it by not releasing useful stuff to artists. It's not really a total meritocracy and bullshit can still get you by to some degree, particularly as vfx houses get desperate because of stupid deadlines and artists bounce around a bit. Haha, I'm so bitter about the film business, that didn't take long.
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Sep 14, 2014 03:12
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Makes me glad game devs get to do art dumps occasionally 
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Sep 14, 2014 04:59
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Our industries have their own methods of being shallow and fake, don't worry. After all, you're talking about the industry who's leading company heads were recently found to have collaborated to form a wage fixing cartel.
mutata fucked around with this message at 10:38 on Sep 14, 2014 |
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Sep 14, 2014 10:35
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Wow, creating and especially lighting fur is a goddamn nightmare. Anybody got some pointers or good tutorials they can link? I kinda got the fuzz to the point I want it, but it still ends up patchy and way too dark no matter what I try and it takes forever to render just to find out I hosed up again.
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Sep 14, 2014 13:43
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cubicle gangster posted:Nope! It's funny, that's exactly what I was trying to do and it was really overwhelming, since I keep finding new stuff and I don't know how to integrate it without seeming like I'm new to the program. The fact that I don't have to behave like a megalomaniac is quite a relief, I'm normally embarrassed by my cover letter + resume for that reason but this time I cut out the boastful and smug passages (as much as possible), and apparently it was appreciated. I'm not sure I understand the distinction between how someone did something and how they arrived at the decision to go about it, though--are you talking about design decisions that are haphazard? For example, someone threw some interior together with a bunch of random elements, and they can explain how they modelled and lit it, but they can't explain why they chose one particular style of furniture + there wasn't any new technical ground being explored, nor was it inspired by some image... etc? Also do you have a soundcloud with your tracks?
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Sep 14, 2014 16:08
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With the how/why I meant that we look for answers like 'and then I lit like this because I was aiming for this feel, and I took inspiration from, etc. Being told they took it in one direction and changed it half way through for the sake of a better image is a big plus too. Just something to show that decisions were well considered. Not a hard & fast rule but its more useful for a long term hire than a rushed art test. soundcloud/downpour
cubicle gangster fucked around with this message at 19:37 on Sep 14, 2014 |
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Sep 14, 2014 19:34
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I think it turned out okay, all things considered. Or maybe I turned Max into a muppet, I'm not sure.
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Sep 15, 2014 03:32
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cubicle gangster posted:With the how/why I meant that we look for answers like 'and then I lit like this because I was aiming for this feel, and I took inspiration from, etc. Being told they took it in one direction and changed it half way through for the sake of a better image is a big plus too. Your company definitely sounds like the kind of place I'd like to work. Maybe I'll work more on Arch Viz stuff in the future if animation/rigging doesn't work out.
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Sep 15, 2014 05:27
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SplitSoul posted:I think it turned out okay, all things considered. Or maybe I turned Max into a muppet, I'm not sure. That makes me want a real Max plushie. It's probably not what you intended but I think he looks adorable.  realtalk: I think the problem is you're trying to save render time by making less (but thicker) hairs. If you want him more genuine rabbit like, you'll have to double the number of hairs and halve their thickness (at least that much), which will probably quadruple your render time.  Also not sure if it's an aesthetic choice or not but the hairs shouldn't be so randomly haywire. Unless it just got comically shocked by an electrical outlet or something.
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Sep 15, 2014 11:22
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KiddieGrinder posted:That makes me want a real Max plushie. Yeah, I tried playing with the settings a lot, but I found that I'd either get bald patches or gently caress up my lighting, not to mention it taking an hour to render a 640x480 image (this took only 10 minutes at 720p). My other big headache was the hair growing through stuff, but I guess that boils down to my not yet fully understanding all the modelling basics. The shagginess was fully intentional, though. Max seen some poo poo.
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Sep 15, 2014 14:27
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New exterior! Actually am kind of proud of this one, only took me 3 days.   And yes, the talk about job interviews and CV's being the opposite of normal job interviews is so true. All my friends keep bitching about needing a diploma/saucing up your CV, or call me a dumbass when I say my portfolio is everything. They just don't understand, man. 
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Sep 15, 2014 16:45
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International Log posted:New exterior! Actually am kind of proud of this one, only took me 3 days. Scrolling up and down that image makes me feel....strange.  It looks nice though, only issue I have is there seems to be a lot of spotlights facing the building, but no actual lights visible on the ground. It's most obvious on the wall on the left closest to camera.
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Sep 15, 2014 18:43
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Hi folks, Is there a way in Mudbox to import an image as reference but have it move as if an object in the scene? Whenever I move or rotate the scene the reference image stays static. Many thanks.
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Sep 15, 2014 18:55
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Maybe if you affix the image to a separate camera. Then in your main camera it should stay static. I'm not too familiar with image planes in Mudbox but that's how it works in Maya.
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Sep 15, 2014 23:10
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Hi folks, I'm trying to get back into learning 3DS Max and I've stumbled into a problem with how I'm doing textures that I'm not sure what to do with.  I tried mapping this 8k image onto a geosphere and no matter how much I try to filter it in the program it ends up doing stuff like this. I'm clearly making some really obvious mistake but I feel like I've tried everything. The texture stretches in weird ways, basically. SplitSoul posted:I think it turned out okay, all things considered. Or maybe I turned Max into a muppet, I'm not sure. This looks bloody fantastic. What's it for again? Hbomberguy fucked around with this message at 18:59 on Sep 16, 2014 |
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Sep 16, 2014 18:38
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Hbomberguy posted:This looks bloody fantastic. What's it for again? Wow, thanks! It's just something I did for fun to try to figure out the H&F modifier, my experience with 3DSMax is pretty limited. If you're not familiar with the character, he's part of this crime-fighting duo.
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Sep 16, 2014 19:52
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Another failed scan. Lessons here: Don't assume more pics will make up for lack of DSLR. Don't try scanning reflective surfaces unless you can spray them down with something to make them more matte. Also . . . choppers have a lot of effin parts!
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Sep 16, 2014 19:54
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Bass i've worked on for the ol' folio. The lowpoly is around 8500 triangles. All textures are procedural except the Fender decal on the headstock. What do you guys think?        
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Sep 16, 2014 20:21
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Hbomberguy posted:Hi folks, Looks like you haven't got your geosphere unwrapped properly. Spheres are a pain; polar distortion can be tricky to adjust for, but from the looks of that render your issue isn't even polar distortion. Can we see the UVs?
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Sep 16, 2014 20:22
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I'm no expert but that looks great. It looks slightly cartoonish rather than completely 'realistic', which I assume is part of the style you're going for.SplitSoul posted:Wow, thanks! It's just something I did for fun to try to figure out the H&F modifier, my experience with 3DSMax is pretty limited. If you're not familiar with the character, he's part of this crime-fighting duo. Yeah, I know those guys. Never played any of their games, though! EDIT: Oh poo poo. The UVS. The tutorials I've been looking at seemed like they could just drag-and-drop the textures and have them work, so I didn't even think to set those up. I'll give that a try and get back to you.
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Sep 16, 2014 20:28
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With the addition of a really simple basic UVW map (just default spherical one, with 'real world map size' unticked) the whole thing is fine. A weird spot was grey but ticking 'tile' in the texture's material editor fixed it. Thanks a lot for putting me on the right track. Now to make the thing actually look decent! I'll post the finished thing here when I get done with it.
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Sep 16, 2014 21:28
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Hbomberguy posted:With the addition of a really simple basic UVW map (just default spherical one, with 'real world map size' unticked) the whole thing is fine. A weird spot was grey but ticking 'tile' in the texture's material editor fixed it. Thanks a lot for putting me on the right track. Now to make the thing actually look decent! I'll post the finished thing here when I get done with it. A good rule of thumb is to never assume you have usable UVs even on standard primitive geometry. Simple UV projections do quick work of most of those little issues, but it's something to keep in mind.
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Sep 16, 2014 23:35
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Hbomberguy posted:With the addition of a really simple basic UVW map (just default spherical one, with 'real world map size' unticked) the whole thing is fine. A weird spot was grey but ticking 'tile' in the texture's material editor fixed it. Thanks a lot for putting me on the right track. Now to make the thing actually look decent! I'll post the finished thing here when I get done with it. You could also try using a spherised cube instead.
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Sep 17, 2014 08:34
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Cyne posted:On that note, for anyone wanting to get into Houdini, I recently came across Rohan Dalvi who has a couple paid courses that look pretty slick. Worth checking out! I went in on the Tea and Cookies one, and if you're new to Houdini like I am, I think it's worth it- I'm finishing the Modeling Part, and he covers a decent range of methods; he uses different methods to solve modeling different pieces of geometry, so you get exposed to a variety of operators and don't just reuse method in making every object. It's a nice change of pace from the more linear, straightforward nature of Sidefx's official training material.
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Sep 17, 2014 10:17
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Cyne posted:A good rule of thumb is to never assume you have usable UVs even on standard primitive geometry. Simple UV projections do quick work of most of those little issues, but it's something to keep in mind. cYn posted:You could also try using a spherised cube instead. Two fantastic pieces of advice. I know it's a really small thing but I think I actually learned something from this. Here's a WIP of the thing I'm trying to make (fake maltesars commercial, for portfolio) : 
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Sep 17, 2014 12:38
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Listerine posted:I went in on the Tea and Cookies one, and if you're new to Houdini like I am, I think it's worth it- I'm finishing the Modeling Part, and he covers a decent range of methods; he uses different methods to solve modeling different pieces of geometry, so you get exposed to a variety of operators and don't just reuse method in making every object. It's a nice change of pace from the more linear, straightforward nature of Sidefx's official training material. Yeah, I feel like there's somewhat of a gap in the Houdini material out there for more project-oriented training like this. Seems like that course fills a good niche for people coming from a 3D background but wanting to see how everything comes together for a complete project in Houdini. Glad you found it useful!
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Sep 17, 2014 23:53
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Yea the side fx first steps tutorials are good but they don't really explain the "why" of things. I also find he sidetracks with poo poo a lot, like in the first steps series one second you are doing rop exports and suddenly he sidetracks with creating scene files and operators from the commandline before launching houdini and poo poo. It is really cool stuff but way too complex and power user like for a beginners tutorial. CMI VFX has a bunch of good ones too.
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Sep 18, 2014 03:08
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