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Are you re-uving? You could always try baking diffuse maps from the old to the new version with the new uvs... Barring that, I imagine a 3D painting program like 3D Coat or Mari would be able to do something like that no sweat. No idea about Mudbox, though. Edit: In other news, having a top-of-their-craft zbrush department upstairs from me has got to be some kind of "rich-get-richer" effect for a shmuck like me going through the zbrush character pipeline for the first time. Matt "The Redbeard" Thorup doin' casual lunchtime critique paintovers on my head sculpt feels like cheat mode. mutata fucked around with this message at 06:47 on Nov 10, 2015 |
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Nov 10, 2015 00:52
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mutata posted:Are you re-uving? You could always try baking diffuse maps from the old to the new version with the new uvs... I first tried re-UVing, but somehow that ended in a totally screwed up the mesh hierarchy and now his head is in his pelvis (it's a Jedi Knight mod). So now I'm trying to find a way to handpaint across 10 texture maps that doesn't make me want to jump off a cliff. Gonna try 3D Coat though, that may be what I need :0
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Nov 10, 2015 01:45
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3D coat does that really well.
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Nov 10, 2015 06:44
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 Latest iteration. Again, the hair is block-in for now. I think I'm ready to leave it for the time being and move on to the next thing on the list (probably costume) and come back and polish it later. I need to decide how detailed to go in the sculpt versus what to leave for the diffuse/spec maps. That said, if anyone has feedback, please feel free to share! I'd rather hear it sooner.  Here's a test stitch with the body mesh:  Pretty pleased with the progress so far; she's really starting to look like herself. Onward!
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Nov 10, 2015 07:47
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That's looking amazing, saw your concept sketches on your site and really excited for the final product man! So i have a question as someone who's still kinda starting out with 3d stuff, what do employers look for in a portfolio? I'm currently stuck as an animator at a company and I'm not enjoying it a whole ton (After effects monkey). I've only really been goofing around with making 3d things for a few months now and still haven't tried tackling characters yet, been too busy messing with weapons because they're so easy  
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Nov 10, 2015 09:35
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Keket posted:been too busy messing with weapons because they're so easy I don't know if this is a thing, but someone having a gun in their portfolio is a big turn off for me. Besides being ultra boring, because every rookie artist has one in their portfolio, they are (as you said) reasonably technically simple to make. If I was an art director and I saw someone's portfolio had a gun in it they'd lose a lot of marks from me. It shows a lack of creativity, lack of guts to try something different or push themselves, that sort of thing. So if you want to get serious, make stuff besides guns, and if you insist on making weapons, make them different. Stylized, cartoony, hand painted, crazy designs that don't/couldn't exist in reality, anything to break up the monotony. It also really depends on what you want to be as an artist; do you want to specialize and get a job in a particular field; technical, character, environment, animation, etc.? If so, make that field 90% of your portfolio, and only add other stuff to show that you're not a one trick pony. If you want to try and be a jack of all trades I'd say make a little bit of everything, don't focus on one particular field too strongly. If you can handle doing everything, you'd want your portfolio to reflect that. Another thing is don't bombard people with a huge portfolio, you need to be brutal and pick only the best pieces to show. Employers or clients don't want to trawl through a hundred pages of your stuff, they have busy schedules to keep. Mutata has a great portfolio I think. It's got the main images at the top, you can click on them to get bigger full versions, but you can also scroll down if you want to see more technical details. And on the main page, under his showcase pieces is his resume, because that reflects the reality of the industry. Your resume is secondary to your art, so keep your art front and center, and leave the C.V. somewhere where it's still accessible but not in the way. Take all this with a grain of salt, I might be completely wrong about quite a few things.
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Nov 10, 2015 15:49
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^ That is all 100% true and on the money. The only time you should have a weapon in your portfolio is if it was part of your professional work and it was something you specialized in. Otherwise, keep them out, do something else. Also, no spaceships, unless they're really loving good and awesome and unique (like say, the ones that Paul Pepera makes: http://www.peperaart.com)
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Nov 10, 2015 17:36
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IN MY OPINION: It depends drastically on what you want to do, which is rough because sometimes you're willing to do whatever and you don't want to pigeonhole yourself. Personally, I wouldn't throw out gun models, especially if you are planning on applying to studios that make shooty-mans games, but do realize that unless you're inventing some kind of awesome-looking Halo guns, they will never be anything more than "additional artwork". They wont be your centerpiece, they wont grab people's attention, they wont be the piece that seals the deal. They're side dressing in a "Oh, and I also made this gun so look, I understand texturing and hard-surface modeling." I'm also told very often that my portfolio is pretty good, but the other thing I see even more often is that you need to focus in on one role, so that's the advice I tend to give despite my portfolio being very artist-generalist. Basically, if you want to make characters, then you need a portfolio full of a wide range of characters. If you want to do environments, then you need to do those. If you want to do props, etc etc. The best way to answer your question, though, is to go find portfolios of people who have the jobs you want to have. Artstation is pretty good for this since it's mostly 3d artists and tends towards games, I think. Find some stuff on there that you like and go look at that artist's gallery. Another thing you can do is keep an eye out on the Polycount forums for portfolio review threads, go look at the person's portfolio, and then read the feedback that they are getting. You'll learn a lot as to what is good and what isn't that way. Eventually you'll get a feel for what makes a solid showing and what doesn't (for example, my portfolio is fairly technically dated at this point, and needs major refreshing). Edit: Thanks for the kind words on my project, by the way! Edit2: http://www.jonjones.com/2005/10/07/your-portfolio-repels-jobs/ This is one of the links that gets passed around every time portfolio talk comes up. It is good. https://instagram.com/mutatedjellyfish/ mutata fucked around with this message at 18:47 on Nov 10, 2015 |
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Nov 10, 2015 18:44
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You guys are awesome  Do people care about poly count much anymore? I try to be really stingy with my polys (that pewpew was about 8-9k) should poly count be something I mention on pieces? I see allot of pieces where they just mention its high poly. I'm hoping to try to specialize in hard poly, props and vehicles, maybe some environment stuff. EDIT: Screenshot from the unreal game me and my buddy are slowly working on, 1950-60s detective office that i haven't had a chance to work on in ages, the lighting got a bit messed with the recent update. 
Keket fucked around with this message at 19:10 on Nov 10, 2015 |
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Nov 10, 2015 19:06
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Keket posted:Do people care about poly count much anymore? Yup they sure do. For a render I'd also include a technical render/screengrab that shows the wireframe and notes the polycount, maybe also throw the texture(s) on the same render as well. Poly count is important but so is being able to see the mesh flow and quality of the piece, basically being able to see how well built the mesh is. A lot of people show a nice render, but if you look at the wireframe it's a lovely mess, but they don't show/mention that because they want to hide it.  So yes polys do matter, how you've built the mesh matters, and it's all usually worth showing off. Also something to show off is the time it took to build something (this is something that's being drilled in to us at the moment at school). Being able to budget time, spend time wisely, allocate time, and estimate the time of a project is a godsend for art directors and yourself. If you can honestly show how long it took to go from concept to finished piece, then that will score you points. So try and learn to document and log when you're working on something, and be sure to show that for portfolio pieces.
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Nov 10, 2015 19:43
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As a counterpoint, I've never called out the time I spent on a piece in a portfolio unless I specifically wanted to state it was a "weekend project" or something. I have had to log time that I spend on art tests before, though.
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Nov 10, 2015 20:08
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 crosspost from digital art thread. I guess PBR is neat I dunno. I'm atleast glad that with Max2015 alot of the things I had to fight with in 2011 are no longer an issue. Hell, UVmapping is now maybe less than an hour's worth of work because the toolset is so much easier and flexible. Now if only I could completely ditch Xnormal, but that's not happening anytime soon.
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Nov 10, 2015 23:37
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Keket posted:Do people care about poly count much anymore? I try to be really stingy with my polys (that pewpew was about 8-9k) should poly count be something I mention on pieces? KiddieGrinder already answered this, but definitely. Even though there's a lot of marketing poo poo about next-gen technology and how many polygons are in Nathan Drake's face, as soon as you move into environment assets your polygon budgets drop precipitously and efficient modeling is a must. I'm doing a modeling internship at a game studio right now (doing mostly props and environment meshes) and a ton of my assignments are "here's this thing we made. it's 200k tris. make it 10k please."
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Nov 12, 2015 06:11
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That's exactly the kind of role i want to get into! Thanks for all the help guys The only other hurdle i have right now (At leased in my head, you guys can probably confirm) is that all i really know is Blender, i mean i know it really well, and how to export assets into Marmoset, UDK, Unity and Substance, but I don't think i could really turn around at a interview and say 'oh, and I'd have to use unity for everything.' Lack of money stops me from getting into any of the other programs and my time as a student is long gone so no student discounts.Would this be a big issue if a company said 'Your works nice.' and i'd have to learn a new program on the job? Here's some environment stuff i made for the game, this is all a few months old now as this new jobs sucked up most of my time. Made with blender, textured in Substance and dumped into UDK.  
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Nov 12, 2015 09:04
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It's been my experience that most companies understand that new hires may need a spin up period to train on a new package unless they are specifically staffing up and need production people asap, but you'd be going for junior-type positions, I figure, so that won't be the case. Once you've learned a few of the UI nightmares that we all use everyday it's not a huge deal to pick up another one. In fact, count on needing to learn programs on a pretty regular basis.
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Nov 12, 2015 09:26
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Keket posted:Lack of money stops me from getting into any of the other programs and my time as a student is long gone so no student discounts. Well, as far as learning one of the Autodesk packages, they basically don't give a gently caress about who gets the free educational licenses these days. I don't even think you need a school e-mail address anymore - just pick the school you went to when you sign up and you'll get your free licenses. Max and Maya are just so ubiquitous that at this point I really don't think they care about the educational licenses potentially being abused.
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Nov 12, 2015 18:06
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Cyne posted:Well, as far as learning one of the Autodesk packages, they basically don't give a gently caress about who gets the free educational licenses these days. I don't even think you need a school e-mail address anymore - just pick the school you went to when you sign up and you'll get your free licenses. Max and Maya are just so ubiquitous that at this point I really don't think they care about the educational licenses potentially being abused. Also weren't it supposed to last max 3 years? I have had access to Autodesk products for 4 years now.
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Nov 12, 2015 18:21
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I am surprised by how lackadaisical they are about it. They don't even stick a watermark or whatever on student dwgs.
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Nov 12, 2015 18:21
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Because they realize students are just going to pirate it anyways. Autodesk makes all their money off of colleges and companies that buy floating/bulk licenses.
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Nov 12, 2015 18:26
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ceebee posted:Because they realize students are just going to pirate it anyways. Autodesk makes all their money off of colleges and companies that buy floating/bulk licenses. And the more a Uni student is able to use it, the more they are likely to encourage their boss to buy a legit license when they get a real job.
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Nov 12, 2015 21:03
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Yep, that's what I tell everyone that says they can't afford to learn a 3d package. Just hop on over to the Autodesk webside, pick out the school that you toured once back in '93 and you can download the latest version of whatever Autodesk product you want. For people learning to "get good" in the industry I recommend: 3D Studio Max or Maya (one or the other, not both, unless a company really wants you to know a specific one) Mudbox (if you don't have access to Zbrush, but it's also really good at certain things that Zbrush isn't) MotionBuilder (if you want to get in to animation)
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Nov 12, 2015 21:07
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I went looking for some old posts and realized mine go back to 2008. This thread is so old. 
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Nov 12, 2015 21:12
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You can switch Max into Maya navigation mode, but can't switch Maya to Max mode, so I'd suggest Maya. Also Autodesk seems to be favoring Maya a bit more lately, and might wrap Mudbox's sculpting tools into Maya in the future and phase out Mudbox.
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Nov 13, 2015 03:29
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If you're going into games use Maya in my opinion. I've worked at studios that had Maya, Max, and Modo users, and by far the piece of software that caused the most issues going between anything else was Max. I started off as a Max guy, love the modeling tools, but Maya just feels more fluid to me. Whereas Max just feels like brute forcing everything and hoping it works. I hope this doesn't turn into a Max vs Maya thing because ultimately you should pick whichever you feel comfortable with. But if you're going into games the majority of studios I know people working at use Maya or have switched from Max to Maya fairly recently. Hell, even Blender has been picking up more steam lately. But beware of that community, yeesh.
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Nov 13, 2015 04:48
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I prefer Max if only for the modifier stack. It's probably simultaneously the most powerful and most overlooked feature in Max.
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Nov 13, 2015 04:55
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Yeah Maya's history is similar but not nearly as powerful. Max's stack is pretty sweet but it doesn't make up for how clunky everything else feels These days for me anyways it's like 80% ZBrush, 10% Maya, 10% Photoshop/3DCoat/Substance ceebee fucked around with this message at 05:04 on Nov 13, 2015 |
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Nov 13, 2015 05:02
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I would love Max's stack system to be integrated into Maya. Autodesk seems to definitely be putting the bulk of their effort into Maya development. The only studio that I know that uses Max is Blizzard. Edit: whoa Marvelous Designer is pretty nuts... mutata fucked around with this message at 09:30 on Nov 13, 2015 |
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Nov 13, 2015 05:18
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I love max. gently caress all the others i'm taking max to my grave. We're gearing up to publicly launch our 432 park avenue film. been posting all the images and behind the scenes bits to our website the past few weeks. Some fun behind the scenes shots with philip petit. http://dbox.com/ The first photo is of the draft of the storyboard which got us the job. I wish i could draw like our ceo, and as fast. cubicle gangster fucked around with this message at 17:07 on Nov 13, 2015 |
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Nov 13, 2015 16:53
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cubicle gangster posted:I love max. gently caress all the others i'm taking max to my grave. Ha I saw that first frame and was like "holy hell those are good storyboards!" Then I saw the second frame and was like "oh that's more my speed." 90% of my storyboards for our TV spots are stick figure things... unless as you mentioned it's a pitch, then we break out the big guns.
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Nov 13, 2015 17:54
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cubicle gangster posted:I love max. gently caress all the others i'm taking max to my grave. drat, I am loving all of the work your company does. Really gorgeous spaces, and the renderings of them is top notch.
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Nov 13, 2015 17:56
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BonoMan posted:Ha I saw that first frame and was like "holy hell those are good storyboards!" Then I saw the second frame and was like "oh that's more my speed." Yeah, before that one was done (which we stuck to shot for shot) there was a stack of borderline incomprehensible garbage which was just enough to help form a mental image of how it's actually going to work. Thanks gearman
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Nov 13, 2015 18:11
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 Face practice.
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Nov 14, 2015 04:06
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Keket posted:That's looking amazing, saw your concept sketches on your site and really excited for the final product man! SO I missed the guns discussion, but I wanted to add something: The best thing you can do with a "gun" portfolio piece (or really, EVERY portfolio piece) is to make it a character. Taped cracks in the wood, stickers, attachments--not just random poo poo stuck on it, but something that implies a history and a personality. If you can conjure up moods and stories with just a gun or other prop, you'll be able to do it with cars and actual characters, and that's going to be just as valuable as clean meshwork. Also my portfolio doesn't reflect this well at all and I'm a massive hypocrite
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Nov 14, 2015 06:47
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Don't just randomly tape a gun though its becoming such a cliche.
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Nov 14, 2015 14:53
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I posted this in the animation thread as well, but I figured I might as well ask here too. Anyone have any experience in rigging characters holding something with both hands in 3ds max? I've tried the usual Select and Link option, and it looks ok on that frame, but before and after that bit in the timeline the parent controller flies off in weird directions. Anyone know what I'm talking about or should I post screenshots/videos?
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Nov 15, 2015 15:27
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Haledjian posted:SO I missed the guns discussion, but I wanted to add something: I did something like this with a gun I made for Fallout New Vegas. I made it look like it had built mostly from scratch around a main barrel, with attachments added to it and a replaced handle that looks bolted and partly welded on.  (it's in dire need of a total redo, but you get the idea.)
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Nov 15, 2015 17:31
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Autodesk needs to get their poo poo together with regards to the installation process for Maya 2016 and above. It's a convoluted mess. You have the initial installer, but it doesn't let you know there are updates. So, you think to yourself that you need to get updates... you go to the site and there's a SP4 + Extension 1(jesus christ quit having so many names) installer. You download it but it's only 1.5 megs. Hmm... that's odd. Maybe it's just a web installer. Nope. It... does something, but you aren't sure. You run it and it seems to go fine but you don't notice anything different. You do some research and realize that it doesn't ACTUALLY have SP4 in there for whatever reason. You go find that and sure enough it's several hundred megs. That makes more sense. Not sure what it was I downloaded before. You install... it seems to go fine. Then you realize that Mental Ray is now a total stand alone install as it's not included with the original packaging. You find it and install it... it doesn't work. There's some error in calling a procedure on startup. Well lets reinstall the SP4+Extension thing... maybe that will help? It installs fine... you think. There's still no real indicator while it's installing that it's doing anything. Mental Ray still doesn't work. Try to uninstall everything... can't because it claims "This account already exists. Can't uninstall" during the process which... who the gently caress knows what that means. Googling finds some vague references to Autodesk clean uninstalls. Goddamn it packages the main program, renderers, extensions and service packs ALL separately and they ALL have their own updates to install ALL separately. That's some frustrating poo poo. Now I'm just sitting here with a hobbled system that I don't know what to do with. gently caress you Autodesk. edit: holy crap finally fixed it. So if you go to your Autodesk login, select your product then go to "Updates & Addons" you'll see both the Extension plus SP4 file (which is the aforementioned 1.5 megs) and Mental Ray plugin install. Which I can only assume is outdated. Neither of those actually work properly. You have to select "View all enhancements" then you'll just get a master list of everything. If you click Mental Ray there it actually takes you to the Mental Ray patch file and the proper SP1 + Extension file... those actually worked. Goddamn autodesk, no reason to make it that hard. BonoMan fucked around with this message at 23:35 on Nov 15, 2015 |
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Nov 15, 2015 21:30
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Ccs posted:Big K, did you start out as an animator and later transition into FX/Houdini? I'm starting to realize a lot of people are doing that, especially if they have some technical background. $28,000 is pretty low, runners/interns get that in the two Vancouver places where I worked. I believe the minimums generally should be around $35,000+. I started off as an character animators, went into rigging for a bit and then FX. Made the big push into FX because generally speaking, it pays better than the other positions. Effects/Lighting/Comp, those end-of-the-pipeline positions have huge demand, more overtime, and higher wages/better job security than most any other of the positions. [That and it's easier to move into supervision roles if you are thinking long term]. I'd echo what others said, and get out of TV asap, if you can't get into TV where it's semi decent 3D shows where you can possibly get into feature work down the line. Myself and most of my friends started off working on pre school 3d shows, and really low end family stuff. Today [10-15 years later] we're all working on major shows. Don't be afraid to move around in the industry to get raises, it's pretty much the only/best way to get raises is to keep moving around for a while.
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Nov 16, 2015 07:31
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Re: Gun chat Gun model is fine, make sure you have a nicely referenced character model to go along with it It's a prop or set piece, wheres everything else.
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Nov 16, 2015 07:36
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Do Goku holding a gun.
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Nov 16, 2015 08:17
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