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Gearman posted:No problem, happy to help. I do recommend, whenever possible, to try to match the geo as closely as possible when booleaning two objects. I remember when I first learned about booleans, I thought they were greatest loving thing since sliced bread, and I would just boolean everything together. I would then spend a good half hour cleaning up the giant mess that it made of the topology. For a while I stopped using them altogether and just resorted to using reference geo and snapping + cutting to get intersections, but again, it was a lot of work. With the workflow I have now, it allows me to use booleans in a way that isn't going to wreck havoc on my geo, and I only have to spend a couple minutes cleaning up the intersection. For shapes with a lot of symmetry, this means you can get some really good results in a very short of time, with some nice clean topology. Much like most things in art, the more time you spend in pre-planning (lining up shapes, adjusting number of loops to match, etc.) the less time you spend later. Booleans are no different. Ok so, speaking of pre-planning... I couldn't really get the edges of the cylinder to match the edges of the sphere so now I have these problem areas:  I followed your tutorial and I now realize that this is probably caused by my cylinder intersecting at a different point on the sphere than yours. However I did want them in this position specifically but the side-effect is that the edges no longer match. Is there a way to save this? Or do I need to try again? It looks like it would have worked out if I started with a 12-sided cylinder instead of 16-sided. StickFigs fucked around with this message at 01:03 on Nov 26, 2015 |
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Nov 26, 2015 01:00
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uglynoodles posted:If I'm modelling a realistic capuchin monkey, should I model it into a forced t-pose, standing more or less like a human, or a more naturalistic quadrupedal stance? I'd suggest a modified B, a relaxed T pose. Gives you less distortion on the shoulders and helps with leg rigging. Feel free to arm positioning depending on what his natural neutral pose will be, so if he's spending a lot of times on all 4s, the arms could be slightly forward too. 
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Nov 26, 2015 01:06
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StickFigs posted:Ok so, speaking of pre-planning... Ideally you'd only want to place the cylinder in a different spot if you were going to have a different number of indents than four on your final shape, at which point you'd probably want a different number of starting sides. Anyway, that's something you'll get a feel for in the future, for now, let's look at what you've got so far. I made some quick marks on your screenshot:  This is very doable, and you'll get this sort of thing when booleaning from time to time. It's fine, it's just a few extra welds. I'd probably start by welding the vert marked '1' to the vert marked '2' and then welding that to the vert marked '3'. The vert marked '4' is mostly a product of having too many sides on your cylinder compared to the sphere, but it's going to happen from time to time, so don't kick yourself over it. You can either weld it to point '3' or the 5/6 area. I can't quite tell which vert between '5' or '6' is intersecting with the sphere, but you want to weld to the one that's at the intersection. It looks like 8 is at the intersection as well, so I'd weld 7 to 8 and call that good. You can delete the excess faces with the X's if they're still around after the welds. Booleaning them as an intersection creates those excess faces as a bi-product, so their existence is expected, but short lived. You can always just do a strict subtraction boolean, but then you'd still need to weld excess verts, and create the inner curve faces. Edit: I should note that no matter what you do with vert labeled '4' you're going to get some slightly odd shading. You can keep it where it is and choose not to weld it, but then you'll get some slightly odd shading on the sphere. Or you can weld it down to 3 or up to 5/6 and get slightly odd shading on the inner curve. If you're not going to see that inner curve curve much, then you'll probably want to weld it to 3 or 5/6., but that's entirely up to you. You're also going to have an N-gon on the sphere with verts 6 and 7/8, so be prepared for some slightly odd shading in that area as well. Gearman fucked around with this message at 03:19 on Nov 26, 2015 |
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Nov 26, 2015 03:11
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I tried your suggestions and ended up with this! https://skfb.ly/ILAS  Pretty nice! I am seeing some weird shading which sucks but I guess that's a consequence of the resolution I'm working at. It's fine for the distances at which this model will be viewed from though.
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Nov 26, 2015 04:35
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Looking good, nice work! And yeah, you're gonna get some odd shading when you're working with cuts in curved objects no matter what, just gotta do what you can to minimize it as much as possible. What you've got looks great so far.
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Nov 26, 2015 05:35
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Painted my little shark dude  
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Nov 29, 2015 00:16
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Haledjian posted:Painted my little shark dude Love everything about that. Only improvement I'd make is modeling his mouth/teeth so he can do some goofy smiles.
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Nov 29, 2015 00:35
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BonoMan posted:Love everything about that. Only improvement I'd make is modeling his mouth/teeth so he can do some goofy smiles.
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Nov 29, 2015 00:38
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Haledjian posted:Painted my little shark dude  Wanna be friends with that shark.
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Nov 29, 2015 00:40
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Haledjian posted:Ha! He's gonna be small on screen in a little Unity side scroller for a homework project, but I love that idea. I still think you should, because you could have bigger shots of him to show off either way. Plus you seem to have a lot of wasted UV space on duplicates (all four wheels are mapped, as well as the second truck). I bet you could squeeze in an inner mouth and alpha channeled teeth there somewhere. edit: it is an awesome shark, reminds me of the 90's.
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Nov 29, 2015 10:16
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A little more progress. This one is definitely the wrong scale but it looks like you guys were right about the detail in the head being too noisy.
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Dec 1, 2015 05:05
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Anybody up for trying to do a 3-Dcember? I'm going to see how many 3d models I can crank out this month to practice my digital sculpting, and hopefully find some new tricks along the way. I'm gonna try for one model a day - we'll see how that works out. Here's my first one - a cartoony fish with maybe a little bit of PTSD. Just made him up as I went along, spent maybe an hour screwing around with him:  Here's the video of the sculpt from start to finish if anyone cares: https://www.youtube.com/watch?v=eelx07LUq3k
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Dec 2, 2015 05:18
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Hell yeah that sounds fun! Kinda want to do textures too, you make it I'll texture it! Fish needs a nice pearlescent paintjob.
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Dec 2, 2015 09:28
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I would join in but I've been trying to practice drawing lately and probably should focus on one thing. I might try modelling/sculpting with a tablet sometime though - does anyone have an opinion on that, one way or the other?Haledjian posted:Painted my little shark dude
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Dec 2, 2015 11:20
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Hbomberguy posted:I would join in but I've been trying to practice drawing lately and probably should focus on one thing. I might try modelling/sculpting with a tablet sometime though - does anyone have an opinion on that, one way or the other? For sculpting(and painting!), I would say a tablet is indispensable. For poly modelling, it's more a case of what you're comfortable with. I do all my sculpting in ZBrush with my tablet, but in Maya use mouse and keyboard for almost everything except weight painting.
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Dec 2, 2015 11:38
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Thanks! I use 3DS Max and Mudbox (but if you've seen anything I've made, that's a very liberal definition of 'use') and couldn't imagine using anything other than a mouse in 3DS, but sculpting feels great even though I've only created more garbage so far.
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Dec 2, 2015 11:43
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Quick and dirty half hour jobbie whilst at work, blender cycles, 1,500 polys. Been wanting to play the new Rainbow Six all day.
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Dec 2, 2015 12:34
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hey, i'm trying something experimental out in c4d and have got a bit stuck- basically, i'm wanting to create the effect of an extremely shallow draw distance when rendering - like standing in a room of thick fog, or like playing morrowind on the lowest possible settings:  it doesn't have to be a realistic effect, just have objects in the scene lose density or transparency the furthur away from the camera they are - the trick is that I need different densities on different parts of the same object - i.e. a character's hand is closer to the camera, so more visible than their body. Otherwise I could just manually set the transparency of each object in the scene. any ideas? I could start getting into vray fog and volumetric lighting, but hoping to find something a bit more lo-fi in terms of rendering.
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Dec 2, 2015 13:05
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sweet to chat posted:hey, i'm trying something experimental out in c4d and have got a bit stuck- You want to create a z-depth pass. It's a monochrome image that simply renders the nearest pixels white and the farthest pixels black. Invert that and screen or add it over your rgb, and maybe use it as a mask on a desaturation layer (maybe with a difference blend?) and that should get you a solid start. Doing that in C4D looks pretty straight-forward enough. 
Handiklap fucked around with this message at 13:35 on Dec 2, 2015 |
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Dec 2, 2015 13:31
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ah amazing, i knew i'd seen something like that before - just didn't know the term for it. thanks so much!
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Dec 2, 2015 13:59
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3-Dcember #2 - Blueberry Alien. Spent around an hour on it: Sculpt vid: http://youtu.be/SYtOUl0Y-Bs
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Dec 3, 2015 01:42
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new features of phoenix are amazing https://vimeo.com/147742756
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Dec 3, 2015 18:23
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cubicle gangster posted:new features of phoenix are amazing Interesting. I crash coursed myself in Bifrost 2016 and was starting to like it, although it's REALLY loving hard to get the scale right for some reason. Might go back and try Phoenix again... is it using FLIP now? edit: As soon as I'm done with this project I'm going to move whole hog to 2016 and will try it out there.
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Dec 3, 2015 18:26
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yep, all flip. fluid engine has been separated from the smoke/fire one with a completley different interface. generation of splash/foam and wetmaps (and the rendering of) has been nearly completely automated. The new waves method is using the ocean waves tex map to get a good looking wave and speed on a plane, then you make a 'phoenix wave force' object, link it, and now in your simulation grid it's not just displacement but the waves crest and break based on the currents underneath. it's astonishing how much easier it's got to use.
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Dec 3, 2015 18:50
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cubicle gangster posted:yep, all flip. fluid engine has been separated from the smoke/fire one with a completley different interface. generation of splash/foam and wetmaps (and the rendering of) has been nearly completely automated. Awesome. We had to abandon a water shot on this feature I'm just finishing up because BiFrost just wasn't working in the time alotted, so I'm going to go back and try it with Phoenix. Also holy poo poo thanks Autodesk for the Hypershade Node Editor in 2016 (and maybe in 2015 in a limited fashion?). Can't believe it took this long but it's glorious. edit: Quick texture question. I want the alpha of a png texture to map to Specular color so that the spec isn't highlighting in transparent areas. I could do a simple spec map, but I want to get cute as use the alpha to guide the spec. But it won't let me. I can map the alpha to the spec R G B channels separately but it does nothing. So I'm guessing I need to map the alpha to a texture utility that converts it to a b&w image to then connect to the main node? Again I could just make a map from Photoshop, but I'm trying to work outside my norm to learn new things. edit 2: Actually it looks like it doesn't automatically interpret alpha in PNGS to begin with. There's my problem. BonoMan fucked around with this message at 23:18 on Dec 3, 2015 |
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Dec 3, 2015 23:03
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Make sure you use the nightly builds for phoenix - the main build hasnt been updated in a long time and I think may not even have flip yet. It's changed a shitload since.
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Dec 3, 2015 23:31
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VFX and animation industry people, take note. MPC compositors at MPC London have notified their company that they will be unionizing with BECTU. http://vfxforum.org/2015/12/unionisation-at-mpc/ The outcome of this will be interesting. I anticipate one of two things happening; MPC flees London and moves more jobs to Quebec and Vancouver, OR MPC actually has to deal with this union. Which could lead to further unionization in the London VFX industry at Double Negative, etc. I'll watch from the sidelines as someone not in the VFX industry but with many friends who work in VFX. Unfortunately for TV animation the union ship sailed long ago, as we are much too easily replaceable.
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Dec 4, 2015 00:02
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Rick and Morty team unionized, I think. So at least there's that.
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Dec 4, 2015 00:18
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Yeah, the pre-production guys down in California did. They did it in order to get health insurance, which is good. It's a travesty that they're not offered health insurance otherwise. Whereas in my TV job in Canada we get a health plan in addition to Canada's universal health care system. But the guys working 75+ hours actually animating Rick and Morty at Bardel don't have a chance in hell of unionizing. If actual animators tried to unionize that poo poo would be sent to Korea.
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Dec 4, 2015 01:35
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Ccs posted:VFX and animation industry people, take note. MPC compositors at MPC London have notified their company that they will be unionizing with BECTU. MPC will flee. They wont deal with unions because MPC is a bottom feeding underbidding piece of poo poo company. The only reason they can underbid so low is because they are paying people way below industry rates and the majority of their workforce are students. There is not a chance they will let a union happen.
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Dec 5, 2015 05:12
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Wish I could easily transform my 3d modeling into metal. Unfortunately, the process is very tedious, and a lot of detail gets lost in the mold making etc. Printing 3d directly to metal isn't quite affordable yet. Alternate version.  There are these guys but I was told by someone with much more experience that their resolution sucks. sigma 6 fucked around with this message at 10:15 on Dec 5, 2015 |
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Dec 5, 2015 09:50
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Ccs posted:VFX and animation industry people, take note. MPC compositors at MPC London have notified their company that they will be unionizing with BECTU. A lot of places in LA for tv animation is unionized, one current target right now is Titmouse since their hours/pay blows and they are a current popular studio stateside and in canada for doing work with CN. Most CN places are unionized already. Word I got is BECTU is about to announce unionization at another London facility very shortly. I'm not surprised at MPC, there's already very high comp turnover in Van/montreal, a bunch of us got emails from recruiters there 2 days ago screaming for FX and comp people and that they'll pay *Completion Bonuses*. That's pretty desperate. London was overdue for it. No OT blows, I did bid packages for VFX work a few times, and in my experience, the major bigs never had an issue with paying time or overages on artists time. They do that already with the rest of on set production so that's been the norm for 70+ years. It's the vendor VFX "overhead" charges... supervision/management that they don' t want to pay for [a lot of VFX houses would like to do a "cost plus model".. when I was at R+H it was 25% but that over time got whittled away]. So what happens is you get companies taking that out of the artists by not paying artists for long hours.. [aka MPC]. They'll pony up, all it takes is a bunch of artists walking off a show for a week or two and a major production to miss a release date and you'll get changes. The word is people are already "working to rule" as it is. The old "Indian/China" boogey man gets brought out time and time again for the past two decades and poo poo all has happened there in any meaningful terms. EVERYTHING would be there already now if it was feasible. Big K of Justice fucked around with this message at 18:41 on Dec 5, 2015 |
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Dec 5, 2015 18:32
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Took a break from costuming to work on her sword but got hijacked by handmaking Christmas stuff. Anyway, here's this:  It needs more roughing up and detailing, but I'm liking where it's going. Need to pull more reference. Any feedback is appreciated.
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Dec 5, 2015 22:45
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Big K of Justice posted:A lot of places in LA for tv animation is unionized, one current target right now is Titmouse since their hours/pay blows and they are a current popular studio stateside and in canada for doing work with CN. Most CN places are unionized already. Cool, your insight is super valuable. I have friends just starting out in VFX and I don't want them to be taken advantage of. Did you read Pierre Grage's "Inside VFX" and have any opinion on it? Also what level of math skill is required to be a VFX artist? I'm guessing knowing VEX programming would be good, so probably linear algebra? Anything above an introductory course in that?
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Dec 6, 2015 04:21
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I consider it a special day if any artist even manages to add two numbers correctly with the windows calculator. I'm including myself in that statement. Required? Literally zero. Nice to have? Sure. Linear algebra will probably be far more than you ever need.
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Dec 6, 2015 05:05
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keyframe posted:MPC will flee. They wont deal with unions because MPC is a bottom feeding underbidding piece of poo poo company. The only reason they can underbid so low is because they are paying people way below industry rates and the majority of their workforce are students. There is not a chance they will let a union happen. With some respect, you don't know what you're talking about. MPC is a big company with a similar number of highly qualified and experienced people working there as any other London VFX house. It's gained a reputation as a nightmare place to work, but having been round most of the major vfx companies in London and having friends in the rest, frankly it's no different from DNEG, Cinesite, Framestore, or any of the others. They've handled it worse for some reason, like that god awful variety article, and that has always put peoples back up. The idea that they are going to move all their work to Canada is a loving joke, the people keeping London going are the senior staff, and it's a gently caress of a lot harder to get senior staff to move their families to another country than it is a 22 year old. Half the work sent to Montreal ends up getting done in London anyway. Also it's not like Bectu is trying to shut down MPC they just want them to get a better business model and pay for the work they demand, hardly a radical idea.
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Dec 6, 2015 22:52
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I'm not in your industry, but these days you don't need to move senior management anywhere in order to shift all your production elsewhere.
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Dec 6, 2015 23:14
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Welp. FInally done with my first feature! Insane experience start to finish. Initially hired just to be on set supervisor, then to do a few bigger shots, then it grew to all the shots from the 4 big ones to complex wire removal, screen comps and tons of other cleanup. 54 shots in total. Plus 40 smaller DI stuff (speed ramps) and one recreation of a stock footage shot. There were some crowd replication shots I wasn't equipped to do on such short notice so they got farmed out. Being a one man band was interesting and I definitely didn't get the big shots where I wanted to, but I'll probably finish them up for my own reel. It was a bit of an issue being in Mississippi and working with an editor in LA and a post house in LA (but they weren't together). Lots of long distance communications and, as the editor would say, bless their cotton socks for dealing with my new-ness to how a proper production pipeline would work. They had tonnssss of patience with me. Oh and I did all of this on top of my day job (animator/creative director at an ad agency). I'm fairly sure I'm on the verge of a nervous breakdown and/or divorce. 
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Dec 6, 2015 23:16
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Still keeping up with 3Dcember - here are the ones from the last 4 days: Jellyfish (~ 10minutes)  Skull (~20minutes)  Gorillabear (a little over 1hr)  Turtle (~40minutes) 
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Dec 7, 2015 02:39
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Relevant.
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Dec 7, 2015 09:11
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