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Taffer posted:The thing that jumps out at me is compositional. Your main subject (or one of them) is at the extreme edge of a very wide frame, while the other subject is also pretty far to the right. The left side of the image feels bland, but not with the necessary contrast of negative space. If just feels like there's.... Stuff there. The arrangement of the other elements leads they eye to the left without satisfaction. If everything was shifted to the left a bit I think it would fit better. Wouldn't hurt to make the monkey and the vehicle larger either, imo. It is a huge wall - as you can see by the second pic above the bottom one. Trying to figure out how to fill as much of it as I can. Definitely going to scale up the monkey and monowheel and possibly flip the column and monkey. That way the monkey starts the mural closest to the entrance and the actual column ends the mural. As it stands, leading the eye to the left might be good since that is where the entrance to the shop is. As for lighting - it is just the built in renderer for Zbrush. I think it will look far better once I start rendering in Keyshot or Arnold. Just not looking forward to moving 100 million verts or more to either package. Keyshot will handle it better but I don't have the control I have gained over the years in Maya and Arnold. Need either Arnold or Keyshot to really do anything with materials and surface dev / lighting etc. Definitely planning on making the color pop a lot more beyond the gate. So stuff in the foreground will definitely be less saturated. Kind of like when Dorothy leaves the black and white world she lives in for the colorful Oz.
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Sep 14, 2020 17:50
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Seeing how you're only using about half of the wall space, and thinking about how I've seen that sort of extreme aspect ratio handled before (either the scene is abstracted as a sort of collage, with sub-scenes flowing in to each other, or a single scene without a single purely correct perspective grid), and given the surreal-ish subject matter, I have a potentially wild idea. What if you built the full scene, including what's currently behind the camera (the road/landscape going away from the wall), and rendered this as a 360 (or 270) panorama? So one major focal point of the image is basically what you have now - monkey/wall/gate/castle and then the other half, filling the rest of the wall, is what's further to the right, then behind. Including maybe the another copy of the monkey himself, now coming towards us along the road as it stretches in to the distance/landscape away from the castle. Like an HDRI map, but cropped on the top and bottom so we don't see all the funky distortion at the poles. Hopefully this makes technical if not creative sense. Something like this:  The road turns in to a wide U shape connecting the views. The wider perspective lets you extend the saturated/desaturated transition too, in to a more left/right thing. If none of this resonates nbd, things to think about regardless would be how to indicate the diminishing scale as we get further from the camera - the castle as it is feels pretty small. I see you'll have the road winding back and forth and getting smaller, but if there's some other element you can repeat back in to space (rocks, trees, whatever) that would help sell the depth. Doing the 360 and having the other half of the road to see get smaller in to the distance could maybe help establish that pattern without the wall/gate blocking most of our view. I also have the feeling the castle model in your actual 3D scene is small and close, instead of huge and far away. If it is close, make it huge and far away, and the road will diminish correctly. After you have the finished image, how are you planning to get it on the wall? Printed vinyl? Paint over a projection? Prolonged Panorama fucked around with this message at 05:29 on Sep 15, 2020 |
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Sep 15, 2020 05:26
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Prolonged Priapism posted:Seeing how you're only using about half of the wall space, and thinking about how I've seen that sort of extreme aspect ratio handled before (either the scene is abstracted as a sort of collage, with sub-scenes flowing in to each other, or a single scene without a single purely correct perspective grid), and given the surreal-ish subject matter, I have a potentially wild idea. I like this and it takes away my biggest complaint from the mural which is that the monkey, which should be a focal point, is not separated enough to stand out. He is on the same plane as the gate and blends in. This could bring him out and showcase him a bit more.
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Sep 15, 2020 15:01
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Prolonged Priapism posted:Seeing how you're only using about half of the wall space, and thinking about how I've seen that sort of extreme aspect ratio handled before (either the scene is abstracted as a sort of collage, with sub-scenes flowing in to each other, or a single scene without a single purely correct perspective grid), and given the surreal-ish subject matter, I have a potentially wild idea. This is pretty interesting stuff. Hoping to draw over a projection and register the projector the best I can if I need to reproject. Should take me a night or two to get the drawing up. Printed vinyl is interesting and I have heard of "mural printers" but I think it's out of my price range. At this point I am getting airbrush equipment to airbrush it after hitting it with cans first for the large stuff. Or rollers. If I need to use paintbrushes I will but I need to keep it all one kind of paint if possible. As for the op art stuff... I think it is a cool idea. Just not sure how I would create that or render something like that in 3d. Fisheye lens? The long 3d wall lends itself well to the long physical wall horizontally but the 3d wall needs to fade into the physical one somehow as it goes away from the shop. Last bit of advice is good about making it huge and far away but... I have to move it maya or keyshot very soon so I will see if that is possible once I get the geo in. A portrait I am working on: 
sigma 6 fucked around with this message at 11:55 on Sep 18, 2020 |
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Sep 18, 2020 07:48
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You should probably avoid keyshot to prep your render for that wall. if you're in maya you'll be able to use a cylindrical camera with any major render engine - I didn't post at the time but I think it's a really strong compositional idea. it's not what you originally intended but it solves your problems and introduces a level of scale / drama that isn't possible otherwise. In other news, we launched our pure cg focused website and Instagram this week. thousands of images tagged and categorized from our history, from Miami, NYC, London and a few from our new Budapest studio. https://www.dboxcg.com/portfolio Some people may remember we experimented with an endlessly tagged database of our work on tumblr a few years ago - it's an extension/development of that idea but also designed so that we can send out pitch-specific portfolios to clients making it way more practical.
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Sep 20, 2020 07:04
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cubicle gangster posted:You should probably avoid keyshot to prep your render for that wall. if you're in maya you'll be able to use a cylindrical camera with any major render engine - I didn't post at the time but I think it's a really strong compositional idea. it's not what you originally intended but it solves your problems and introduces a level of scale / drama that isn't possible otherwise. I prefer the control Arnold gives me but I have no idea how to use a "cylindrical camera", nor do I know how to create the effect in Arnold. Anyone have any suggestions? Impressive portfolio BTW!
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Sep 20, 2020 22:14
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https://www.youtube.com/watch?v=m6aNOBsNRYM Here's an example with a simple scene in Maya/Arnold. It's just a special camera type, you build the scene normally. That video uses a spherical camera, a cylindrical camera gives more control over the horizontal and vertical FOVs so you don't render more than you need. More on cylindrical cameras: https://docs.arnoldrenderer.com/display/A5AFMUG/Cylindrical+Camera
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Sep 20, 2020 23:24
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   https://www.artstation.com/artwork/q9JXwn recently did a 3d model based on a starfighter concept by Eric Geusz (spacegooose)
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Sep 25, 2020 12:21
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Gorgeous! What softwares?
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Sep 25, 2020 13:16
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Neon Noodle posted:Gorgeous! What softwares? it was actually my excuse to learn blender haha (the materials and rendering are done in substance and marmoset tho)
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Sep 25, 2020 14:50
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That looks lovely, but I admit I'm confused by the pods to the port side of the cockpit. They look like jet engine air intakes, but they don't have a jet engine-style exhaust and they don't seem to connect to the rocket plume. Do you have a concept in mind for how this is "supposed" to work? I feel that designs are always stronger when the viewer can look at them and intuit what the major components are for.
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Sep 25, 2020 18:09
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they are the warp nacelles and what you see as jet engine intakes are actually the bussard collectors (i agree that the ship looks a little unbalanced and i think it would be better if it had a big gun on the pod opposite the cockpit but eh he's trying to replicate this guy's design)
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Sep 25, 2020 18:14
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First attempt at a claymation-style project https://i.imgur.com/0nup1K0.mp4
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Oct 1, 2020 00:36
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Captain Splendid posted:First attempt at a claymation-style project this synchronized pretty nicely with the music i was listening to https://www.youtube.com/watch?v=9w_oHSjd3vY (the art is great. nice job getting the fingerprint marks that change with every frame)
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Oct 1, 2020 01:05
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Captain Splendid posted:First attempt at a claymation-style project That's cool! If you have a round corners type shader in your renderer you could use it to smooth the turret dome into the body
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Oct 1, 2020 03:01
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Sagebrush posted:
Thanks a lot! It's actually every second frame. It took me a while to think up how to make a driver do that (in the end it was [angle change]*int(frame/2) ) EoinCannon posted:That's cool! Good suggestion! Blender has a bevel shader but I don't know if it would work for edges between two intersecting objects (as is the case with the hull and turret)
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Oct 1, 2020 17:47
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Captain Splendid posted:Good suggestion! Blender has a bevel shader but I don't know if it would work for edges between two intersecting objects (as is the case with the hull and turret) Ah right, wasn't sure what software you're using. Redshift's roundCorners shader will do it and blender tends to integrate features pretty quickly so I assume it would have it
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Oct 2, 2020 09:49
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Captain Splendid posted:First attempt at a claymation-style project I would love an entire game with sprites rendered in this style <3
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Oct 2, 2020 15:37
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Kanine posted:I would love an entire game with sprites rendered in this style <3 Yeah, a Neverhood sequel/remake/inspired game without Doug Tennapel would rule.
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Oct 2, 2020 17:13
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Kanine posted:I would love an entire game with sprites rendered in this style <3 A bit like Kirby and the Rainbow Curse? https://www.youtube.com/watch?v=gBI8I75X-YQ It pushed that claymation, stopmotion vibe.
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Oct 2, 2020 22:35
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Hi friends, Sebmojo and I are soliciting feedback as to how WE can improve CC for YOU! If that's something you'd like to weigh in on, you can go here: https://forums.somethingawful.com/showthread.php?s=&threadid=3942698
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Oct 3, 2020 02:43
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SubNat posted:A bit like Kirby and the Rainbow Curse? oh gently caress yes this is rad as hell (now if only it were ported to switch)
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Oct 6, 2020 16:01
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https://i.imgur.com/1e7DrfQ.mp4 Recently started working on an environment in UE4 based on old mainframes from the 60s. Pretty proud that I managed to figure out how to get semi-random blinking on lights and semi-random rotation on tape spools.
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Oct 6, 2020 16:34
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Sharing is caring my good goon, spill the deets.
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Oct 6, 2020 20:57
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Warbird posted:Sharing is caring my good goon, spill the deets.  it fakes randomness by adding a ceiling/floor to a sine to essentially blink black/white at a constant rate then duplicating that 3 times, and setting each blink to be at a different rate (prime numbers so they dont overlap or something idk) then it uses those 3 different rates to lerp between 3 different spinning speeds. (the blinking lights do the same thing but instead of spinning speeds, it's choosing between different color channels to decide which lights to light up) i have absolutely no idea if this is the optimal solution because i basically jury rigged it but im proud of myself for at least getting the result i wanted lmao
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Oct 6, 2020 23:51
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On a jury rigging note I had absolutely no idea about animation (I only had a foggy idea of what a bone was) but I managed to make this magnetic rocket nozzle fold in on itself. Some IK deal tied to empties where the struts attack to the rocket body and then a rotation and probably some other iffy things I forget. The setup isn't pretty but it folds. A little bit of complexity in making the blades on those struts fit in. Those are a thing because for physics reasons every surface has to be at a very low angle to the center of this thing where an intense nuclear reaction happens. https://cdn.discordapp.com/attachments/725631347594362897/760199310738194502/0000-0240.webm I have a slightly better idea about animating things now. There are some other mechanical things I wanna do. Fortunately none of them are too complicated.
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Oct 7, 2020 18:11
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Kanine posted:i have absolutely no idea if this is the optimal solution because i basically jury rigged it but im proud of myself for at least getting the result i wanted lmao If you dig into stuff like this again, it can be worth it to look into material instances, more specifically their usage in blueprints etc. For both the blinking and rotation you could simply update those parameters through a blueprint during runtime. (Caveat, blueprint based material logic would only work during runtime/simulation/sequences, though!) Very easy to set up, and it would also allow you to easily hook it up to more advanced logic, or reuse/tune across multiple situations easily. The overall flow is like this: You set up a material with a parameter variable like that 'rotation 0-1' or for lights, etc. Set up the blueprint to create and assign a material instance to it's meshes. (Like adding all those databanks(?) in one BP, or have them as individual ones you copy paste.) Then it's as easy as going material instance -> update variable (name) with a new value in the blueprint script, and it'll update that parameter for it's local material instance. In general if you can do something in-material there's no reason not to, but if you just hook it up to a blueprint like that it gets a lot easier to reuse and work with. (And some things like simple vertex animations and etc are way better to just do in-material, like grass effects, objects bobbing in water, etc.) Especially useful is if you get a tweening plugin like the excellent Tweenmaker https://www.unrealengine.com/marketplace/en-US/product/tweenmaker (Currently 50% off.. so like... 10 usd?) Tweens are pretty great when you want to quickly and easily animate a value like that, and have it be linear, or snap, bounce, etc
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Oct 7, 2020 18:42
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SubNat posted:If you dig into stuff like this again, it can be worth it to look into material instances, more specifically their usage in blueprints etc. oh yeah all the values are already set as parameters and i have a few different versions as instances that i just randomly apply to meshes so no mesh has the same blinking/spinning as the one sitting next to it. But you're totally right though I should automate that with blueprints.
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Oct 7, 2020 19:43
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Also does anyone have advice or guides for pricing stuff on online asset stores like the unreal/unity marketplaces?
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Oct 7, 2020 19:45
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I woke up today to some emails from a site called Skillshare noting that I had signed up for a Premium account, and there was a message to me commenting on my project. The site appears to be legit- it seems like someone used my email address to create an account there and start taking a class, and I'm getting the feedback from the instructor, since my email address is the one on record. Is this a scam in some way? Wondering if any of you have heard of something similar going around in online art tutorial circles.
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Oct 8, 2020 20:47
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Skillshare is a real, legit site. No idea why someone would've used your email, though.
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Oct 8, 2020 21:06
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https://twitter.com/3xChris/status/1314337010262384640 I've been getting a few of these really obviously fake "recruitment" emails as well so heads up folks.
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Oct 8, 2020 23:55
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Listerine posted:Is this a scam in some way? Wondering if any of you have heard of something similar going around in online art tutorial circles. Best option would be to ask Skillshare how it happened, since any site like that should be sending a verification email before you can start a course. Alternatively, reset the password and assume their identity.
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Oct 9, 2020 00:31
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 I made this cruiser a few months ago. in my free time I'm starting a fleet of capital ships. I'm trying to find a nice middle ground between star wars, battlestar galactica, and homeworld. Some of Pierre E. Fieschi's lego models were a big inspiration for the shapes. I'm still thinking I want to add some stuff to this particular ship, but it was meant primarily as a test for the hull paneling substance materials I made. 
Kanine fucked around with this message at 19:41 on Oct 10, 2020 |
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Oct 10, 2020 19:38
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Actually I'm going to shamelessly plug the materials I made since I put them for sale on gumroad if you want to use them in your own projects. https://www.artstation.com/artwork/Xnnwdn https://gumroad.com/l/HLWcN
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Oct 10, 2020 19:43
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D2 have been running visualization challenges for the duration of lockdown but put them on hold a for a while, they've just started a new season of them. their newest one is a pretty fun brief - it was announced on Thursday so I'm a few days late posting this. The deadline is the 28th. They strongly encourage a rough render with a heavy paint over - the guy judging has a pretty fast & loose style of working, so it's not like it needs to be insanely detailed to stand a chance. The brief is simply 'create an image inspired by the works of Hugh Ferriss' Some pretty solid references of his style here - https://www.pinterest.com/kmeyer/hugh-ferriss/ very monumental forms, huge emphasis on verticality and scale, lighting soft but extremely bold and well defined. https://vienna.d2conferences.com/d2challenge/?fbclid=IwAR3t62Gx6tx9vxjWyq-K2dK7_rHZCqYPB5Q0F5aZdrKd9oBqP5Vn4YkqMHc Prize wise they're usually able to rustle up some more licenses as time goes on - asset libraries, HDRI packs, plugins etc. It's the first one I'm planning to enter - I started massing out my idea this morning and it's ready for detailing.
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Oct 11, 2020 17:41
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I....might just take a look at that.
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Oct 11, 2020 20:45
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Potentially weird question, but I'm kinda incredibly new to this. Do you guys who do 3d sculpting like blender or zbrush use a tablet/pen? I was thinking of buying one and giving it a shot (some decent prime day deals), but I literally don't know if it's the tool for the job.
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Oct 13, 2020 16:28
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Stupid_Sexy_Flander posted:Potentially weird question, but I'm kinda incredibly new to this. Do you guys who do 3d sculpting like blender or zbrush use a tablet/pen? I don't do much myself, but it's always seemed like it's basically the standard tool for the job due to the huge increase to control you get from pressure sensitivity. I think everyone I know personally who does sculpting to any degree does have one, though you shouldn't feel that you -have- to get a tablet to do sculpting. It's just very practical. (And useful if you draw/paint/edit a lot of images as well.) You don't need to go all out and get a superhyper amazing tablet to start, though. Better to learn sculpting, then transition over to using a pen, instead of putting it off just because you don't have one.
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Oct 13, 2020 16:37
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It's more of a "oh, neat, these are affordable on sale, maybe I'll get a cheap one and learn me some sculpting" moreso than "I need to learn sculpting, but why even bother until I have the best tools?". Basically an electronic gadget is on sale and might potentially be useful, as opposed to a waste of cash.
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Oct 13, 2020 16:47
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