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Sparr posted:Hey guys, I'm not much of a 3-d artist, but I still follow this thread, and figured I'd ask you guys if you wanted to do some simple collaborations!
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May 22, 2012 06:20
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I made a fire animation in Maya using fluid dynamics, and now need to create flame sparks coming from the wood burning underneath it, there needs to be quite a bit coming off the wood and need to look good. Does anyone have any recommendations on tutorials on how to create some really nice looking fire sparks. I'd assume i'd use particle simulation, but any other suggestions or ideas on how to give it a really professional feel would be great. Edit: The larger particles have to be rectangular (like the chunks of wood that came off) and the smaller particles can be circular. Rekka fucked around with this message at 14:53 on May 22, 2012 |
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May 22, 2012 10:50
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n0n0 posted:I really wanted to check this out, but your links are f'd up. Huh, thanks. For some reason the url's were truncated or something. Funny you should bring this up, though, because I have managed to get one little 3-d critter out of someone today. He went for this guy  and came up with this...    Pretty fun iteration, I must say! If any of you guys would like to try your hand at some you're more than welcome. Just circle or crop or tell me which creature you'd like a bigger reference of and I can get it to you. 
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May 23, 2012 00:10
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TheMilkyNutBall posted:Thanks - and yeah I agree it's tough. Pretty soon I'm gonna tweak some stuff and I'll try messing with the subdermal layer. The skin on your sculpt looks pretty darn good. I like the subtle skin creases/wrinkles and bumps. I'm curious to know if you used a photo reference to paint the skin texture (like Zbrush's spotlight tool) or if you made it from scratch. While I used photos as reference, I made everything from scratch. I did the color maps in ZBrush and used SSS in Maya. Two tutorials that really helped (and hurt) with this project were: 1. Portrait Production - Creating a Realistic Portrait in Maya, by Tony Reynolds http://eat3d.com/maya_portraits 2. Sculpting Wrinkles in ZBrush: Realistic Surface Anatomy with Cesar Dacol Jr. http://www.thegnomonworkshop.com/store/product/891/Sculpting-wrinkles-in-ZBrush (I really liked this tutorial and found Cesar's style of instruction good for me) I only say "hurt" because I found that the dark-skin tone did not play by the same rules as light-skin tone, like in Tony Reynold's DVD. Also, don't, don't use Color Management as he says. That really messed me up for quite some time. Sparr posted:Pretty fun iteration, I must say! If any of you guys would like to try your hand at some you're more than welcome. Just circle or crop or tell me which creature you'd like a bigger reference of and I can get it to you. There are some really hilarious creatures in this tree
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May 23, 2012 02:06
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Ok, I've made the fire sparks and now need to create some particles that burst out of the bottom of the fire (from the wood). Any idea on what settings to change to get a nice burst particle speed and effect. A forceful jump out of the flames, travelling a little bit and then down.
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May 23, 2012 14:40
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Well, it looks like Chaos Group FINALLY got around to making a demo for Max 2012 (or one I can access, at least). I'm thinking about revisiting a few things over the next few weeks to see what happens. Any basic tips? Edit: Here's what I got after some screwing around: 
Musical_Daredevil fucked around with this message at 17:51 on May 23, 2012 |
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May 23, 2012 14:53
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Quick question. We're putting together a proposal for an animation project that involves a coastal erosion prevention product. They're wanting some "kick rear end" and high energy stuff (dont' ask)...there will be most likely live action stuff with animation augmented over it. They want realistic, but not too CAD-esque or anything. I'm looking for video touchstones...where do I even start to look? Is this a certain genre or anything like that? I'm searching around YouTube for technical animations, but that hasn't yielded the most efficient results.
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May 23, 2012 19:36
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E: whoops
cubicle gangster fucked around with this message at 08:39 on May 24, 2012 |
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May 23, 2012 22:08
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Sparr posted:Huh, thanks. For some reason the url's were truncated or something. Funny you should bring this up, though, because I have managed to get one little 3-d critter out of someone today. Do you want them low poly like the above example?
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May 30, 2012 11:55
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Here's the latest I've been working on: (click here)  Role: Animation/Dynamics. All completed in Softimage and rendered with Vray. Momentum was used for dynamics and the final composite was in After Effects. edit: changed the screen grab Citadel fucked around with this message at 11:33 on May 31, 2012 |
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May 30, 2012 18:01
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Citadel posted:Here's the latest I've been working on: This was good. That opening shot (from which that screen is taken) is probably the weakest part. Very enjoyable.
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May 30, 2012 20:22
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BonoMan posted:This was good. That opening shot (from which that screen is taken) is probably the weakest part. Very enjoyable. Yeah, I didn't want to give too much away in the screen grab chosen. Might switch it to something more interesting. Cheers.
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May 31, 2012 10:13
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Can you 3D folks help me out? I'm a 2D artist/cartoonist/animator and I'm trying to figure out some ways of incorporating 3D elements into my workflow. I have been learning Blender and having some fun with that, and also playing with Sculptris. My problem is that I don't know anything about texturing or generally how to bring in my Photoshop skills. These 3D apps are so technical. Are there some good tutorials about 2D/3D/2.5D techniques, or about how to integrate 2D and 3D stuff?
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May 31, 2012 16:37
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Citadel posted:Here's the latest I've been working on: gently caress i hate to be a critical craig, because the lighting and camera work were pretty nice, but there's a point in the sim of the balloon collisions that looks like the pink one rebounds pretty fast right after the first one hits the bunch, but it looked like all it bounced off of was other balloons (not off swinging limbs). The mylar materials look a bit too glossy, chrome-ish really, and the balloon models could be a bit more bulbous - the flatter front and back faces look too flat to me, almost planar. Very nice.
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May 31, 2012 18:18
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concerned mom posted:Do you want them low poly like the above example? They don't have to be, I just like that style and thought it matched the kids drawings better. If you want to go all crazy zbrush on them then go for it! The main idea is to just keep the iterative nature of the project going based off previous 'ancestral' designs.
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Jun 1, 2012 01:33
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polarbear_terrorist posted:Also, I have no idea on this. I've never made a 3D pdf, sorry :\ Just saw this, no, never got it to work- had to drop that idea and finish some other things that I was on a deadline for. I'm putting that on hold anyway because the anatomy group I'm joining in the fall already have some system for making models that their students can interact with, so I'll probably just jump into whatever they're using. but thanks for following up!
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Jun 1, 2012 02:08
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neonnoodle posted:Can you 3D folks help me out? I'm a 2D artist/cartoonist/animator and I'm trying to figure out some ways of incorporating 3D elements into my workflow. I don't know about any tutorials specific to what you seem to be after, but you may be interested inFreestyle, a non photorealistic line render. You should be able to find a build integrated with blender on http://graphicall.org/, just find one appropriate for your system. I havent used it much myself, but I've seen some decent results from it.
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Jun 1, 2012 09:07
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neonnoodle posted:Can you 3D folks help me out? I'm a 2D artist/cartoonist/animator and I'm trying to figure out some ways of incorporating 3D elements into my workflow. Going a different route than Simpo is suggesting, it really depends on what you want to do in 3d. All of it has "technical" aspects involved just by nature of being done on a computer, but not all of CG is beep boop boop emotionless computer automation. 2d skills can be very valuable when transitioning to 3d. Do you just draw, do you know how to paint (traditionally or digitally), do you know your anatomy? If you know your color theory and can paint well in photoshop, try out Autodesk Mudbox and start learning how to paint in 3d space. You get paint layers, blending modes etc just as if you were painting in photoshop. If you want to be a modeler instead, well that's a whole different can of worms that is going to take a lot of research. Traditional anatomy knowledge and ability to cartoon well are going to be huuuuge advantages for you in the modeling department though. If you want to be a modeler, try out Zbrush and go hog wild.
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Jun 1, 2012 09:29
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Handiklap posted:gently caress i hate to be a critical craig, because the lighting and camera work were pretty nice, but there's a point in the sim of the balloon collisions that looks like the pink one rebounds pretty fast right after the first one hits the bunch, but it looked like all it bounced off of was other balloons (not off swinging limbs). I know the point you're trying to describe and I agree. I had actually solved that in the edit but its seems that tweak was lost in final version. I had cut the 'balloon rise' shot a frame after the moment of impact. This cut nicely as you noticed the squash of hero balloon, then it cut to the next shot of the reaction. Handiklap posted:The mylar materials look a bit too glossy, chrome-ish really, and the balloon models could be a bit more bulbous - the flatter front and back faces look too flat to me, almost planar. The mylar materials are very shiny, pretty sure they were non-fresnel reflections. We've had a lot of people commenting on how they love the shininess, I would have toned them down for my tastes. As for the flat nature of the balloons, I modelled them and considered making them more bulbous - then I felt nobody would notice. Balls. The project was achieved in Softimage and rendered with Vray. It was our first run of using VRay in our pipeline and we had a ton of issues. I questioned whether VRay for Softimage was production ready but I don't doubt a severe amount of user error. It was a 2 person job; Design and Lighting went to my colleague while I took on the Animated elements. The main balloons were keyframed while the ragdoll bodies were simulate with Momentum (Softimage Dynamics Package). There definately comes a time in a project when you have to put it down and move on. There are a few things I'd change, but it looks smart enough for what it is. Cheers for the feedback. neonnoodle posted:Can you 3D folks help me out? I'm a 2D artist/cartoonist/animator and I'm trying to figure out some ways of incorporating 3D elements into my workflow. Seconding SVU Fan's advice. I also suggest trying out Zbrush. We had a guy in our company who was an amazing artist but hated the technical side of 3d software. He got into Zbrush and produced some great work, he didnt have to worry about UV's or base meshes as we supplied them to him. Its absolutely possible to incorporate 3d into your workflow without delving too deep into technical aspects. He did do one thing that I thought was quite clever: When he was storyboarding, he used to compose simple primitives and scenes in 3d, render them out with no materials and paint over the image in photoshop. It really helped us interpret his storyboards as his camera angles and perspectives were spot on, due to the fact they were born in 3D. A lot of designers draw in 2d without fully considering the object in 3d space. This guys method really helped us develop the project from 2d storyboards to 3d.
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Jun 1, 2012 11:40
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Citadel posted:The mylar materials are very shiny, pretty sure they were non-fresnel reflections. We've had a lot of people commenting on how they love the shininess, I would have toned them down for my tastes. As for the flat nature of the balloons, I modelled them and considered making them more bulbous - then I felt nobody would notice. Balls. I actually liked the mylar quite a bit - I think it is always a texturer's impulse to bring reflectivity down to add realism, but mylar is one of those materials that actually does have that high level of shine. I did notice a couple spots of dynamics being slightly off (the ball bouncing - getting cut seemed to have a little too much momentum ) but overall that looks great! Also, totally agree about moving on - production deadlines and perfection don't make good bedfellows. How many people were on that project? Also, what do y'all use for storyboarding? We use powerpoint. 
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Jun 1, 2012 13:57
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vonnegutt posted:How many people were on that project? There were two of us on the project. We had a three week deadline so a couple of late nights and a day or two over the weekend. For storyboarding we compose a few images in photoshop and stick them into a PDF, nothing fancy.
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Jun 1, 2012 16:03
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I'm looking for a little bit of advice about getting into the 3d design field. I'm a couple classes away from a BS Art degree and was wondering if it would be a good idea to start thinking about getting a masters in 3d design. I've been doing in house graphic design, print media and web design for the last 3 or so years and it has definitely been an experience, but I feel like my career would feel more rewarding if I challenged myself to take a leap and do something I've always been interested in. I have professional experience under my belt and know what it's like to be in the design field. The problem is, it's been a long time since I've touched any software and a lot has changed since then. I've been doing some planning and I'd like to start learning 3d design for a little while on my own to see if this is still the right decision for me. I was also considering taking a couple non-credit classes afterward to get into the swing of things to prep myself some before taking on a masters. I haven't really thought out the rest. Am I on the right track, or would I be wasting my time and money taking classes that don't count toward anything? I'd be grateful for any advice or if someone could point me in the right direction. 
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Jun 1, 2012 22:12
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In the studios I've worked in, especially the larger ones, it's common to pair up an artistically strong employee with a technically strong guy, that's fairly common. The very rare artist are guys who can draw, paint and sculpt and then write code and setup advanced particle collisions, or rig and animate a character, but those folks do exist, it's practice and experience combined with a strong drive to learn outside the box. Where I've worked, it's common to have guys dedicated to rebuilding the topology of a model and it's uv's vs the guy who actually did the sculpture. Other people will touch the model as well, like lighters, riggers and lookdev folks. The lighters and material guys will constantly add new sets/groups and uv sets. Riggers will probably make their own models based upon the original mesh for deformation purposes. The really good modelers will be able to make an adequately detailed model for the shot/environment, make sure there's multiple resolutions and proxies, and know how to properly layout sets, groups, and uv's for other departments, often times that's the "non fun" part of the job, and can take longer than generating the actual model itself. On one film we had a complicated mechanical um.. "thing" that had to break apart into zillions of chunks and pieces and I've must have spent a few months just making groups... There was a ton of "easy" procedural vornoi breaking but that only buys you time if it's a quick or small scale effect or to add detail to an hero element. Sometimes you just got to sort verts out into a spreadsheet at the end of the day.Big K of Justice fucked around with this message at 03:30 on Jun 3, 2012 |
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Jun 3, 2012 03:26
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Geared Hub posted:The very rare artist are guys who can draw, paint and sculpt and then write code and setup advanced particle collisions, or rig and animate a character, but those folks do exist, it's practice and experience combined with a strong drive to learn outside the box. That's me! (Well, at a moderate level for now, but hopefully much better in the coming years  )Currently I'm still under 20, but since I've been painting/3D modelling/programming (most focus on the programming, it's my main skill) for about 3, 4, and 6 years respectively, I have a pretty solid set of skills that should only grow with time! Only recently have I been delving into handpainting 3D models however, and it's pretty fun! I love lowpoly modelling and got inspired by Sparr's squid, and various other lowpoly models I've seen, and I wanted to do more of it. SGT Squeak's work and Mutata's work have also been huge inspirations, and I hope I can make some landscapes soon! I didn't put a ton of effort into this one, it was more a test to see how difficult it was to quickly model something, UV unwrap it, and paint it. It seems to work pretty well though! Took about an hour or so.   My weakest skill right now is the painting part, buuut I'm slowly getting better at that I think 
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Jun 3, 2012 04:52
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I'm trying to get the hang of ZBrush's interface and I have a question: Is it possible to rotate the camera on only two axes? Basically I find it annoying that my model isn't kept "upright" when I'm rotating around it. I'm sure there's a solution, but I can't figure it out.
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Jun 7, 2012 17:53
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Rubber Slug posted:I'm trying to get the hang of ZBrush's interface and I have a question: Is it possible to rotate the camera on only two axes? Basically I find it annoying that my model isn't kept "upright" when I'm rotating around it. I'm sure there's a solution, but I can't figure it out. On the right side icons where you can scale/move/rotate, there are 4 icons with XYZ, X, Y, and Z with little half circles indicating rotation. Select X, Y, or Z instead of XYZ and see if that helps. I have trouble with this too. http://www.pixologic.com/docs/index.php/Transform_Palette The 4 icons below Move, Rotate, Scale, and Local in the above link. This is the seperate pallette but the icons are also vertical on the right side of the interface. EDIT: 'Local' is cool since it sets the rotation axis at the last place you clicked on the object. bring back old gbs fucked around with this message at 22:44 on Jun 7, 2012 |
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Jun 7, 2012 19:54
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Oh, thanks! I knew it would be super obvious.
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Jun 7, 2012 20:17
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Basically check out all the intro videos in the Zclassroom. I've been relearning all the new additions since R3 when I last touched it seriously, now that I'm using 3D in my job again and my brain is really hurting from the amount of amazing poo poo crammed in.
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Jun 8, 2012 10:39
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I recently finished my first ever lounge chair. I'm an industrial designer that loves furniture, but have never had a chance to design any in my day job. So I took it upon myself to come up with something. While I call this a "lounge" chair, the design is not intended to be a worn in leather glove like the venerable 670, but more a super-villain sitting in his underground lair contemplating how next he might take over the world.   The chair was modelled entirely in SolidWorks 2012. I'm a NURBs guy to the core, I don't even know how to properly model with polygons.  I used FEA to address any potential structural issues with the highly cantilever design. I've run studies using SolidWorks Simulation, the chair as it stands can safely support a load of 800lbs with a factor of safety of roughly 4. The high level of max stress shown is a singularity caused by a cosmetic fillet, it can be discounted.  Renderings were done in Keyshot 3 with Photoshop for post processing.
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Jun 8, 2012 17:37
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Great renders, and a great design! Are you going to build it? Designing and building furniture is my retirement dream, haha. At a glance it doesnt look like you took the floating cushion into account on the stress calc though - the load will be localised in the middle of it and have to spread towards the edges, which will push the arms out to the sides too. cubicle gangster fucked around with this message at 13:15 on Jun 9, 2012 |
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Jun 9, 2012 13:09
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Anyone ever have problems with copy/paste in Maya? I am using the student version of 2013 and sometimes when I am trying to write an expression or today, copied a translate x value, it will freeze on me. The movie was tracked with PFHoe, imported into maya. I imported a model and copied the translateX value and it froze. PC Win 7 24GB Ram Nvidia 9800GT dual Xeon 3.2GHz quad core CPUs
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Jun 11, 2012 18:47
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Been updating my Zbrush portfolio, trying to keep it simple and clean. First up Earthworm Jim.  Next up, face studies that I didn't feel needed their own pages. Batman, Callie Maggotboe from Ugly Americans, Mars Attacks, and Megamind.  And lastly this one a redesign of the Pig Cops from Duke Nukem.  It's based off of this illustration I did.  Any comments or criticisms are welcome. ___________________ Somebody fucked around with this message at 18:31 on Jun 12, 2012 |
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Jun 12, 2012 15:53
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Those look great, and I think the translation from the sketch -> model looks especially good. I did notice that all the chins on your bust models transition to the neck rather sharply. On the Mars Attacks! and Megamind models it works, but for the woman and Batman I would try to soften some of the angulation between the chin/jaw and the neck. Batman would have some pretty severe platysma muscle development, and the woman would be a bit softer in the jaw region. Also, what's the consensus on having licensed characters be part of your portfolio? Unless you worked on those actual projects in-studio, I would imagine it would be frowned on as fan art of sorts?
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Jun 12, 2012 18:07
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Yeah, jaws and necks have always been a little confusing to me. The woman especially, was looking really manly for a long time with a square jaw. Gotta watch myself on those. And i was wondering about the license thing as well. SInce this particular portfolio is for toy sculpting I didn't really worry this time. Plus, most portfolios have car models ad other real life objects to demonstrate your skill in recreating them. Here I guess I'm trying to show them my style with modeling things they might recognize. I mean that's what I'm hoping, they might just as easily think its fanart, haha.
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Jun 12, 2012 18:33
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The reason I was always given is this (from a graphic designer seeing lots of "new" logos from students for Coke, Chevy, etc): -if it's good, they won't notice, because the professional work from in-studio will be just as good. There's no stand-out factor. -if it's bad, it's even more noticeable, because we are already so familiar with professional-quality work on the same subject. Your work looks good and you obviously have lots of skill modelling. I think the pig-cop redesign is fantastic - you took an existing concept and re-created it in your own style, showing that you can conceptualize from sketch to execution. However, I would avoid well-trod ground like Batman. Your model looks pretty similar to some of the Arkham City stuff. It shows you can model, but it doesn't prove that you can conceptualize the way the redesign does. They're probably fine for now, but original work should probably be your next focus.
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Jun 12, 2012 21:26
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Maybe I shouldn't be talking because I'm not a modeler and I barely know how to use ZBrush, but I think you can exaggerate EW Jim's face more. Like, bulge out his eyes and mouth to the sides. I was looking at some of his drawings and in some he does have round eyes but in others he has a more interesting silhouette when they stick out. Like this one: 
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Jun 13, 2012 02:49
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vonnegutt posted:Also, what's the consensus on having licensed characters be part of your portfolio? Unless you worked on those actual projects in-studio, I would imagine it would be frowned on as fan art of sorts? The end art quality is all that matters, many artists work with licensed characters, as long as the foundation is there and there's skill. Saurez wouldn't have a problem getting a modeling/sculpting job at any of the major studios, that's really nice work there.... Actually back to licensed characters, if you are modeling something, especially fantasy/high concept stuff it's good to throw in a few familiar items in there, in my opinion. Saurez, do you have a portfolio site online somewhere? Big K of Justice fucked around with this message at 05:23 on Jun 13, 2012 |
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Jun 13, 2012 05:17
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vonnegutt - Yeah, I definitely feel where your coming from. I just had to add the Batman just cause I really love that Batman though, haha. I've got some original stuff cooking up that should be pretty cool, most of the fan-art stuff is mostly as an exercise since it's a lot less exhausting to tackle a pre-existing concept in a new way. Chernabog - You caught me, the Earthworm Jim is actually a bit rushed, I still need to add his holster, gun and also pose him. The head I'm not sure exactly how cartoony I'm going to end up making him, but I definietely still need to give him his Trademark right eye larger than his left eye and tweak the bulging. Geared Hub - Thanks a lot, that's a really great compliment! I've got my portfolio here http://suarezart.daportfolio.com/ Big studios are pretty intimidating though, I'm kinda trying to grind by taking down smaller places first, before going for the big bosses. Gotta build up that EXP. plus my last studio experience was hoooorrrrrrible, it left a real bad taste in my mouth.
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Jun 13, 2012 07:34
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suarez posted:Been updating my Zbrush portfolio, trying to keep it simple and clean. Amazing work. Really cool to see those 2d skills translating to 3d. Here is some rough WIP zbrush stuff.  Been too long lurking.
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Jun 13, 2012 12:04
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Geared Hub posted:The end art quality is all that matters, many artists work with licensed characters, as long as the foundation is there and there's skill. I didn't realize this was the case for modeling/sculpting artists. In my field (medical 3D) animators are expected to be able to go from conception to final renders (our studios are very, very small), so there's a lot more emphasis on original work.
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Jun 13, 2012 13:53
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