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I have made more fire and smoke. It's in full HD so here's a vimeo link as well.
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Jul 27, 2009 17:32
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Gentlemen, we have Expenditure Approval™ E5520 Nehalem Xeon 2.26GHz (x2) 12gb Crucial PC310600 Asus Z8PE-D12 Tylersburg mobo 500gb mirrored raid 16gb Transcend SSD(SLC) case, cdrom, psu, as5, XPpro64 I have no idea if the SSD will do us any good, but I'll be damned if a snappy boot sequence doesn't impress the suits, and for $142, it'll pay for itself in that respect.
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Jul 27, 2009 18:45
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HOB V2.0 posted:Hey guys. Those P90 renders are way too dark. It looks like you got the curves on it right which is good because 90% of people's first gun models are blocky tracings of a side view. Do P90 bullets really come to a point like that? I thought they fired standard 9mm pistol rounds. I agree with everyone else that you shouldn't do too many guns for your portfolio but at the same time if you're actually good at it there are positions for people who make guns...I have one  Also the notion that "some studios are left leaning and will think you are a gun nut" when every action game has a billion guns is kind of retarded, in my opinion. I wouldn't tell people you own guns during an interview if you do, but showing an attention to detail and knowledge of the subject is a bonus.
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Jul 27, 2009 20:31
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BigKOfJustice posted:*- guns should be added to the sports car/ chrome robot / anime chick demo reel stereotype Don't forget cube-extrude+meshsmoothed spaceships. :P Ratmann posted:I have made more fire and smoke. It's in full HD so here's a vimeo link as well. That looks pretty nice. What did you make it with? (and what for?) I need to start getting into special effects, if I was tasked with doing something like this I wouldn't even know where to start.
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Jul 27, 2009 21:00
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ApproachingInfinity posted:That looks pretty nice. What did you make it with? (and what for?) I need to start getting into special effects, if I was tasked with doing something like this I wouldn't even know where to start. I made it using 3ds Max with fumefx plugin, and this is going to be for a mech thing walking around, I've just haven't gotten around to shading it, the original mech was shaded using MR shaders, and I'm just gonna set it up for using Vray instead. As for pointers, I can help out with that, which software are you most comfortable at first? Granted my ideology for effects work is every tool is good for a certain job, so I usually look at Houdini, 3ds max, XSI or Maya for effects and other things.
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Jul 27, 2009 21:15
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By now I'm most experienced in Maya (it's what we're using in school), although I did use 3dsmax a bit while I was in high school. At first I didn't really like Maya, but it's grown on me, and I actually greatly prefer its modeling workflow among others things to 3dsmax's. It looks like FumeFX is 3dsmax-only, but I'm sure there's something similar for Maya. From a quick search it looks like Maya fluids can be used for the same kind of effects. I'll probably have a look at that stuff whenever I finish my current project (hopefully before school starts because then I won't really have much time for that at all).
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Jul 27, 2009 22:21
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Sigma-X posted:Those P90 renders are way too dark. It looks like you got the curves on it right which is good because 90% of people's first gun models are blocky tracings of a side view. Do P90 bullets really come to a point like that? I thought they fired standard 9mm pistol rounds. As for the P90, those are a custom type (now banned) of round called BAP which I think stands for ballistic armor penetrator. Usually they shoot a 5.7 x 28mm hollow point round. As for the model, not only do I have the exterior of the gun, but I also have every single working component modeled. Eventually I'm going to try to produce cutaways and animations showing how the gun works. Thanks for the info.
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Jul 27, 2009 22:39
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ApproachingInfinity posted:By now I'm most experienced in Maya (it's what we're using in school), although I did use 3dsmax a bit while I was in high school. At first I didn't really like Maya, but it's grown on me, and I actually greatly prefer its modeling workflow among others things to 3dsmax's. Yeah, FumeFX basically exists to fill a hole in 3dsmax that maya had filled by... itself.
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Jul 27, 2009 22:46
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So I decided I was going to model a 40k dreadnought. Spent about 2 hours surfing the internet/masturbating/blockout out the proportions. I'm sure I'll see poo poo I need to change on the morning (my loving dreads are at work so I need to bring one home) but here's a turntable if anyone wants to tell me how much of a loving hack I am. https://www.ghostscape.com/proportion_test.mov edit: https://www.ghostscape.com/proportion_test2.mov The legs still seem off. I need to check the underside proportions on the real model which I won't have until tomorrow. Sigma-X fucked around with this message at 06:40 on Jul 28, 2009 |
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Jul 28, 2009 06:02
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Sigma-X posted:So I decided I was going to model a 40k dreadnought. Spent about 2 hours surfing the internet/masturbating/blockout out the proportions. I'm sure I'll see poo poo I need to change on the morning (my loving dreads are at work so I need to bring one home) but here's a turntable if anyone wants to tell me how much of a loving hack I am. https://www.3d-palace.com
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Jul 28, 2009 07:03
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Ratmann posted:https://www.3d-palace.com Yeah I'm aware they have a dreadnought tutorial but its not like I need to learn Max and their proportions are hosed up.
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Jul 28, 2009 07:24
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Sigma-X posted:So I decided I was going to model a 40k dreadnought. Spent about 2 hours surfing the internet/masturbating/blockout out the proportions. I'm sure I'll see poo poo I need to change on the morning (my loving dreads are at work so I need to bring one home) but here's a turntable if anyone wants to tell me how much of a loving hack I am. Is that only the general layout of the beast or are you going to build on what is already on the turntable? Oh, and do you have a poly limit?
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Jul 29, 2009 03:17
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Odddzy posted:Is that only the general layout of the beast or are you going to build on what is already on the turntable? It's a block model "mannequin" that I'm going to dress up as / replace with the high poly model, if that makes sense. It's strictly a proportions guide, so that when I'm building the high poly mesh and have tunnel vision on the leg it doesn't get built out of scale with the rest. When I don't do this and don't have/have poor orthographic concepts to work off of I tend to get the proportions wrong in relation to each other. After I build a high poly mesh I'll build a low rez mesh and unwrap/texture it to be a game rez mesh, but I'll probably be pretty lenient with the specs as this is supposed to be a fun project for me and not the exact same poo poo I do at work. Yeah if this was the whole model it would be pretty poo poo. There are a couple of holes I haven't capped while cutting poo poo I was gonna start progress on the foot last night but Zack Parson's new book came from amazon (I had forgotten I had ordered it) and it is really loving engaging, so I spent from 10:30pm-4:00am last night going cover to cover and am now loving exhausted.
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Jul 29, 2009 15:00
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Sigma-X posted:Yeah I'm aware they have a dreadnought tutorial but its not like I need to learn Max and their proportions are hosed up. The free one or the commercial one? The free one is basically a load of boxes thrown together to show a basic modelling workflow and the other one is this one - if you want I can send you that second one to use as a reference if it would help. Been working on that Dreadnought tutorial and refining it for about 6 years now on and off :/ Its like a scratch that never goes away.
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Jul 29, 2009 19:36
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Oh poo poo I forgot you were the dude behind 3d-Palace. I want to do some ZBrush video tutorials, is there any money in it?
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Jul 29, 2009 20:37
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ceebee posted:Oh poo poo I forgot you were the dude behind 3d-Palace. There is however I would wait until probably about September onwards - the economic recession is really not doing us tutorial authors any favours. Overall it depends what you are bringing people in terms of content and learning - my own specialism is in hard surface related skills however there are a lot of people out there looking for end to end teaching of subjects related to organic work - generally Gnomon tends to release on every point release for ZB however their material tends to be point specific so if you can show new guys how to sculpt then you might have something. Mainly with tutorials it tends to be; 1. Release tutorial, 2. Tutorial is immediately pirated on rapidshare ,3. Drink, 4. Develop next tutorial The money can take a while - develop a userbase, release free content for the userbase and introduce commercial content or sign up with an existing tutorial publisher. 3dbuzz sometimes advertises for people to do courses - I would hunt ZB tutorials however site finances are low this year - I have some friends working on tutorials for the site and thats about it. If you want some help though you can pm me here or on palace or jump on my site irc or whatever. Always happy to help out someone with tutorials. olblue fucked around with this message at 21:41 on Jul 29, 2009 |
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Jul 29, 2009 21:36
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olblue posted:The free one or the commercial one? The free one is basically a load of boxes thrown together to show a basic modelling workflow and the other one is this one - if you want I can send you that second one to use as a reference if it would help. Been working on that Dreadnought tutorial and refining it for about 6 years now on and off :/ Its like a scratch that never goes away. The free one, I haven't seen the ven dread tutorial, although I remember you posting that video in the warhammer thread a while back. I don't know if you're offering to send me the mesh or the video, but I'm not interested in either. I don't feel the tutorial would be very helpful as I've been doing this professionally for a couple of years (GO BUY RED FACTION GUERRILLA SO I CAN BUY FOOD) and having the mesh would cut a lot of the stuff I'm trying to improve (like eyeballing proportions) if I had a copy of the mesh. I do appreciate the offer, though.
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Jul 29, 2009 21:45
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 Click here for the full 1500x800 image. Ok so I'm still struggling with making my grass do what I want it to. I'm using Advanced Painter to spread some vrayproxies over this mound of dirt. In the end, I have to go back deleting those that get placed coming out of the concrete pad, and in this case, end up having to stand away from the borders I want them to cover, like next to the stairs, or really against any standard concrete pad/sidewalk. An easy fix would be to just throw a concrete abutment on the sides of the stairs to have something to "absorb" the errant blades, but that's really a non-option when it comes to spec'd drawings that don't call it out. Even then, I've still got these overly-thick pads to try to stem more obvious intersecting, which looks kind of awkward, much like the word, "awkward". I could go back and spread some smaller, more sparse proxies along the edges, but I was trying to avoid something so tedious, since this setup only took a minute to paint on. On a more depressing note, I'm realizing that my trees and bushes look like complete poo poo in comparison, even using only 1 unique proxy to do the whole lawn. Man, you can never fix just one thing. edit: However, I did go through with all the wood grain I had been fiddling with a few pages ago; I don't think there's a piece of stock in there that has a duplicate grain pattern, which is affected with a single toolbar button 
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Jul 29, 2009 22:01
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Sigma-X posted:The free one, I haven't seen the ven dread tutorial, although I remember you posting that video in the warhammer thread a while back. No problem - and my son was actually asking me if I would buy it
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Jul 29, 2009 22:08
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Sigma-X posted:It's a block model "mannequin" that I'm going to dress up as / replace with the high poly model, if that makes sense. Oh thank god, I thought you had a stroke or something.
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Jul 29, 2009 23:15
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Ahahahaha
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Jul 29, 2009 23:22
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Handiklap: nice render!! Your right about the foliage though. Do you mind if I PM you about some xeon advice?le capitan posted:Thank you for posting your notes, Sigma 6 Oh there are more . . . MUCH more. Hopefully it won't take me so long to get the rest of the artists transcribed but there are pages and pages of notes. Hopefully this stuff makes sense to you. I had to go back and double check Petroc's edge loop thing because it is really weird. Here are the finished notes on Jeff Miller + Zack Petroc + Ian Joyner Jeff Miller (Zbrush) http://redrepublik.cgsociety.org/gallery/665298 Start with z-spheres, retopo later if you need to z-spheres (preview mesh "A" -> make polymesh3d when you want to convert from z-sphere to poly) Reuses basemesh created from zspheres for many different characters, posing them differently using the transpose tool For facial modeling he uses clay tube brush + some gravity on the brush for wrinkles Uses claty tubes for putting in muscle -> smooth them out (clay smooth) Use clay for filling in volume When masking it is sometimes better to do it at lowest subD level to make it as precise as possible Use falloff brush from zbrushcentral vs pinch brush (pinches topology = bad) To create stylized hair use falloff + masking + flatten brush Always step down to lowest subD level before saving! This insures better stability in file. Subtool master has a one button click to step all the way down or up subD The more tools you have in your zbrush tool palette the slower zbrush runs You can separate / group you character according to UV shells (polygroup -> UVgroup split) Don't just add detail around your entire character uniformly, add detail intelligently and in the right places Typically spends a week on a character Mask -> Create UVs (Makes UVmapping + Mask info) Recommends modeling smaller scale / minor objects in package separate from zbrush Cavity Masking stuff: Masking -> Mask by cavity Use cavity mask checkbox in brush menu drop down to activate cavity masking on brush stroke! You can create a custom cavity mask in zmapper Zmapper is only part of zbrush to utilize gpu (vs cpu + ram) cavity maps can be good for making spec maps (simulates AO) to make spec map: desaturate diffuse -> multiply cavity map -> add noise (dodge and burn) Paint color with cavity mask: turn off Zadd and turn on RGB (RGB typically 1-50) This way you can paint darker areas (dirt map) into recesses. Invert cavity mask to paint highlights. Use cavity masking checked on in brush stroke menu -> use dot spray -> use noisy alpha -> paint noisy grime across recessed detail (dirt in scales for armor) Make scale alphas -> drag rect stroke to place scales (not projection master) -> cavity masking to paint in grime / emphasize depth Armored hero here: http://forums.cgsociety.org/showthread.php?f=121&t=765406&page=1&pp=15 To export painted color as file use texture menu color-> texture button Make sure to flip texture file vertically. Zbrush will alwys flip a file vertically the wrong way by default. You can use the texture menu drop down and flip V before exporting to fix this problem. To prevent problems when creating normal maps in max make sure to load the right export preset when in Zmapper Suggests using xnormal because it is topology independent. One could use the decimation master plugin on a sculpt to decimate hi rez sculpt for use in xnormal. Likes generating normal maps with xnormal over zmapper overall. Lights character in max with omni light as rimlight (?!?) Suggests plugging in HDR file in skylight for better bounce light / gradient Tip: use blue specularity map for skin because it complements warm skin tones well. Use same color spec for metal (blue metal -> blue spec map) ***** General Tips (Thanks Daniel!) Use append rather than bridge in maya because bridge is still "broken" there is no "connect" in maya but you can use triangulate -> quadrangulate Maya 2009 now has LSCM unwrapping and UV color feedback (!!!) Environment artists now start with GIANT texture sheet and then overlay model Uvs as they create the models (working macro to micro). http://www.gionakpil.com/galleryDIGITAL.htm Check vimeo channels for zbrush work ***** Zack Petroc http://www.zackpetroc.com/ every freelance artist is in business for himself and therefore is an independent studio unto themselves story / character more important than any CG / effect influenced by Matthew Barney (note: Cremaster really is excellent / bizarre http://www.imdb.com/name/nm0056030/ ) influenced by Gregory Crewdson for storytelling ability ultimately story drives EVERYTHING Production designer in control of "visual look" Art director has ultimate say in color / tone of shot sets based on production design notes Recommends paying a cheaper artist to create animatable mesh (retopo) over higher paid sculptor although this can often be the same artist Worked at GM at car design facility (avg time to learn how to sculpt 5 years) Stressed how good topology / animatable topology still very important to modeling. Suggests these books: George Bridgman's "Constructive Anatomy" and Fritz Schider's "An Atlas of Anatomy for Artists" Rhino + cutting paths = cool sculpting pipeline Suggested artists make assets with royalties attached whenever possible worry less about what projects you get to work on but who you could be working with Freelance = starting your own studio (same thing) Use zbrush to explore / prototype easily with z spheres -> final digital maquette -> (retopo if necessary) Alternatively box model in 3d package of choice and import into zbrush for starting point Suggests learning anatomy through knowing insertion points and muscle groups Use lazy mouse plus pinch brush (low intensity) to add detail / define edges. Note: ctrl + 1 will repeat stroke. Also note neither previous zbrush artist advocated pinch but rather the custom falloff brushes found on zbrush central.com Use geometry -> crease to define open edgeloop edge before sudD Create open edgeloop (separate geomety in zbrush!! / cut mesh along edge loop) like this: shift + F (turn on wireframe) -> perspective off -> lasso select on -> step to low subD -> lasso mask part of object along edge loop -> masking menu / hide PT -> geometry menu / edge loop (this separates visible into polygroup. Use ctrl + shift to toggle between polygroups. ctrl + shift + lmb on edge to hide edge ring (!!!) from here you can delete hidden or crease along hidden edge loop. ***** Ian Joyner (Blur Studio / Iron Man) http://kingmob.cgsociety.org/gallery/ designs in zbrush and photoshop re-initializing zbrush will clear ztools. More ztools = zbrush runs slower Make / utilize library of basemeshes for general shape human basemesh should have fingers and extruded earsockets and eyesockets when importing obj into zbrush make sure to have a primitive like the star or zsphere tool selected (otherwise point count won't match) zbrush 4 will correct issues with the perspective view use custom "muscle pinch" brush clay used over standard brush most of time morph brush good for painting back to stored morph target to try out different ideas instead of always changing brush size just "zoom camera" (scale) set perspective view to 120 for real world perspective saves out layers as objs often Makes a basic character in a day Uses dot stroke at lower levels and freehand stoke at upper levels post online often to get more freelance work When using transpose rotate, alt LMB on dots to rotate around that dote When using move brush hold down alt to insure move is along surfaces normal Use clay brush to fill in between subtools Recommends using polygroups because you can sculpt easily across polygroups vs subtools When reprojecting new topo it is recommended you copy the original tool by using tool -> clone This way a copy of original is kept. You can always clear out all unused custom ztools by re-initializing zbrush. ***** Josh Robinson (Asylum Studios / Terminator 4) Houdini used for rigging Terminator Stressed one does not need to know how to draw in order to model in 3d Highend hard surface modeling often means "kit bashing" older (high detail) models one massive high detail model Terminator 4 pickup ship was a mashup of older ILM parts (?!?) Swears by clay brush over standard brush. Uses mask with flatten brush to create hard edges Creates hard edge mask and then flatten -> inverts mask and then flattens again on other side Alternatively you can make an alpha and/or mask and use geometry menu -> deform -> inflate I think that was just about it for Friday. sigma 6 fucked around with this message at 02:55 on Jul 30, 2009 |
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Jul 30, 2009 01:14
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Thanks for the notes! Interesting stuff. Here is the Plate image for a new Matte painting I'm working on. This is the render straight out of XSI. From here on out It's all photoshop. 
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Jul 30, 2009 04:41
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sigma 6 posted:
Sigh. I was going to use stronger language but I'll refrain. This is the biggest complaint I've heard from other departments in regards to displacement modelers. Guys who want to knock out super dense models but don't want to spend the half a day to a day required to clean up and make a clean topology of their work after the fact. That's like a rigger who just wants to set up a skeleton and then leave the deformation setup to another guy. Unless you're a big shot hired for concept art, someone say like Arron Sims, you're going to be able to make your models useful if you want to keep your job and not piss off all the guys behind you on the pipeline. The cheaper/junior artist is going to be more expensive to hire than just paying the pro a half day to days labor to do it himself. If you don't clean up the topology after the fact your awesome zbrush model is going to move like a man in a rubber suit. Some of these zbrush guys wonder why they aren't full time hires at a major studio.
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Jul 30, 2009 20:55
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BigKOfJustice posted:Lazy modelers can eat a dick. This 1000x over. Also having to rebuild a model for rigging because it didn't have the right loops for deformation is another pain. So remember kids, if you wanna be a modeler and have people like you, please, know about good topology and correct loop flow. Ratmann fucked around with this message at 21:44 on Jul 30, 2009 |
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Jul 30, 2009 21:39
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If it's a large enough studio I can see why they'd want to skip the process and hand it off to somebody who knows more about it. Retopology is really simple in itself, but the methodology behind it is complicated as poo poo. Sculpters only really have to worry about keeping the polygons square/equal throughout the model. But somebody who is more experienced with dealing with deformation will know topology like the back of their hand. If it was a smaller studio or somebody is freelance there is no reason for a modeler to not retopo though. So yeah Zack can suck a dong. You guys forget a lot of sculptors aren't coming from max/maya heavy workflows. Some of them are coming from being concept artists and forced to learn displacement sculpture because it's a quick way to come up with concepts.
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Jul 30, 2009 23:07
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ceebee posted:You guys forget a lot of sculptors aren't coming from max/maya heavy workflows. Some of them are coming from being concept artists and forced to learn displacement sculpture because it's a quick way to come up with concepts. They'll get eaten alive by guys who can do both. I work with guys who do amazing sculptures and can redo topology. I mean, that's the old animator argument that most of the best animators come from a 2d background and never had to work on a computer. There's a transition period where you can get away with doing things a certain way [passing it off] but then if you don't adapt, your job gets replaced by someone who can do both. There's going to be exceptions to the rule of course, but some of these guys don't have a ton of production experience under their belt and they're not at the point where their vision is at a level where a client will just hire them for a look. That's like guys going to school to become "concept artists". That's a position you reach after you work in the trenches for a bit. Big K of Justice fucked around with this message at 04:24 on Jul 31, 2009 |
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Jul 31, 2009 04:21
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Geez guys. No need to get so uppity. I don't think anyone disagrees that a skilled modeler should be able to do both. A couple of lines after that: "Stressed how good topology / animatable topology still very important to modeling." He even jokes that he gets his assistants to retopo when he can on his first Gnomon DVD. A lot of people find retopologizing tedious compared to the actual sculpting but obviously one should really know how to do both well. Zack's first Gnomon DVD was the first time I had seen someone use the workflow of retopologizing a sculpt and that was quite a few years ago. He recognizes the importance of good topology but also recognizes how tedious it can be too. So? Do you guys really need to stoop to name calling? Notice how much information Zack gave during his time vs Josh Robinson. His presentation consisted of him showing off ILM models he didn't make, talking about inside jokes and various production notes relating to the breakdowns. I think he modeled for all of five minutes out of over an hour and a half and said almost nothing about methodology. Should I still post the next day's notes? BigKOfJustice: I had an animation teacher who worked on South Park: bigger, longer, uncut. He didn't know any 3d software at all and he used the same excuse you mentioned about transitioning from 2d to 3d animation. Utter bullshit. I was pissed off he waited until the last week to "teach" maya and I realized he knew nothing the whole time and was trying to cover his rear end. SGT. Squeaks: Can't wait to see screenshots of your progression! sigma 6 fucked around with this message at 08:30 on Jul 31, 2009 |
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Jul 31, 2009 08:06
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sigma 6 posted:Should I still post the next day's notes? please! Awesome so far. Thanks so much for doing this too.
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Aug 1, 2009 00:04
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Yeah the notes are appreciated. I hate interviews and QAs from producers usually because they don't explain anything other than pipeline bullshit. And even then it's vague.
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Aug 1, 2009 00:17
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Please do post them. I find them very interesting.
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Aug 1, 2009 00:18
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Alex roman is such a dick. http://www.vimeo.com/4765632 Look at this poo poo!  (every last bit is cg) cubicle gangster fucked around with this message at 10:53 on Aug 1, 2009 |
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Aug 1, 2009 10:51
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That's some wicked DOF. I wish I knew how to do DOF cheaply and easily so that it looks good. I loved on Wall-E how it looked like it was shot with just a normal lens on a camera.
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Aug 1, 2009 15:21
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cubicle gangster posted:Alex roman is such a dick. I get so depressed when I see just about anything he does. The short film on their is also very well done.
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Aug 1, 2009 18:30
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I got a bit depressed because this guy did this with no 3D software at all
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Aug 1, 2009 18:33
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It's kind of fun being able to play around with the design and layout of your own kitchen from the computer. Currently:  Design Idea:  The problem is that the wife doesn't want to replace the original granite countertops by the sink that IMHO look like crap.
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Aug 2, 2009 17:26
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https://www.youtube.com/watch?v=VxhejQsrbfs I was browsing around and ran across this series of shorts from 2nd year Gobelins students. 2nd year!! I think these were intros or interstitials or something for an animation festival. I really love what they do with the exaggeration of proportion and line, how much limbs stretch and whip around as a character runs. It's something I've seen in a lot of work from that school, both 2D and 3D. Of course, it's French, so it has fantastic color and art direction, naturally.
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Aug 2, 2009 17:42
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So whos at SIGGRAPH this year? I'm in New Orleans now and nursing a mean hangover, this place is crazy. The jazz bars are great
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Aug 2, 2009 22:12
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SynthOrange posted:I got a bit depressed because this guy did this with no 3D software at all Well I'm fairly sure he used 3D layers in AE soooooo.
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Aug 3, 2009 17:31
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BonoMan posted:Well I'm fairly sure he used 3D layers in AE soooooo. 2.5 out of 3 aint bad
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