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Here's a dude I bashed out in a few days Subscribe to my patreon and I'll make you a version where his dick is out   
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Aug 22, 2020 07:49
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That actually quite nice!!!
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Aug 22, 2020 07:52
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drat dude, that's pretty awesome! Also, you are actually not far off. I've seen plenty of people toss a sfw and nsfw version of the same model up on stuff for sale. "Here's sexy Elsa! We'll also include sexy Elsa with her tits out if you pay another $5! There's a third option with no panties, or you could buy them all for the low price of $25!" There's a few places online that are sort of like kickstarter where people can gather support for models they wanna do, and have levels and whatnot to offer new stuff.
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Aug 22, 2020 09:04
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tbh it's a more ethical than working in VFX for advertising like I currently am
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Aug 22, 2020 10:10
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EoinCannon posted:tbh it's a more ethical than working in VFX for advertising like I currently am Uh.... death of a salesman? Anyone? Anyone? https://www.youtube.com/watch?v=E8b4xYbEugo EoinCannon: I am very curious how you got into VFX for advertising and what advice you might have. How do you negotiate your contracts specifically? sigma 6 fucked around with this message at 22:45 on Aug 22, 2020 |
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Aug 22, 2020 14:48
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sigma 6 posted:Uh.... death of a salesman? Anyone? Anyone? It's been years since I worked in commercials. Usually 3 types of contracts: Staff, contractor, freelancer. Contractors are on longer, fixed term contracts, similar to VFX. Freelancers are usually on short project/task specific contracts (often day-to-day) and are paid a much higher rate. You can make a lot of money that way, but it's always high pressure as there's no room for mistakes. I suspect that due to the increased complexity, the freelancers are much rarer now and everyone I know in commercials are either stafff or contractors. Rates are comparitive to VFX.
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Aug 23, 2020 08:25
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I'm in Melbourne, Australia so it's maybe a bit different here. There's mostly a pool of freelancers that circulate amongst the local studios and some remote work, studios usually get you in for an agreed amount of time and people charge by the day. We sometimes get people between contracts at the local film VFX places that most of us have worked at from time to time. Most of the Melbourne freelance talent is pretty generalist, I've been lucky to specialise in modeling but I sometimes to do other bits and pieces. I've been freelance for a few years but working full time at the same studio, ie "perma-lancing". We were in talks to make me a full time employee with a salary, holidays, sick pay etc. but then pandemic happened and thats all on the backburner till we find out if the world is going to end or not. I do remote jobs here and there for fixed prices per model on top of normal hours at the office when I feel like punishing myself. This is with a guy I've known for a few years that does 3d print, sculpting, fabrication, installations. I did lots of prehistoric marine animals and frogs for the new Perth museum that I'd like to show off but it doesn't open till November. To answer your question, I worked in film vfx for a few years, some colleagues started a small studio and got me in as a freelancer when I quit film. People around here just have a day rate that they charge and I guess they all have a general idea about what the market will pay. Commercials suit me because I have a short attention span and nobody pretends they're making serious art when they're on a commercial for a chocolate bar. EoinCannon fucked around with this message at 10:05 on Aug 23, 2020 |
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Aug 23, 2020 09:58
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For my next VR project, I'm considering "hand painted texture" character style. Most of my artists are environment artists, so I'm looking to hire a freelancer. I could probably give it a go myself but it would be a poor use of time. Any suggestions are where to look for freelance artists? Here's an example of the style I have in mind (I've already contacted this artist to no avail). Aside from that, I'm trying to design this project, so any advice on how long a rigged character like that would take/cost. My emphasis is on various gestures and nonverbal communication, but I'm trying to avoid creepy uncanny valley stuff and keep it safe for Oculus Quest specs. 
cYn fucked around with this message at 22:49 on Aug 23, 2020 |
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Aug 23, 2020 21:47
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lady's got that Pixar Mom figure goin on
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Aug 23, 2020 22:43
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Anyone used / would recommend one of the Houdini courses on Gnomon or the like? I'll be totally new to it (I'm proficient with Blender though and comfortable with python, which it looks like it uses?) and want to get into it the right way. Alternatively, any other ways those of you that use it started out? Koramei fucked around with this message at 02:11 on Aug 24, 2020 |
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Aug 24, 2020 02:07
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Koramei posted:Anyone used / would recommend one of the Houdini courses on Gnomon or the like? I'll be totally new to it (I'm proficient with Blender though and comfortable with python, which it looks like it uses?) and want to get into it the right way. I think Gnomon's stuff might be out of date. Sidefx updates significantly with their version releases, I wouldn't pay for a full class unless it was covering the current version, which is at least 18, might be at 18.5. CGMA is up to date with their online class offerings, I've done 2 or 3 of their Houdini courses and found them to be worth the $, but they release on a schedule like taking an actual class, so you might have to wait for their intro to Houdini to open up again. If you don't want to shell out the money for a full course, there are other less costly or free options. This blog style site is pretty good for quick help or light introductions on a range of topics, but some entries may be out of date since it's the effort of one dude: https://www.tokeru.com/cgwiki/index.php?title=HoudiniGettingStarted Entagma.com has a lot of great training, and has an intro to Houdini in 5 minutes series of videos that are pretty good. They also have a patreon that unlocks additional training which I've used, they're really good. Rohan Dalvi also does good project-based tutorials, they are pretty good at covering a good range of techniques within a single training. Those are my favorites and what I've used to start learning.
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Aug 24, 2020 02:47
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This looks sick! Koramei posted:Anyone used / would recommend one of the Houdini courses on Gnomon or the like? I'll be totally new to it (I'm proficient with Blender though and comfortable with python, which it looks like it uses?) and want to get into it the right way. Seconding Entagma's Houdini in 5 minutes series for dipping your toes in and getting started. If you're interested in creating specific VFX, I've found Steven Knipping to be a really great teacher. You can find his Applied Houdini tutorials on CG Circuit. A hidden YouTube gem is Peter Claes, who has some great videos that explain foundational vector math concepts such as the dot product and cross product using Houdini, and also some stuff about doing procedural growth with SDFs. He unfortunately dumped a load of old videos onto his channel recently, and those don't appear to be as useful, but all the ones with his face in the thumbnail seem to be pretty high quality and up to date. While Python can be useful for creating tools and exporters and such, the real power lies in learning Houdini's VEX language. Anastasia Opara does some interesting tutorials in this vein. She moves pretty fast and assumes a lot of knowledge, so you may get lost easily if you're a beginner, but I remember finding this video on creating circle patterns with VEX really eye-opening as a newbie.
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Aug 24, 2020 03:52
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There's an upcoming job at work that involves converting 2D illustrations to realtime 3D, so I did a test on some art station concept art. Tried to channel my inner Ian Hubert with this one by just adding a few bones to the dragon and animating everything completely with noise. Pretty promising results. https://i.imgur.com/9W1ZLOm.gifv
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Aug 24, 2020 04:18
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500 posted:If you're interested in creating specific VFX, I've found Steven Knipping to be a really great teacher. You can find his Applied Houdini tutorials on CG Circuit. Are those tuts updated? Because a number of them are several years old and I wonder if the tools are out of date now. 500 posted:Anastasia Opara does some interesting tutorials in this vein. She moves pretty fast and assumes a lot of knowledge, so you may get lost easily if you're a beginner, but I remember finding this video on creating circle patterns with VEX really eye-opening as a newbie. Anastasia Opara is brilliant, and she has an old tutorial series on procedurally generating houses. It's definitely out of date as far as Houdini version but watching how she solves problems is still worthwhile, not sure I could recommend it to a beginner since it has a hefty pricetag (if she's even still selling it).
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Aug 24, 2020 04:53
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500 posted:There's an upcoming job at work that involves converting 2D illustrations to realtime 3D, so I did a test on some art station concept art. Tried to channel my inner Ian Hubert with this one by just adding a few bones to the dragon and animating everything completely with noise. Pretty promising results. That's cool Camera projected onto geo and then paint in the missing bits? I've done stuff like this on films instead of making fully lit digi doubles if the actor is already in the plate Line up a some simple rigged geo, project the plate on and clone/paint in any overlaps, animators do their thing I did the dude who gets impaled by the bull, he's a bit static but they didn't have the time or budget for fully lit digi double https://www.youtube.com/watch?v=KpSoVeYAQf8
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Aug 24, 2020 05:27
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Listerine posted:Are those tuts updated? Because a number of them are several years old and I wonder if the tools are out of date now. Listerine posted:Anastasia Opara is brilliant, and she has an old tutorial series on procedurally generating houses. It's definitely out of date as far as Houdini version but watching how she solves problems is still worthwhile, not sure I could recommend it to a beginner since it has a hefty pricetag (if she's even still selling it). You're right that it's not very suited to beginners. They're not the sort of videos you can just pop down in front of and watch casually, imo. You kind of need to be taking notes the whole time. I honestly don't usually like doing tutorials where I have to make the same thing that the person in the video is making, but with this one I feel compelled to follow along through the whole thing. Like you said, the value mainly comes from getting some insight into her process.
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Aug 24, 2020 05:40
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EoinCannon posted:I did the dude who gets impaled by the bull, he's a bit static but they didn't have the time or budget for fully lit digi double I separated everything into layers in photoshop first and painted in the missing bits like you said, then made some really basic meshes and projected onto them in c4d. It's surprising how few vertices you need to sell the 3D-ness. https://i.imgur.com/MUqX2Jx.gifv
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Aug 24, 2020 06:01
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I used good old 3ds max. At that time Iloura had a mostly max pipeline, I think it's all Maya now
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Aug 24, 2020 06:48
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500 posted:You kind of need to be taking notes the whole time. I honestly don't usually like doing tutorials where I have to make the same thing that the person in the video is making, but with this one I feel compelled to follow along through the whole thing. Like you said, the value mainly comes from getting some insight into her process. I would imagine that enough has changed in Houdini's SOPs since she wrote it that you'd have to do a bit of adapting as you go, I remember she had to post a correction file soon after because something wouldn't work anymore. Also found this the other day: https://www.pragmatic-vfx.com/
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Aug 24, 2020 07:10
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EoinCannon posted:I used good old 3ds max. At that time Iloura had a mostly max pipeline, I think it's all Maya now Ah cool. Yeah I've never worked at a proper studio before so I'm always a bit curious what goes on there. Listerine posted:I would imagine that enough has changed in Houdini's SOPs since she wrote it that you'd have to do a bit of adapting as you go, I remember she had to post a correction file soon after because something wouldn't work anymore. Yeah tbh I've already had to do a lot of adapting and I'm only a couple of videos in. It does kind of help you learn, in a way, when you have to figure out what she's doing and then make it work on your end. Thanks for the link, btw. That looks really interesting. I kind of want to take 6 months off work just so I can level up my skills.
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Aug 24, 2020 08:08
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500 posted:There's an upcoming job at work that involves converting 2D illustrations to realtime 3D, so I did a test on some art station concept art. Tried to channel my inner Ian Hubert with this one by just adding a few bones to the dragon and animating everything completely with noise. Pretty promising results. If you're using Photoshop + Maya/can use it in your pipeline, there's a pretty great plugin called 'PSD to 3D' for this specific kind of usecase. https://edfilms.net/en/shop/products/plugins-psd-to-3d-pro https://www.youtube.com/watch?v=E_JYtpoqF4w The pro version allows you to draw up the edges for the final polygons straight in photoshop, which can speed up the process a lot, since you can quickly just draw down the topology you want, then stretch/tweak/sculpt it afterwards in maya. It's kinda nice to just draw over it quickly instead of setting up the topology in for example maya. (I'm pretty sure that feature is pro specific.) 
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Aug 24, 2020 21:55
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Thanks for the Houdini tutorial suggestions, guys!
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Aug 26, 2020 00:40
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SubNat posted:If you're using Photoshop + Maya/can use it in your pipeline, there's a pretty great plugin called 'PSD to 3D' for this specific kind of usecase. Wow this pretty cool. Not something I'll be able to use for this specific project, but gives me ideas for creating my own plugin or something in the future.
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Aug 26, 2020 04:15
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A scene and light study I worked on the past week. I created all mesh assets except for some kitchen props which I got from Blendswap, and the photogrammetry humans are from Ian Hubert's Patreon. It's been a year or two since I spent the time to create a full scene like this from scratch so it's nice to stretch the legs a bit.
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Aug 30, 2020 17:40
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I worked on a music video for a good friend the past couple of months. It's not the most beautiful thing going - it's pretty heavily compromised in the CG, but I set a strict time limit of 100 hours to work on it over 4 months and I knew we'd be blurring the poo poo out of it in the final. Given the length I had a per-frame target of 5-6 minutes a frame, there's a shitload of denoising on the base renders too. All the simulation stuff was done in tyflow. https://www.youtube.com/watch?v=BePfMkbaEvY Some of the raw frames -   
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Sep 2, 2020 18:10
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cubicle gangster posted:I worked on a music video for a good friend the past couple of months. That's cool, esp considering the small amount of time you spent Dudes at work have been mucking around with new denoising stuff in redshift. It looks very good
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Sep 3, 2020 09:53
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Have any of you seen https://monogramcc.com/? I use a Razer keypad, but the modules on this thing have sliders, dials, etc so I could see it being useful. One thing that I find with peripherals is that it if takes a long time to setup, I'll get lazy and just revert to keyboard/mouse. The fact that this is modular means I could probably just add in functions little by little, building up the connections by modules, and might end up using it more.
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Sep 3, 2020 19:58
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Listerine posted:Have any of you seen https://monogramcc.com/? I use a Razer keypad, but the modules on this thing have sliders, dials, etc so I could see it being useful. One thing that I find with peripherals is that it if takes a long time to setup, I'll get lazy and just revert to keyboard/mouse. The fact that this is modular means I could probably just add in functions little by little, building up the connections by modules, and might end up using it more. This concept seems to pop up from time to time but never takes off... which makes me think there's some serious QC issues and just general lack of native integration.
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Sep 3, 2020 20:21
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I'm trying to texture a model that I've broken into a few pieces. The model itself is somewhat organic in shape but the cuts leave a variety of hard surfaces. Bringing the low poly model .fbx into Substance painter, and I get these shaded bands on the geometry where the surface of the object drastically changes its angle when the viewport is set to Material. When I paint these objects, this band is shading the final product. Why am I seeing this, is it an averaging of normals? And how would I go about correcting this if I want each piece to be uniformly colored up to the angle of the geometry? I want the two pieces to look like they're part of one continuously curved surface and this banding is disrupting that.
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Sep 4, 2020 01:02
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I haven't used substance painter but it looks like it's smoothing the normals, there should be a setting to turn that off or you could try exporting your fbx with no smoothing groups
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Sep 4, 2020 01:16
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EoinCannon posted:I haven't used substance painter but it looks like it's smoothing the normals, there should be a setting to turn that off or you could try exporting your fbx with no smoothing groups Smoothed normals it was, thanks. It was turned on in the FBX exporter in Zbrush and I didn't notice.
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Sep 4, 2020 02:03
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Finished my donut. Plate and spoon were a fun test of what I learned and learning the basics of smoke simulation, collisions and force fields was a fun push into the more advanced aspects of Blender. Really happy with how this came out. Took about 30 hours to render, I set my branch path tracing samples pretty high on the reflections. https://vimeo.com/454645937 I've been working in producing, editing and cinematography for years and this is my first forray into 3D modeling and this has opened up my mind in a creative way I am so excited about. Im already beginning a project using Blender for a musician friend of mine and Im so stoked. I have not enjoyed a process like this in a looooong time.
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Sep 4, 2020 18:02
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Looks good, I need to go do a pass with the smoke stuff. Got any decent walkthroughs on how that all works? I tried to get it going using the newer system they moved to a few releases back but couldn’t get it working for the life of me. Could have been a bug though, I’ve had similar stuff just not work sometimes for regular rigidbody stuff.
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Sep 4, 2020 19:11
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cubicle gangster posted:I worked on a music video for a good friend the past couple of months. Nice! This looks really professional man. I know the pain of doing music videos on a budget, I did this video for a friend a few years back and had a month to turn it around and a budget of $1600. Never gonna try anything like that again https://www.youtube.com/watch?v=YIfP9eYAoOI I'm not proud of the way it came out but it has twice as many views as any of their other videos so maybe they got their money's worth haha, i dunno
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Sep 4, 2020 21:52
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Hey, uh, dumb question/post, but I’m doing the donut tutorial for blender, and I’m at the part where you’re supposed to texture paint. For some reason, the program absolutely CHUGS when I try to paint in 2d and, for whatever reason, works fine for a while in 3D before that, too starts to lag. Is there something I’m doing wrong/a workaround? For reference, I’m using the most recent version of blender. Hardware is a i7-9700k, 970 gtx, 32gb ram. E: nm, going into the brush settings and switching to dots or airbrush fixed it. Like, it works now, but still... 
Mywhatacleanturtle fucked around with this message at 21:40 on Sep 7, 2020 |
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Sep 7, 2020 19:54
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in unreal engine4 plugging a number (temp) into the black body node and then into the emission node generates both colour and strength in blender it only generates the colour: the emission strength stays static is anyone able to tell me what kind of formula or set of values or something I can take from the temp and feed into the emission strength to replicate the useful output i got from the ue4 node?
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Sep 8, 2020 21:27
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Warbird posted:Looks good, I need to go do a pass with the smoke stuff. Got any decent walkthroughs on how that all works? I tried to get it going using the newer system they moved to a few releases back but couldn’t get it working for the life of me. Could have been a bug though, I’ve had similar stuff just not work sometimes for regular rigidbody stuff. Theres a "quick smoke" shortcut that automatically sets up a domain + fluid so I basically just did that and followed a few methods from some tutorials to get it to look like steam. These are a few I watched https://www.youtube.com/watch?v=-s-CvxH5-_M https://www.youtube.com/watch?v=_IDBfQnttiE This ones from an older release but some of it still applied to getting the steam look https://www.youtube.com/watch?v=I2m9Re8N78I Was it just not working at all for you?
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Sep 8, 2020 22:19
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Yeah it was just refusing to act properly even for the quick smoke setup. This was fairly close to the swap over to manta flow or whatever so who even knows. I also had stuff like basic forces on rigid bodies just refusing to work so I think that particular project was just cursed.
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Sep 9, 2020 15:45
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Fragrag posted:A scene and light study I worked on the past week. I created all mesh assets except for some kitchen props which I got from Blendswap, and the photogrammetry humans are from Ian Hubert's Patreon. It's been a year or two since I spent the time to create a full scene like this from scratch so it's nice to stretch the legs a bit. This is very cool. So I am probably going to regret this but I am trying to make a mural out of this piece and could use some critique. It is a very long wall I am not sure if I should put the column on the left side (the corner of the shop) or use the column to end the mural about half way down the wall on the right side. There are a couple of things missing or left to model but the majority is done outside of lighitng and surface dev. The shop is called Column 15 so I am tempted to leave it where it is next to the corner entrance but on the other hand, it would make a good bookend to the mural. Right now the mural just kind of ends ubruptly about halfway down the wall. Maybe flip the flying monkey to the other side and scale him up so he is bigger than the stop sign? Hmm. Missing elements include the monkey holding a coffee thermos vs. a wrench, fur for the legs, and yellow brick road leading through the gate (?) I was thinking about making the foreground very washed out and then make everything through the gate full saturated color.  Here is an earlier mockup where you can see how wide the wall is. Also you can see the idea for the road.  And one with slightly better lighting. 
sigma 6 fucked around with this message at 07:14 on Sep 14, 2020 |
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Sep 14, 2020 03:07
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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. The other thing is lighting. It feels too light without enough contrast, making the whole thing feel kinda flat (which is amplified by the composition). I get the sense that color palette is a design choice, but paired with the other things it just feels like color is missing. Of the primary subject is through the door, I'd darken up the whole foreground (except maybe the monkey?) and add more light/color through the door. Caveat though, I've always been more of a technical artist so take my critique with a grain of salt.
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Sep 14, 2020 10:02
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