César Moreno (from Golpeavisa) has done this awesome illustration as a tribute to the now defunct pop legend that needs no introduction.
Related links:http://1978.com.mx/1978/
http://www.golpeavisa.com.mx/MJTribute/
MOJO, an award-winning Singapore-based motion design studio, launches its new showreel for 2009 - check!
Two new films have been released in the Challenge Your World 20/20 series, brought to you by Motionographer and Challenge Your World.
What’s Challenge Your World 20/20?
Each year, 20 video artists create 20 wild, whimsical, and unconventional machines that solve environmental issues. These videos reject the status quo, explore crazy ideas, and blast beyond boundaries.
The latest two films are Recycle Invaders, directed by Thiago Maia, and The Crown Jewel, directed by Motionographer’s own Greg Herman and Babe Baker. Head over to the CYW 20/20 page to check them out, along with the other films released so far.
Want to participate? For information on how to submit a video contact Julien Vallée at video@challengeyourworld.com.
UPDATE: Greg Herman shares some of the process work behind The Crown Jewel.
Related links:
http://motionographer.com
http://www.challengeyourworld.com/
Warning: Extreme gore and violence. Content may not be suitable for all audiences.
Nathan Love’s latest masterwork, Blood Trail, is a neo-renaissance for the studio; a breakthrough as they launch into game and film territory.
“Blood Trail” unfolds mysteriously. It’s subtle storyline is boosted by bloody, body ripping visuals that are fervently executed as Nathan dives into uncomfortable CG guts territory. Consequently, this animation is gorrific, ultra violent, horror-themed, over the top CG storytelling in all it’s glorious might.
Without further adieu, we bring you “Blood Trail”.
STAY TUNED for our interview with the creators and concept art soon.
NATHAN LOVE
Executive Producer: Nathan Love
Director: Nathan Love
Client: Perspective Studios
Producer: Melissa Johnson
Writer: Matt Cochran
Creative Team: Joe Burrascano, Kate Burrascano, Dan Vislocky
Character Designs: Morgan Schweitzer, Brad Johansen
Concept Art: Morgan Schweitzer, Denis Kozyrev
Sound Design: Drew Skinner
Producer: Mike Harry
Production Coordinator: Fayna Sanchez
Animation Director: Dan Vislocky
Lighting / Compositing Director: Mats Andersson
Character & Cloth Technical Director: Sean Kealey
Dynamics & Cloth Technical Director: Ylli Orana
Hair & Fur Technical Directors: Ylli Orana, Mats Andersson
Pipeline Technical Directors: Jesse Clemens, Sarah-Elizabeth Clemens
Animators: Ryan Moran, Kevin Phelps, David Han, Dan Vislocky
Character Model / Detail Artists: Christian Haniszewski, Tony Jung, Ylli Orana
Lighting / Compositing Artists: Mats Andersson, Denis Kozyrev, Richard Kim, Anca Risca, Ylli Orana, Michal Finegold, Sylvia Apostol, Joe Burrascano
Dynamics & Scripting: George Smaragdis
Environment Layout: Dan Vislocky
Environment Models & Set Dressing: Sylvia Apostol
Env & Prop Model / Texture Artists: Sylvia Apostol, Denis Kozyrev, Brad Johansen
Matte Painter: Denis Kozyrev
Fluid & Particle Effects: Mothana Hussein
Compositing & 2D Blood Effects: Chase Massingill
“Dizzy Vision” by Jeff the Dragon
Related links:
http://motionographer.com
http://www.nathanlove.com/
Action Essentials 2 is great for Film-Makers, but you can also create exciting motion graphics too!
The natural elements are great for building mixtures of unexpected elements like water and fire. Check out this sample video that might get your creative juices flowing.
Be ready for the final Action Essentials 2 Promo video that will be online July 01, 2009. Don’t miss it!
See the Action Elements:
Must Watch Gallery Demo
The Video Blog is also near completion, including a new segment with behind-the-scenes coverage of Action Essentials 2. And don’t think I’ve forgotten about the awesome free tutorials, now that we have this new product launched, I’m going to sprint to the 100th tutorial with exciting graphics and visual FX!
Original video source
Related links:
www.videocopilot.net
Ballisticpublishing has just released FREE Ballistic Wallpapers over on the Ballistic Publishing site.
Beginning with Philip Straub’s Utherworlds fantasy graphic novel, we’ve collected the most memorable work from our books including our d’artiste Master Artists to create a series of freely-downloadable wallpapers.
Ranging in sizes from iPhone to HD resolution, you can download your favorite artists’ work to use as your desktop wallpaper and be inspired by the amazing art featured in Ballistic Publishing’s award-winning books.
Head over now and check out the first six wallpapers that we have made available and keep coming back as we’ll be adding new artwork regularly
Ballistic Wallpapers
Related links:
cgtalk.com
ballisticpublishing.com
The next Challenges from 3dallusions Charette#15 - Quinta House
After some time we are back with brand new challenge!
This time we put up some effort to build the complete house scene along with most of the furniture inside, that we were able to reconstruct based on reference material we had.
Our new challenge is to texture and render Casa Quinta by architect Marcio Kogan and his Studio MK27 from Sao Paulo, Brazil.
http://www.marciokogan.com.br/
We owe special thanks to architect himself and Studio MK27, especially arch. Mariana Simas for providing us with thorough reference material, drawings and photos.
Check it and join them here
Related links:
www.3dallusions.com
High detailed models of american furnitures with all textures, shaders and materials. It is ready to use, just put it into your scene.
Formats:
3ds
-
simple object without textures and materials (with mapping included)
fbx
-
simple object without materials (with mapping and textures included)
max
mxs
-
object prepared for Maxwell Studio Renderer v.1.7
obj
-
simple object without textures and materials (with mapping included)
Fryrender *.max
-
with textures and shaders
Maxwell *.max
-
with textures and shaders
Mental Ray *.max
-
with textures and shaders
Scanline *.max
-
with textures and shaders
V-Ray *.max
-
with textures and shaders
3ds max 9 or higher
DownloadSample
Buy here
Related links:
www.evermotion.org
This vector-based plug-in, part of the FXFactory Pro suite, lets you zoom into your text to any level with no image degradation.
THE TUTORIAL IS HERE
In this time lapse video, artist Valentin will show how he model the character from the movie Punisher Warzone in ZBrush
The Sculpt for the model come from the movie Punisher Warzone, I'm a big fan of the comics and... since no one make a model or sculpt of Frank Castle.. I decided to be the first this time :)
The Model was sculpted in 2/3 days and the low poly was finished in 2, the texturing was done in 1 day..including the UV's. I'm sorry but I didn't record a time lapse of the Low poly creation and the texturing but let's hope that the time lapse from ZBrush will help some artists or to inspire others :)
Bigger version is here
If you are on slow connection or want to keep these tutorials for future viewing then you can download these video tutorials from CGArena forum. You need to register (free) to download these and many other video tutorials. Don't forget to leave your comments and critiques which help us in improving the videos. Download Video - 51.2 MB
About the Artist
- My name is Valentin :-) I'm 20 years old boy from Bulgaria. I'm in the 3D Since I was 12 years old... and I follow the change of the industry, I worked like a bathroom 3D Designer for a 1 year and half and now I'm a freelancer Character Modeler and game modeler artist. I didn't study 3D in school or somewhere else, I'm one of those self-tough artists who had a dream to be a part of something bigger... My dream is to be a part of ubisoft's crew :-) those dudes rock so yang boys like me can dream only to work in that type of environment :-)
Blog: http://spybg.blogspot.com/
Related links:
spybg.blogspot.com
www.cgarena.com
In this 3ds Max 2010 tutorial, Michael Hurwicz introduces the new Graphite Modeling Tools, and in particular the "Generate Topology" feature, which allows you to quickly change the underlying structure of an editable poly to resemble bricks, tiles, diamond shapes, and a number of other options. The tutorial uses bricks as a demonstration of this capability.
bigger video is here
Related links:
library.creativecow.net
Credits
Client: World Science Festival
Title: Opening Titles
Production Company: Trollbäck + Company, New York
Concept, design and animation: Trollbäck + Company, New York
Creative Director: Jakob Trollback
Designers/Animators: Emre Veryeri, Tolga Yildiz, Peter Alfano
Producer: Whitney Greene
Executive Producer: Marisa Fiechter
Music/Sound Design: Michael Montes of Sacred Noise
Related links:
www.itsartmag.com/forum
The 2K version of Action Essentials 2 (above) will consist of 4 DVDs in 2 dual-DVD cases, while the 720p version will be on 2 DVDs inside a single Dual case. Needless to say, both versions are packed to the max. There is over an hour of tutorials, including one based on the street explosion from a couple days ago.
Action Essentials 2 will be available in 2 Versions:
720p High Definition [1280 x 720] $99.95
2K Film Resolution [2048 x 1152 ] $249.95 (beyond 1080p)
UPDATE: Someone asked if they could see a list of the elements. Sure.
Here it is.
Related links:
www.videocopilot.net
There have been some great improvements in Mudbox 2009 SP1. One new feature is the ability to view normal maps on top of your low poly mesh. This will confirm that the map was extracted correctly before exporting to your game engine or other 3D application.
HERE YOU GO !
"We wanted something that would introduce attendees to video game creation, and GameJam! is that opportunity," explains Tina Ziemek, the GameJam! Chair, from the University of Utah.
"Many attendees may be well versed in what it takes to create computer graphics for video games, but GameJam! will let them witness the entire process of game creation first hand. We hope that GameJam! will give attendees a greater appreciation for game design, and maybe it will even inspire some artists to consider working in video game development."
Read more here
Multi-talented guest writer for CGenie Xen Wildman reviews the latest version of 3D-Coat. Read on to see what he thought of this rapidly growing sculpting and painting application, and find out where this application could fit best within your workflow.
THE CONTENT IS HERE
We are back in the blender game with this new kick ass modeling release. This will set the bar for all blender videos to come.
If you want to see blender compete with the expensive apps, then this is the video you need to watch. It turned us all into believers. This video goes through many techniques in modeling, including an in-depth sculpting session that makes you wonder why you even need ZBrush anymore. We officially recommend this to EVERYONE. Since blender is free, there are no excuses.
here you go
Related links:
www.cmivfx.com
This movie just might tip the scales on how much effects to too much! Of course I will go see it!
Related links:
http://treadster.com/blog/
Related links:
http://treadster.com/blog/
We get tons of questions on how to output After Effects project renders, mainly which format and codec to use. Topher decided to do some research and wrote this long article that aims to try and answer some questions. It is worth noting that the After Effects built-in help has improved dramatically in recent versions and it is constantly updated online. We urge anyone reading this article to also read the AE help for additional reference.
THE ARTICLE HERE
Windows 7 is set to be released in October 2009, and DirectX 11 graphics cards will also be launching at the same time. AMD has now released a whitepapaer to showcase the importance of DirectX 11.
According to the Legitreviews, the DirectX 11 has several advanced features including Compute Shader Model 5.0, Atomic Operations, Gather4.
Benefits of higher shader models include:
* Improved Parallelism
* Improved Precision and Integer Processing
* Tight Integration between Compute Shaders and Rendering Pipeline
* Improved Ease of Programming and Better Memory Usage Efficiency
Related links:
en.expreview.com
This showreel features some of the excellent work from Blur Studio. Blur Studio is a media company which has produced stunning visual effects and animations, from short films, commercials, game cinematics, to large format films.
Blurring the lines between reality and fantasy. Two things hit me instantly when viewing this. a) Its incredible how detailed and life-like these renders are, and b) graphic violence has stepped to a whole new level since I last played a first person shooter.
(must be viewed in full-screen to be appreciated)
Related links:
http://www.blur.com/
http://surfstation.com/
So here's the video...5hrs squeezed into 10 mins.Live painting done by talented artist Bao pham.His works has been featured in Expose 5, Cover pages for Imagine Fx magazine and more....and he is a cgaward winner.
Related links:
http://bao22.blogspot.com/
http://thienbao.deviantart.com/
bao.cgsociety.org/
Thanks for having me! I’m crazy-excited about it. Originally I had inclinations to get into comics (still do, I guess), but after high school I got whooshed into the world of game production design by my friend and long-time mentor Jim Daly. He’s a lead concept artist at High Moon Studios now and I’m a senior concept guy over at Vigil Games in Austin. Dang, makes me sound old…
Read the interview with Paul
This week The Gnomon Workshop is excited to announce a comprehensive new concept design title: Robot Design with Josh Nizzi.
In this DVD, Josh leads you through his production process for designing a fighting robot. He covers everything from sketching thumbnails and modeling a 3D proxy model to rendering and detailing. Throughout the lecture Josh discusses various features and elements to focus on for a stronger design, and he shows techniques for efficiently and quickly making your next robot design a lot cooler when you present it to your art director or client.
“Michael Bay took one look at Josh Nizzi’s Constructicon, put the design into production for Transformers 2, and hired Nizzi on the spot,” says Ben Procter, feature film art director and concept designer. “If you want kick-ass robots, go to Josh Nizzi.”
Read the Press Release: click here
Details are available by following the link below:
Robot Design with Josh Nizzi
Related links:
www.thegnomonworkshop.com
Part1: Modo Basics
by Ernesto Pacheco
Part2: Align2Point and Modeling Techniques
Part3: CAD Data Import
Related links:
www.vimeo.com/5311373
by Ernesto Pacheco
Part2: Align2Point and Modeling Techniques
Part3: CAD Data Import
Related links:
www.vimeo.com/5311373
This tutorial walks you through how to set up a procedural night sky with twinkling stars. We will be creating a opacity material with noise maps, and using an phase animated noise behind this to illuminate the stars. To edit the star size and brightness, you should play with the noise size and high/low settings on the individual noise map.
Download contains.
1. Higher resolution Video
2. 2009 Max File at the state of the tutorial, and .3DS
3. Includes the composite material and star light noise material.
If it is difficult to view the stars online, please check out the rendered still frame or download the .mov animation to see what the final results should be.
Bigger video here
Related links:
www.cgcookie.com
In Terminator Salvation, judgment day has passed and the robots have taken over the world. T-600 robots are hunting down and capturing humans and T-800 robots, made famous by Arnold Schwarzenegger, are waiting in the wings. And a new breed of man-machine has been created with a human heart and human brain harvested from death row inmate Marcus Wright.
With the movie populated with so many robots, Asylum VFX was brought in to create and animate the T-600 and Marcus cyborgs. Given the detail needed to set up a realistic robot, Houdini was used for both the rigging and animation. Asylum chose Houdini because of its digital asset pipeline which would allow several different people to work on the same rig at the same time making it easier to bring all the parts together for final output.
The main rigs started were initially built using the Auto Rig tools included with Houdini. This default rig was then customized to meet the demands of the match movers and the specific physical traits of the different cyborgs. By using the auto-rig tools, Asylum was able to work at their own pace and did not have to map out every contingency ahead of time. This made it easier to manage the development of the rig and avoid overdeveloping features that were not needed.
“We knew we were never locked down with a specific solution,” said Jeff Willette, Technical Director, Asylum VFX. “Houdini Digital Assets let you experiment with different techniques and flush them through the entire pipeline easily and know you can undo or modify them later. Often, we would put a temporary feature into the rig after testing it out, realize that our quick solution was good enough for the final effect.”
By using Houdini, Asylum could update rigs as needed and everyone was instantly able to use those new features without having to think about it. The team was able to make many changes to all the rigs that and the changes happened seamlessly throughout all the shots. This kept every shot consistent, and CG supervisors never had to worry about someone using an outdated version of the rig.
Working with the Match Move Rigs
While the rigs were being developed, animation and lighting could start early. The Auto-rig tools split the rig into an animation or match move rig and a deform or Endoskeleton rig. The match move rig could be used by animators to start setting keys without having wait for the Endoskeleton rigs to be "finalized". Once a Endoskeleton rig had been detailed then it could be plugged into the match move rig and rendered. This way, turnaround time from design changes of the models to final renders was minimal.
“All of the matchmovers were brand new to Houdini, most of them had never launched the software before,” said Willette. “There were basic questions that popped up but we were getting results from the whole team on day two. After a few weeks, they were seasoned pros and even taught some of the experienced Houdini users a few things.”
At first, the matchmovers were concerned that the workflow would be different from how they were used to working in other packages, but once they got used to Houdini’s animation tools and the features of the rigs, they were quickly up and running. If there was ever a limitation in the rig, the digital assets could be easily updated to accommodate their needs.
Nested Assets
Because the robot rigs were made up of different body parts, each rigger could be in charge of a specific internal component. These were set up as nested digital assets which could be inserted and updated at any time. Early on, it was not possible to determine what robot parts were going to be seen on screen so Asylum waited until the matchmoving stage was in place. Then as the film progressed and shots were narrowed down, the team could decide which components were actually needed and concentrate their efforts on those specific areas.
Using nested assets, it was easy to update the rigs without compromising animation that was already completed. For example, a few shots of Marcus were matchmoved before the hands were rigged. Once Asylum got the hand model finalized, the rig was updated with animation controls for the hands and fingers. The arms had already been animated, and the animators only had to add the hand animation to finish up the scene.
"Creatively and technically Marcus was a challenging but exciting task, we had to seamlessly blend live action plate, practical appliance, 3D flesh and soft tissue, 3D nano substructure and a fully articulated and animated 3D metal endoskeleton,” says John Fragomeni, VFX Supervisor, Asylum VFX. “Our prime considerations for using Houdini on Terminator Salvation for our character 3D work on Marcus and the T600 were the quality depth of our artists and the flexibility the pipeline provided. As the VFX supervisor it was comforting to know that we could make last minute intuitive improvements without any adverse impact on the workflow."
For the T-600 and Marcus shots Asylum used a combination of Houdini and Renderman. Houdini has a strong connection to RenderMan built-in therefore the team could have everything in one package. This was a huge benefit and made it possible to limit the amount of interoperability needed. With Houdini’s digital asset technology, everyone from matchmoving to lighting knew they were always working with the most current versions and when new animation was published it would be instantly available without conversions. This streamlined workflow made everyone’s life easier and let the artists focus on making the robots as cool as possible.
Starting with nothing more than a few still photographs, learn how to create this dynamic burning building VFX shot.
Check it HERE
Title: INCORPOREO I
Name: EDUARDO PEÑA
Country: Colombia
Software: Photoshop
Comment here
See EDUARDO PEÑA 's portfolio here
Related links:
http://forums.cgsociety.org/
Popout
The sounds of the participants voices come into the world via the sound vents. These sounds are too raw for the environment so they are sucked in by the Seed Spitters who process the sounds to more manageable particles which are then expelled into the environment. These processed sound particles help spawn and sustain life within the ecosystem, providing food for the fish in the water and creating frequency sensitive plants on the land. The voice also triggers changes to the Pattern Bush who adapts the shapes of its leaves to the sounds it hears.
Related links:
http://muonics.net/
http://zanyparade.com/v8/
http://www.cpluv.com
Thiago Maia / Greg Herman & Babe-Elliott Baker are the newest participant in the Challenge Your World 20/20 project. Watch the collection at challengeyourworld.com/2020
Each year, 20 video artists create 20 wild, whimsical, and unconventional machines that solve environmental issues. If we’re going to transform the world we have to push ourselves to think differently — so these videos reject the status quo, explore crazy ideas, and blast beyond boundaries.
Want to participate? For information on how to submit a video contact Julien Vallée at video[a]challengeyourworld.com
Related links:
http://www.challengeyourworld.com/2020
http://www.cpluv.com
Despite not being involved with the Bonaroo project, Javan was honored to have his work sampled and taken further. In his words: “It looks great. I mean, I’m kinda bummed I wasn’t invited to the party, but I really enjoy seeing what they’ve done.”
A while back, we made a post about the Bonaroo line-up animation, the basic concept of which was taken from Javan Ivey’s My Paper Mind.
The ensuing Motionographer comments raised questions about involving the originators of a particular technique in commercial applications of that technique. People wondered why Javan wasn’t brought on as a collaborator or consultant by Ghost Robot (who had, it turns out, contacted Javan about the Bonaroo project).
Acting as a model for how things can be done differently is the opening sequence for the Promax|BDA Awards created by Favorite Color.
A couple days before the awards opening was released, we saw an engaging experimental film created by Parson’s student Varathit “Tu” Uthaisri. Surface bore an uncanny resemblance to the Favorite Color project, and the inevitable cries of “rip-off” came from some of us here at Motionographer HQ (me included).
But then we looked closer, and we discovered that Tu was actually listed as an art director on the Favorite Color project.
That intrigued me, so I asked Favorite Color Founder/Executive Producer Dave Dimmick about it:
Frank [Pichel, Creative Director] went to a screening of Tu’s thesis at Parson’s right around the same time we were asked to do the Promax/BDA opening. With the Promax/BDA theme this year being “leading the new economy of marketing and design,” we thought it might be a cool idea to do something metaphoric to how we interpreted that theme.
Our thought was that we could create a metaphor for the economy, where things are not exactly as they appear. We thought Tu’s Surface film was the perfect concept for us to build from.
So they got Tu involved as a freelance art director. As simple as that. They brought him out to the shoot in upstate New York, and Tu helped set up scenes, working closely with Frank Pichel to achieve the right look.
But it gets better. Tu’s Surface was obviously inspired by other projects that came before it, as he clearly states in the Process area of his site, going so far as to link to the relevant works. His openness about his influences imbues him with a sense of confidence and integrity, setting a fine example for students and studios alike to follow.
Related links:
http://motionographer.com
http://www.surfacefilm.com/
http://www.favoritecolor.tv/work/bda09001/index.html
CGIndia brings you another very useful tutorial for 3ds Max users. In this brief tutorial, Marco Mosetti explains how to create a bougainvillea plant in 3ds Max using Ivy plugin and VRay (but of course can be used to create any kind of plant and other rendering engines). There are many ways to create it, like using pflow or 3dsmax scatter, so this is just another way which I found the more convenient for me. To follow the tutorial you will need:
1) guruware ivy plugin 0.91b which you can download here
2) vray 1.5 sp3a (vrayproxies and vray2sided material)
Ivy plugin setup
I will not go to the process of installing the plugin and using it, you can find a very good documentation about it on the above link, but it is recommended that you play a little bit with it to understand the various settings in order to have an idea of how your plant will grow. For the bougainvillea I wanted to have a plant which is not too much attached to the object where it is growing and with some volume especially on the top. I used the following settings:
Grow-Parameters
Grow-Size: 7.0 cm
Up-Vector: 0.2
Primary Weight: 0.4
Random Weight: 0.2
Gravity: 1.2
Adhesion: 0.1
Adh. Distance: 10.0 cm
Branching: 0.3
Max Length: 300,0 cm
Length Variation: 2.0
max Parents: 4
Grow
Stop at: 2000
As a little tip if you are going to put your plant in some bigger project is better if you export the objects where the plant will grow and work on a different file, because the process itself requires quite a bit of memory. Then you will put them back as vray proxies.
Modeling the bougainvillea
Once you have your setting ready just put the plant where you want it to grow and just let it grow until you are happy with the result. Now what I want to change is the flat look of the leaves (by default they are simple mapped planes). So first of all I create another variation of the leaves, from a simple plane 3x3 or 4x4 to which I will assign a bend and a twist modifier untill I have something like in the following picture:
Now I make two copies of my gwIvy object, one which I will use to add my custom leaves and one which I will use for the flowers later. So in total I will have 3 copies. On the original object I will leave the leaves from the plugin, with quite a high density (something like 0.7).
On my second copy first of all I will reduce the density of the leaves to 0.2 (IT IS VERY IMPORTANT!!! high values of density can make your computer VERY VERY SLOW! and you will not need too many of those leaves in the end). I will hide anything else and just leave the leaves of the young branch
then I will select from the 1st slot of the leaf meshes the leaf that I just created and the plugin will use that as the leaves for your plant. One important thing is to change the Seed and the Chaos on the Leaves parameters to have some variations in the position of the leaves to avoid overlapping with the ones of the first object.
Once you are happy with the result you can convert the object to a polygon and then to a vrayproxy. I prefer to have 3 different vrayproxies for my final plant just to have some extra room for variation or in case it will be too heavy once I place it in the scene, but of course you can also create a final poly object and just one vrayproxy.
Now we will repeat the same process for the flowers. Firs of all I created a very simple flower object:
And again I chosed this object in my Leaf Meshes slot, changing again Seed and Chaos and of course Density to 0.2. Once you are happy with your flower you can convert to polygon and create your vrayproxy. The same of course with the original gwIvy object.
Rendering with vray
After each object is converted to polygon and before exporting it to vrayproxy I assign a vray2sided material to the leaves and to the flowers to give a little bit of translucency which add more realism to the plant (I use it almost on every plant/grass now).
Now it is time to allign your two copies to the original one to have everything in place and ready for the render and here is my result:
Of course this is not really indicated for closeup shots, but still if you don't get too close to the flowers you can have nice renders of your bougainvillea plant.
Related links:
cg-india.com
Joseph Drust, Senior Character Artist at Vicious Cycle Software, demonstrates how to bake ZBrush materials into a texture map.
Bigger video here
Related links:
www.3dm3.com
In this 8 min video tutorial learn how to add a depth in a still images using Photoshop and After Effects. This simple trick will help you in adding life in your boring still images and using this you can present a wonderful presentation.
Bigger version can be found here
Size: 34.9 MB
If you are on slow connection or want to keep these tutorials for future viewing then you can download these video tutorials from CGArena forum. You need to register (free) before download these and many other tutorials. Download Now - 33.5 MB - RAR Format
Related links:
www.cgarena.com
ProUV professional UV unwrapping plug-in for ZBrush has finished the open beta phase and is now available for commercial licensing. Special 20% discount will be available in the first two weeks of sales, until 01.07.2009. Trial version is also available for download, and is limited to 15 days of usage and at most 5000 mesh-faces per unwrapped model. All artists are welcome to download and check out the plug-in - user feedback, feature requests and bug reports can be left on our support forums.
ProUV professional UV unwrapping plug-in for ZBrush has finished the open beta phase and is now available for commercial licensing. Special 20% discount will be available in the first two weeks of sales, until 01.07.2009. Trial version is also available for download, and is limited to 15 days of usage and at most 5000 mesh-faces per unwrapped model. All artists are welcome to download and check out the plug-in - user feedback, feature requests and bug reports can be left on our support forums.
ProUV features sculpting optimized automatic UV map creation, which significantly improves upon existing GUV and AUV built-in ZBrush unwrapping solutions. Improvements can be experienced in all texture related workflows, and to demonstrate it we have provided a few examples on the plug-in web page.
Features/benefits:
* overall much higher texture fidelity
* texture distortions minimized
* uniform (area-based) detail distribution
* fully automatic unwrapping
* real-time engine usage ready
* simple to use (one button click - job done, for the majority of objects)
* textures much easier to retouch / edit in photoshop
Availability:
The plug-in is available for commercial licensing for Zbrush 3.1 (only Windows OS is supported). The trial version can be freely downloaded from our web home-page at http://speedy.rs/prouv. The trial is limited to 15 days of usage and at most 5000 mesh-faces per model.
About the authors:
speedy.rs is a new 3D and 2D computer graphics technology based startup, which will be focusing on advanced texturing and animation plug-in development. Our team members have more then 15 years of experience in different graphics and related mathematics fields of expertise and are keen to use their knowledge to produce advanced technology based plug-ins.
Download
Related links:
www.itsartmag.com/forum
Glassworks has just purchased a state of the art Spheron camera! With its patented 32bit HDR panoramic capture facilities and toughbook onboard control centre, allied with the top of the range bomb proof industry standard Gitzo tripod, the Spheron camera is equipped to go anywhere and take pictures of 360 degree panoramic images in the most hazardous of conditions. It has already been pressed in to service in such exotic locations as Black Island studios and Malcolm Ryan's south London studio, as well as various stations, offices and parks!! The world awaits.
The Spheron (so called because of its aforementioned ability to take pictures of spherical images and it's ease of operation by technical luddites) is a powerful addition to Glassworks post Production armoury. What this means, amongst other things, is that on shoots, the irritating, pedantic , party pooping post-supervisor who always asks everyone to stay still hours on end while he takes fisheye environment pictures, can now do the same thing in a few minutes and simply with the press of a button. The resultant image is also much higher resolution and for the geeky amongst you, it has a full 26 stops of exposure latitude! For us CG bods this means we can much more accurately light our cg dinosaurs, cars, coke bottles etc to fit in with your lovely-live action and any reflections will be rich and luxurious. It can also be used in a more direct way to provide full 360 degrees spherical photographic environments, with the option to decide on the exposure later. How cool is that?
Here is a picture you can download. Load it up into Photoshop CS3 or later and have fun with the exposure.
Related links:
glassworks.co.uk
Matte painter Roger Gibbon's credits stretch from 'Red Corner' to the 'Moon,' with side trips through the last two 'Matrix' films and into 'Sin City.' His is an amazing story of perseverance and well worth a read.
READ HERE
The first images from Tim Burton's Alice in Wonderland were released today.
USA Today has a special feature with production art stills, and Yahoo Movies features the main character stills. This is going to be crazy!
Here's an illustration that has been released about Tim Burton's Alice in Wonderland. Imaginism Studios had the privilege of designing many of the characters for the movie.
The above illustration was not painted by us but you can see the white rabbit that Kei designed.
Here's some more pics
Related links:
http://imaginismstudios.blogspot.com
http://www.cpluv.com
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