VOLUME 2, ISSUE 5 AUG - SEP 2007
CGArena
Get Attention in the Computer Graphics Community
GALLERY
Showcase of latest 3d inspiring art
PHOTOSHOP Spiderman
AFTER EFFECTS Heat Shimmer
INTERVIEW Massimo Righi
3DSMAX
Cut or Slice
Maya
Wrapping & Animating Grass
05 Interview
Massimo Righi
16 Photoshop Spiderman
20 After Effects Heat Shimmer
31 Maya
24 3ds Max Cut or slice
Wrapping & Animating Grass
35 Gallery
Showcase of latest 3d art
Magazine Edited: Ashish Rastogi Magazine Cover Image: Vaclav Krivanek
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Issue 5 Aug - Sep 2007
industry news Autodesk Signs Definitive Agreement to Acquire Skymatter, Makers of Mudbox Autodesk, Inc. announced that it has signed a definitive agreement to acquire substantially all the assets of Skymatter, Inc., the developer of Mudbox 3D modeling software. This acquisition will augment Autodesk’s offering for the film, television and game market segments, while offering additional growth opportunities for other design disciplines. Autodesk anticipates that the transaction will close in the next two months. Mudbox users include leading visual effects and game development companies, such as: Weta Digital, Epic Games, Cinesite, Blur Studios, Radical Entertainment, ... and many more!
Sony Online Entertainment in pact with Virgin for game on Ramayan Online Gaming Major Sony Online Entertainment (SOE) and IP Powerhouse Virgin Comics are combining forces to collaborate on creating an MMO Video game (PC) based on Virgin Comics Ramayan 3392 AD. The deal was announced by John Smedley, President of SOE and Sharad Devarajan, Co-Founder and CEO of Virgin Comics. “Ramayan has inspired the lives of millions of people through the ages. The re-imagining of this great ancient epic through the creativity of a game platform re-affirms the fact that Ramayan is one of the greatest stories ever told added Deepak Chopra, Co- founder of Virgin Comics.
source: www.autodesk.com
Buzzword of the Month Photo Mapping - The creation of photorealistic images of three-dimensional models is central
to computer graphics. Photon mapping, an extension of ray tracing, makes it possible to efficiently simulate global illumination in complex scenes. Photon mapping can simulate caustics (focused light, like shimmering waves at the bottom of a swimming pool), diffuse inter-reflections (e.g., the “bleeding” of colored light from a red wall onto a white floor, giving the floor a reddish tint), and participating media (such as clouds or smoke). With photon mapping, light packets called photons are sent out into the scene from the light source. Whenever a photon intersects with a surface, the intersection point, incoming direction, and energy of the photon are stored in a cache called the photon map. After intersecting the surface, a new direction for the photon is selected using the surface’s bidirectional reflectance distribution function (BRDF). While Photon Mapping is an efficient algorithm, it is nevertheless much slower than ray tracing alone. A good understanding of the effects of each of the numerous parameters that control its operation is necessaryn order to get the best tradeoff between a desired quality and an acceptable render time.
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Issue 5 Aug - Sep 2007
interview
AN INTERVIEW WITH Massimo Righi Q. Hello Massimo how are you and howz your animals in the computer, could you tell us a bit about yourself and your background in CG? Hello, first of all I want to thank you for the opportunity. I’m born in Italy in 1972 and actually living in Forlì, a quiet and pretty small town in the North of the coutry. I am a self-thought CG Artist and I work as freelancer with my soul mate and now also co-worker Silvia Puliè (just celebrated 15 years together, well, not bad though;))...I always loved visual arts from photography to traditional drawing and airbrushing. Silvia has an art degree. I started doing 3D as a hobby in 1999 and till 2005 it has been a growing passion that made me decide to sell my bookstore and give it a try as a professional... and here I am... Q. So, you are a freelancer, please tell us what difficulties a freelancer have to face in getting the work? Well, at the beginning is never easy...What I think make the difference is the passion for this kind of work. At first I started building my portfolio so that people started to know me, than I began answer to works offers from guru.com to craiglist and made some great experiences. Now, two years later, I no longer need to look for work, I can consider myself lucky because is the people that used to contact me. Q. After watching your portfolio we came to know that you are an animal lover but there is any another special reason for creating those? Italy is known for the design but we have not seen any architectural or abstract designing in your portfolio, any plan? Yes, I love them, is it so evident?:) Till the animals and nature keep inspiring me, I will model them. Yes, Italy is known for the design , but I think is all about choices...For example, I never liked too much modeling cars but I ended up making some work as third party for Volkswagen. This
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Issue 5 Aug-Sep 2007
interview
AN INTERVIEW WITH Massimo Righi work is umpredictable, I learned to keep my mind open to everything as long as are interesting projects. Who knows the future, maybe I will model buildings one day... Q. What is the main reason of choosing Maya in your arsenal? Will you like to see any change in the future versions of Maya like more modeling options, better renderer or anything? My first 3D software was Rhino3D. It helped me a lot understanding all the Nurbs modeling (I still think it’s the best Nurbs modeling software), than I started learning polygonal modeling and when I tried out Maya PLE it was love at first sight. To be honest after Maya I stopped looking for other 3D tools. I think at Autodesk and before at Alias have great developers, well, I believe in their work and I’ m sure the future releases will be more and more improved.
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Issue 5 Aug-Sep 2007
interview
AN INTERVIEW WITH Massimo Righi Q. Please tell us in detail about your latest work “Trapped” and “Lunchtime”, what problems you encountered in creation and how you achieve such realism? I made both of the images after my recent trip in the south-east of Asia. What I would like to do is to pick of the animals the characteristics that more catch my attention. For “Trapped” I just finished a brief “Making of ”. You can view it here on cgarena. About “Lunchtime” well, I’ ve always been fascinated by giraffes. I had in mind
some unusul camera angle and funny expression. After many angle view tests I went for this one. I used Maya 8.0 for modeling, and MentalRay for rendering.The fur is polygonal (no Maya fur) I used HRDI/FG and Dof. The background is a photo taken in Borneo and it’s been rendered within Maya. There is not postwork, I only enhanced the contrast and the color gamma with Photoshop, used also to paint the textures. About realism, I always try to keep
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Issue 5 Aug-Sep 2007
interview
AN INTERVIEW WITH Massimo Righi things simple, I use few lights, and add more of them only if really need. The texture work is also very important. I needed some quality reference material for achieve decent result. I used some photos taken at the zoos and spent many hours on that using a wacom tablet. I mainly use custom patterns and brushes as painting tools.
Q. Have you ever tried model a human being in 3d? Everyone said women are the most difficult to model in 3d, we all know very difficult to understand the women but really difficult to model too, what your view on this? Of course I tried many times and I like to model humans. Working as freelancer I often provide commissioned models of humans. I recently created a magazine cover (PSD Magazine) , inspired by an old photo of Audrey Hepbourn. We have many examples of talented artists and beautiful artworks rapresenting women, as I told you is all about choices, but I will sure do more humans in the future, expecially women :)
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Issue 5 Aug-Sep 2007
interview
AN INTERVIEW WITH Massimo Righi Q. What other interests do you have that help influence your work and keep you motivated? I have many interests, from photography to music but the thing I can’t live without is travelling, as much as I can. I like to visit wild places but also big cities. that definitely keep me inspired and motivated... Q. Of all of your artwork, which piece is your personal favorite and why? Looking back on them I always feel I could improve them in some way... “Green Frog” has been the first work I submitted to various online galleries and that gave me a lot of satisfaction.
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Issue 5 Aug-Sep 2007
interview
AN INTERVIEW WITH Massimo Righi Q. What’s the most useful thing you have learnt in 3d? I’m always learning. In this work everyday you can achieve better results or undertstand something new. Q. What advice would you give to future wanna be modelers and freelancers out there? Is always tough at the beginning but with training and passion I think everything is possible, so don’t give up, ...Just find your own way and try to identificate yourself with what you do.
Q. Are you working on any projects currently? If so, what are they? I am working on many parallel projects. I am doing models for commissions and reverse engeneering market. About personal project, I wish I do something great with my 3D animals, just thinking what... Q. Anything you like to add? It is your chance now to state your opinion about anything? I would like to thank people that has believed in my work and that has awarded my images. I am thanking to 3DTotal, CGSociety, galleryof3d, highend3d, Raph.com, Treddi , cgitalia, 3Dcyborg, 3DValley, 3Dworld Magazine, Psd Magazine...of course CGArena and many others. Thanks a lot Massimo for taking out sometime for us from your busy schedule.
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Issue 5 Aug-Sep 2007
challenge CGArena is proud to present “Vehicle of the Future” (3D Challenge), 05 June 2007 - 03 Sep 2007, sponsored by Npower Software. Express your creative ideas in a new and interesting way.
Your Mission
Modelled by Mark Rademaker in Power Nurbs Pro
Create an image which justify the theme of Vehicle of the Future using Power Nurbs Pro. This Challenge is a WorkIn-Progress Challenge -- all contestants are required to post their work-in-progress images for community to critique/ comment in order to qualify.
How the Challenge will be Run This challenge will be a WIP (Work in Progress) Challenge. Each challenger is required to submit Work In Progress (WIP) images, from the initial concept sketch to the final render. to the post production on regular intervals. The purpose is that everyone can learn from each other, offer feedback and critiques. 1. Enter the Challenge by registering yourself on CGArena forum. 2. Download the fully functional demo version of Power Nurbs Pro plug-in from www.npowersoftware.com. Npower plugin is available only for 3ds max so you can use only Autodesk 3ds max for creation of the image. 3. Submit your work in progress images in forum on a regular basis. otherwise will be disqualified. 4. Participate in the community by critiquing other challengers works in the respective threads. 5. Submit your final entry till 03rd Sep 2007, midnight 00:00 GMT. 6. There will be 3 winners. CGArena, Npower decision will be final and no participant allowed to contact sponsors regarding the challenge or asking reasons for disqualifications. 7. You have to submit the final 3ds max file with image for verfication process. 8. You are allowed to use any type of post -production in the final image to make image better and richer.
Terms and Conditions 1.) Entrants agree to give permission to the sponsor to use all or any part of the artwork entered in this contest, (hereinafter, the ‘Work’) in the Company’s demonstration tapes (reels), promotional materials (ads, PR, etc.), booth graphics and presentations for the promotional purposes. 2.) Entrants will retain all rights to the Work. In addition, the Company will not sell for profit any materials or demo
reels containing images or animations submitted by the Entrant. 3.) The Company, in exchange for this release, will provide a credit for the Work within the material in which the Work is used. 4.) Submissions must be the sole Work of the entrant and not require approval of any other entity. 5.) Entrants will not receive financial remuneration for their Work.
Final Image Size - Your final image dimensions should be print resolution. Do not send in a low-resolution. - A guideline is minimum 2800 pixels wide and/or 2048 high, JPG, 300 DPI. - Send your final image in zip or rar format with your name, complete shipping address, email, telephone number in a text file on email address futurevehicle@cgarena.com with subject “Vehicle of the Future”.
First Prize - $995 USD
Power Nurbs Pro - Power NURBS unique hybrid approach fuses the next generation NURBS surface construction technology with the industry’s leading Solids modeling technology bringing an unparalleled modeling experience to the 3ds Max Platform. Power NURBS modeling environment is designed to provide artist intuitive access to complex advanced modeling tools allowing you to expand your creative potential beyond the polygon world.
Second Prize- $695 USD
Power Solids - Until recently NURBS based-Solids modeling technology has been confined to high end non-artis-
tic engineering applications; however, nPower’s Power Solids for 3ds Max changes everything. Power Solids provides designers and artists an exceptional intuitive modeling environment with unrestricted access to Solids geometry.
Or
Power Surfacer - Power Surfacing intergrates the world’s leading edge NURBS surface modeling technology into
the heart of Autodesks 3ds Max.
Third Prize- $695 USD Power Solids - Until recently NURBS based-Solids modeling technology has been confined to high end non-artis-
tic engineering applications; however, nPower’s Power Solids for 3ds Max changes everything. Power Solids provides designers and artists an exceptional intuitive modeling environment with unrestricted access to Solids geometry.
Or
Power Surfacer - Power Surfacing intergrates the world’s leading edge NURBS surface modeling technology into the heart of Autodesks 3ds Max.
photoshop
In this Photoshop tutorial we will create a text as seen in 2007 summer blockbuster Spiderman 3. Hope you will like it and send me your creations and suggestions to improve. Step 1: First Download the Spiderman font from this address http://www.dafont.com/spiderman.font and install it by copying in the Fonts folder of your Control Panel (Windows). Now run the Photoshop and create an 800 x 600 document in Photoshop and fill the background layer with black. Step 2: Now select the Spiderman font and create a text of your choice, keep the size little big around 90 and color must be white.
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Issue 5 Aug - Sep 2007
photoshop Step 3: Click on the Add Layer Style button and choose Inner Shadow or double click on the side of the text layer for Layer options.
Step 4: Choose (Check) the Inner Shadow option in the left panel and change the following settings in the right panel: Blend Mode: Screen Color: White Angles: 90 degree (uncheck Use Global Light) Distance: 3 Size: 3
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Issue 5 Aug - Sep 2007
photoshop Step 5: After doing the previous step you will notice that nothing happens on the text visually but when you do this step then lot of change you will notice. Check the Gradient Overlay in the left panel and change the following settings. Opacity: 100% Gradient: Click on Gradient and change the Swatches colors of Left to (C:0,M:0,Y:0,K:80) and Right (C:0,M:0,Y:0,K:20) Check the Reverse checkbox
Step 6: Create a new layer below the text layer. Ctrl + Click on the text layer for making the selection. Then Goto Select > Modify > Expand and enter 5 pixels.
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Issue 5 Aug - Sep 2007
photoshop Step 7:
Fill the selection with white color (Alt + Backspace) on the newly created layer.
Step 8:
Click the Add a layer style icon and Choose “Bevel and Emboss” and choose the following settings…
Enter 390 for depth Check the anti-aliased checkbox Select “Ring” graph under Glass Contour.
Step 9: Choose “Outer Glow” and select color as Black and mode to multiply. Incease the Spread size to 35 and Press OK. Hope you are still selected so Now choose a large soft edge black (C:0,M:0,Y:0,K:90) brush and paint from top to bottom on every character. Deselect and your effect is ready.
- Andy Halls andyhalls123@yahoo.com
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Issue 5 Aug - Sep 2007
after effects
Heat Shimmer If you live in the hot areas you have probably seen heat shimmer coming off the road. A heat shimmer is an extended time interval of abnormally and uncomfortably hot and unusually humid weather. To be a “heat wave” such a period should last at least one day, but conventionally it lasts from several days to several weeks. In this After Effects tutorial we will try to create a same effect using particles. So, launch After Effects and create a new composition by pressing Cntrl + N.
Step 1: Drag the image on which you like to simulate this effect. Step 2: Create a New Layer by pressing Cntrl+Y on the PC. Name the layer Particles. Color of the layer doesn’t matter. Step 3: Choose Effect >Simulation>CC Particle World. (Cycore Effects which ship with AE need to be installed).
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after effects Step 4: Twirl the Physics property and choose the Fire Animation Preset from the dropdown.
Step 5: Open the Producer property and enter a value in the Y position to set the particles on the ground. In my case this 0.36. Also widen the particles on the ground to cover the area using X radius. I have chosen a value of 0.50 Step 6: In the Effect Controls Panel, increase the Birthrate to 4.0. Step 7: Also Change the Longevity value according to the length of the particles to cover the scene. Step 8: Finally, twirl down the Particle property and change the Birth and Death colors to the same shade of red. Step 9: Press Cntrl + D to duplicate the layer and change the Birth and Death colors to the same shade of green. Lower the Birthrate to 3.0 and the Longevity to .6 or as per your scene in the new duplicate layer.
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after effects Step 10: Now create a new adjustment layer and apply a Fast Blur with 5 pixels value.
Step 11: Select adjustment layer and both the particles layers and Pre-Compose the layers (Layer > Pre-compose) and move into new composition.
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after effects Step 12: Now turn off the visibility of pre-compose layer. Step 13: With the Background layer selected, choose Effect > Distort> Displacement Map. The Displacement Map effect allows you to use color channels from one layer to displace pixels in the current layer. Because the Heat shimmer layer contains Red and Green particles, distortion amounts can vary and not look rigid.
Step 14: With the Background layer selected, choose Effect > Blur & Sharpen > Compound Blur. In the Effect Controls Panel, select the Heat shimmer layer as the Blur Layer, and decrease the blur to 5. That’s it, make the RAM preview and enjoy the heat. - Suzane Smith suz.smith@hotmail.com
Click Image to Play Video Divx/Xvid Required
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Issue 5 Aug - Sep 2007
3ds max
Cut or Slice You have seen various times in movies like Ghost Ship, Revolution where cuts object by a thin line and after few seconds object is dropped on the ground with the dripping blood. In this tutorial we try to simulate a same type of effect using premade model without dripping blood. There is nothing max version specific; you just required a Boolean which is available in any version of max. So, without wasting a time let’s get started. Step 1: Create an object, open or import your model in the scene. Step 2: Now create a thin box which intersects the object properly from all the sides where you like to show a slice or cut. Thinness of the box depends on which type of cut you like to shown, like sword attack will be thin and cutting a wood through machine then cut will be broader.
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3ds max Step 3: Select your main object and go to Create > Compound > Boolean and in Operation select Subtraction (A-b) must be selected. Then click on “Pick Operand B” and then select the box. You will notice a fine cut on the object.
Step 4: But in this tutorial we also animate this cut too, so go into Modify> Boolean > Operands and in the Display/Update box “Operands” radio button must be selected so you can see the operand once again which was hidden in previous step when you click the Pick Operand B. Now animate your box from top to bottom or side to side as per your choice. In simple words, turn on “Animate” and set a key for box on frame 0 then move to frame 30 and drag it down so it slices down. Before doing the Boolean don’t try to animate, if you don’t believe me then try it out and check the results.
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3ds max Step 5: Now apply an “Edit Poly” modifier on the object and select Element. Now select the object part which you like to drop on the ground or animate.
Step 6: Apply Xform modifier on that selected part, Go into the Gizmo mode and now you can animate the object.
Step 7: But have you noticed the texturing on the cutout area, which is totally disturbed. (Or if that is hollow area then create a surface by selecting the edges) So, again apply Edit Poly and select the polygons of that area. Apply UVW Mapping modifier and select planer from the mapping list.
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3ds max
Step 8: Now apply the “Edit Mesh” modifier and apply the different texture you prepared for that cutout area because texture will be totally different in that area. Render the scene and everything is fixed. There are various or say unlimited possibilities of this technique. So, send me your suggestions and critiques, if any query or can be improved more. Sayonara.
- Ranjan Jain jain.ranjan0@gmail.com
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winners In July 07, your mission was to create a 3D image on “Toon” theme and sponsored by ambientLight. Following are the winners...
First Prize
Baiculescu Ovidiu Nicky, Italy nicky@nik.ge
Second Prize Gaurav Mohan, India ghonma@gmail.com
www.cgarena.com CGArena brings you latest news and happenings 24 hours a day. Plus, join in our interactive forums to showcase your work, and get Attention in the Computer Graphics Community
maya Wrapping & Animating Grass around objects
In this tutorial we will add a brush from paint effect to Nurbs curve and then modify various attributes such as color, shadows to look attractive and animating growth of the grass over time. Step 1: Create a cylinder or open your premade model for this tutorial. Select Object and from the main menu, choose Modify > Make Live. This will make the object live so we can draw our curves easily on the surface.
Step 2: Choose Create > EP Curve Tool and start drawing on the object. Choose Modify > Make Not Live to bring the object back. Step 3: Choose Window > General Editors > Visor and from the various folder choose Plants folder and then choose brush of your choice. In this case I choose the “vineGreyBud.mel” brush.
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maya
Step 4: Instead of painting, choose a previously drawn curve and from the Rendering Menu choose Paint Effects > Curve Utilities > Attach Brush to Curve. Now your selected brush will be shown on the curve.
Step 5: Now we will do some modifications. Select the brush and Open Attribute Editor and select strokesShape1 tab. Increase the Sample Density to 2.0. Choose “vine” tab and change the Global Scale to 2.0 again. You can view the differences in these and previous settings directly on the viewport.
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maya Step 6: Twirl down the Shading option and change the Base and Tip color of the Tubes.
Step 7: Twirl down the Shadow Effects and select “Cast Shadows” Step 8: Now twirl down the Tubes option and Check the Tube Completion checkbox and in the Creation subsection change the width, randomness, thickness of the Tube.
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maya Step 9: Animating the growth of tubes can add dramatic movement to a scene. Twirl down the Flow Animation options and increase the Flow Speed to 1.00 and check Time Clip. Play the timeline and you will see the grass is growing on the object but if you also like to grow from bottom to Top then check the Stroke Time too. Render the scene and you can see the grass growing up and around the object you choose.
- Jazz Adamson jazzyarocks@yahoo.com
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gallery
Before Storm Vaclav Krivanek, Czech Republic vkrivanek@gmail.com 3ds Max, Zbrush, Photoshop Page 36
Issue 5 Aug - Sep 2007
Lost Pal Carlos Ortega Elizalde, Mexico mercenario77@yahoo.com Carrara 5 Pro, Photoshop
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Street Fighter Nikita Volobuev, Russia nnv1984@mail.ru 3ds Max, Photoshop
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Kehel, Elf Warrior Emiliano Calisti, Italy emiliano.calisti@fastwebnet.it Modo, XSI, Photoshop
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Eskimo Ruben D. Karamaites Arango, Panama rubens_modeler@hotmail.com 3ds Max, Zbrush, Mental Ray
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IGU Salvo Triolo, Italy savat@inwind.it Max, Mudbox, Vray, Photoshop
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In Presence Serkan Celik, Turkey xsekox@gmail.com 3ds Max Page 42
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Franctic Funfair Richard Max, Slovakia max@richardmax.sk 3ds Max, Final Render, Photoshop
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Labyrinth Ziv Qual, Israel ziv@zivcg.com 3ds Max, Photoshop
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Cup of Tea Niao Ping, China xp_s@tom.com Softimage XSI
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submission
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Upload Images through Website Follow this link http://www.cgarena.com/submit.php This is by far the quickest and easiest way to send your images to us.
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