ISSUE 03 APRIL 2006
CGArena
Get Attention in Computer Graphics Community
Gallery
Showcase of latest 3d inspiring art
Photoshop
Selecting and Changing Colors Dancing on Glass
After Effects Shatter
Interview Allan Mckay
3ds Max
UV Mapping - The Easy Way
3d Challenge Ruins
contents
05 Interview
12 3d Challenge
16 Composition
18 Photoshop
21 Photoshop
23 After Effects
Allan Mckay
Ruins
F-Stops
Dancing on Glass
Selecting & Changing Colors
Shatter
26 3ds Max
UV Mapping - The Easy Way
32 Gallery
Showcase of latest 3d inspiring art
Magazine Designed & Edited: Ashish Rastogi, India Magazine Cover Image: Julio Cid | JAKC, Spain Challenge Sponsors: Vertus, Duber Studio
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Issue 03 April 2006
industry news Disney to make TV shows available free on web
Sequel of Animated Movie Hanuman Announced ‘Hanuman 2’, sequel to the first Indian animated blockbuster Hanuman has been announced.
Walt Disney’s ABC Television will offer some of its most popular shows, such as “Desperate Housewives” and “Lost,” for free on the Internet in a two-month trial.
Budgeted in the range of Rs 9-12 Crore, with a release scheduled for Diwali 2007, the sequel is to be co produced by Percept Picture Company and Toonz Animation India on a 50:50 financial investment.
“Commander in Chief ” and “Alias” along with “Lost” and “Desperate Housewives” will be available on the Web in May and June, starting the day after they are first broadcast.
Hanuman 2 will be directed by V G Samant the director of the original Hanuman. Toonz recently closed a mega deal with Marvel Studios for doing 104 episodes of Marvel characters (X-Men Franchise) and also another 3 picture DVD deal with Paramount Pictures, USA. All of these latest projects are in 3D arena. Source: www.indiantelevision.com
Viewers will be able to pause and move between “chapters” in an episode but will not be able to skip ads that are technically embedded. Disney also launched a high-speed Internet channel for soap opera fans, called Soapnetic, on April 17 for subscribers to Verizon Communications’ Internet services. Leading U.S. media companies are experimenting with ways to deliver programs via new technologies and still maintain revenue as viewership for their prime-time schedules slowly erodes.
Source: www.news.com
Buzzword of the Month Animatronics - Animatronics are electrical and mechani-
cal creatures that perform as actors on a live action shoot. They can represent a nonexistent beast such as a dragon, dinosaur, or space alien or a real animal that is difficult to impossible to film. Sometimes an animatronics is an entire creature, while on other occasions it is only a head worn by a performer in a body costume. When an animatronics represents the entire body of a creature, it is first made as a sculpture, which is used to make an eproxy or fiberglass mold. The mold is then injected with silicon or foam latex and baked to make skin. Meanwhile the creature’s skeleton, or armature, is made out of steel and/or light weight aluminum.
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Issue 03 April 2006
interview
AN INTERVIEW WITH Allan Mckay Please tell something about yourself, family and your background in the CG. My name’s Allan McKay – I’m a visual effects Supervisor and Technical Director, originally from Australia – although a majority of my work up until now has been in Los Angeles and Canada primarily. I recently left Los Angeles to come back to Australia to work on Superman Returns at Fox Studios in Sydney. Prior to that I worked on a lot of films like Blade Trinity, Paycheck, Scooby Doo 2, Warhammer: Dawn of War, In the Rough and various other projects – as well as a lot of TV commercials, music videos etc. I recently launched Catastrophic – my own visual effects studio/freelance site, specializing in visual effects, which right now is more for outsourcing effects from other studios who need high quality effects and with a set budget etc. Which has been working out great – I’ve primarily worked as a freelance throughout this but taken on a number of CG features, game cinematics and music videos, as well as various TV Commercials and what not. And so far it’s been a great experience.
In community you are known as “Particle FX Guy”, what u want to say? Yeah it’s funny, I do get a lot of people coming up to me wherever I work – asking whether I can actually do anything other than effects. As much as I’m so happy to have established a bit of a name in various communities it also does pigeon hole me slightly to one area of it. Now that I’m complaining ;) I still found it enjoying when one of my mates last year from Digital Domain introduced me to another guy at Pixar as “The Particle Ninja”.
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Issue 03 April 2006
interview
AN INTERVIEW WITH Allan Mckay What other training material is coming after Advanced Visual Effects Training DVD. I’ve got a new DVD about to be released through turbosquid – which covers a lot more in-depth material on effects, more working as solid shots so it covers shaders, particles and handling the actual shots, and sometimes compositing them. So lots of crowd effects, liquid, procedural effects and other fun stuff, as well as scripting and advanced techniques. I also offer consulting and on & off site training for studios and individuals, which so far seems to work quite well, as for a small fee I can usually talk with a studio and their staff before a project and devise the best approach and sometimes example scenes or scripts etc. to get them started on a job, which goes a long way in cutting down wasted production time on a project, which sometimes can be crucial. I also plan to do a master class tour soon – and plus there’s some other stuff in the works. Basically try and give back to the community as much as I can in terms of helping others get to where they want to be as an artist & operator etc.
I have seen you’re all training videos, and those are always in Max, Afterburn. Etc. Do you favor any specific software/plug-in or do you consider all software packages almost the same. I tend to use what gets the job done, I usually find 3D Studio Max with a few custom written scripts and plugins can go a long way, although there are a lot of jobs I also do in Maya. Both I find equal in strengths and weaknesses, so my preference really is on a job to job basis. I do like Maya’s flexibility, and I love Max’s ease of use. I’m able to do some shots in max within a couple of hours that take days to do in Maya, however I find I hit less walls with Maya as most things I can work around with a bit of scripting work, and other things Maya handles memory and larger chunks of data more efficiently.
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Issue 03 April 2006
interview
AN INTERVIEW WITH Allan Mckay What projects have you been working on lately, and which project you enjoying the most. I moved back to Australia to work on set on Superman Returns at Fox Studios in Sydney since then I launched my own studio Catastrophic, which has been booming with work. Most people are finding it a great way to focus their strengths in animation etc. and pass Catastrophic the effects work and more technical areas to handle. And with the pipeline and set up that we have right now for the studio it’s allowed for very easy and painless application of effects from other studios, and a good render farm always eases the pain as well! Recently I’ve completed two CG Feature films, both for US clients, as well as a small handful of music videos & a couple of TV Commercials, such as lots of crowds work and digital pyrotechnics. Currently I’m putting together a large count of effects shots for a Citroen commercial for a very well known director. Although a majority of the work that comes through Catastrophic/myself is game cinematic work, so lots of Xbox 360 and Playstation 3 pre rendered cinematics right now for a lot of different studios. And now with E3 in a little over a month away I’m plowing away on some very big title game cinematics during the pre e3 crunch! All of which look to be very very cool!
To become a successful FX guy, do you find it necessary that you have knowledge of physics terms. If not, then which concepts must be clear?
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Issue 03 April 2006
interview
AN INTERVIEW WITH Allan Mckay Really FX and most areas of this industry benefit from being both technical as well as a creative artist. I wouldn’t have survived to this day if I were just a programmer or just an artist, so the real secret is bridging both of those strengths together to make yourself into an efficient as possible Technical Director. I tend to learn as much as I can on every subject I can, and keep myself thinking as both an artist, compositor and producer when tackling projects – as this keeps me thinking creatively as to what the client or director might want, and making sure I deliver it to the compositor in the most flexible and efficient manor so they can make the most out of every piece of work you output – and as a producer making sure everything is done as efficiently and cost effectively as possible ;) and lastly of course with as much technical knowledge as possible allows for either building tools or efficient scripts/expressions to get effects to not only work, but be easily changeable and replicatable now and on future projects. Have you found that people in the industry commonly say…Max is for games and Maya is for movies. How much you think this is true. And if anyone is really good in max particles then that cant fit in the production house which uses only Maya? Max and maya’s particles are verrry different. The initial concept of both were very linear, and a couple of years ago Maya’s particles had max’s beat hands down. Now with Particle Flow – and Particle Flow Tools, both which I’ve devoted as much time as I can to bettering them in whatever ways possible – they’ve really pushed max’s abilities, and it definitely makes Maya’s particles show their age. However of course Maya has a much more efficient and faster scripting language for building expressions for particles, and of course the intergration of Fluids – so both have their strengths. I believe Max can handle effects work much faster on it’s initial stages, however you’ll get much more complexity out of scripting in Maya if you are up to the workload. Houdini on the other hand is probably a lot more similar to max’s way of thinking with particles, however is far more complex and powerful for this type of work. Either way with any application, getting to know the app isn’t too hard, and jumping between them isn’t unheard of.
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Issue 03 April 2006
interview
AN INTERVIEW WITH Allan Mckay
In a Demo Reel related to only FX, companies mostly ask “it’s the computer doing all the work, show me what you have done. “ Have you every faced this problem and what do you say to those recruiters? To be honest, I guess I’ve been lucky to usually work with large studios like Blur, DD and others – so usually I’ll be a fairly intelligent supervisor to talk to during the first part of the meeting process – but I really haven’t ever come across anyone who does see it as being all the computer. I believe CGI is fairly well placed and understood in most competing industries these days, so aside from the odd disgruntled traditional animator I think most people have a fairly good understanding of what’s required and the pain endured in working in this industry! However I do get some producers who during a tight deadline – can’t understand why someone’s helicopter is taking eight or nine seconds to render a frame, and some of my 2K res smoke or fire might be taking forty or more minutes – as apparently it’s all the same thing to them. But that’s another story.
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Issue 03 April 2006
interview
AN INTERVIEW WITH Allan Mckay What are your hobbies and where do you see yourself in 5 years? I’m still in my 20’s so pretending I live the rockstar life of drinking and partying 6-12 every night is always something I try to keep up, but to be honest there isn’t really enough time in the day/week/months/years to have many hobbies other than gym, friends/gf/family and the occasional chance to sleep. I guess I could say I do get fairly dedicated to my work, but I believe it’s important to establish good grounding right now – and catastrophic is my baby. I’ve only really been getting people recently asking where I see myself in five years, and I haven’t the faintest clue. With Catastrophic exploding how it has, I hope that I can build it up to a fairly respected boutique effects place, for other post studios and agencies passing me work as they please. And to really expand on that realm, and just to work on more cool content. Outside of that just to make sure I maintain a balance of living life and work on a day to day basis. Owning my own island is always a pipe dream of course!
Would you like to give any message to CGArena E-Zine readers? If you want to get your foot in the door in the 3D Industry or you have but want to push forward, it honestly does require a lot of work and dedication – however it’s all well worth it! At the same time don’t sell yourself cheap! I occasionally walk into studios where people have told their employers they’ll
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Issue 03 April 2006
interview
AN INTERVIEW WITH Allan Mckay work for free initially to help talk their employers into hiring them, things like this really aren’t necessary. Get your skills up and get in there! Doing it all for free (working crazy hours with no remuneration) is really only ever going to benefit your employer and not you. The hours in this industry can sometimes be very harsh, so really only do those hours when they’re absolutely necessary. Otherwise you’re just getting ‘the man’s’ wallet fat and an early heart attack for yourself. Work to live, not live to work. And try and be as humble as possible, it’s very easy to get a bit of an ego in this industry (geez I’ve worked with some crazy characters) and in the end everyone is working as a team. It’s much better to encourage everyone than to discourage them and talk yourself up. We’re all in it as a team. Thanks a lot Allan for taking out sometime for us from your busy schedule. Thank you, always glad to help!
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Issue 03 April 2006
challenge CGArena is proud to present “Ruins” Challenge (3D Challenge), 21 April - 20 May 2006, sponsored by Vertus and Duber Studio. We want different ideas and approaches in a more creative way.
Your Mission Create an image which shows Ruins. This Challenge is a Work-In-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. 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. Submit your work in progress images in forum on a regular basis. 3. Participate in the community by critiquing other challengers works in the respective forums. 4. Submit your final entry till 20th May 2006. 5. There will be 3 winners in this 3D Challenge and CGArena, Sponsers and Judges decision will be final. Note: You are required to submit work in progress images, obtain feedback and give feedback to other challengers in the WIP challenge.
First Prize Vertus Fluid Mask 2.0 - $199USD
The Fluid Mask is a highly advanced software tool designed to make life easier for everyone who creates cut outs. Built as a plug-in to Adobe Photoshop, Fluid Mask is the new next-generation cutout tool. Behind the product is breakthrough technology that mimics the way the eye, optic-nerve and brain perform visual processing. It offers an intuitive, accurate and fast approach to cut outs.
Duber Studio Training DVD (3DVD’s) - $88USD
Duber Training DVD’s by Loocas Duber, contains over 18 hours worth of tutorials covering topics such as organic modeling, pelt mapping, classic mapping, painting maps (color map, bump map, specular map, reflection map) in English and Czech language.
Second Prize Duber Studio Training DVD (2DVD’s) - $55USD
Duber Training DVD’s by Loocas Duber, covering topics such as organic modeling, pelt mapping, classic mapping, painting maps (color map, bump map, specular map, reflection map)
Third Prize Duber Studio Training DVD (1DVD) - $28USD
Duber Training DVD’s by Loocas Duber, covering topics such as organic modeling, pelt mapping, classic mapping, painting maps (color map, bump map, specular map, reflection map)
Consolation Prize (Every Qualified Entry will receive) CGArena Plant Textures CD - $30USD
A collection of high resolution 30 leaves to create plant with alpha and bump map.
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composition
F-Stops If you have experience in film and photography, you should certainly know about aperture. Simply put, the aperture is an opening, generally a circular hole or similar shape, within a camera lens that control the amount of light coming into camera and onto the film or computer chip. The aperture is controlled by f-stops. The “f ” refers to the focal length of the lens divided by the aperture. f/stops are a bit more confusing because the numbers appear so arbitrary. This is the standard sequence of f/stops from f/1.4 to f/22. Although it doesn’t seem intuitive at first, in this sequence the f/1.4 setting lets in the most light while the f/22 setting lets in the least. Also, each of these f/stops has precisely the same halving/doubling relationship as the shutter speed sequence. 1.4 2.0 2.8 4 5.6 8 11 16 22 On the face of it, going from f/4 to f/5.6 doesn’t sound like halving the amount of light. What’s more, 5.6 is a larger number and sounds like it ought to be more light, not less. Neither does f/4 to f/2.8 sound like doubling the amount of light. # Low f-stop, more light (larger lens opening) # High f-stop, less light (smaller lens opening) So when do you allow more or less light into the camera and why? And how does the f-stop play a role? A basic understanding of photographic principles can help you assess your 3d situation in terms of both lighting and depth of field. You should understand it and use it.
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composition
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photoshop
Selecting and Changing Colors
BEFORE
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photoshop Another Example
The Colour Range command provides a similar function to the Magic Wand tool in that it enables you to generate selections based upon ranges of colour within your images. It’s the ideal tool for altering the colour of a specific portion of your image while leaving other areas untouched, like changing hair colour without affecting skin colour or background colour but image must contain a reasonable amount of colour differentiation for Colour Range to work effectively. So here we will use a basic method of chaging colors. Step One Use the Lasso Tool or Magnetic Lasso Tool to draw a selection around the girl’s top and on lips.
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photoshop Step Two
Step Five
Tweak the selection in Quick Mask mode by pressing “Q”.
Create Layer > New Adjustment Layer > Hue/Saturation... and Press Ok in the dialog Box
Final Step Select the checkbox “Colorize” and Voila...you successfully changes the color. Move the sliders if required. But in the case of Black color you have to adjust the brightness first to take it off the true black and then move other sliders, because there is no value in black. Step Three When tweaking of selection is over then move out the Quick Mask mode by pressing “Q” again. Step Four Select your desired color as Foreground Color.
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photoshop
Three easy Steps to...
Before
Dancing on Glass! 1) Open your image of Apple. Pick the Magic Wand tool. Click anywhere in the white area of the image and delete the area. Make thee duplicate copy of the apple layer Layer > Duplicate Layer
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2) We need to create some space to accommodate the reflection. Select Image > Canvas Size and enter an amount roughly double that of the current height. Click the top center square in the anchor grid.
After 3) Make the lower layer active by clicking its thumbnail in the Layers Palette. Select Edit > Transform > Flip. From the move tool position it so there is a slight overlap at the bottom. Create Layer > Layer Mask > Reveal All. Fade the reflection, select the Gradient Tool, set its option to Linear Gradient. Holding down shift, click the top of the apple and drag the tool’s guide to the bottom. Apply little Gaussian Blur to soften the reflection.
Issue 03 April 2006
3D Objects, Textures, E-books, Free digital Art Magazines, you will always find a way to be inspired in the : IT’S ART STORE
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after effects
Shatter Step One Create New Composition, size = 640 x 427, Frame Rate = 25fps or 30fps, Duration = 10 sec, name = final.
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after effects Step Two Create another new composition with same parameters and named Ramp. Create Layer > New Solid and Apply Effect > Render > Ramp
Step Three Create New Composition, size = 640 x 427, Frame Rate = 25fps or 30fps, Duration = 10 sec. Drag the image in the composition. If you want then also desaturate the image. Step Four Drag the above two compositions in the first created composition “Final” and hide the visibility of Ramp layer.
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after effects Final Step Apply Effect > Simulation > Shatter and change the following settings. This tutorial gives you the basic idea and as you know effects are endless. You can duplicate the image and apply mask/feather on image if the edge is sharp and can also used as a transition between scenes too. Dont forget to render with motion blur.
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3ds max
UV Mapping -The Easy Way
In this tutorial, I will demonstrate how simple and precise UVmapping can be using DEEPUV. I will try to simplify the steps of UV mapping as much as I can so that beginning users can benefit from this tutorial too. I will demonstrate all the steps on the hand I’v just recently modeled for my site. if you wanna have a go on a more complicated model (like a whole person), I suggest you scroll down and read the last step first. Lets first begin with ‘what is UV mapping’? UV mapping, is the process that takes your 3D model and “unwraps” it so that you can paint over it with a 2D program. Before You start, the things you always need to keep in mind while UVmapping your models are as follows: OVERLAPS - Overlap means the UV surface goes “ontop” of itself. Usually, you will want to have zero overlaps by the end of the process so that you can paint your texture over the entire surface of the model seperately. STRETCHES - Streches happen when you map a certain part bigger or smaller than it’s relative size. To avoid having streches, it is allways recommended to work with a checkers map on your model and make sure the checkers stay square. SEAMS - Seams are where your choose to “cut” your 3d model so that it can be unwrapped into 2d. You will always wanna have as few seams as possible in your end result because it will make it easier for you to texture your model.
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3ds max Getting the model to DeepUV The first step will be to take the model you want to map into DeepUV. Basicly, the program comes with plugins that will directly export your model from your 3d program (Max,Maya,Xsi and lightwave) to DUV and back, but sometimes it doesn’t work. When direct exporting doesnt work, you will have to export the model yourself. After some research, I’ve discovered that .OBJ is the best format to keep your model’s geometry unchanged. When you export your model, make sure you keep the faces as polygons. I’d also recommend you check the exported model yourself, to make sure the geometry didn’t change. Note that in DUV, you can always save your progress into an .OBJ file.
Getting Started OK, so you’ve got your model into DUV. lets first make some settings so we can see the stretches later on: Rightclick on the right viewport, wireframe/ uncheck the “show wireframe” and also check “material override” and uncheck “texture smoothing”. Now you are set to begin. The first step you need to take is to apply a plannar map to the model: Click “select / all” and then try “plannar 1” or “plannar 2”, one of them ususally finds the perfect planar map to start with, but if you wanna do it yourself, open the “Interactive” tab and use the interactive plane.
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Issue 03 April 2006
3ds max Getting rid of the overlaps and seams Unless you have an open mesh, you will always get overlaps from starting with plannar mapping. To get rid of the overlaps, we will use one of the more powerfull tools of DUV - “LIFT”. Lift will take all of the backfacing (the overlapping UV’s), flip them and place them to the right of the UV’s. Before you use it, make sure you rotate your UV’s using the “free transform” tools (under edit), so that you can determine where you want to place the seam you will get rid of (which will always be the right side of your UV’s, before clicking Lift). By now, you allready got something that is good enough to texture, but why stop here if we can get rid of more seams and have better results? The next step would be to select the “shared UV points” and “Join” them to get rid of more of the seams for easier texturing. I’d reccomend bringing the (show) wireframes back for this step. Using the select tool, select all the shared points on one side (i’d recommend using the zoom and pan tools here to be precise), the selected shared points will turn pink on the other side. Now select the pink points on the other side (this will require much less precision because points join only when the 2 shared sides are selected). Make sure u do not select shared points that are not between the 2 chunks because that will cause unfixable problems later on. Now hit “join” the seam is now gone be you end up with a very stretched part in the middle. It will be fixed next. Relaxing and final adjustments When you first applied the planar map and then lifted, it seemed like there are allmost no stretches but there are! Becuase anything that isnt exactly infront of the plane will have a little streching. This part will show you why DUV is such a powerfull tool. the next step will be to select all the points again, and hit “Relax”. look at the magic! you now suddenly see the checkers become
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3ds max even squares and the stretching allmost completly dissapears. Note that you got some control over how the relaxing works, and its often good to try it with different area grid values until u are satisfied with the result. By now your model should be left with very minor SEAMS, STRETCHES and OVERLAPS, and this process should have taken you less than 5 minutes! You are now 80% done, this is the part where you fix by hand local problams and cut and rejoin points according to how you plan on texturing your model. This is the part that i recommend doing back in your 3d program. Note that, DUV offers some more powerfull features such as soft selecting points and relaxing local areas. UV snapshot and texturing Thats it. you are done! Now it’s time for the much more fun part of texturing your model. But how can you tell which part of your texture goes to which part on the model ? For this you need to take a UV snapshot. I’d recommend making the wires white and the backround black, that way you can always use it as the top layer in photoshop (or any other 2d prog)
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3ds max with Screen blending mode. for MAX users, i also recommend a freeware plugin called TEXPORTER. It can take a uv snapshot in a more graphical way which sometimes can help when painting your texture. Thats it! in this tutorial I’ve demonstrated how simple and fast UVmapping can be. You might say: “Of course its easy! you just mapped a hand ... not a complex model”. Mapping a complex model requires one more step before starting and its to break your model into several parts. This process is a bit different in every 3D program so i won’t go into details. But just note that this is the step that let you determine where the seams will be. After this process, you will need to map each part seperately pretty much the same way as explained above. I hope this tutorial was helpfull for you. Author - Ziv Qual, Israel Email - ziv@zivcg.com Web- http://www.zivcg.com
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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
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gallery
Somewhere Near the Docks Julio Cid | JAKC, Spain jakcdesign@gmail.com 3dsmax, Photoshop, Brazil Page 32
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gallery
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gallery Backside Julio Cid | JAKC, Spain jakcdesign@gmail.com 3dsmax 6, Photoshop, Brazil
Druid Mistle, Czech Republic mistle3d@mistle3d.com 3dsmax 7, Maxwell render
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gallery
Liebana Alejandro Ruano, Spain drakexxi@gmail.com 3dsmax, VRay
Robot Luis Ramos, Brazil luishrs@gmail.com 3dsmax, VRay, Photoshop
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gallery
Dream Way Michal Kotek, Czech mkotek@allworld.cz 3ds Max, Photoshop
Elivion Antje Darling, USA antje@antjesgraphics.com Poser 5 , Photoshop CS Page 36
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gallery
Babylon Ziv Qual, Israel ziv@zivcg.com 3ds Max , Mental Ray, Photoshop Page 37
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gallery
CasadelaPlaya Paco Morales, Mexico paco_morales01@yahoo.com 3dsmax, Vray, Photoshop
The Last One & Gone Paco Morales, Mexico paco_morales01@yahoo.com 3dsmax, Vray, Photoshop
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gallery
Carnicero Pablo, Spain b_lon_81@hotmail.com Maya, mentalray, Photoshop, Zbrush
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submission
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