feb07_E

VOLUME 2, ISSUE 2 FEBRUARY 2007

CGArena

Get Attention in Computer Graphics Community

GALLERY

Showcase of latest 3d inspiring art

PHOTOSHOP

Getting the most out of your RAM

AFTER EFFECTS Fire in the Eyes

INTERVIEW John Kearney

3DSMAX

The Age of Numeron

Punishment 3D Challenge

contents

05 Interview

12 3d Challenge

16 Photoshop

20 After Effects

25 3ds Max

33 Gallery

John Kearney

Getting the most out of your RAM

Making of the Age of Numeron

Punishment

Fire in the Eyes

Showcase of latest 3d art

Magazine Designed & Edited: Ashish Rastogi Magazine Cover Image: Ivan Ulicny Challenge Sponsors: Wacom, Realviz, Duber Studio, 3d.sk, Environment-textures.com, ambientLight, Hyperfocal Design and Its Art Magazine

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industry news Now Dhoom 2 Videogame FXLabs Studios, a leading provider of game development and outsourcing services, announced that it has signed an exclusive agreement with Yashraj Film Studios to develop a PC game based on the popular action thriller Dhoom 2. An industry first for Bollywood, this game will boast of international “AAA” production quality, and will set the standards for all Indian-Cinema based games in the future.

Under the working title “Dhoom 2”, FXLabs has begun development of the game and expect to complete it by the end of 2007. This game will reach out to all audiences who are avid Dhoom 2 fans as it is the natural extension of the sequel in the virtual screen.

The game will feature likeness of characters from Dhoom 2, including Mr. A (Aryan) Jai, Sunehri, Ali and Shonali and many more. Each character will be faithfully recreated in full 3D and will be brought to life by the FXLabs team of talented programmers, artists, and animators.

Toy Story 3 for 2009 Disney has announced that Pixar will release Toy Story 3 in 2009. And the Oscar nominated screenwriter behind Little Miss Sunshine is hard at work on the story. But Toy Story and Pixar mastermind and all-around animation god John Lasseter won’t be directing.

Lasseter and Disney Animation president Ed Catmull revealed the news at investor conference.

Lee Unkrich, who has been co-director on Toy Story 2, Monsters Inc, and Finding Nemo, will step up to helm the third film in the series. Lasseter is probably too busy in his new post as chief creative officer of Disney Animation to work on the latest effort.

Michael Arndt, the Academy Award nominated scribe of Little Miss Sunshine, is working on the screenplay.

source: www.cgarena.com

source: www.slashfilm.com

Buzzword of the Month Deep Focus - Deep focus is a photographic and cinemato-

graphic technique incorporating a large depth-of-field. Depthof-field is the front-to-back range of focus in an image — that is, how much of it appears sharp and clear.

In simple words, Deep focus involves the expansion of a camera’s depth of field, so that objects in the extreme foreground and distant background appear equally sharp. The ability to achieve deep focus did not occur until new film stock, lighting equipment, camera lens and camera lens coatings become available in the late 1930s. The opposite of deep focus is shallow focus, in which only one plane of the image is in focus.

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Plus, join in our interactive forums to showcase your work, and get attention in the computer graphics community

Email: contact@cgarena.com

interview

AN INTERVIEW WITH John Kearney Q. Hi could you tell us a bit about yourself and your background in CG and are you self taught or taken some training?

I’m a 28 year old English artist with over 10 years experience, most of which have been as a 3D artist in the games industry. I’m self-taught for the most part, I entered the industry at the age of 18 and it was the perfect baptism of fire. I learnt all about deadlines and pressure early on, and I feel the experience benefited me greatly.

Q. 3D or 2D which you like the most and there are very few artists which are good in 3D and 2D both, what is the secret behind this?

Ah, this is tough, if you had to push me I would probably take 2D - just about. The main reason for this is because there are fewer technical limitations. With 3D, you find that 5 years down the line, your previous 3D work tends to look a little dated, and the main reason for that is because of new technological advancements. Take skin and hair as an example (especially hair), you’re pretty much constrained by your software and hardware. With a 2D painting I’m able to just paint those elements however I like with absolutely no technical fuss or trickery, the final result is timeless. Although, I must admit, part of the charm with 3D is trying to get the best out of your software within the imposed limitations.

Q. So, you are a freelancer, can we know what the reason of leaving the seven years games industry experience and working freelance? How much happy you are with your decision?

Sure, I felt the time was right to move on and explore new things. It was a chance for me to spread my wings, move away from 3D and push my 2D ability onward. I have always enjoyed painting, but I never had the chance in a professional capacity, I was too busy being asked to model and texture all sorts of things. In fact, I don’t think any of my former colleagues

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interview

AN INTERVIEW WITH John Kearney realised I could paint. I have been very happy with my decision. It’s been a successful year for me and I’ve managed to do a lot, with the pinnacle probably being the privilege of painting the special edition covers for Future Publishing’s ImagineFX magazine.

Q. Tell something about your next-gen games development studio and what will be special in this studio comparison to others if you like to disclose?

This is a great question! I can’t mention too much for obvious reasons, but I can say that I would not contemplate the idea of setting up a new dev studio unless I had a lot of confidence in the people around me. Luckily, I’m excited to say that I will be working with the most talented of my former colleagues and for that reason more than any other I believe we will be able to compete at the highest possible level.

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interview

AN INTERVIEW WITH John Kearney Q. Your current work “The Fallen” is very unique. Where do you find the inspiration?

Thank you, The Fallen wasn’t planned, it just happened. I sat down one day, decided to sketch something and hit on a nice character pose with a decent combination of colours. I chose to take it further and gradually refined it over a period of months, doing an hour or two here and there. Things tend to evolve.

Q. What difficulties have you encountered while working with “The Fallen” image and how you overcome those obstacles? Please show some WIP images if possible?

I know it sounds bizarre but I didn’t really hit any obstacles with it, one of the few paintings where I haven’t! The only issue was one of time, I always try and paint everything if I’m working on a 2D piece, this means I avoid using textures/photographs and the like.

With that in mind, it’s an incredibly time consuming process when the resolution you’re painting at is over 3500 x 5000 pixels. It seemed to go on forever and ever!

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interview

AN INTERVIEW WITH John Kearney Q. What is your favorite canvas color when starting a painting?

I always begin with a warm/cool grey, the warm or cool sets the mood immediately. I more often than not work from dark to light, so I start with shadows, using them to help me find an exciting composition. I work as loosely as possible during the initial stages, making sure that the fundamental elements feel right. After that, I begin adding highlights and form to surfaces. From then on it’s all about how much I wish to refine it, and that varies greatly depending on personal preference and the subject matter.

Q. Which is better Adobe Photoshop or Corel Painter and why?

Haha, you’re not going to nail me down here, I love them both! They are completely different though. I find painter is more expressive, and Photoshop a little tighter for details and effects. Painter has lovely colour blending and I wish Photoshop was similar in that respect. However, I find Painter frustrating if my job requires very tight detailing. The result is that I use them both depending on the task at hand.

Q. Anything you like to add? It is your chance now to state your opinion about anything.

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interview

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interview

AN INTERVIEW WITH John Kearney Q. Would you like to give any 5 tips to the Photoshop users which like to create artwork like yours?

I shall try! Although, I hate preaching because everyone is different. Anyway, here goes: • 1. Learn your software as well as you possibly can so that the painting experience is second nature. When I’m painting in Photoshop I never once have to think about what I’m doing and that’s important when you need to remain focused on the subject matter.

• 2. Paint as much as you possibly can, practise makes perfect.

• 3. Don’t be lazy. Try and take pride in painting even the most seemingly boring of subject matters. There’s something to be learnt from every single painting that you do, and regardless of the outcome, there’s value in the process. It’s easy to slap a texture on something, but what do you really learn from doing that? Getting dirty with the mundane will improve your critical eye.

• 4. Be true to yourself, objectively judge your ability, it’s never worth telling yourself something is done or good enough when inside you know that it isn’t. Study why something isn’t quite working and do it again until you get it right. Giving up gets you nowhere!

•

5. Experiment and have fun.

Q. How would you like to see your career evolve in the next few years?

I’d love to be part of a highly talented team of artists creating cutting edge 2D/3D artwork for great games with my new studio!

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interview

AN INTERVIEW WITH John Kearney Q. Are you working on any projects currently? If so, what are they?

I always have several projects on the go, I find it helps to have different paintings to focus on. It allows you to turn your attention to something else whilst your subconscious works on the previous projects. Switching back and forth between them renews your vision and stops you becoming blind to errors. Making sure you’re able to critically assess your own work is incredibly important.

Q. Anything you like to add? It is your chance now to state your opinion about anything Yes, it’s an inside joke, but I’ll just say; Beware of the smudgers!

Thanks a lot for taking out sometime for us from your busy schedule.

Thanks!

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Website: www.brushsize.com

Issue 2 Feb 2007

challenge

Registration Closed

CGArena is proud to present “Punishment” (3D Challenge), 21 Jan 2007 - 15 Mar 2007, sponsored

by Wacom, Realviz, Hyperfocal Design, 3d.sk, Environment-Textures.com, ambientLight, Duber Studio and ITs Art Magazine. We want different ideas and approaches in a more creative way.

Image: Harshdeep Borah

Your Mission Create an image which justify the theme of Punishment in Image. 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. Last date to enter in this challenge is 15th Feb 2007 after this no registration for challenge will be allowed.

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. otherwise will be disqualified.

3. Participate in the community by critiquing other challengers works in the respective threads.

4. Not allowed to change the concept once decided and posted the sketch in the forum.

5. Submit your concept within 15 days from the date you register for this challenge.

6. Submit your final entry till 15th March 2007, midnight 00:00 GMT. 7. There will be 4 winners in this 3D Challenge and CGArena, Sponsers decision will be final.

Note: You are required to submit work in progress images, obtain feedback and give feedback to other challengers.

Final Image Size - Your final image dimensions should be print resolution. Do not send in a low-resolution.

- A guideline is minimum 1200 pixels wide and/or 1024 high, JPG, 300 DPI. - Send your final image in zip format with your complete shipping address, telephone number in a text file on email address ezine@ cgarena.com with subject “Punishment Challenge Final Image”.

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Our sky HDRIs use only the best quality digital optics for crisp, clean images - we don’t use mirror balls or distorted, low quality fisheye lenses. Due to the huge resolutions achieved, these images are amongst the only HDRIs available that can be used for background images & reflections as well as lighting. They provide maximum flexibility for your virtual camera and scene, allowing long zooms and extreme detail in reflection close-ups.

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photoshop

Getting the most out of your RAM

How much RAM does your PC have? If you run Windows XP, it is probably in the range of 512 MB to 1 GB. Older Windows versions will do the job with less than that, but as soon as you execute demanding applications or more than one application at a time, anything below 512 MB will likely translate into performance bottlenecks.

The best way to improve Photoshop performance is to make better use of your RAM. Here are several tips to show you how to try this before you buy more. No matter how much memory you have, you could always use more. Installing more RAM is generally the quickest way to better performance. But you can also speed up Photoshop by making better use of the RAM you already have. There have been a lot of times when I’m working in Photoshop and things really start to slow down. When this happens it usually means it’s time to take a look at my RAM and see how much of it is allocated to Photoshop. In this tutorial, we’ll look at how you can speed up your Photoshop performance by using your RAM more effectively.

What is RAM - Random access memory (usually known by its acronym, RAM) is a type of data storage used in computers. It takes the form of integrated circuits that allow the stored data to be accessed in any order — that is, at random and without the physical movement of the storage medium or a physical reading head. The word “random” refers to the fact that any piece of data can be returned quickly, and in a constant time, regardless of its physical location and whether or not it is related to the previous piece of data.

As you’re working in Photoshop, click on the right-facing triangle on the status bar near the bottom left of your image window, and choose Show>Efficiency from the pop-up menu. You can use this indicator to determine how Photoshop is doing with the current amount of allocated RAM. If the efficiency indicator goes below 95% then you are accessing the scratch disk which, in turn, will begin to slow Photoshop down. But if your efficiency starts to go below 70%, then you may see Photoshop’s performance increase if you change your RAM allocation or add more RAM.

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photoshop

Tip 1: Go to Preferences > Memory & Image Cache and If you’ve never made changes to this, then the Maximum Used by Photoshop setting should read 55% by default in Windows. Increase the amount of RAM in 3-5% increments to start. Click OK to close the preferences. And restart the Photoshop for viewing any performance improvements.

Don’t allocate too much RAM to Photoshop because don’t forget that your operating system still needs RAM.

Tip 2: If you increase the number of History States that Photoshop saves to large number, then you’ll really slow down your editing and image creation in Photoshop. At any rate, the decision is yours and it depends on the way you work, as well as how much RAM you have on your computer. Go to Preferences (under the Photoshop menu on a Mac, or the Edit menu on a PC) and choose General. My suggestion is that if you have at least 1 GB of RAM, then you should set the History States to 50 and Photoshop will now save 50 History States instead of only 20. If you find this slows Photoshop down too much, then try changing to something lower.

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photoshop

Tip 3: When you work on your images in Photoshop, it breaks your image into sections called tiles. By default, the maximum size of each tile is 132 KB of RAM. However, in CS2 you can increase this tile size by activating the Bigger Tiles plug-in. This means that Photoshop can process large images faster because it won’t have to draw as many tiles Go to Adobe Photoshop CS2/Plug-Ins/Adobe Photoshop Only/Extensions/Bigger Tiles folder and remove the ~ (Tilde) from the file name. Now Photoshop redraws more data at a time because each tile is larger, it will process your images faster.

Tip 4: Go to Photoshop CS2’s Plug-Ins folder, and in the File Formats folder add a tilde (~) in front of any file types that you don’t use to speed up Photoshop’s startup time.

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photoshop Tip 5: Pixel doubling is an option that lets Photoshop redraw your images faster whenever you use tools or commands to move the pixels in the image. Whenever you have an image open and you move the pixels, Photoshop must redraw the entire image. This can take some serious processing power if you’re working with a large photo from, say, an 8-megapixel camera. To speed the process up, turn on the Use Pixel Doubling checkbox in the Preferences dialog (under Display & Cursors). Photoshop will temporarily double the size of the pixels in the photo (essentially cutting the resolution of the image in half ) for a fast redraw. It doesn’t make any permanent changes to the photo and as soon as you’re done using the tool, it returns the image to its normal pixel data.

Few More General Tips: a) The Task Manager’s Performance tab, provides the best way to monitor memory use. To run the Task Manager, press Ctrl-Alt-Delete, then click on the Performance tab. With it, you can interpret the information and make better use of your memory. b) Over time, your PC’s hard disk can become damaged or fragmented. If there is not enough contiguous space for the system to save a file, it saves pieces of the file to different locations on the disk. It takes an application longer to read a fragmented file whose pieces are saved in several locations. To optimize and defragment the hard disk on a PC, use the Windows Disk Defragmenter or if like to use more professional utility then use the Diskeeper software.

- Andy Halls andyhalls123@yahoo.com

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after effects

Fire in the Eyes

In this tutorial I try to show a fire in the eyes effect which used in many movies when spirit enters in any human body or character doing anything through their eyes like in Xmen. For this project you will need a shot of men, I have used a image from the 3d.sk database. 3d.sk is the best website for any references you are looking may be human, or animals.

Step 1: Before creating composition in After Effects you have to create a flame image in Photoshop. Using the custom shape, create a ring of flames evenly spaced across the camera.

You will need two shapes to work with, so create another pattern, this time with the flames pointing inward. Save the files as PNG or TGA with alpha because you need a transparent background.

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after effects Step 2: Import all the above files in After Effects. Create a new composition that is the size of the eye image. Bring the first flame pattern into the composition and place it above the Eye layer. You will need to shrink the layer quite a bit in order for it to fit into the Iris area of the eye.

Step 3: Apply the Tint effect to the eye layer, Map the Black color to orange (255, 128, 0). Change the amount to Tint to 100% and the flames will take on the appropriate color.

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after effects Step 4: Apply the glow effect to the layer and choose the almost following settings.

Step 5: Change the transfer mode of the layer to Overlay.

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after effects Step 6: Now, let’s rotate the layer. With the Timeline Indicator at the beginning of the Timeline, create an initial keyframe for the layer by clicking on the Stopwatch Icon and another keyframe at the end of the timeline and change the rotation value to around 10.

Step 7: Add the second flame image and apply the scale, tint, and glow and animate the rotation in the opposite direction of the first flame layer.

Step 8: Duplicate the Eye layer and move it to the top of the Timeline stack. Using the Pen Tool, create a mask around the Iris of the eye. It doesn’t have to be exact and select the invert in the mask properties.

Step 9: Now, you get a fire in the eyes, for better look you can add a glow or Trapcode shine on the adjustment layer.

Hope you like this tutorial.

- Abhishek Arya aabhi.arya@rediffmail.com

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3ds max

Making of The Age of Numeron By- Ivan ULicny, Slovakia Email: iulicny@gmail.com

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3ds max Hi, My name is Ivan Uličný (shinnok on internet) and I’m pleased, I can introduce you through this article my latest image – The Age of Numeron.

Just for specification, Numeron was kingdom described by Tolkien in his books. So inspiration by Lord of the Rings is quite clear here. I started this project without any sketches. I wanted to let free flow to it. For renderer I chose Mental Ray, which is the renderer of my choice. I downloaded couple of references of Minas Thirith from LOTR film to get more accurate vision about the architecture, which used Peter Jackson in his film.

At the beginning, I started with creation of tower. Next were cliffs, ships, dock and finally additional details like houses, trees, wooden cranes and scaffolds, statues etc. On these pictures you can see, that every object is mapped and textured.

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3ds max Most of the materials are Raytrace materials. For textures I used Photoshop. I started mostly from photos downloaded from internet, I used texture database webpages.

For water material I used raytrace material too, where I used diffuse and bump map created in Photoshop from photos of water. Reflections, Refractions and depth I made through the use of falloff maps.

Material examples:

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3ds max Every material has diffuse, bump and specular map.

Examples:

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3ds max For the inbark on the rocks (trees) I used combination of different kinds of simple models and simple planes on which I mapped only textures with opacity maps. On the foreground I put “3d“ trees and on the background trees made of planes as a coulisse.

Because I wanted to keep unification of flora, I used rendered 3D models of trees with alpha maps as the previously mentioned coulisses.

Here are the examples:

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3ds max Lightning consist of just two lights: 1. MR area spot light, 2. skylight. I gave yellow color and big multiplier to main direct light. To skylight I gave purple-blue color and I let multiplier on default value 1. Because I used raytrace shadows and I wanted to create effect of bluring them into distance, I had to also change area light parameters on much higher values then were defaults.

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3ds max After finishing all the work in 3d studio and making of final render I started with postproduction in Photoshop. It was quite difficult, because I let color tuning on the end. I also added fog, sky, waterfall and some small details. Hope you like this small making. Some pictures on the end:

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gallery

Sunrise at Viperon Strudon III Martin Kocisek, Slovakia martin.kocisek@post.sk 3ds Max, Photoshop

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gallery

Obsolete Pawel Hynek, Poland hynol@op.pl 3ds Max Page 34

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gallery

The Wonder Years Pedro Conti, Brazil pedro_conti@hotmail.com 3ds Max, Vray, Photoshop Page 35

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gallery

The Sunflower Mountain Tjerk Otten, The Netherlands capoeira99@hotmail.com 3ds Max, Photoshop

Room Javier Borrego Camparia, Spain 3djavier@gmail.com 3ds Max, Vray, Photoshop Page 36

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gallery

Michal Konwicki, Poland mkonwicki@gmail.com 3ds Max, Vray, Photoshop

Imagine Daniel Thul, Uruguay pixelarq@pixelarq.com Blender, Indigo

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gallery Blind Queen Yannick SALA, France le.nicso@gmail.com 3ds max

Passion Andre Kutscherauer, Germany info@ak3d.de 3ds max, Rhino, Mental Ray

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gallery

Kitchen Nguyen Manh Hung, Vietnam trangbin@hotmail.com 3ds Max, Vray

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Big FM AlexanderDokukin, Brlarus dokukin@inbox.ru 3ds Max, Vray

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gallery

Hero Michal Kotek, Czech info@michalkotek.com 3ds max, Photoshop

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submission

How to send in your images...

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