CGArena
ISSUE 05 JUNE 2006
Get Attention in Computer Graphics Community
GALLERY
Showcase of latest inspiring art
PHOTOSHOP
Creating a Spiderweb
AFTER EFFECTS
Use of Displacement Map
COMPOSITION Fill the Frame
INTERVIEW Loocas Duber
3DSMAX
Making a 3d Virtual Beer
MATCHMOVING
What is Matchmoving?
3D CHALLENGE Love
contents
05 Interview
12 3d Challenge
18 Composition
20 Photoshop
24 Matchmoving
26 After Effects
Loocas Duber
Love
Creating a Spiderweb
Fill the Frame
What is matchmoving?
Use of Displacement Map
32 3ds Max
Making a 3d Virtual Beer (Part 1)
44 Gallery
Showcase of latest inspiring art
Magazine Designed, Written & Edited: Ashish Rastogi, India Magazine Cover Image: Nick Zolotarev, Russia Challenge Sponsors: Vertus, Duber Studio, Corel, Realviz, Daz3D Source Videos provided by Artbeats
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Issue 05 June 2006
industry news Forget the Glasses 3d monitors ready now Several display companies are concocting, and in some cases already selling, monitors and other components that provide a simulated 3D viewing experience. Many of these new products don’t require glasses. Stand in front of a Philips 3D monitor, and animated characters throw rose petals or dice at you; the first time you see it, you startle and jolt upward slightly. The Dutch electronics giant has tested the technology in the labs with consumers and noted that a person’s galvanic skin response--a change in the skin’s ability to conduct electricity, caused by an emotional stimulus, such as fright--rises with 3D viewing. While Philips currently sells monitors with its WOWxv technology only to resorts and malls for public information kiosks, it hopes to bring out 3D TVs in about two years.
ILM parts with prod’n unit Lucasfilm in talks to put up sale sign Seeking to shed the last vestiges of its origins as a models-andminiatures special effects house, Lucasfilm’s Industrial Light & Magic is in talks to sell its physical production unit. Purchaser is Mark Anderson, a model maker who has worked at ILM for more than 15 years. Unit will be remonikered Kerner Optical, for its location in ILM’s former digs on Kerner Avenue in San Rafael, Calif., and will focus on all physical production, including models, miniatures and stage work. Once spun off, Kerner Optical will aim to pick up the slack by seeking work that ILM would not get. Kerner will become a preferred subcontractor for ILM.
Source: www.msn.com
Source: www.variety.com
Buzzword of the Month Foam Latex - Foam latex is a material used to make models, creatures, makeup
appliances, and many other effects related objects. A type of rubber, foam latex is poured into molds and then baked, whereupon it become a solid that is lightweight and flexible yet still remains its shape. This is used throughout the special effects industry for make-up effects, prosthetics, costumes, and animatronic creatures etc. To create a body suit or face mask of the character, makeup artist first made a plaster of paris body cast of the actor. The cast was then painted inside with liquid latex over which was poured a liquid foam latex solution. The cast was then baked for 5-10 hours in an oven created specifically for the movie’s makeup work.Once this basic foam latex suit was finished, it was enhanced.
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Issue 05 June 2006
Get 2500 $ of award-winning plugins for
interview
AN INTERVIEW WITH Loocas Duber Hi could you tell us a bit about yourself? Hi there, my name is Loocas Duber, I’m 22 and a digital content creator living in Prague, the Czech Republic. I love CG, my girlfriend, my friends, gym and good food :)
How long have you been in CG and what is your current job? Well, counting freelancing, I’ve been doing this professionally since early 2003, only in Sydney, where I lived for about 2 years did I get to actually work on site at some really cool places. Currently, I do provide a wide range of services to my clients around the world as a digital content creator, basically, doing what others want me to do! :)
Tell me something about Duber Studio? Yeah, duber studio is nothing more or less than a virtual workshop I established where I provide high quality training, reference and R&D materials, as well as where I show off my personal and/or professional work. So, you could call duber studio a brand name if you will, it’s just a mark under which I present myself on the internet.
Of all of your artwork, which piece is your personal favorite and why? Hmm... You see this is quite a tricky ques-
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interview
AN INTERVIEW WITH Loocas Duber tion, since all of my personal works are different in one way or another. Obviously, the latest stuff is always more preferred by me as these embrace the most recent skills and techniques of mine. However, as I said, I always try to explore new ways of working or new techniques, learn along etc... While working on my personal artworks, because when the time comes and you have to do that for a client there won’t be any time for exploring or experimenting, you will have to be confident, fast and effective, so, my personal works are some sort of R&D in advance to teach myself and try different things.
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Issue 05 June 2006
interview
AN INTERVIEW WITH Loocas Duber What software program(s) do you use for your CG and why? My main 3d platform is 3ds Max beefed up with loads of plug-ins and additional scripts and add-ons, then Photoshop, obviously, ZBrush, Modo, combustion, digital-fusion, sometimes illustrator and rarely even some special software, like Real Flow, 2d3 Boujou etc. And why? Because I chose these at the very beginning and to this date I reckon I’ve mastered Max and PS for the kind of work I do. ;) But there are always other packages that I might try in the future, just to broaden my expertise and experience.
What’s the most useful thing you have learnt in 3d? Uff, honestly? I have no idea :) Well, since I’m more of a generalist and technical guy, I think it might be that, regarding 3ds Max, I’ve learnt this package from A to Z and mastered various disciplines in it, mainly the technical ones, which is, in my opinion, extremely important, because then and only then you are no longer being constrained by the software you’re using, which would be totally wrong! And you’re free to do whatever you or your clients want to! Aside from that, there are things that you’re simply gifted with, like talent or artistic bias for example. I think I lack some of these so I have to compensate for them by my technical abilities and knowledge. To put it simple and make a point, I certainly wouldn’t be able to design a new type of a sports car, but without any problems, I’m able to re-create it in 3d to the last detail.
What have been your major influences over the years? For my personal CG work, the major influence would be various VFX and CG masters, but I’m also very much into concept artwork (which I can’t do myself unfortunately), so, all these are my huge inspiration and driving force. Also,
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interview
AN INTERVIEW WITH Loocas Duber trying to be better, smarter, faster, and more skilled than anybody else drives me towards my ultimate goals enormously! :-)
Are you working on any projects currently? If so, what are they? Yes, I always work on something, being it a new personal piece, researching new areas, educating myself or working on a commissioned project. Currently, I’m working on a new personal still (you can see some WIP renders around here), also trying to get a new video tutorial out, I’m also finishing my beta showreel that I want to bring along on this year’s Siggraph, it won’t contain all the stuff I’d want to show off unfortunately, but at least I’ll have something in my hands while doing the interviews :-) other than that I have a few commercial projects lined up, some commercial animations, some highres modeling and even some animating for in-game characters, but that won’t happen sooner than August this year.
What are your hobbies and please describe your free time, if you have any? Since I do freelance, so when not working on a commissioned project, I can manage my time the way I want. Basically, I like to go to gym, I like hanging out with my friends, cursing over politics and having fun :D, I also try to dedicate a lot of time to my girlfriend. I’d say, my spare time is pretty much the same as anybody else’s. It’s very important to rest mentally after 100hrs spent in front of a monitor! : 0)
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interview
AN INTERVIEW WITH Loocas Duber What is one piece of advice you would give to any artist looking to get into 3D? Don’t “look” to get into 3d, just get in there! Everybody says that it takes a lot of dedication and hard work, yes, it does, but if you love CG and have no doubts about yourself doing this, then I don’t see any problems getting out there and showing us what’s in you! Another advice would be to be friendly, easy going, easily approachable, kind and mainly down to earth with your ego on interviews or to your colleagues, it’ll pay off! You won’t be for a jackass and more likely to be picked up by somebody hiring for their next big project.
How do you rate CGArena and like to give any message to our readers? I think CGArena rocks! :) Yeah, it’s updated regularly, it has better and better stories (I enjoyed the previous interviews very much!), tutorials on the forums, it simply grows pretty fast, so, this is a great community overall! That’s also why I sponsor the challenges here with my training DVDs! ;) Anything you like to add? It is your chance now to state your opinion about anything Be cool, be smart and be THERE! ;) Thanks a lot Loocas for taking out sometime for us from your busy schedule. No, thank you for giving me this opportunity! All the best!
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Issue 05 June 2006
AN INTERVIEW WITH Allan Mckay
challenge CGArena is proud to present “Love” Challenge (3D Challenge), 22 June - 21 July 2006, sponsored by Corel, Vertus, Realviz, Daz3d and Duber Studio. We want different ideas and approaches in a more creative way.
Your Mission Create an image which shows Love. 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 21st July 2006, midnight 12:00 GMT. 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.
Final Image Size - Your final image dimensions should be print resolution. Do not send in a low-resolution placeholder and ask us to get back to you, as we won’t. - A guideline is 1200 pixels wide and/or 1024 high, JPG, 300 DPI. - Send your final image with your complete shipping address and telephone number on email address ezine@cgarena.com
First Prize Realviz VTour - $580 USD
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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.
challenge Second 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 cut-out 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 (2DVD’s) - $59USD
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.
Third Prize * * DAZ Hexagon 2.1 - $149USD DAZ Hexagon 2.1 delivers all the tools a graphic artist needs to create complete, detailed, textured 3D models ready to be rendered. In addition to the extensive range of modeling features provided in its original release, Hexagon 2 now offers Freehand modeling brushes, microdisplacement modeling tools, comprehensive UV-mapping module with UVunfold, advanced 3D paint, and instant Ambient Occlusion, just to name a few.
Duber Studio Training DVD (1 DVD) - $30USD
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. All titles marked with this sign ( * * ) available as downloadable from the sponser website.
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composition
Fill the Frame It’s often said that if you can’t make something good, make it big. By filling the frame with your subject there’s no mistaking your centre of interest – although good compositional techniques, such as placing a key feature on a point of power, still apply. If you’re finding it hard to get inspired by a scene, big, bold, confi dent framing is a great starting point to getting you fi red up. Get in close – then get in closer still… Make use of clothing and props to help your subject ‘flesh out’ the image. Leave a hint of background to give the impression that they’re almost too big for the frame. If you can’t get in close, expand the presence of your subject in the frame using reflections or shadows. In real photgraphy crop tool will be the best friend. Because after taken a pleasing shot, only to discover on closer scrutiny later that you’ve snipped off a part of your main subject, or an ugly piece of background’s sneaked in on the edge of the frame. It’s far better to crop for a tighter shot altogether. Don’t spend precious hours trying to rebuild it in Photoshop – just go for a closer, more dynamic crop.
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composition
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photoshop
Creating a Spider Web
What is Spiderweb - A spider web, spiderweb, spider’s web or cobweb (from the obsolete word “coppe”, meaning “spider”) is a device built by a spider out of proteinaceous spider silk extruded from its spinnerets. The most familiar spider webs are those used for catching flying insects, but some are used to ensnare small vertebrates, and others only provide shelter. Webs typically contain multiple types of strands, including sticky and non-sticky ones. ...
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photoshop Step One Create a new file around 1280 x 1024 and 72dpi Step Two Fill the background with black color and create a small diamond in the middle of the canvas using the brush tool with a 3 pixel white brush, you can also use middle and vertical guide lines to draw the diamond in the middle. To create a straight line, click hold down shift and click Step Three Create 8 spokes coming out from the diamond and then create a frame linking all the spokes. Spiders webs are of different kinds so don’t worry about the shape.
Step Four Now create the smoke between the existing spokes and create a loose spiral starting from the center and stopping at the frame
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photoshop Step Five Apply Filter > Blur > Gaussian Blur and select radius to 5 pixels. Step Six Apply Filter > Noise > Median and select radius to 3 pixels. Step Seven Select Image > Adjustment > Levels or press Ctrl + L Adjust the levels of the image like below.
Step Eight Remove the black background by selecting through magic wand or Ctrl click the channels in the channels dialog box (Inverse the selection and press delete) Final Step Select the image and apply the Filter > Texture > Craquelure and set it to crack spacing 15, crack depth 5 and crack brightness 5. Now select Layer > Layer style > Bevel and Emboss set the depth and the softness according to your choice.
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matchmoving Source Video: Artbeats
What is Matchmoving? Matchmoving or Camera Tracking refers to the process of matching the position and angle of CGI to real footage shot with a film or video camera. This process can be accomplished manually on a frame by frame basis. More common is the use of automated matchmoving software based on computer vision techniques that can extract camera position and rotation values over time from a frame sequence of digitized footage with minimal user intervention. When the visual effects studio receives the digitized sequence (known as a plate),they decide that they will need an animator to animate the creature and a technical director (TD) to do the glass-shattering effect. And, of course, they’ll need a matchmover to matchmove the plate. The visual effects artists’ goals are to make their 3D elements look as realistic as the scene that was filmed. The animator will need to make the creature move as though it were really crashing through a window, and the TD will need to make the window shatter like a real window. The matchmover needs to figure out where the camera was and how it was moving when the scene was filmed. Matchmovers play an important role in this case, because in order for the creature and window to appear matched realistically with the scene, they need to make sure that the CG objects are “filmed” the same way with their CG camera as the real set was filmed with the real camera. No discussion of matchmoving would be complete without discussing some important terms. For matchmovers, it is important to understand the following terms.
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matchmoving Parallex: In simple terms means “Depth”. If we look at an object from two separate points in space then we are able to perceive information about its depth. If we look at the object from a single, fixed point in space then we will not get any depth information. If we move our viewpoint sideways then the parallax effect will provide us with a sense of where the object is in relation to its environment. Film Back: A more generic term for film gate or aperture. Film back is often used to describe the aperture settings in a 3D animation program. Calibration: The process of computing the camera’s position, rotation, and internal parameters. Aspect Ratio: An aspect ratio simply described the shape of the viewing screen by defining the relationship between a frame’s width and height. The typical aspect ratio for television and video is 4:3, which is also called 1.33:1 in cinematic circles. Nodal Pan: Nodal pan shots are pure rotation and so they contain no parallax. Foreground objects do not appear to move relative to background objects and so there is no way of knowing the positions of these objects in 3D space. Dolly Shot: A dolly shot is a very natural shot where the camera moves horizontally across a scene. For example, stand up and take a look at something across the room. Now walk, but stay focused on that item; this is how a dolly shot looks. Tilt Shot: A tilt follows a action vertically, like an up-and-down pan. Some popular matchmoving or camera tracking softwares are: 1. 2d3 Boujou - $10000 2. Realiviz Matchmover - $3900 3. Andersson Synth Eyes - $399 4. Digilab Voodoo - Free 5. 3d Equlalizer - Unknown From next issue we will try to understand Boujou interface and start tracking the shots in the upcoming issues.
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after effects Source Video: Artbeats
Use of Displacement Map Click on image to play the video The Displacement Map effect distorts a layer by displacing pixels horizontally and vertically based on the color values of pixels in a second layer, called the displacement map. The type of distortion created by the Displacement Map effect can vary greatly, depending on the displacement map and options you select. Step 1: Create a new composition and import your video clip. Place the clip in the timeline. Step 2: Create the text by using After effects text tool. Now create an open mask shape to trace the bodybuilders body. This mask was added to the text layer and not on the bodybuilder body. Now tweak the mask according to the body builder body.
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after effects Step 3: Set the Path Options > Path popup to Mask1. By default text sits on the top of the path, if you want to center the text on the path then click the Animate arrow and the Anchor Point Property.
Step 4: To move the text over the path, enable the keyframing of Path Options > First Margin at time 00:00 and text keyframe at the end of the file.
Step 5: Now we have to create a displacement map for this project. Create new composition, and drag the animation file on the timeline. Apply Calculations Filter and select the Input level which have best contrast. We selected Red channel in this case.
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after effects
Step 6: Later, we can also maximize the contrast by applying Effect > Adjust > Levels and adjust the Input White and black point.
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after effects Step 7: Now drag all the layers in one composition. Layer 1 is text layer, Layer 2 is bodybuilding animation layer and Layer 3 is displacement layer. Turned off the view of this layer.
Final Step: Apply the Effect > Distort > Displacement Map (available on professional edition) on the text layer and change the displacement map layer to your displace layer. You can play with the horizontal and vertical displacement settings.
Change the blending mode of the text layer to Overlay. Benefit of this is, where image is black the text will automatically disappears or say hidden. Enable the motion blur and render the scene.
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your mission In April, your mission was to create a image on “Ruins” theme and sponsored by Vertus, Duber Studio and CGArena. These are the winning images... ...........................................................................................................................
First Winner
Marco Delgado, Spain webmaster@pixeltale.com
Second Winner
Tomer mor yosef, Israel tommy8@bezeqint.net
Third Winner
Raul Fabian, Romania raulfabi@yahoo.com
Fourth Winner
Moise Hammouda, France hypnotik@wanadoo.fr
3ds max
Making a 3D virtual Beer (Part 1) By Paco Morales, Mexico paco_morales01@yahoo.com
We devided this tutorial in 2 parts and we will cover the following topics in this issue... Modeling the Bottle Modeling the Bottlecap Modeling the Label Modeling the Lemon and cover the below topics in the next issue... Modeling the Salt Shaker Modeling the Waterdrops Texturing Lighting and Rendering
There is more to building a convincing beer than just revolving a spline. It is the small details that bring credibility to your renders, and this tutorial aims to give you a step by step guide to do just that. While specific to 3dstudio max, most of the techniques can be applied to most other 3d apps.
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3ds max Modeling the Bottle Step 1: First, we do the shape of the bottle and the liquid (Beer) with (splines). We can take the left side drawn image as a reference. The shapes we should not close them. Therefore, when you apply the modifier (lathe) is going to weld them in his open extremes.
Give width to the glass, because this is important to make a good reflection and reflection and is good for the integration of the liquid. Therefore the liquid should be integrated with the crystal.
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3ds max
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Inside
Outside
Here we can appreciate, that the silhouette of the liquid is found inside the wall of the crystal, In this way the liquid weld with the crystal and this gives a natural sensation.
Here happens it opposed the silhouette of the liquid. It is found outside of the walls of the crystal or container, therefore itself does not melt with the crystal, and is not seen of natural form.
Issue 05 June 2006
3ds max Step 2: Once finished the silhouettes, we apply the modifier (lathe) with the same values of the window. The same values for the liquid as for the bottle.
Step 4: Select the bottle and press the right mouse button. Select Convert to Editable mesh from popup window. Once done, we are going to work on the base of the bottle. We are going to do the antiderrapantes.
Note - Make two copies of the bottle shape and hide. One for the label and another for the distribution of the drops. Step 3: Here you can see the two shapes with the modifier (lathe).
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3ds max Step 7: Then Bevel about 0.5 mm and apply the modifier (Meshsmooth) 1 iterations.
Step 5: Select the polygons that shown in the image.
Step 6: Make an extrude 1 mm
Our modeling of bottle is complete.
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3ds max Modeling the Bottlecap Step 1: First, we make the half of the cap, with a with 7 vertex, you can see the image below.
Step 2: After applying the lathe modifier you will get this. Convert the mesh into element by right clicking.
Then apply the modifier with the same values.
Step 3: Select the edges like shown in the below image and apply a chamfer about 3mm.
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3ds max Step 4: Join and weld the vertices showed.
Step 6: Go to the vertex mode and weld the vertices as shown.
Step 7: Now select the shown polygons and delete them. Step 5: Select the polygons as shown in the image and extrude around 0.5 mm
Step 8: Now select these polygons, extrude -1 mm, bevel - 1 mm
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3ds max Step 10: Move to the vertex mode and select the following vertces in the front view.
Step 11: Move the vertices closer because we need a good seal on the bottlecap, scale it to bring little more close.
Step 9: Now select these polygons and delete them.
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3ds max Step 12: Now select the following vertices, adjust them and apply a meshsmoth modifier.
Modeling the Label Step 1: First, we make a copy of our bottle, and hide the original one. We are going to select the polygons those will represent our Label and invert the selection and delete them.
Finally apply the modifier “Push” and unhide the bottle to see the final result.
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3ds max Step 2: Collapse the sphere and apply a meshmooth modifier. Select the edges and increase the crease and weight values and Step 1: Create a sphere and choose a following set- play with the shape. tings... Modeling the Lemon
Other parts will continue in the next issue...
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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
Email: contact@cgarena.com
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gallery
Dino Nick Zolotarev, Russia nyk_zolot@mail.ru 3dsmax 8, FinalRender Stage 1, Zbrush 2, Photoshop CS2 Page 44
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gallery
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gallery
Mercedes S600 Ali Ismail ali@aliismail.com 3dsmax 7, Vray, Photoshop
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gallery
The Village Balaji Santhanam, India balaji_san@sify.com Photoshop CS
Architecture Anvar Aziz, Dubai mukks3d@gmail.com 3dsmax 8, Vray, Photoshop Page 47
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gallery
The First Millisecond Richard Max, Slovakia max@richardmax.sk 3DS Max, Brazil r/s, Photosop, AE
Urban Gary Smith, USA viper680@hotmail.com 3dsmax, Vray, Photoshop Page 48
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gallery
Indian Kart Daniele Bigi, Italy info@danielebigi.com Mentalray, Photoshop Page 49
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gallery
Imperial Space Patrol Denes Istvan, Romania denes_isti@yahoo.com 3dsmax6, Mentalray
Holy Grail Floroiu Claudiu, Romania floclau@yahoo.com Page 50
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gallery
Desert Warrior Dayvid, UK info@dayvid.co.uk Cinema 4D
Hammer Patri balanovsky, Israel pat2005b@hotmail.com
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gallery
Layla Ghouali Abdelatif, Algeria maxwave7@yahoo.fr Lightwave 3d 8.5, Photoshop
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Jure Zagoricnik, Slovenia jurez@siol.net 3dsmax, Brazil Page 53
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submission
How to send in your images... We showcase the cream of reader images in E-Zine and on website - here’s how to get yours noticed
BY EMAIL
This is by far the quickest and easiest way to send your images to us. Send the images on ezine@cgarena.com and include the following details in the email. a) Your Name, Image Title, Software Used, Your Country b) JPEG format at 300 dpi (if possible) and any other detail you like to add.
Upload Images through Website Follow this link http://www.cgarena.com/submit.php
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