ISSUE 09 OCTOBER 2006
CGArena
Get Attention in Computer Graphics Community
GALLERY
Showcase of latest 3d inspiring art
PHOTOSHOP Infrared Effect
AFTER EFFECTS Rusting Away
INTERVIEW Rod Seffen
3DSMAX
Particle Planting
3D CHALLENGE Garden
contents
05 Interview
10 3d Challenge
14 Photoshop
18 After Effects
22 3ds Max
30 Gallery
Rod Seffen
Infrared Effect
Particle Planting
Garden
Rusting Away
Showcase of latest inspiring art
Magazine Designed, Written & Edited: Ashish Rastogi, India Magazine Cover Image: Ralf Stumpf, Germany Challenge Sponsors: GPUTech, Hyperfocal Design, Realviz, ambientLight, Corel
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Issue 09 Oct 2006
industry news DreamWorks and Aardman split
George Lucas Calls It Quits
Due to the box office failure of Wallace And Gromit: The Curse Of The Were-Rabbit and creative friction in the production of the upcoming Flushed Away, DreamWorks has announced it has “no plans” to work with the celebrated stop-motion company after the release of Flushed Away on November 3. This new film was the second in a three-picture deal previously announced.
George Lucas says Lucasfilm is quitting the blockbuster movie making business to focus on television and other projects. We don’t want to make movies. We’re about to get into television. As far as Lucasfilm is concerned, we’ve moved away from the feature film thing, because it’s too expensive and it’s too risky. I think the secret to the future is quantity.
For DreamWorks, the move will cut back the number of animated films they will be able to deliver annually, while Aardman now faces the uphill struggle of keeping their larger operation going and searching for a new US distribution partner.
Lucas admitted the big-budget strategy has done well for him in the past, but, “We’re not going to do the $200 million investments.”
Sources from DreamWorks and Aardman have confirmed the breaking of the partnership.
He calls himself “semi-retired” but reiterated his plans to direct, “small movies, esoteric in nature,” after his other projects are launched.
source: www.animated-news.com
source: www.iesb.net
Buzzword of the Month Wire Removal - Wire removal is the elimination via a computer, of any wires and cables used to create a particular special effects shot. The most common reason for wire removal is wirework, also called wire flying, in which an actor is suspended on wires or cables to create the illusion of self propelled flight or to simulate zero gravity conditions in space.
In order to remove wires from a scene, the footage must first be digitized and input into a computer. A digital artist then examines each shot to locate the starting and ending points of all straight wires or cables, so that the course of each line can be plotted. Although this process is fairly simple, it can quickly become complicated when the images behind the wires make it difficult to distinguish them from the background. It is extremely difficult to hand paint a series of frames to make it look like continuous movement.
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Issue 09 Oct 2006
"I was surprised at the extreme speed of RTSquare at equal quality with other rendering engines" Paco Morales, Triple winner of CGarena Challenge use RTSquare
Simplicity, Quality & Speed
interview
AN INTERVIEW WITH Rod Seffen Q. Hi could you tell us a bit about yourself and your background in CG? I only got into computers and CG about 4-5 years ago. Before that I did some oil painting, watercolors, and portraits, but only as a small hobby. I have no official art training at all; I didn’t even do art class at high school. I’ve spent most of the years since starting CG working on game mods for the experience, which is a good idea if you want commercial game work.
Q. So, you are a freelancer, may I know what the reason of not joining any studio is? I live in Northern Ireland; there is very little CG work around here, so I’m just some doing some freelance work while training myself, until I think I’m good enough to get a decent commercial job - in England probably. I don’t want to start off as the guy who fetches the coffee and does the UV mapping.
Q. What software program(s) do you use for your CG and why? I use Lightwave. I’ve been using since I started. I instantly loved the interface and clean workflow. When I started 4 years ago, I think it was the only dedicated modeling available, and that that time was clearly the best modeling software on the market. There are more and more dedicated modeling apps these days, and I’ve tried them all, but none of them have lured me away from Lightwave. I’ve basically got my Lightwave workflow so finely tuned, and integrate with the program so perfectly, that another app would have to be amazing to make me change.
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Issue 09 Oct 2006
interview
AN INTERVIEW WITH Rod Seffen Q. If you could invent your dream job, where would you work & what would be your job title? I suppose being a character artist somewhere like WETA and working on movies like Lord of the Rings, which I think had the best CG work I’ve ever seen. I’ve a way to go to reach that level, but I think the creative freedom and job satisfaction would be a lot higher than working in a game studio.
Q. Please tell us what “The Dark Mod” is and what work you have done in that? The dark mod is a project that will give fans of the Thief series of games a toolset to make their own levels. It is based on the Doom 3 engine, but we are doing a total conversion, we are changing everything except the renderer (and that’s only because we haven’t got access to the render code) I was the character modeler on that, and made around 12 characters for it. I quit recently because it was just using up too much of my time, and I felt I wasn’t progressing the way I want to be. I’m the sort of guy who either commits to something 100% or not at all.
Q. Of all of your artwork, which piece is your personal favorite and why? The last piece I’ve completed is always my favourite. I aim to always improve, and if I’m doing that successfully, then my latest work will always be my best one. My last completed work was The Milkmaid, and that was the best I’ve ever made, so it is my favourite.
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Issue 09 Oct 2006
interview
AN INTERVIEW WITH Rod Seffen Q. Please tell us in detail about your latest work “The Milkmaid”. The Milkmaid is obviously a famous painting by Johannes Vermeer, a Dutch artist from the 17th century. I have loved the painting since I first saw it on the cover of a book in the library when I was about 15. I think it is one of the best paintings ever created. Unfortunately I still haven’t seen it in real life, but I hope to rectify that one day. I have wanted to reproduce it in 3d since I first started using computers, but knew I didn’t have the skill at the time, so I was waiting until I felt I was good enough to do it justice. The modeling was pretty straightforward really, the most difficult items being the face and the bread basket. The face was difficult because it is hard to get a good likeness with only that one awkward angle to view it from. I spent a lot of time tweaking that. The texturing was pretty tricky. I wanted to retain the feeling of an oil painting. I used a lot of heavy, broken bump maps so the specular highlights would look like thick dabs of paint, and to give it an overall feeling of impasto brushwork. I also used gradients tied to incident angle and light incidence to get the vibrant colors Vermeer used, and gradients tied to vertex maps I painted on the models. I painted about 40 texture maps for this as well. Lightwave’s surface editor has a layer system, and I used it to build up layers of ‘paint’ on surfaces like the jug and bowl, using alpha layers tied to vertex maps. The lighting was perhaps the hardest part of all. Almost
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Issue 09 Oct 2006
interview
AN INTERVIEW WITH Rod Seffen every object had to have its own unique light tied only to itself, sometimes one only for specular, or only to cast the SSS illumination, like on the hat and bread basket. Fortunately there is a great plug-in for Lightwave called Fprime which allows you to move lights in your scene and it updates your render in real time. That helped a lot with tweaking the 23 lights in this scene. The main light comes from a big area light emanating from the window, and the fill mainly comes from radiosity/final gathering, with a bunch of point and spot lights getting all the objects highlights and shadows exactly right.
Q. What advice would you give to future wanna be modelers out there? Well, for character modeling, you have to study anatomy. You don’t even need a 3d package; all you need is a pencil and paper. You have to have intimate knowledge of realistic human anatomy before you can start doing variations of it to create monsters, aliens, caricatures, manga, etc. Knowledge of your subject, whatever that may be, is 90% of the battle. Actually moving the vertices around to create the model, is the easy part. Most of us haven’t got access to live human models. So the best thing you can do is get a DV camera and film yourself. Whatever poses it is you are trying to model, take movies of yourself in that pose. A movie is much better than a photo, it’s nearly impossible to get a good idea of the complex topology of human anatomy from still 2d images. With video footage you can see how the muscles contort into and out of the pose, which helps a lot. The best thing to do is to desaturate it to remove the distracting colour.
Q. What are your hobbies and where you see yourself after 5 years? I play the classical guitar (badly) I’ve never put the same amount of work into it as into my art. I workout 4 times a week, and the rest of my time is spent chained to my computer forcing knowledge and skill into my brain. I’d hope to be working in the industry in 5 years time, ideally in movies rather than games, and as a character artist.
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Issue 09 Oct 2006
interview
AN INTERVIEW WITH Rod Seffen More realistically, I’ll probably be working on games, because the work is a lot easier to get. I’ll at least try to find a studio that makes games that I like to play, so I can get some kind of job satisfaction from it. Freelancing is too difficult, and I’m not a good businessman, which is really where the success lies in freelancing. Q. Are you working on any projects currently? If so, what are they? Mainly just some boring archviz work, which you don’t want to see. Aside from that I’m getting back to an anatomy study I started a while ago but never finished. It’s from a sculpture called ‘Fleuve’ by Augustine Pajou. Coming up, I’ll be converting another painting to 3d. It’s ‘Saint Eulalia’ by J W Waterhouse (previous page image). It’s a tough challenge, and a lot of work, but that’s the only way to improve. Q. Anything you like to add? It is your chance now to state your opinion about anything. I suppose I could rant on about the terrible state the games industry is currently in. I literally don’t buy games any more at all. They bore me to tears. I feel like I’m constantly being asked to play the same game over and over again, just with slightly better graphics. How to solve this problem is another issue, and I don’t have the answer. My favorite game studios were Looking Glass Studios, who made the Thief series and the System Shock series, Black Isle Studios and Bioware, who made games such as the excellent Baldur’s Gate series (BG2 is the best game ever made IMO) planescape:torment, the Fallout games, Knights of the Old Republic. Neverwinter nights, etc I think those developers are great examples of people who really cared about their work. They were craftsmen, not just factory workers knocking out a product to make a quick buck, and that’s the way I see 99% of the games industry today. I can’t image anyone is happy making nameless shooter #2345, and so they don’t put any loving care into it, just do a job. Thanks a lot Rod for your valuable time.
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Website: www.pixelwerks.be Email: odditycg@gmail.com
Issue 09 Oct 2006
challenge
Already Running
CGArena once again is proud to present “Garden” Challenge (3D Challenge), 21 Sep - 15 Nov 2006, sponsored by Hyperfocal Design, GPUtech, ambientLight, Realviz and Corel. We want different ideas and approaches in a more creative way.
Your Mission Create an image which shows Garden in a house, office etc. 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 15th November 2006, midnight 00:00 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.
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 and telephone number on email address ezine@cgarena. com with subject Garden Final Entry.
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Second Prize - $867 USD RTSquare by GPU-Tech - $560USD
RTSquare is the fastest renderer thanks to a revolutionary technology that uses your Graphic card. In the version 1.3, you will find all features required to make high quality images and videos. Use RTSquare to respect your deadlines and to spare time to ameliorate your rendering settings. RTSquare is the perfect tool to simply learn 3D and to use in a professional context. You don’t need a big workstation anymore, RTSquare make 3D available to all!
Hyperfocal Design 3 HDRI Skies - $177 USD
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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Multibuy Offer includes our entire range of Texture Packs. All of our packs are at a minimum of 1024 pixels square and are hand edited so that they tile perfectly, whatever application you use them in!. This pack includes Plant & Trees, Natural, Sky, Architectural, Roads textures. These textures are beautiful and of high quality. They do tile seamlessly and they, together with the included bump maps, are a great help in making images look more realistic.
Third Prize - $560 USD RTSquare by GPU-Tech - $560USD
RTSquare is the fastest renderer thanks to a revolutionary technology that uses your Graphic card. In the version 1.3, you will find all features required to make high quality images and videos. Use RTSquare to respect your deadlines and to spare time to ameliorate your rendering settings. RTSquare is the perfect tool to simply learn 3D and to use in a professional context. You don’t need a big workstation anymore, RTSquare make 3D available to all!
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photoshop
Infrared Effect
Infrared photography uses films that are sensitive to both the light we can see and some of the longer length (above 700 nm) infra-red radiation. The film is also sensitive in the UV region (below 400 nm). There are scientific uses for such films which include forensic applications and aerial crop and forest surveys. The film is also used in the restoration and investigation of paintings, but here the focus is on getting cool looking effect without spending money on the infrared film and on regular photos taken from digital camera. Step One Open the photo you want to apply an infrared effect to in Photoshop. Go to the Layers palette and choose Channel Mixer from the Create New Adjustment Layer pop-up menu at the bottom of the palette.
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photoshop Step Two When the Channel Mixer dialog appears, turn on the Monochrome checkbox at the bottom of the dialog. Then, set the Red channel to -50%; set the Green channel to +200%; and set the Blue channel to -50%.
Step Three Go to the Layers palette and drag-and-drop the Background layer onto the Create a New Layer icon to duplicate it. Then, drag this Background copy layer above the Channel Mixer layer at the top of the layer stack. Now, make three changes: (1) Change the layer blend mode from Normal to Overlay, (2) lower the Opacity to 75% (3) Reduce the opacity of channel mixer layer by 10%
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photoshop Final Step Once you lower the Opacity on that Channel Mixer adjustment layer, you’ve got the final effect.
ORIGINAL IMAGE
INFRARED IMAGE
Without Monochrome box checked
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after effects
The ultimate artistic objective of a digital composite is to take images from a variety of different sources and combine them in such a way that they appear to have been shot at the same time under the same lighting conditions with the same camera. To do all this well it is important to have a substantial understanding of the technology, because many of the obstacles that you will encounter are, in fact not artistic obstacles. In this tutorial we merge two images in one so they look on the same surface.
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after effects Step 1: Create new composition in After Effects and drag a texture layer in the time. Duplicate the texture layer by pressing CTRL + D. Step 2: Convert the duplicate layer into grayscale through whichever method you preferred. I applied the Tint effect on the layer and then apply the curves effect to adjust the settings. A displacement map works by distorting pixels both horizontally and vertically based on the color values in a second layer, called the displacement map. While any layer will work, you can often get better control if you use a black and white or grayscale image.
Step 3: Now drag the children walking image and apply a Effect > Distort > Displacement Map. Set the Displacement Map Layer to the grayscale texture layer (image you just created). The offset amount can be anything you like, but a value of 20 works nicely here.
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after effects
The result looks more like a smudged children than an image that conforms to the surface of the texture layer. The children image needs to be aged and eaten away. Step 4: In the Timeline drag the duplicate texture layer to the top of the Timeline stack. Then change the Track Matte for the children layer to Luma Matte Displacement or whatever name you have given to duplicate texture image.
After applying the Luma Matte the children layer will now be eaten away and worn to match the texture layer. Hope you guys enjoy the tutorial. Send you comments and suggestions on contact@cgarena.com
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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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3ds max
Particle Planting The “I have to plant a hell lot of XYZ”- workaround by Anselm v. Seherr-Thoß aka PsychoSilence We all know that there is the scatter tool... But how about using pflow and enjoying the luxory of fast interaction (exchanging shapes, materials, etc.)? This tutorial deals with Particle Flow in 3D Studio MAX in conneciton with a little MAX Scripting. And we will plant 44000 stadium chairs with 4 different materials. I will try to explain each and every part so beginners can easily follow. You will need 3D Studio Max (Version 5.1 upwards) and a MaxScript. Step 1: First of all create a Particle System in ParticleView (Graph Editor > Particle >View, or Shortcut “6”)
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3ds max Step 2: From the “Depot” in the lower third of the window just drag a Standard Flow in the window. ( Just in case your Depot isn´t showing click “Display” and check “Depot”).
This is the Flow we are going to build together ;) Definetly not the funkiest Flow but very efficient! So what does it in brief? A BirthScript plants one particle per vertex at a polygonal object. Then we tell particle flow how it should look like by defining the shape, the scale and the shader. In most cases you may want that the planted objects look into a certain direction so I added a kinda look at constrain workaround.
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3ds max Step 3: Before we start to build the entire flow we need to draw splines representing guides where you want to plant objects on. Keep in mind to turn the interpolation steps of each spline to 0 otherwise you´ll end up with a damn lot of vertecies! ;) Now add a Normalize Spline modifier from the Modifier List.
Right Click all of your splines and check Vertex Ticks in the Display Properties. Now you can see every vertex on the spline. The spacing between every vertex is set by the Segment Length of the Normalize Spline modifier, that´s why we need it! Now convert your spline into an edit poly by right clicking it and using the Convert To operation. NOW if you didn’t set the interpolation steps to 0 you will have a looooot of vertices and we don’t want that! The interpolation steps insert the amount of steps into each space…
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3ds max Step 4: Let´s get back to the flow… ;) At first we need to add a birth script node to replace the birth node already existing. Write this script:
Replace the “§guide” with the name of your guides leaving the leading §-sign. Short explanation: The script cycles through the vertecies of the mesh (§guide) and plants a particle at every vertex.
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3ds max Step 5: Replace the Shape node with a Shape Instance and pick the object you want to plant onto the guides we just created. In my case stadium chairs. I added a Scale node as well to have full control about the scaling within particle flow. Maybe you want a more random scaling then you should increase the scale variation e.g. TIP: Set the Display operator to “BoundingBox” so that you can see the actual direction without the need of calculating the entire geometry instances!
Step 6: If we want the shape instances to have different materials in a certain manner we should add a Material static node. If you don´t add this node all particles will have the material assigned to the shape picked in the shape instance. In my case I only wanted every fourth chair to have the same material so I picked a Multi/Sub Material with four submaterials in the material static node. I checked Assign Material ID and Show in Viewport to have visual response in the viewport. Because I wanted to the materials to cycle I selected cycle and entered 4 in the sub-materials type in. You should position the node UNDER the shape instance node other wise an applied material to the shape instance master will override your material static!
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3ds max Step 7: Just in case you want the particles to look into a certain direction you should add a find target node under the birth script. In my case I modeled a proxy all partilces have to look at. Use the settings I used. The very low speed is important here! Because we don´t want the particles to move around. I checked Mesh Object and picked my proxy then. Now every particle want´s to fly to the proxy but is to damn slow ;-p
Step 8: Drag a rotation node under the find target and set it to Speed Space Follow. That makes our LookAt workaround happen! Because the particles have a dramatic low speed they ONLY turn into the proxy’s direction without moving. NOTE: The particle shape instances will only turn towards the find target from frame 1 on because they need to be “triggered”. In frame 0 they will all look into the initial direction.
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3ds max Final Trick If you´re happy with the result move the particle flow icon to 0,0,0 to the grid center (that would´t have any effect on your particles!). Now use a Mesher Compound Object (as well located at 0,0,0 grid center) and pick your particle system. That converts the particles into editable polygons which can be modified just like other mesh objects. WARNING! Maybe that step might kill your max if you haven´t enough RAM and will take some time to calculate!!! Now you can collapse the Mesher Compound Object into an editable poly and work with it as usual.
Download Script and Max file - - > Click Here
About the author: Behind the synonym PsychoSilence hides the german freelance Particle, Shading and PostProduction artist Anselm von Seherr – Thoß. He took part in the production of serveral music videos and image films as well as tv commercials. The 24 years old hobby DJ is located at Hannover/Germany. When he´s not burried under production pressure he likes visiting metalcore concerts or hardcore raves. Visit him at his website http://www.3delicious.de/ or write him to mail@3Delicious.de
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Bring your dreams into the 3rd dimension The fastest renderer for high quality videos
Visit our video gallery on www.gputech.com
gallery
Medusa’s Revenge Ralf Stumpf, Germany stumpf3d@t-online.de Zbrush, Photoshop Page 30
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gallery
Monty Stanislav Klabík, Czech Republic s.klabik@seznam.cz 3ds Max, Maxwell, Photoshop Page 31
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gallery
Fern Patrick Beaulieu, Canada squeezestudio@hotmail.com 3ds Max 8, Vray, Photoshop Page 32
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gallery Surfer Dude Eric Provan, USA eric_provan@yahoo.com Mudbox, Maya, Zbrush, Photoshop
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gallery
Mini Bots Allan Alonzo, USA info@allanalonzo.tv Maya, Mental Ray Crisp In Day Alex Sandri, Thailand withego@hotmail.com Maya, Mental Ray
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gallery
The Old Fox Sandro Ghezzani, Italy sandro_ghezzani@yahoo.it 3ds Max, Vray
Living Room Serkan Çelik, Turkey xsekox@gmail.com 3ds Max, Vray Page 35
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gallery
Tunez Javier Núñez, Spain info@ja3ddesign.com 3ds Max, Vray Page 36
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gallery
Dragon Silvia Fusetti, Italy silvia@aivlis-home.com Softimage XSI, Photoshop
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submission
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