CGArena2008.08

CGArena

VOLUME 3, ISSUE 4 AUG - SEP 2008

Get Attention in the Computer Graphics Community

GALLERY

Latest 3d inspiring art

PHOTOSHOP

When cloning goes wrong

AFTER EFFECTS Dispersion of Text

INTERVIEW Kerem Beyit

3DSMAX

Making of Ford Focus

MAYA

Making of Sohrab

05 Interview Kerem Beyit

21 Photoshop

When Cloning goes wrong

25 After Effects

Dipersion of Text

30 3ds Max

Making of Ford Focus

43 Maya

Making of Sohrab

58 Gallery

Showcase of 10 latest 3d art

Magazine Edited: Ashish Rastogi, India Magazine Cover Image: Farzad Dalvand, Iran

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industry news Sea Level VFX Rises with New Hires

Digital Anarchy Sells Visual Effects and 2D Animation Product line

Top commercial visual effects and finishing boutique Sea Level VFX has announced a slate of key new hires, including Executive Producer Steve Reiss and VFX Artists/ Supervisors Christopher Noellert and Glen Bennett.

Digital Anarchy, known for its high quality creative software in both the broadcast and Photoshop markets, has announced today the sale of their full video product line to Red Giant Software. For seven years, Digital Anarchy has made a name for itself by delivering innovative software for visual effects, video editing and 2D animation in the film and television industry. Effective, August 4th, the company will transfer sales and support of 12 plug-in products for host applications that include Adobe After Effects, Apple Final Cut Pro, Avid systems and Autodesk systems.

“Chris and Glen represent an exciting new direction for our company,” stated Steve Reiss, Executive Producer, Sea Level VFX. “Because he’s spent over a decade in Sweden, Chris’ European footprint is huge, so he’ll definitely be an asset as we continue to grow our client base internationally. Glen’s strong commercial and feature film background means he understands the rigorous demands of big effects jobs. His diverse design background is evident in his unique visual eye for the edgy yet beautiful. In addition, Chris and Glen will help to expand Sea Level VFX’s CG capabilities, which are currently being overseen by our longtime CG Supervisor, Steffen Schubert.”

The sale of its video products will not affect Digital Anarchy’s Photoshop customers. Digital Anarchy has retained its full Photoshop product line and will continue to provide the quality software and support that the company is known for.

Training

Book

Maya Cloth for Characters - If your next CG production involves charac-

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ters, you should think about dressing them! Add realistic clothing to your CG characters using Maya with Maya Cloth for Characters. Discover how the clothes were built for an upcoming computer generated horror movie. With this book you will learn everything you need to know to create a wardrobe for all of your characters. Learn how to dress your characters and simulate pants, shirts, jackets, and much more. You will also gain an understanding of how to troubleshoot and fine tune clothing to get the exact results you are looking for. ISBN: 978-09787806-1-6

Next-Gen Texturing Techniques - In this demonstration the instructor starts off by explaining the very fundamentals of using Photoshop for texturing.

From there he goes into depth on how to set up your high res and low res meshes for rendering Normal, AO, and other Maps. Once the scene and basics have been defined it’s on to the entire texturing process of the self contained scene. The Main textures created are a Concrete Texture set, Wood, Cloth, Grass, Ground, and Metal. This video has almost 5 hours of teaching and demonstration that will serve as the ultimate texturing resource.Price of the DVD is $64.95*.

Issue 4 Aug - Sep 2008

interview

AN INTERVIEW WITH Kerem Beyit 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 guy who’s been drawing since his childhood but I started doing this professionally in 2004. Before that, I was a graphic designer, because at the age 18 I wasn’t planning a career on illustration so I went ahead and studied graphic design and once the school was finished I started working as a graphic designer but then I realized that was not the thing for me and I started drawing again. After a long period of practicing I came up with my first digital tries, these first tries looked horrible but I knew I would comeover the problems by practicing more. I mean, I guess I can refer myself as a self-thought artist.

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interview

AN INTERVIEW WITH Kerem Beyit Q. So, you are a freelancer, please tell us what difficulties a freelancer have to face in getting the work and why you chosen to become a freelancer?

The difficulties a freelancer faces aren’t that many, on the contrary a freelance career provides you with the opportunities like a relaxed working environment in the comfort of your house and the chance to work on very different areas unlike in-house workers. On the other hand, it does have the handicap of the unstable income, though this can be overcome by reaching an established level and a certain number of clients, therefore, people who are thinking about a freelance career must venture to face difficulties in the first couple years. Besides this, if you try and get to know your clients very well and fully comprehend the task they ask from you and do your best on each project with respect to deadlines you will build your reputation and reach more clients. I worked in-house positions before but it didn’t take long before I decided it wasn’t for me. A freelance career is the best thing that could happen to a self indulgent guy like me.

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interview

AN INTERVIEW WITH Kerem Beyit Q. What software program(s) do you use for your illustrations and why?

I would use Photoshop 3.0 in my graphic designer days and when I started doing illustrations it felt comfortable to start with a familiar program so I went on with Photoshop. Now, I’m using CS2, I’ve tried the CS3 as well but it lost me time to learn all the new features so I am continuing on with CS2.

Other than this, I use Vue 6 xStream when I want to use an environment for the background, it’s really quality stuff and quite useful for saving time.

Q. How much you enjoy creating an illustration for the book covers, comics and magazines? Which type of instructions you receive from the client?

I’ve always liked doing book covers but lately I haven’t had the chance to make time for book covers because I’m working on a comic book project.

The jobs I take usually involves illustrations for web sites, and character design and promotional illustrations for video and online games. Instructions depend on the clients, some of them give very exact descriptions while most leave it up to me but if we’re talking about book covers they usually ask me to follow up a certain scene and composition and I try my best to visualize it. When it comes to character design basically it’s enough for me to know what kind of feeling the characters are supposed to have to them, of course I get very precise requests as well, there are many clients who decribe everything from armour to weapon of choice. They even send some reference pictures for me to look at. This is not problematic for me at all because no matter what, I create the character in my own style and add those requested features harmoniously with that style.

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interview

AN INTERVIEW WITH Kerem Beyit Q. In your portfolio we can mostly see the fantasy illustrations; there is any specific reason of creating fantasy illustrations?

Fantasy art is a genre that has always affected me since my childhood, it would be crazy for me to come up with an anime style after seeing all those Frazzetta covers I also like doing sci-fi illustrations but unfortunately I don’t frequently get the chance to do them because I have a fantasy-emphasized portfolio therfore the offers I get are usually in that direction, this is a vicious circle and it seems to be continued this way. I am not complaining of course, I enjoy doing fantasy art very much.

Q. Please tell us something about your latest work “Blue” and how you create these dragons? Before creating anything you done some research and pencil drawing or directly on the digital canvas?

Blue is one of the many illustrations in my dragon series, while working on that series I did as much research as I possibly could because I didn’t really care for my previous dragon designs, therefore dinosaur anatomy, reptile texture, solid dragon artworks (especially from Lockwood) have been great sources of reference for me. I started the series by sketching all of the pieces first and I applied color on the lineart, it’s rare for me to start working directly on digital canvas.

Step 1: In this tutorial we are going to color a dragon portrait. Like I always say, it’s impossible to make a good painting without a good sketch, that’s why if your drawing is not as strong as you’d like, you should go ahead and buy a sketchbook before taking up photoshop or tablet or any other stuff like that.

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interview

AN INTERVIEW WITH Kerem Beyit Step 2: Here, I create the background with my flame brush, the drawing is in the multiply layer. First I form a dark background and then lighten the parts around the portrait with the same brush, this will help us see the figure clearer in the future.

Step 3: Using my texture brushes, I apply texture to the background I created, though I am careful not to apply at the same intensity around the figure. The best way is to open a new layer and go crazy with the texture (apply it as much as you want) then erase the parts that are too much.

Step 4: I start filling inside the figure very roughly, first I apply base colors and give the lightening effects with lighter volumes of those colors.

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interview

AN INTERVIEW WITH Kerem Beyit Step 5: After painting the figure completely, I apply texture on it and erase the parts I don’t like by using the borders of the figure’s layers which I select by clicking Load Selection.

Step 6: I apply dodge on the picture of which the texturing stage is over with after merging the layers. Dodge is tool that should be used wisely, I advice you to work it by making light touches.

Step 7: Now we can use highlights, first I paint the big parts that should get light with a small soft round airbrush. You don’t have to choose a very light color, you can always go back and use dodge tool for increase the light volumes.

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interview

AN INTERVIEW WITH Step 8: Now I paint the sharper parts with a thin hard round brush and a lighter volume. You don’t have to apply highlight to the whole figure, the important thing is to illuminate the parts you want to emphasize..

Step 9: After the highlighting stage, I apply fog to the front and behind of the figure, this will fix the attention only on the face and will help you not waste time with lower parts of the painting.

Step 10: Lastly, I use dodge to shine up the highlight brightness values, I play with brightness contrast and color correction values as well, lighten the background a bit more with my fire brush and since the creature’s neck seems too bulky, I finish the illustration by making it more curled.

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interview

AN INTERVIEW WITH Kerem Beyit Q. Please tell us about your hobbies and average daily day?

My hobbies are the kind of hobbies that support my profession, I watch an immense amount of movies (good cgi movies being my favorites), read lots of comic books and novels, and I have a thing for McFarlane toys. In a typical day, if I have an assignment I start by working on it, towards 8 p.m. I start feeling my arms and my body telling me to rest so I stop working and watch a movie or two, play pc games, sometimes go out with my friends and in the morning I pick up where I left off and start working again.

Q. What advice you like to give the upcoming artists, how they can create beautiful illustrations?

They should accept that there’s no magic wand in our field of work, the best way to create good illustrations is to work hard and consistent, if you don’t have a good sketch, if your figure has anatomical mistakes, if your composition doesn’t work no matter how masterfully you color it, the end result will just be off. That’s why my advice to upcoming artists is that they should master the basics on paper and then skip to digital media. Practice is a very, very crucial factor.

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interview

AN INTERVIEW WITH Kerem Beyit Q. How’s the computer graphics industry in the Turkey, you guys have any support from the government?

Haha, that’s a good one. No, the government in Turkey doesn’t support CG industry because it simply can’t. In order for our government to support these kind of things, they should first and foremost deal with their basic problems, something I don’t see happening in the next 10 years. In Turkey, there isn’t a developed entertainment system to talk about and the biggest reason for that is the economical handicap. For this sector to grow and survive, an avarage person should have their basic needs met (subsistence, health, education, culture level) and till these things can be provided for everyone, I don’t think there will be an entertainment sector in my country, and when there’s no sector, CG industry has no choice but to stay weak and be made up of individual attempts. The biggest source of entertainment in Turkey is the TV and it’s being kept alive by very low-quality, cheap productions. CG industry in Turkey consists of advertisements made for private sector and 3rd class animations and special effects made for dreadfully bad tv series.

Thanks for reading about me and my greetings to everyone.

Portfolio: http://kerembeyit.deviantart.com/ Page 19

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photoshop

When Cloning goes Wrong Have you ever wished you could have a clone of yourself to do homework while you hit the skate park or went out with your friends? Cloning is the creation of an organism that is an exact genetic copy of another. This means that every single bit of DNA is the same between the two! And if by mistake anything done wrong then results can be dangerous or hilarious. And mistakes are quite possible, we are humans after all. So, in this tutorial I will explain how I created a hilarious animal cloning effect using Photoshop.

The steps I used in this tutorial is very simple, no different or special technique used just the difficult part is to find the perfect pictures for the cloning otherwise if you have a photography skills then you can shoot yourself in your nearest zoo. Just try to match the positioning of the heads of the animals.

I searched the Google (my best friend even when I am feeling lonely then I Googled myself ) for the pictures and find the following Chameleon and Elephant pictures. Chameleon picture is quite small but works for me.

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photoshop Step 1: Open both the pictures in Photoshop and think about replacing a chameleon’s head with the elephant’s head.

For doing this I start creating a selection around elephant head and cut the head and placed in the chameleon’s image.

Step 2: Now I have to resize and position the elephant’s head according to the scene requirement but before doing this I converted the elephant layer into Smart object, so when I resize then overall quality of the image don’t go down.

(Layer > Smart Objects > Convert to Smart Objects)

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photoshop Step 3: After resizing and positioning, I rasterizing the elephant layer and try to match the color with the chameleon’s image. For this I choose Image > Adjustment s > Color Balance and try to match the colors as much as possible.

Step 4: As you can see the chameleon is overlit, so I pressed the Ctrl + L for Levels and brighten the elephant head, so matched with the other image lighting.

Step 5: Now the only part left is blending, so I created a layer mask on the elephant image and choose a soft brush and start removing fixing the areas. I removed the chameleon’s face which is showing outside the elephant head.

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photoshop Step 6: Then create a new layer and choose a Clone Stamp Tool, in the settings I checked the “Align” and choose Sample “All Layers”. This is necessary to select if you are taking source of cloning from the below layers. I cloned various areas and blend the skin texture.

Step 7: Now everything start looking perfect except the difference in the skin, so I create a another layer, choose Clone stamp tool and start painting the skin scales on the elephant head, later I reduced the opacity of that layer to 65%, so everything start blending and my final image is ready.

Now you can create unlimited combinations like this, just need to choose the right images and little bit playing with the normal tools. Thanks for reading, hope you have enjoyed this explanation of the technique.

Andy Halls, USA

andyhalls123@yahoo.com

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after effects

Dispersion of Text Welcome everyone in the world where we make the beautiful things more beautiful. In this tutorial we will create an effect that you have created several times but mostly in 3d i.e. dispersion of name in sand. But in this tutorial we try to do this effect in after effects using Trapcode Form. Trapcode Form is an intelligent particle system which is very strong and gives wonderful results in short span of time. Without wasting more time on theory let’s move on to practical.

Step 1: Create a new composition (Ctrl + N) Step 2: Select a text tool and create the text you like to disperse.

Step 3: Create a new composition (Ctrl + N) again and then create a Solid Layer. Now we have to create an animated mask. For doing this select the mask tool and create a rectangle mask as per the size of the text, so mask covers the whole text. Apply Blur & Sharpen > Gaussian Blur to blur the edges of the mask from all sides, you can also use feather option of the mask.

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after effects Step 4: Animate the mask, moving from right to left or from which side you like to start the dispersion. There is no fixed rule for this. Infact there is no fixed rule for anything, always some way around to do the same thing.

Step 5: Create new comp-sized solid (Ctrl + Y). Note that this solid should never be moved from center to move the form around. Instead, use the controls inside the effect. Solid layer doesn’t matter.

Step 6: Apply Trapcode>Form to the solid (named White Solid 1) Step 7: Now you have 3 compositions. Drag both the previous compositions (text and map) in this new composition and hide the visibility of those 2 compositions.

Step 8: Now change the settings in the Form plugin as shown in the below images

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after effects Explanation of Settings: Size X, Y and Z- Sets the size in X, Y and Z axes correspondingly. The X and Y dimensions correspond to the size of the form horizontally and vertically, while the Z value determines its depth. So, set this according to your effects size.

But remember bigger size required more particles to fill and that means more rendering time.

Particles in X, Y and Z - Sets the number of particles used to generate the form along the X, Y and Z axes. Be careful of high Z values, because the Z value essentially replicates the grid, strings, or sphere, and can cause very slow rendering.

Layer Maps - Layer Maps enables the pixels of another layer to control various aspects of the particles in the grid. Note that any layer used as a map must be pre-composed or pre-rendered to be used as a source for Form. In general, best results are obtained if the size of the layer map equals the size of the particle grid RGBA to RGBA - which maps color to the particle color and the alpha channel to the particle opacity across the grid XY - maps the current frame from the source Layer onto the XY plane on the particle grid

Step 9: In Disperse and Fractal Strength choose the animated layer map for control the effect on XY axis.

Now move down to the Disperse and Fractal Field settings and changed according to the dispersion you are looking. I

I animate the Fractal field values on 0sec (0) and 5sec (75) for giving some movement of the particles like in air. I also increased the Twist value to give some twist to the text.

Twist = 0

Twist = 5

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after effects Now play the effect and you are done. You can also reverse the effect by reversing the Fractal field values and animated mask.

Click to Play

Click to Play

Before conclude I like to say in this Form plugin there is one Displacement feature which works like same as in 3d, so I applied a face map (black and white with grey values) and I get a decent output which I can used to create a effect of zooming camera into face like you have seen in Matrix. Hope you enjoy this small tutorial.

by Suzane Smith, Canada suz.smith@hotmail.com

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To find out more about nPower CAD Translators for Maya Visit us at www.nPowerSoftware.com

s u c o F d r o F f o g in k a M

by O x H | d3 (Baiculescu Ovidiu Nicky), Italy Email: nicky@nik.ge

3ds max

Hi there! Few weeks ago I decide to model a new car, since my last few experiences were Challenges (on CGArena) and Animations by myself.. So this time I wanted to make my model little bit different than the others I used to make.

For the first time I “looked after” a blueprint, eventhough the top view was missing in my blueprints collection. So here are the main steps of this making of, like to mention this is not a step by step making.

I am explaining how I created this image and what process followed.

For the blueprints it’s important to have them FIT together, otherwise you will have some troubles on building over them.

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3ds max Modeling the Car

I started with a plane that I converted into a editable poly.

Then I moved on until I reached the shape that I considered pretty much similar to the blueprint. I advice you to set up WELL all the blueprints, I don’t have the TOP one, so I had to “invent” it :-)

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3ds max

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3ds max Often I applied a Mesh Smooth Modifier to see how the model appears once it would be done.

The door “cut out” is important to be done when you are sure that the shape of your model has reached it’s position.

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3ds max Front Lights This was made in different moments of rendering setup... the left one is at the begining and the right one at the end.

(Note the difference!)

Backlights This was rendered at the very begining with the Mental Ray shader, which I changed into Vray for the final version.

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3ds max

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3ds max As you can see my model is made of 2 SIDES (instance Mirrored) that I never WELD together..I also had some rendering problems that forced me to render into different images (.tga) and modify in Post Production.

And the final model looks like this:

The rims are pretty simple, u can follow many tutorials and lot of 3d models over the web. I just tried to make the same one as from the blueprint, but I changed pretty much.

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3ds max

The car material is a Shellac Made of 1: carrozzeria base and 2: brillantezza (see the images)

Door

Hood Page 38

Spoiler

Car Issue 4 Aug - Sep 2008

3ds max Environment

Vray Parameters

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Light Setup Scene Setup

That’s it! For any question and comments please don’t hesitate to email me on nicky@ nik.ge

O x H | d3 (Baiculescu Ovidiu Nicky) Website - www.nicky.orgfree.com

by Farzad Dalvand, Iran Email: far_pars@yahoo.com

Making of Sohrab

maya Hi everybody; my name is Farzad Dalvand from IRAN. During last decade I have been working in Aria Animation Company (since the company foundation) and I am doing different work in different projects, as a character artist, animator in chief, background artist...

Introduction The character you seen in the picture is one of the most famous Iranian historical characters named Sohrab and he is the son of Rostam, the greatest Iranian hero.

In the story Rostam (the father) kills sohrab (his son) as an unknown enemy and this is one of the most tragic legends of Iranian culture. The original tragedy belongs to 7000 years ago.

Concept This character concept artist is my friend and colleague Mr. Farhani, and the concept was used as a good reference and blueprint. For texturing and detailing on armor and belt I used the Old Iranian books and painting as reference.

Modeling This character has been modeled using polygon method, this is one of the favorite and predominate methods for 3D artists. In this method after constructing half of body pieces on a low poly, I used mirror tool for completing the character body. I used many tools for modeling such as extrude, bridge, bevel, inset edge loop, cut face and fill hole... Polygon modeling in Maya is really wonderful, because there is no limitation for doing anything and each tool has many options for doing good work.

In the next step to add the details, I subdivide the polygons for better results. For this step I increased the number of polygons very carefully, because the character must be animated and very hires character cannot be used in animation.

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maya

For modeling the spear I used primitive cylinder and extrude it several times and shaped it to my favorite form, and for blade I used curve and extrude it after that with moving the points and edges I shaped it.

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maya UV In my idea this step is very important but not interesting for me. For doing the UV I used the UVLayout software, this software is very useful and very easy to use. For body I just divide it to several pieces and then find symmetry for pieces, it is very important to decide which segment must be split in UVLayout.

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maya Texturing and Shading This is my favorite step, because the Photoshop is unbelievably powerful and empowers your creativity without any limitation. In this step after painting all the details in different layers, I merge all as a diffusion layer and desaturate it for bump and specular layers with some difference.

For armor I used the base metal texture and add dirt on it with alpha channel. I used 2k textures for this character.

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maya Lighting Because I constructed “Sohrab� for movie project, I also used other persons ideas. For better depicting of the special background of this character which is the burned city, I had to do lighting with a high awareness about the background.

So the orange & blue colors, is mainly used in the lights and the background picture is used as image based lighting.

In lighting the scene, a Directional orange light with shadow map is used as a key light and 5 point light in different position and color are used as fill light.

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maya

Also for better coordination between background and foreground, image based lighting is used. Practically, to made image based lighting, a hemisphere is made and picture of background, is mapped on it as texture material.

And then, with using final gather and global illumination my favorite picture hammered out.

Directional Light

Point Light

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maya Rendering Mental ray is my favorite render engine, and all pieces of character must be prepared for mental ray rendering. The render setting is changed several times for getting better result. This picture is rendered in 3 pass (Ambient occlusion, Alpha, shadow).

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maya Background The 2D background designed by Mr.Farhani, But it must be emphasized that because of too much camera moving in this part of the movie the final background in the movie would be a complete 3D scene.

Concept 2D Background

Final 2D Background Page 53

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maya Compositing The final composite is done in “Aftereffects”, to achieve a good balance between the background and the character, the color and level of picture was repeatedly changed.

I hope you’ve enjoyed and found it helpful. Best regards. With special thanks to CGArena for its great impression on the Digital Arts development in the world.

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gallery

Jack Robin Benes, Czech Republic tes@tes3d.com 3ds Max, ZBrush, Brazil, Photoshop

Frog Toy Daniil V. Alikov, Russia gigapixel@mail.ru Maya, Zbrush

Old Elf Thaddeus Mitra Maharaj, Trinidad and Tobago chindiangallery@hotmail.com Maya

Warhammer Chaos Warrior Zsolt Berghammer, Hungary bzsoltcg@gmail.com 3ds mx, ZBrush, Photoshop,

Old Man Karan Shetty, India karan.crazymonkey@gmail.com Maya, Zbrush, Photoshop

Portrait Mayuresh.J Salunke, India mjsalunke@gmail.com Maya, Zbrush, Mudbox

House M.Serhat Uzel, Turkey serhat_uzel@yahoo.com 3ds Max, Vue 6

Sophie Federico, Italy federico.ghirardini@gmail.com 3ds max, Mental Ray, Photoshop

Medkova Fabio M. Silva, Portugal fabiomsilva@fabiomsilva.com 3ds max, Photoshop

Entrance Walid Layouni, Tunisia walid.layouni@hotmail.com 3ds max, Vray, Photoshop

Old House Darshan Mehta, Canada dari1974@gmail.com 3ds Max 9

T-Rex Yin Shiuan, Taiwan milo701212@yahoo.com.tw Maya, ZBrush, Photoshop

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