thanks for your post in my sketchbook, you have some really nice models, hope to see you post more in the near future.
good luck with your studies.
You really hammered down on the figure and its pays off. Real great work here! I use Lightwave for most of my 3D work, and Zbrush was always something I would like to try. Your sketchings/studies are very orignial and have a good sense of value (balance).
Thanks for sharing.
Lennon, se nota que andas en buen camino con lo de Zbrush. Esta muy bueno el detalle que le estas dando a tus esculturas. Si habia escuchado sobre eso de como hacer ropa para los personajes y es un buena herramienta en Zbrush. Tambien voy a empezar a usar este programa, y si quieres te paso algunos links de cosas interesantes que encuentra. En You tube hay bastante tutoriales de esto, en especial sobre la herramienta para poner poses.
Con lo que dice Gringoloco, si estoy de acuerdo en el sentido de que Zbrush es un programa dificil a aprender a usar al principio, por lo que la interface no es tan intuitiva. Ademas, Zbrush puede ser usado para la ilustracion, para paintovers y eso. Habra que ver quienes tienen acceso a Zbrush y queran aprender.
Otra cosa que medio aprendi usando bastante Mudbox, que estos programas si servirian para estudiar la figura humana si te pones a hacer esculturas de personas, porque de esa manera estaras forzado a aprender sobre la figura en 3d y desde varias perspectivas. Es solo una sugerencia para un ejercicio no mas.
Thanks for stopping by, im also trying out zbrush stuff ,its really fun! your stuff makes me want to do some more 3d!!
Ooh, sweet 3D stuff And I dig your avatar pic -- no eyes for the win 8)
Let's see some more sketches!
Look, see! Nifty art! http://www.conceptart.org/forums/showthread.php?t=99803
Hey! Check out my blog here
dude dig your work....really cool stuff , love the studies and your painted characters , really shows the effort u put in em'...
love your characters , how should i describe it very solid, strong , can i see more of your zbrush stuff, keep it coming
"If you drop your car keys in a pool of Hot Lava, WALK home cuz there gone my friend" ANONYMOUS
VERY nice stuff man
And that 3d office room, I thought it was a photo at first, good job
-dadushin: You can see that I took your advice.
-joiton: No sé si pudiste usar Zbrush, es bastante intuitivo a diferencia de modelar con maya (de hecho, nada que ver, es millones de veces más divertido, como esculpir en la vida real). Chequié lo que me dijiste, es sólo que algunas cosas se ven estrechadas porque no le quise dar la suficiente cantidad de subdivisiones por un tema de memoria. Lo del cuello es cierto, gracias. El modelo subsiguiente lo tiene cubierto así que no lo corregí. Un saludo.
-themissinglink: It's true about the figure beign stiff, I look on that on my next color piece.
-GOBLINSHARK: I can't believe that you noticed the CLARK KENT registration name (you have good eye for detail obviously). I didn't started so recently, it has almost been a year now, and I'm reading books and seeing videos to learn (so it isn't completley on my own).
-theUNKNOWNsketcher: I definitley will
-Creatinity: I wish, hahahaha (it's just that I get to horny doing women)
-Lelle: Thanks for posting mate, I'll probably visit your SB again one of this days.
-Warground Zer0: Thanks I'll keep posting them.
-Slechtvalk: You should try Zbrush, way more easy than modelling with other stuff.
-MaestroAndrés: Estoy completamente de acuerdo con lo que decís, sirve una banda. Creo que te ayuda a comprender la tridimensionalidad mucho mejor, además podés entender mejor la anatomía, ya que no dependés de la perspectiva.
-MurdokX: Yeah, your stuff looks great, keep doinng it.
-AmontilladoAg: Thanks for posting, I was kind of kidding with the castle thing I said in your thread (you probably won't read this anyway). Thanks for the words.
-Barkat Ali Hazara: Cheers! Thanks mate. I'll post more.
-RABIDTOOTH: I'll try to upload more, thank you very much.
-ODISAP: I was actually following the steps of a tutorial (digital tutors), kind of changing some parameters, but I was amazed with the results too.
More of the same, I did some hands for a change.
Perhaps next I'm gonna change the subject of my study a little, becouse it's getting repetitive.
Last edited by lennon; February 23rd, 2012 at 02:47 PM.
muy buenos los personajes 3d.
veo que le estas dando duro y parejo al tema de la figura, pues nada a seguir adelante.
algo que puede ser interesante es intercalarlo con estudios particulares, digamos pies, manos, cabezas. asi no te aburres y no se vuelve demasiado repetitivo.
tambien podrias probar con diferentes tipos de cuerpos y edades.
algunas ideas(en verdad me recuerda lo que tengo que hacer)
saludos y continua
e encanta como va evolucionando la cabeza 3d, tiene mucha mas personalidad ahora.
Zarpado el cursito acelerado de ZBrush vere si algun dia lo pruebo.
Y la verdad que teenvidio la simpleza de los estudios de figura, muy expresivos.
Un saludo y segui posteando.
Thanks for taking the time to look at my book. I thik I will spend more time with more foundational work. Your stuff is very good! I love your Z brush goblin!
Hi, and thanks for the comment on my SB, you have very nice gesture studies that I can look up to. The 3D stuff you are doing look very professional , do you do them for a living ?
Very cool stuff, I'll look forward to your next update.
shit dude - that skin texture you got going on in the last post is just gorgeous. I also really like that goblin model you have back a page or so. I really got get my hands on a copy of zbrush and just play around with it - it seems like so much fun. I wouldn't mind seeing some more 2d art though than just the gestural studies, like are you concepting out these models before making em? if so post those! I'd love to see em :]
anyways thanks for stopping by my sketchbook, and the reason the renders weren't so high quality was really an issue of time - but our final for the year will be high quality at least :] -- thanks again and keep up the work - the textures and models are just too awesome
Hey, thanks for leaving a note in my sketchbook! You've got pretty good stuff too, all your zbrush stuff looks great! Wish I know how to use that software properly haha.
Your quick figures are neat too. In fact, I think maybe for the next couple weeks, I'll probably be doing all that myself haha.
Hey Lennon I love your zbrush stuff omg those goblins are brilliant!! 2d work too is nice and I'd love to see more of it. I don't know if someone has already mentioned it or not (kinda skipped the posts to see the pics) but i thought in post #35 the gladiator's left arm looks a little thin, a little weak especially if he's a big tough gladiator guy. Be warned though my anatomical skills are in their beginning stages so I might be wrong on this. Hope to see more of your work soon
Thanks for stopping by my SB and your kind words.
Nice figure studies and great 3d work. Goblin is an immediate attention grabber. joiton has a good point about the back of the neck being a bit flat in form. I would further state, in designing anything realistic, even-semi realistic, a character's form should always follow function. The neck on the Goblin, I believe, would not have enough muscle mass to hold his head up. I think a few more sinews in the back of the neck would help add realism to your interesting sculpt.
I do have to say, your work makes me really want to jump into Zbrush. I'll be back to soak up your instructions on your Ztechniques.
oye hermano, gracias por el megatutorial de zbrush... escucha lo que tiene que decir la AztecFireFlower, es muy buena con esto de la figura humana! espero que puedas postear más a menudo...
I'm faving this sketchbook.
Your studies are not in vain, those figures are great. Your gladiator was epic and so was the background that ensued. I really want to see more environments and structures from you.
I've been trying to pop into some 3D work. I've got Maya, fiddled around with it and Z-brush (which I dont own) and frankly I'm lost. Since you're somone who obviously knows a bunch about modeling and modeling well; where do I start? With tutorials? What program?
this is impressive dude ,I think that you are very good in this zbrush staff
Keep it up
Nice stuff, Lennon. Those figure studies are great. I like the expression in a lot of them.
very nice ZB stuff man. A suggestion would be to pay more attention to density and structure.. like the bones fat and muscles seem to be made of the same thing and to have the same density in your model. they heed to be set apart.
Love your 2d work too
DIMAGYAN: Gracias por el consejo, lo voy a empezar a aplicar de inmediato.
dadushin: Thanks for the comparison! I hope I could get to that level
joiton: Muchas gracias viejo.
j_bear_jim: Thanks man, I'll try to upload more soon.
enrigo: I wish. No, I don't do that for a living. I should try to get some work.
Soul_Karl: I'm not doing any sketch before modeling. The only thing that would count wold be the firtst zbrush head. I made that loosely based on a secondary character for my never-to-be-made comic book. Anyway, at the time of sculpting I didn't look at any drawing. Non of the least I will post more 2d in the future.
CouchPotato: I love to see that you have. Great work.
publicBob: Thanks man, and yes, the left arm is very thin, actually you can see that it isn't finished at all. Thanks for stopping by.
AztcFireFlower: Thanks, you are right, joiton have also tell me the same in the past. Actually the goblin has evolve into what you can see in post #54 wich is a creature with some sort of elizabethean neck thing, that somewhat covers the mistake in 3d view. That's the main reason why I didn't change it, but thanks, I do realize that it's true.
Gringoloco: Gracias, viejo, lo voy a tener en cuenta.
Neolight:scroll down after all the other names.
mrpank: Cheers man.
megamax: Thanks a lot.
marioucci: Thanks for the tips man, I'm not sure if you're going to read this, but if you do and it's possible, try to explain me a bit more about this density problem, that I don't fully grasp. Thanks again.
Neolight: First of all, thanks for the kind words. Actually, I know pretty much how you feel, as I have started learning 3d by my own about almost a year now (so I'm no expert). But I think that breaking in maybe among the most frustrating things ever, not only because you must learn all this stuff, but also cause you must learn what to learn. Anyway, I'll try to help you. This was really boring to write, but anyway, it was good to order my thoughts…
Last edited by lennon; December 29th, 2007 at 11:45 AM.
---RESPONSE TO NEOLIGHT----
INTRODUCTION TO 3D
(All that you wanted to know about 3d but found always to boring to read)
First of all, you must know wich are the steps:
1-you make the models (the objects and characters in the scene).
2-you put color, and some "bump" detail to them.
3-you may "rigg" and "bind" the characters. This would be similar to making the skeleton in sop-motion animation. If you don't know about traditional stop-motion, just know that it's like making the skeleton of the character (so that you can move it). As it is now only like an statue, you need to difference the joint and bones. "binding" would be to select how the skeleton affect the different parts.
4-You animate the objects (character and moving stuff in the background).
5-You put the lights, just like you would in real life. And animate them if you must. And then a virtual camera too.
6-You "Render" the animation. After now, it's all numbers an stuff, that your seeing in some sort of preview. Now it's time to make it an image.
7-Matchmoving. If for example you want to composite your 3d character with the real world (as Gollum), then you should use a tracking program that reads your moving footage (still footage doesn't need a thing to composite), and recognize the movement of the camera to apply to your 3d camera as well.
THE PROCESS IN DETAIL
-you may model, something organic, like a human, or a monster, you would do it in zbrush.
-Also you may do something inorganic. You would do it in maya, it can be polygonal (every geometrical shape with planar faces) like a box for the building, or perhaps the cylinder of the gun (notice that it will have planar faces, and not perfectly round ones). Or it can be made by surfaces of nurbs (image based in curves). Like for example if you want to make one of those round columns of a stair, or the shape of dome of san pietro.
-You can also model by IMAGE BASED MODELING too, in this method you take several pictures from an object (like a cathedral for example), and make the mesh from those images. You should know the methods for inorganic objects described later. The good thing about this method, is that you can also take the texture from the photos. This technique have become very famous when appeared in matrix in those slow bullet sequences. Also you can get your elements from a 3d gallery, and you too may need to mix several of this techniques.
2. TEXTURING (AND UV LAYOUT)
You should also texture it.
This would be to put color to it (a color map), and sometimes also something know as a bump map.
What a color map is, it's pretty obvious.
What a bump map is: This second one, is a way to make some detail to the surface. For example, if your making a stone, the surface may not be smooth, so you would take a black and whit image (usually that you have take from a picture), and you would tell the computer that when it encounters withe it take the points out, and when it encounters black, it take the points closer to the center. (Something like that)
Bumps, displacements, and its importance with zbrush: You have also other stuff like a bump map, very similar in description, that will be very important, (i.e. displacement map), both of them are use whenever you want to export your zbrush work to maya. You may notice that zbrush can handle a lot of detail, and so very complex polygons, with lots of faces (think about an octahedron and the 1.000.000.000-hedron that you could have done in zbrush). As maya may not handle well polygons this big, you may produce this maps in zbrush, to create the illusion that you have the same polygons as you so in that application without having them.
The color information don't have that problem, and it will work well without the need of any of that. The problem that they may have, it's on how do you put them.
-You could put colors, by painting them directly in zbrush in a 3d view (this is call polypainting). Most people don't use this because zbrush may not be very good for this task at first glance. You can't tweak the levels, hue, saturation you don't have effects like for example blur, or any of those, and you can't work with layers.
For this reason, many think that it's better to paint in a flat surface that allow them to go to photoshop. (The first method would also make the flat surface in reality, but the machine would handle where in the 2d texture to place the color that you put in the 3d mesh).
As most people use photoshop to paint the texture, they have to make the difficult task of making flat something that it's not. It's usually compared with making a 2d display of the earth, or taking the peel out of an orange and pasting it in a paper. This is known as a "UV layout" (making some sort of 2d map of a 3d thing). This is easy for planar object as a cube, or even for something like a sphere, as there are automatic methods that have been developed for the matter, but its very difficult for something else as a creature of any sort.
To do this you would have to use different methods to make different maps of the parts of the body. This is really boring.
The way I try to avoid this is by forgetting about going to photoshop, and using an automatic zbrush method for making this UVS call AUVTiles. This makes a perfect work, but the problem is that it you try to see the texture you may not understand a thing, are like a bunch of random 2d squares. So, if you do this, as I said before you must forget about photoshop and make it only by polypainting (painting in 3d, in zbrush).
3- RIGGING AND BINDING (A CHARACTER)
If what you have modeled it's a character and you want to animate it, you should do the skeleton. This is very easy actually, and there is a method in maya for making a very good one almost automatically called FBIK (wich stands for Full Body Inverse kinematics).
In other words, after you have sculpted your mesh and painted the surface, you should learn as much as you can about FBIK, and you will see that this is not a big problem right now (it was). Then it cames the binding part, again very simple also.
If you have problems here, tell me.
You have like a doll that you can easily move now. You may see that it's very easy to animate every part now.
What INTERPOLATION is: Just remember like this is not like 2d animation where you have to make every single frame, this programs work with "interpolation", wich means that you should only put where the foot start, and where it ends, and the computer will calculate where the foot should be in the frames that are in between. The frames that you put are known as "keyframes", and you record keyframes for the different stuff, like for example, you may record several of this by selecting the foot, and they will not affect the arm.
In the old days, the masters of animation would put this frames ("keyframes") that described the real movement, and the newbies would draw every frame in between. This is still done in most traditional animation, although there are
interpolation methods for 2d like the ones used in flash or after effects.
I will not get here in to what are the stuff that you deal with in traditional animation. There are many greats books on the matter. Specially the one of richard williams. You may also look at the book of preston blair, and there is also one written by a pixar guy, that it's very good too (timing for animation or something like that). Except for the first one that it's really like some sort of bible, the other have pretty much the same stuff as the one of preston blair.
-You can also take some MOCAP. "MOCAP" stands for motion-capture. Have you seen Lord of the rings behind the scenes? Pirates of the Caribean? Well, if you did, you probably noticed that the action is made by actors, with this funny balls attached to the body. To record this you may do it in several ways. Sometimes the balls are special, sometimes, you record the action with several cameras. You can take facials expressions with the same method.
There are several ways in wich you can make this by your own. Although they may be somewhat expensive, but you may investigate further.
You can't make your own MOCAP??? Ok, don't worry, there are lots of clips around that have been recorded by other people, they are usually about sitting, walking, running, jumping, etc. Some of this clips you can buy, and some are free, but you may search a lot in the web.
-The thing that I wILL talk about, is that 3d is great for what's call NON-LINEAR ANIMATION. First of all, what is linear animation? Suppose that you animate your character to walk, that's linear animation. Suppose that your character waves it's hand, that's also linear animation. Now, what if you want to mix both? You would have to take both clips, and say that you want the first one to work on the feet and the second one to work on the hand. THAT'S NON-LINEAR ANIMATION. Brilliant, isn't it? You can also put some MOCAP together, and have a very good animation without putting any keyframes.
5-LIGHTING AND SETTING THE CAMERA
This is just like in real life. The thing is that in real life, spotlights and stuff is very expensive. Well, this is true in 3d as well. The more light you put, the more time it will take to render. The same goes with lighting effects such as fog, and stuff like that.
Setting the camera is something to also give a thought: As opposite as in real life, you can here move the camera in every way and direction that you can think of. You can follow a rat throw a construction, and then zoom out to a moving car, and spin around in 360 degrees as it moves along a bridge.
Why then they don't move the camera much in Shrek???
It's because if you don't move the camera the background will be just one image along the complete shot. That means that the computer must calculate just one picture and only once, and then it can render the characters alone. As renders became faster with better computers, you may be able to move the camera a lot more.
This is a key thing to understand at the begging. Actually I still have troubles with this thing. It's really the thing that is holding everyone down from being able to make stuff like hollywood. It's also the same reason why when you open maya it looks as a crappy program, and why when you open zbrush it seems as a great program (even if both are good).
Everyone will judge your results for the way in wich they are rendered, this is important to remember, but you shouldn't do the same with the people that are teaching you. Many times you will see that someone is teaching you stuff, and when you look at their gallery, you notice that it looks like crap. The main reason is because the render is crap, not the rest of the work.
When you render in maya, use MENTAL RAY. You may have to check in the maya help how to load the plug-in, but it comes with the program. Another thing: You may notice that it doesn't seem to do much, if you compare it with the maya render. Well, one reason for this may be that you're using maya materials. Tryout the mental ray materials, and you will see a huge difference.
There are other external renders.
People with 3dmax may show you amazing results with pretty much no effort. That's because they use vray, wich is as mental ray but way more automatic. Actually I think you can get that application for maya too but I wouldn't recommend you too, as it's pretty much the same as mental ray, and I don't know if it work in such a good fashion while rendering an animation instead of a still picture. Also, another option is renderman from pixar (or PRENDERMAN). This may be very good, but as long as I know you will not find a huge difference yet. In any case, it may be wise to stick with mental ray for a long time, after you really know what you're doing before changing. If you still want to give it a try, there's an evaluation copy for free, which will print a watermark on every render you make.
HDRI stands for High dynamic range imaging. This method, it's amazing. It will make pretty much anything you render look perfectly real. I think it was discover by a guy named Paul Devebec, who probably also invented the concept of IMAGE BASED MODELING that I talked about earlier. You may take a look of how well it works in a short known as "fiat lux" (fully done in 3d).
Basically to render with HDRI, you need to take a picture from your set with a mirrored ball, so that you can take a 180 degree picture of your environment, and also the same trow the other side, so that when you unite them, you have a 360 degree image of your environment.
With this image, you would proyect this to any object of your scene, and the result would be amazing.
To do this, there are a number of tutorials on the net. I haven't done almost any of hdri in my renders, so I'm not expert.
Anyway, I tell you about this, as it probably will be difficult to discover on your own. You may investigat this further, now that you know just a tiny bit.
Matchmoving should be pretty straight forward at first. I will recommend you to use MOUJOU, as it's an amazingly easy to use program. It's pretty much atuomatic, and it has a "wizard" button, that tells you what you must do next.
Of course, to do matchmoving, you need a footage first that you have shoot in real life.
continued in the post down (yes it's that long!)
Last edited by lennon; March 22nd, 2010 at 01:02 PM.
CONTINUED FROM ABOVE
TOOLS TO LEARN:
There are a lot of videos and tutorials about 3d, the most known I think that are DIGITAL TUTORS, and THE WORKSHOP.
I think that the ones of DT, are usually taken out from the ones of , but that doesn't mean that they are worst. Sometimes they simplify the matter. I have look at lots of them, so I think that I can make good recomendations on what to get.
---Also: Search always for new stuff, as some old tutorials have become sort of obsolete.
MAYA IN GENERAL:
-I think that the best ones are in the maya help, you will see (I think that under "getting started") that there are a bunch of tutorials. The images look really bad, as they are from older versions of maya, but the knowledges is good, and everything that will talk about this basic stuff it's really pretty much copied from there. This part is somewhat boring, but should get you some basis. You don't need to do every exercise if you don't like, but you should read the introductions, and
familiarize with the procedure.
-Another option would be a very complete book on maya, that's call INTRODUCING MAYA 8. (I think it's from sybex), This book is good to have as reference about maya. It may be a little boring and long, but very complete. It's pretty much divide in the way I divide this post, so you can read what you care only.
-MAYA: For non-organic, that you should do in maya, I wouldn't take any tutorial, as probably what you need is in the maya help. For this part, you'll only need some instructions on what does every button.
You'll see really soon that you will need some tools way more than the others. Also get familiar with NURBS in here, as you may find that they perform some stuff that may save your life.
-ZBRUSH: I would get from TGW (the workshop): INTRODUCTION TO ZBRUSH 3 (Meats MEIER).
The term "introduction" is humble, as it's really all there is to know about it. You will not need any other. The only thing that may not be perfectly explained it's about polypainting, but it's easy non of the least, and I could explain it to you in a few lines. Another flaw is about exporting things back to maya, but really there isn't any good tutorial (or even method) on the subject yet. You may check the zbrush forums. Don't buy any tutorial on this matter, as they doesn't say much, and you could get the same information easily for free.
-I have also wrote some sort of resume of this tutorial, and my approach to zbrush, but it's in Spanish and I'm not very keen to translate it right now. If you now some spanish, you may look at it in page 2 of this trhead. I could translate some key points tough if you would want me to.
In any case, model always with a base mesh (the ones provided by zbrush), and sculpt the shape by using the brush MOVE in high ZADD. In this way it's easy, like drawing. For putting bumping textures in the surface, use the standard brush, with different ALPHAS, and set the brush type not in dot, free hand or all that, but in the one that is a square with an arrow.
This way, you put a bumpy texture in the way of the alpha, buy pressing and dragging without losing the button. If you don't get what I'm talking about, you can ask, or learn more about the program.
As I said before, I use AUVTiles in zbrush. I could tell you how to do this in no time, or you may check that out in the zbrush documentation (aviable to everyone for free in pixologic page).
If you still want to know how to make a UV layout, or have it as a reference there's a DIGITAL TUTORS tutorial that you may get (I repeat if you do want to make a UV layout).
DIGITAL TUTOR'S UV LAYOUT IN MAYA
--RIGING and SKINNING
There is a video of ALIAS about FBIK, but it actually tells you how to make an skeleton and press 3 buttons. I wouldn't purchase it at all. I would get some tutorial or explanation on FBIK, or look in maya's help. (one thing about FBIK, I think it's in every maya since maya 7. If you have an older version. Then you may have a problem. You may want to look for a plug in, or use the old method).
SKINNING or BINDING, you may learn it from the maya tutorials. Any other tutorial will have pretty much the same. If you have problems on this one, tell me.
For common animation, I would look at the maya help tutorials.
BASIS: You don't need to now the real principles of animation, but if you still want to, for the bussines of learning it (actually about 2d), the after mentioned books are very good. As I said, the one of Williams is probably the best.
"The animator's survival kit" -Richard Williams
It may be a little difficult as an introduction, in that case,
Timing for Animation -Harold Whitaker and John Halas
If you want to know this stuff in a simpler fashion and not buy a thing, there are lots of exelent stuff on the web for free that you should check.
-FACIAL ANIMATION: I haven't really entered in this subject, but this seems ok for an introduction (hadn't watch it yet), but I know no other.
Facial Animation and Lip Sync in Maya (e-download)
And a book also, that people recommend a lot
Stop Staring: Facial Modeling and Animation Done Right -Jason Osipa
-NON-LINEAR ANIMATION: Something good about this stuff may be this tutorial. I haven't seen any other about this subject:
Non-linear Animation with Maya Trax (e-download)
---5-LIGHTING AND SETTING THE CAMERA:
I don't think you need anything more that the maya help to learn this. as I said it's just like in real life, so in any case, you should learn real photography for the matter. The web is full of instructions, but as you already know how to draw I don't think you'll need any of them.
I think that the best one is
MENTAL RAY NODES IN MAYA http://www.digitaltutors.com/store/p...&cat=41&page=1
I made one exercise from this lesson, and you can see it in page 1 of this thread. You may notice that some of those images look very real. And I was just trying some shaders.
There are 3 DVDs in The workshop, I think that you would be interested only in the first one for know, but it doesn't really say much, as in MOUJOU you would work almost automatically. It is very good thought, and it introduce you to other methods not so automatic for production, but I don't think that you need them. If you can somehow get to see it thought, I advice you to watch specially the first chapters, where it explains how MATCHMOVING works, which is always very important to know.
But I repeat, buying this, I wouldn't advice you to, as you can do all of this with MOUJOU (and in the video kind of says so).
The other 2nd and 3rd video on matchmoving on the same page, it's way more advanced, and for professional stuff, dealing with problematics that you may not encounter.
-ABOUT MAYA UNLIMITED
There are lots of good stuff, way more professional than the later, but then again, way more complicated and sometimes boring.
There are lots of tutorials on the web about this stuff, and most of it is very simple. Also there are lots of plug-ins that do the same sometimes better, so take a look at them before purchasing or searching any of this.
SOFTWARE that I use:
-ZBRUSH: (organic modeler, and for polypainting),
other options are, mudbox (only for modelling), bodypaint (only for painting).
-MAYA: for animation and lighting.
Other options are, 3dmax, cinema 4d, xsi, modo, blender, etc.
-MENTAL RAY: For rendering (other options have already been discussed).
-MOUJOU: Matchmoving (camera tracking) Other option is Matchmover (manual instead of automatic)
(you should know that it exist, but it's not necessary to use it)
-REALVIZ: You may use some of their software for image based modeling. Three great dvds in the workshop. Pretty much all there is to know about the matter.
-ENDORPHIN (from natural motion): This application is way to fun to use. It's some sort of an animation program based on artificial intelligence simulation. This is particularly good for making people falling of the stairs, or stuff like that, in a
realistic way. You can apply easily the movements that you have produced to any of the 3d characters that you have sculpted in zbrush.
Forget ever again using a STUNT.
Do check the video out, as you may be amaze but how great it is: http://www.naturalmotion.com/endorphin.htm
It's the funniest thing ever. Better than any computer game. It also has all the tutorials that you'll ever need in a very easy way.
-VUE: For making natural 3d environments in some sort of really easy fashion. This program was used in Pirates of the Caribbean. I haven't use this one ever. But it seems easy.
One thing to remember: If you're not getting it right, it's because they are not explaining it right (this maybe the case of this text)
Anyway, if anyone has a critique, a correction, or a question, do post please.
Last edited by lennon; December 29th, 2007 at 11:29 AM.
Nice 3d work and great gestures, I thnk i enjoy those the most. I want the background you use for your gestures, makes them look more authentic. erp yeah Keep it up!
SketchBook Chris Yoakum?
Thanks for having a look at my SB man.
On the 3d comments, what I meant was that different parts of the body, or different materials should be treated differently.
The way you sculpt the muscles area is not the same as the bones and fat areas. even on an obese person, some bones are apparent and the skin behaves diffenretly on top of it. A good example to see what I mean is this 3d sketch from my friend Rafael: http://i3.photobucket.com/albums/y78...mation_wip.jpg
look at the way he did the chest area(mainly bones and muscle) and the way he did the belly.. It is visible the hardness of each area because of that.
A lil mudbox sketch I did a while ago also shows differences in densities on this face: http://www.uccimaru.com/3d/images/mud.jpg where you can feel whats bone and whats fat and muscles.
Of course there are many more advanced examples of it over the net but I need to use what I can here
Hope that makes more sense.
Brilliant! many thanks. I get what you say now the parts of the skin that stick to the bones should be more smooth (hard in appearance) And the wrinkles are different too. Yes, I can't explain it very good, but I get what you mean.