Professional Documents
Culture Documents
Cgarena Feb06 Issue
Cgarena Feb06 Issue
Illustrator
Photoshop Tracing the Photo
Change the Mood
of the scene Composition
The Rule Of Thirds
Interview with 3ds Max
3DAliens Making of “A Passage”
After Effects 3D Challenge
My Heart Goes Mmmm Sunlight
contents Advertiser’s Index
iStockphoto................................04
Maxon........................................14
Santiago Redendo & Jesped Pedrosa
Corel......................................20,21
16 Composition Sony..................................25,33,50
VFS............................................27
22 Photoshop
Change the mood of the scene
28 Illustrator
Tracing the Photo Editor : Ashish Rastogi
Email : contact@cgarena.com
30 After Effects
My Heart Goes Mmmmm
34 3ds Max
Making of “A Passage”
That has all changed - breakthroughs in data management and film recording technology have created new opportunities to
finish features entirely in digital. The process is called Digital Intermediate, and involves the original camera footage, film
or tape - being scanned as data, the images digitally manipulated through colour grading and vfx , then the project recorded
back to film negative in HD, 2K or 4K resolution.
Another major advantage is a greater control over colour grading. While optical colour timing allows only basic control of
the red, green and blue light sources during the duplication process, digital colour correction can affect aspects like satura-
tion and contrast to an infinite degree. Many different colours within the frame can be isolated at any one time, allowing
complex visual colour effects to be created easily.
There are also other benefits, including the protection of the original camera negative. Edits, re-edits, multiple versions
and even short promos can all be done without reverting to the original neg. The OCN is scanned once and then stored for
safe-keeping, the edit is performed digitally and thus always seamlessly. The digital intermediate path can also be taken for
productions shooting on HD or SD tape formats although the overall resolution will only ever be as good as the acquisition
format.
Can you tell us from where you got the idea for Glu3d?
Yes. The idea of making fluids with particles by applying the SPH formalism
was initially coded and applied in a Spanish company called REM Infografica
in 1997, the Company that developed well known plugins for 3dsmax like
metaReyes, clothReyes, NPR, etc. First test and source code were made there,
in REM Infográfica under the management of Javier Reyes Moreno. The team
leader, I and other people from REM Infografica leaved the company in 1998
to found a new company called NEXT LIMIT S.L. This company continued
the fluid project and named it RealFlow. However every founder of the com-
pany did not have the copyright of the program: although I contributed in
RealFlow program with a 33% , I had no rights on it, because it was registered
by the other two co-founders. After three years of continuous development,
I was fired from there. I lost all my rights on the Company and the program
and after a period of mobbing actions, I had to sell my Company stocks for
nothing.
After a year, I decided to start a new fluid project from scratch. I called it
Glu3D. It was in the early 2002. Every single line of source code added to
Glu3D was new. Nothing was taken from the old project RealFlow. A new
concept of fluid simulator integrated in 3dsmax and Maya was in mind; based
on the SPH formalism as RealFlow, but with a new user interface, completely
integrated in the 3D platform.
As soon as they came to know that I founded a new company, Next Limit
decided to sue me, arguing that I used the same realflow sources. After three
years in the Court, and after comparing every source line of both programs,
the conclusion of the Court was that Glu3D is a completely new program with
no comparison with RealFlow.
hmmm, 9
After doing work as a freelancer I started to work for Pyro Studios (Com-
mandos developer) in 1998. Unfortunately the team I was working on was
a totally management disaster (the project, called “Cimmeria” was totally
renewed from scratch every 6 months or so) so I became tired of the Span-
ish videogame industry pretty soon (“Cimmeria” became “Praetorians”… 4
years later!). We are the 4th videogames buyer country in the world, but our
production industry is in the lowest part on the list, so you can imagine how
the videogame companies here are…
After that, I started working at Next Limit, the makers of RealFlow. At first
we were just 4 guys, the 3 coders and me. I did beta testing, promotional
stuff, web design, tutorials, customer support, etc.
As you know, Online Piracy poses a major threat for all Freelancers and Companies working seriously want a good
companies, what you are doing to save Glu3d from this? support, so we are always there to answer questions, fix
bugs to meet the deadline, etc …day or night. I think that’s
We belive that if the software is good enough and it have a one of our most valuable work, and letters from our cus-
good price the people that use it to make profit will buy it. We tomers prove it...
know that piracy is unstopable, it doesn’t matter if you put the
“I have no plans at all to use (or continue to use) Real Flow for any fluid simulations. From what I have seen, I believe that
Glu3D is better suited to our needs than Real Flow. It seems to be every bit as capable as Real Flow, but has the advantage
of running inside of Max (something we have asked Next Limit to do for YEARS!). Also, the level of customer service that
we receive from you simply cannot be topped. It is very clear to us that you have a genuine desire to make Glu3D a great
product, and you are always willing to hear suggestions of how to make it better. It is really great to use a product that has
such enthusiasm behind it.
I’m sure we would probably have used at least PWrapper on about 9 out of the last 10 projects that we have done (it’s really
great for blood splatters and stuff like that). PWrapper is absolutely AWESOME and extremely fast compared to any other
type of metaballs that we have.
I really hope things work out for your company. It’s very frustrating to know that you have a better product than your com-
petitor, but not have the resources or the opportunity to prove it. It would really be a shame to not have Glu3D continue in
development.”
Kirby Miller
Blur Studios
I like films a lot. I really mean it, my BenQ hi-res projector is pos-
sible the best buy I did in many many years. I spent a lot of time
watching good films from all times (undubbed versions, of course ;)
, getting HD versions and freaky stuff like that. A quick brief list of
my favorite movies will be: Blade Runner, Fear and Loathing in Las
Vegas, Alien, Donnie Darko, Oldboy, The Fellowship of The Ring
(extended), Usual Suspects, The Incredibles, Yojimbo, Annie Hall,
Apocalypse Now and Fight Club.
The Rule
Of Thirds
There are times when you need to place your sub-
ject in the centre of the frame, you can create more
interesting, balanced and powerful compositions by
placing the subject off-centre in your photograph. A
technique that can help you visualize your shots is the
rule of thirds. The rule of thirds means to view your
shot through a grid made up of three equal parts, both
vertically and horizontally.
Your Mission
Create an image which shows Sunlight in a creative way. 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.
Note: You are required to submit work in progress images, obtain feedback and give feedback to other challengers in the
WIP challenge. This is a requirement of the challenge and failure to do so may result in penalties during final judging. Com-
munity interaction is a must!
Rules
1. All CGArena members may enter the CG Challenge. Membership is free of charge.
2. Employees of Corel, iStockphoto, Daz3D and CGArena are not allowed to enter this challenge.
3. The Challenge starts 09 February 2006 and will run until 12 March 2006 Midnight GMT.
4. There will be 2 winners in this 3D Challenge and CGArena, Sponsers and Judges decision will be final.
5. Winners have to submit a tutorial within 10 days and answer the few interview questions for eligible to prizes.
Final Image Size
- Your final image dimensions should be print resolution. Do not
send in a low-resolution placeholder and ask us to get back to you,
as we won’t.
- A guideline is 2657 pixels wide and/or 3636 high, JPG, 300 DPI.
First Prize
Second Prize
This 3D Challenge is proudly sponsored by:
DAZ3D - $25 Gift Voucher
and
Change the
mood of the
scene 2) To create a romantic mood, ‘warm up the image’. To
do this, create a Image > Adjustments> Photo Filter. In this
dialog box select “Warm Filter 85” and set the density to
60%.
Valentine’s Day is near, so why don’t change
the girlfriend image in a more romantic mood.
So in this issue we will change the mood of
the existing photo in Photoshop.
photoshop
3) Apply Filter > Blur > Gaussian Blur. Set the blur to
10 pixels. Experiment with the value according to your image
requirement.
6) Duplicate the second layer and change the
mode back to normal. Apply Filters > Distort> Diffuse
Glow and choose the settings as Graininess = 4, Glow
Amount =1 and Clear Amount = 20 and reduce the
opacity of the layer according to requirements.
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Pro Musicals, 25 Casa Major Road, Egmore, Chennai-08 | Email: promusic@vsnl.com | Web: www.promusicals.com
from
mice
to
men Digital
Character
Animation
at VFS
www.vfs.com
illustrator
Photo
included in Illustrator has always been sadly lacking.
That is, until now! With the new CS2 version, Illustra-
tor users finally have a great trace tool.
My Heart Goes
Mmmmmmmm
In this tutorial we will use the Adobe After Effects and Trapcode Particular plug-in to create this heart.
6. Freeze Frame
7. Dynamic Link
3) Apply Trapcode Particular Plug-in on the solid layer. Effect > Trapcode > Particular.
4) Set the key frame on 0sec for Emitter – Particles/sec and leave the value to 100
5) Go to 1 sec and change the value to 400, set another key frame on 4sec with same value, set value 300 on 4:10 sec,
set value 0 on 4:20sec
6) We also need to change the Position XY settings but we talk about that later.
7) Set Direction to Directional, velocity to 10.0, Velocity Random to 100.0 and Velocity from motion to 5.0
8) Particle Life[sec] to 5.0, Particle Type to Smokelet, Size over life and Opacity over life as in the following image,
Opacity of Particles to 40 and set the color of particles of your choice, if you want a random colors in the heart then also
9) Now, talk about the Position XY settings. There are three ways to do this…
a) Move the position anchor point at different places according to the shape desire at regular intervals but required lot
of tweaking.
b) Create a mask in the AE or Illustrator and copy the vertices then paste those vertices in the Position XY.
c) Or create any shape in Photoshop and save with alpha channel. And use Layer> Auto Trace feature, this will also
create a mask then once again copy and paste the vertices in the Position XY. If the image don’t have alpha channel then
still you can use Auto Trace and select the channel in the dialog box as desire like R-G-B channel or Luminance channel.
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Pro Musicals, 25 Casa Major Road, Egmore, Chennai-08 | Email: promusic@vsnl.com | Web: www.promusicals.com
3ds max
Making of “A Passage”
All the modeling in the scene was done using 3ds max 6. For texturing I used around 20-25 medium resolution pictures and
combined them in Photoshop. Light Tracer was used for the rendering.
My intention was to create a work that depicts my love for art. This is not very detailed scene and modeling wise it takes
only few hours to get the stage set. But, lighting and texturing is very important to convey the meaning of the image. I was
inspired by a painting I saw in book few months back. I was so moved by it that I drew a sketch in my drawing pad later
that evening. It ended up something like the one I attached below.
That painting depicts a lonely corridor running in between two walls, staying neglected for ages and stood guarded by two
dampen walls.
A staircase at the end of the corridor also serves a special meaning. The scene ends there but it gives kind of suspense feeling
as to what lies after that. In this sense the scene makes someone to think a lot.
Modeling this scene involved very little time. But to get the
concept and idea to the drawing board took longer than actual
modeling.
I started with a box and converted it to poly and made the two
main walls on the right side. These are the walls where most of
the drama will take place. I was very particular in the height and
their joining angle. I used a camera from the beginning to de-
termine the exact placement, since; the angle will play a major
role. As you can see in the picture below the placement of the
walls and how the camera is placed. I also added a ground.
Then I modeled the top portion of the wall using same poly modeling method. I also used Tessellate command and noise
modifier to make the edge more random. The picture below shows the close up.
Then I turned my attention to the wall on the left side that will make it impossible to see the other side of the scene. Although
very small part of this wall is actually seen from the camera angle but it serves as a barrier between the passage and the light
source.
I had to add light source at this point to determine the exact light and shadow angle and made adjustment to the height and
orientation of the wall.
Thefollowing picture shows how the wall is actually placed and the light source behind it.
The next picture shows a close up of the window with shutters like we have in old buildings built around the first quarter
of 20th century.
Texturing
Texturing was a challenge in this particular scene. I used Unwarp UVW in most cases. For the wall first I added an Unwarp
UVW and then took the map into the Photoshop and placed several layers of texture maps on the base. The picture below
shows how base layer containing the Unwarp UVW grid is placed.
I used around 20-25 medium resolution maps for the entire texturing procedure. The process went like this way; I took a
base texture for the wall from my collection and placed on top of the Unwarp UVW layer. Then I added moss layer, stain
layer and water mark layer accordingly.
Lighting
I used one target light and one omni light as fill light in
the scene. The picture shows the placement of the lights.
Post Processing
Rendering process involved some tweaking with the light and shaders to get the proper mood in the scene. I tested with
various light settings and shaders for couple of hours before coming to a satisfactory level.
I used Light Tracer of Scanline renderer with Bounce value 2. Then I took the raw render image in Photoshop and did
some color correction. I mainly work with Curve, HSL and Channel Mixer to correct the contrast level. Beside these I
also had to manually use Dodge and Burn tool for perfection.
I hope this article will be interesting to read and also be informative for you. Thank you for your time. Feel free to com-
ment on this and send me your queries at my email address.
Pradipta Seth
pradiptaseth@yahoo.co.in
http://pra-seth.3dup.net [Personal Site]
http://www.3dallusions.com/forums [I am moderator at this site]
ALL ROAD
Neil Maccormack, Geneva, Switzerland
Neil.Maccormack@mccann.ch
Lightwave 3d
PICASSO TOWER
Juan Carlos, Spain
jcjimenez@render3d.net
3ds Max
FRODO
Vishal Pawar, India
vishalpower@yahoo.com
Photoshop
A PASSAGE
Pradipta Seth
India
pradiptaseth@hotmail.com
3ds Max
How to send
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