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CGArenaGet Attention in Computer Graphics Community
ISSUE 01 FEBRUARY 2006
nterview with3DAliens
Composition
The Rule Of Third
3D Challenge
Sunlight
PhotoshopChange the Mood
of the scene
After Effects
My Heart Goes Mmmm
Illustrator
Tracing the Pho
3ds Max
Making of A Passage
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contents
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Editor : Ashish Rastogi
Email : [email protected]
183D Challenge: SunlightWorth $445 Prizes
16CompositionThe Rule of Thirds
05Interview with 3dAliensSantiago Redendo & Jesped Pedrosa
22 PhotoshopChange the mood of the scene
28 IllustratorTracing the Photo
30 After EffectsMy Heart Goes Mmmmm
34 3ds MaxMaking of A Passage
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industry news
Buzzword of the Month
igital Intermediate - The process of shooting on lm and nishing in the digital realm has been available to theoduction community for many years, but the problems associated with moving massive amounts of data required to
feature lm the same way has meant that lms have tended to only use the process for specic sequences.
hat has all changed - breakthroughs in data management and lm recording technology have created new opportunit
nish features entirely in digital. The process is called Digital Intermediate, and involves the original camera footage
tape - being scanned as data, the images digitally manipulated through colour grading and vfx , then the project reco
ck to lm negative in HD, 2K or 4K resolution.
nother major advantage is a greater control over colour grading. While optical colour timing allows only basic cont
e red, green and blue light sources during the duplication process, digital colour correction can affect aspects like saon and contrast to an innite degree. Many different colours within the frame can be isolated at any one time, allo
mplex visual colour effects to be created easily.
here are also other benets, including the protection of the original camera negative. Edits, re-edits, multiple ver
d even short promos can all be done without reverting to the original neg. The OCN is scanned once and then store
fe-keeping, the edit is performed digitally and thus always seamlessly. The digital intermediate path can also be take
oductions shooting on HD or SD tape formats although the overall resolution will only ever be as good as the acqui
rmat.
Disney buys Pixar
Walt Disney payed $7.4 bil-
lion in stock to acquire Pixar
Animation Studios--a deal
that puts Apple ComputerCEO Steve Jobs on Disneys
board of directors.
or the venerable animation giant, the move is a signicant
t on Pixars digital approach as the successor to the pen-
d-ink industry popularized by Walt Disney. Pixar will re-
ain in its San Francisco Bay Area headquarters.
bs said Pixars main choices came down to selling out to
isney or working with another studio under a deal like Lu-slm has with Twentieth Century Fox, in which the larg-
studio gets only a distribution fee. The latter option was
mewhat attractive, Jobs said, but would still result in an
rangement with two companies with two separate sets of
areholders and two different agendas.
Prime Focus Plans for
Rs117cr Expansion
Prime Focus, one of Indias lead-
ing integrated end-to-end post pro-duction and visual effects services
house, has chalked out an expan-
sion plan involving an investment
of Rs 117.25 crore (Rs 1.17 bil-
lion), according to a release.
The plan includes setting up of high-end digital studi
Los Angeles, London and Dubai and expanding its do
tic operations. To part nance this expansion, the com
soon proposes to enter the capital market with a public of Rs 100 crore (Rs 1 billion) through a 100% book bui
process. Prime Focus IPO is likely to hit the market a
end of February or beginning March.
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interview
ould you tell us a bit about yourself?
i, my name is Santiago Redondo and I am 38 year old, Telecommunication
ngineer. I started the 3dAleins Ltd in 2003. I am the programmer of the plu-
n Glu3d which is used for uids simulation in 3ds Max and Maya.
an you tell us from where you got the idea for Glu3d?
es. The idea of making uids with particles by applying the SPH formalism
as initially coded and applied in a Spanish company called REM Infograca
1997, the Company that developed well known plugins for 3dsmax like
etaReyes, clothReyes, NPR, etc. First test and source code were made there,
REM Infogrca under the management of Javier Reyes Moreno. The team
ader, I and other people from REM Infograca leaved the company in 1998
found a new company called NEXT LIMIT S.L. This company continued
e uid project and named it RealFlow. However every founder of the com-
any did not have the copyright of the program: although I contributed in
ealFlow program with a 33% , I had no rights on it, because it was registered
y the other two co-founders. After three years of continuous development,was red from there. I lost all my rights on the Company and the program
nd after a period of mobbing actions, I had to sell my Company stocks for
othing.
fter a year, I decided to start a new uid project from scratch. I called it
lu3D. It was in the early 2002. Every single line of source code added to
lu3D was new. Nothing was taken from the old project RealFlow. A new
oncept of uid simulator integrated in 3dsmax and Maya was in mind; based
n the SPH formalism as RealFlow, but with a new user interface, completely
tegrated in the 3D platform.
s soon as they came to know that I founded a new company, Next Limit
ecided to sue me, arguing that I used the same realow sources. After three
ears in the Court, and after comparing every source line of both programs,
e conclusion of the Court was that Glu3D is a completely new program with
o comparison with RealFlow.
Page 5 www.cgarena.com Issue 01 February 2006
AN INTERVIEW WITH 3DALIENSANTIAGO REDONDO & JESUS PEDROSA
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an you give us an overview of the core tech-
ology being used in Glu3d?
lu3D uses a CFD method called SPH - Smoothed
article Hydrodynamics, to calculate inter-particle
teractions. Lots of references about this model
n be found by searching in Google. SPH is
method that uses particles to sample 3D space
ith some uid properties, as density, pressure
d more. Fluid properties in any 3D point caninterpolated from those particle sample values.
nce animation is calculated, a surface polymesh
n be added to visualization purposes. The origi-
l algorithm purposed by SPH authors, has been
mplied and adapted to the 3D problem. These
mprovements continue in each Glu3D version.
What has been the biggest challenge in the
lu3d so far?
he aim of Glu3D developers is to bring a high
vel algorithm to the 3D community by simpli-
ing the complex physical model to adapt it to
e 3D animation requirements. Other commercial
proaches run outside the main 3D package (3ds-
ax, Maya) and make it difcult to adapt current
ene to a proprietary environment. People prefer
cook at home: Users love to run simulations in-
de its 3D package. We try to make it easier to
e users.
Whats coming next in glu3d, you are also plan-
ng a plug-in for Softimage and Houdini?
e have plans to provide with ports to other pack-
es. XSI is in our list. Some useful functions will
available outside glu3D; for example PWrap-
r: a particle envelope plug-in.
Page 6 www.cgarena.com Issue 01 February 2006
interview contd.
AN INTERVIEW WITH 3DALIENSANTIAGO REDONDO & JESUS PEDROSA
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interview contd.
AN INTERVIEW WITH 3DALIENSANTIAGO REDONDO & JESUS PEDROSA
an you tell us about the team working on the
lu3d? How many people are working on it and
om what backgrounds does everyone comes?
or Now, only two people are working on this project:
sus Pedrosa and me. Other people collaborated in
is project. We are already in the 3D business for a
ng time. In future we will add more people to the
am.
ow do you rate your plug-in on the scale of 10?
mmm, 9
Would you like to say anything to CGArena E-Zine
aders?
ello to all CGArena E-Zine readers. I hope glu3D
ill help you in your work.
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interview contd.
AN INTERVIEW WITH 3DALIENSANTIAGO REDONDO & JESUS PEDROSA
ould you tell us a bit about yourself & family?
ough one, I usually dont like to talk about myself :)
am a 30 year (sigh) guy from Galicia, a region in NW Spain. My st
ntact with computer graphics was at a very early age with a Spec-
um +2 in the 8 bit era. I started doing videotext adventures with
aphics, later I moved to the pc, where I was blown away with 3d stu-
o and Animator Pro. Then came windows, 3dsmax and many others.
fter doing work as a freelancer I started to work for Pyro Studios (Com-
andos developer) in 1998. Unfortunately the team I was working on was
totally management disaster (the project, called Cimmeria was totally
newed from scratch every 6 months or so) so I became tired of the Span-
h videogame industry pretty soon (Cimmeria became Praetorians 4
ars later!). We are the 4th videogames buyer country in the world, but our
oduction industry is in the lowest part on the list, so you can imagine how
e videogame companies here are
fter that, I started working at Next Limit, the makers of RealFlow. At rst
e were just 4 guys, the 3 coders and me. I did beta testing, promotionaluff, web design, tutorials, customer support, etc.
was a very cool job. I wasnt well paid at all but I
as very happy working with creative freedom and
tight team in a very familiar environment. I met
anti Redondo at that time, but some months later
e other company partners kicked him out, giving
e very few explanations about that move.
fter some time Next Limit got nancial aid and
e company started to grow. That was a good time,
last the company got the resources we need to
o further in the development and CG production.
nfortunately we had to do some boring stuff like
chitectural previz and stuff like that but it was a
ood time, I learned a lot and met a lot of cool guys
ere. But you know that good things dont last
uch time.
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interview contd.
AN INTERVIEW WITH 3DALIENSANTIAGO REDONDO & JESUS PEDROSA
he problem with the company was the new Mar-
ting guy. It is understandable that there are always
me frictions between the production and market-
g teams, but this guy goes beyond imagination.
e had (and still has) problems with almost every-
ne there except the company owners. I was the
oduction team manager at that time, and tired of
upidities, bad treat and hoax marketing maneuvers
explained the situation as unacceptable to the com-
ny owners. Result= I got illegally red typicalpanish After that I sued the company and as I had
nversations recorded where the company owners
cognized illegalities and shameful behavior they
eferred to pay before entering court (maybe Ill
ublish that some day, hehe)
egarding Next Limit, I think now people can see
eir policies with the Maxwell render product: hoax
arketing, an almost unusable product that doesnt
atch the expectative, buyers that ask their money
ck and get denials from the marketing team, etcfeel sorrow for the people working there (coders,
G artists and even marketing people), as all of this
nt their fault. People should ask Oscar Monzn
abregat (who changed his name to Oscar Mon to
oid being exposed from many people he cheated
l over the years. Believe me; the list goes very-
ry long). After him, they can ask Victor Gonzalez
d Ignacio Vargas, the company owners and one
the most coward people I ever met in my whole
fe.
nce I was out Next Limit I realized that I was on
e dark side so I contacted Santi and started to
lp him in the Glu3D development. Weve been
orking together for 2 years now, and Im happy
ith the results. I think Glu3D is a good product, it
uld be much better, but we are just 2 guys trying to
ght our way in this monsters industry without any
nancial help.
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interview contd.
AN INTERVIEW WITH 3DALIENSANTIAGO REDONDO & JESUS PEDROSA
xplain the role of a Plug-in Designer - what do you do?
s I was the main beta tester of Realow since version 1 Ive
ent many years working with uids on a daily basis. I was
rfectly aware of what is a good idea and what it is not regard-
g a uids tool, so I started to feed Santi with all the ideas I
d in mind for years but Next Limit people refused to accept.
y main goal was that the tool should be easy to use. I was
ry used to RealFlow workow after many years working
ith it, but it was perfectly clear that RealFlow is a hell of aol to learn and make good use. So at 3Daliens we always
d in mind an idea Make it good and powerful but keep it
mple!. That is and will always be our motto.
which movies Glu3d used, till today?
lthough 3Daliens is a modest company, the quality of Glu3D
nvinced some great studios like Blur, Troublemaker, Cafe-
x, Sony, etc
e already know that Glu3D has been used in Sin City by
roublemaker Studios and CafeFx (both tried RealFlow and
rned it down after trying Glu3D), Sharkboy and Lavagirl
y CafeFx and works from Blur Studios (they turned down
ealFlow too).
here is more movies where Glu3D has been used but we are
ot aware of the titles, as some big studios doesnt like to pro-
ote little companies and they just tell we used Maya in the
terviews (but for real production they buy all kind of software
ols). Glu3D is being used by Weta Digital, Digital Dimen-on, Encore Hollywood, Frantic Films and many other Film
d TV companies from many countries around the world.
s you know, Online Piracy poses a major threat for all
mpanies, what you are doing to save Glu3d from this?
e belive that if the software is good enough and it have a
ood price the people that use it to make prot will buy it. We
now that piracy is unstopable, it doesnt matter if you put the
latest Starforce, FlexLm, C-Dilla, ... hackers will al
crack it sooner than later, and you will be wasting
time and annoying your legal customers with compl
censing stuff.
We think that there is a much more important thing
cant be cracked or downloaded from Emule or BitTo
GOOD SUPPORT.
Freelancers and Companies working seriously want a
support, so we are always there to answer question
bugs to meet the deadline, etc day or night. I think
one of our most valuable work, and letters from our
tomers prove it...
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interview contd.
have no plans at all to use (or continue to use) Real Flow for any uid simulations. From what I have seen, I believ
lu3D is better suited to our needs than Real Flow. It seems to be every bit as capable as Real Flow, but has the adva
running inside of Max (something we have asked Next Limit to do for YEARS!). Also, the level of customer servic
e receive from you simply cannot be topped. It is very clear to us that you have a genuine desire to make Glu3D a
oduct, and you are always willing to hear suggestions of how to make it better. It is really great to use a product tha
ch enthusiasm behind it.
m sure we would probably have used at least PWrapper on about 9 out of the last 10 projects that we have done (its r
eat for blood splatters and stuff like that). PWrapper is absolutely AWESOME and extremely fast compared to any
pe of metaballs that we have.
eally hope things work out for your company. Its very frustrating to know that you have a better product than your
titor, but not have the resources or the opportunity to prove it. It would really be a shame to not have Glu3D contin
velopment.
irby Miller
ur Studios
AN INTERVIEW WITH 3DALIENSANTIAGO REDONDO & JESUS PEDROSA
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interview contd.
What are your hobbies?
ike lms a lot. I really mean it, my BenQ hi-res projector is pos-
ble the best buy I did in many many years. I spent a lot of time
atching good lms from all times (undubbed versions, of course ;)
getting HD versions and freaky stuff like that. A quick brief list of
y favorite movies will be: Blade Runner, Fear and Loathing in Las
egas, Alien, Donnie Darko, Oldboy, The Fellowship of The Ring
xtended), Usual Suspects, The Incredibles, Yojimbo, Annie Hall,
pocalypse Now and Fight Club.
also studied Film and TV production, as I was much more inter-
ted in the whole process than just the fx part. Right now Im in the
ocess of making a short lm with some friends, although I reckon
at everybody does that these days. I am a computer freak too, I go
demoscene parties and I am always checking the new and latest
ftware versions, playing games, etc. I like to read a lot too, mainly
ctional books but classical too (greek, chinese, etc).
Where you see yourself after 5 years?
would love to keep on working in software design and fx produc-
on, but frankly I am becoming less and less interested in the fx part
movies. I would like to be involved in lm production, but in a
ore creative way.
ow anyone can contact you and ask for support or help?
nybody can reach me at the Glu3D user forums (http://ww.3daliens.com/glu3D/forum2), my personal contact details are
ere (email, msn, icq and yahoo)
ow do you rate your plug-in on the scale of 10?
eing honest, I will rate it with 8. Glu3D is easy to use and cheap.
could be more powerful, and we are always working on improve-
ents, optimizations and new features, but remember that we are
st a 2 guys company that lack nancial help for everything. What
I can assure is that when we will have more resofrom a bigger company Glu3D will be much b
and we will make more CG tools based on the
powerful and easy philosophy.
Would you like to give any message to CGA
Members?
Start working with Glu3D! we dont care if you
have money to buy it, the demo version is FU
FUNCIONAL, and we will always give free lic
to people that shows good results using our tosimple as that. If you can make an fx movie te
illustration using Glu3D that can call the comm
attention youll have a Glu3D free license gr
so hands on mates!
INTERVIEW: CGARENA
AN INTERVIEW WITH 3DALIENSANTIAGO REDONDO & JESUS PEDROSA
http://www.3daliens.com/glu3D/forum2http://www.3daliens.com/glu3D/forum2http://www.3daliens.com/glu3D/forum2http://www.3daliens.com/glu3D/forum27/23/2019 Cgarena Feb06 Issue
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www.cgarena.comGArena brings you latest news and happenings 24 hours a day.
us, join in our interactive forums to showcase your work, andt attention in the computer graphics community Email: contact@cgaren
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composition
here are times when you need to place your sub-
ct in the centre of the frame, you can create more
teresting, balanced and powerful compositions by
acing the subject off-centre in your photograph. A
chnique that can help you visualize your shots is the
le of thirds. The rule of thirds means to view your
ot through a grid made up of three equal parts, both
rtically and horizontally.
his immediately cause the viewers eye to move
ound the image centrally placed subjects tend to
cus attention in the middle of the image and leave
there, making pictures feel at as a result. If youre
ying to create an abstract or graphic representation
reality, this might be exactly the technique youre
oking for. This rule is a basic principal often used
photography, video and lm.
ne of the most frequently used ways of directing the
ewers eye to the centre of interest in a picture is by
llowing the rule of thirds. Infact, there are lenses
ou can buy for cameras that makes this rule visible
rough viewnder and allows you to visualize where
place your characters and subjects.
isualizing your shots in thirds is like adding graph
per over your camera lens, allowing you to align
d balance subjects. In order to know if you are us-g the rule of thirds properly, think of sight lines or
adings. When you are presented with a new image,
r example, the eye goes to the most prominent shape
the frame, which is called the rst read. Then the
e wanders to a secondary shape, the second read,
d so on. Keep practicing it, and the rule of thirds
ill start to work itself into each of your shots.
The Rule
Of Thirds
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Source: Morgue F
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challenge
GArena is proud to present the Sunlight Challenge (3D Challenge), 09 Feb - 12 Mar 2006, sponsore
orel, iStockphoto and Daz3D. We want lots of different ideas and approaches in a more creative w
Photographed By: Arlene Gee
Your Mission
reate an image which shows Sunlight in a creative way. This Challenge is a Work-In-Progress Challenge -- all contes
e required to post their work-in-progress images for community to critique/comment in order to qualify.
How the Challenge will be Run
his challenge will be a WIP (Work in Progress) Challenge. Each challenger is required to submit Work In Progress (
mages, from the initial concept sketch to the nal render. The purpose is that everyone can learn from each other,
edback and critiques.
Enter the Challenge by registering yourself on CGArena forum.
Submit your work in progress images in forum on a regular basis.
Participate in the community by critiquing other challengers works in the respective forums.
Submit your nal entry till 12th March 2006.
ote: You are required to submit work in progress images, obtain feedback and give feedback to other challengers i
IP challenge. This is a requirement of the challenge and failure to do so may result in penalties during nal judging.unity interaction is a must!
Rules
All CGArena members may enter the CG Challenge. Membership is free of charge.
Employees of Corel, iStockphoto, Daz3D and CGArena are not allowed to enter this challenge.
The Challenge starts 09 February 2006 and will run until 12 March 2006 Midnight GMT.
There will be 2 winners in this 3D Challenge and CGArena, Sponsers and Judges decision will be nal.
Winners have to submit a tutorial within 10 days and answer the few interview questions for eligible to prizes.
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Photographed By: Victor K
inal Image Size
Your nal image dimensions should be print resolution. Do not
nd in a low-resolution placeholder and ask us to get back to you,
we wont.
A guideline is 2657 pixels wide and/or 3636 high, JPG, 300 DPI.
irst Prize
orelDRAW X3 Graphics Suite - $399USD
ith this comprehensive graphics suite, you can condently tackle
wide variety of projects - from logo creation and Web graphics, toulti-page marketing brochures, or eye-catching signs.
om new bitmap-to-vector tracing in Corel PowerTRACE, new
hoto-editing features in PHOTO-PAINT, new suite-wide learning
ols, and enhancements in illustration and page layout, this suite
mbines design capabilities, ease-of-use, and affordability that
nnot be matched by any other graphics software.
econd Prize
AZ3D - $25 Gift Voucher
AZ strives to bring 3D art directly to the masses by delivering the
ghest quality digital 3D content and software at the most afford-
le prices. DAZ also offers premier 3D software programs such
Bryce 5 (a 3D environment package), Mimic Pro (a 3D lip-sync
ogram), and DAZ|Studio (a 3D posing application) all at rock-
ottom prices.
and
tockphoto - $20 Gift Voucher
tockphoto is the worlds fastest growing collection of royalty-free
mages, at the worlds best prices. Just the best Stock Photography,
ector illustrations, and Flash les online, at prices for everyone.
This 3D Challenge is proudly sponsored by:
http://www.istockphoto.com/http://www.daz3d.com/http://www.corel.com/7/23/2019 Cgarena Feb06 Issue
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photoshop
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Change themood of the
sceneValentines Day is near, so why dont change
the girlfriend image in a more romantic mood.So in this issue we will change the mood of
the existing photo in Photoshop.
1) Open the Salma Hayek Image and duplicate the exi
ing layer.
2) To create a romantic mood, warm up the image. T
do this, create a Image > Adjustments> Photo Filter. In thi
dialog box select Warm Filter 85 and set the density to
60%.
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photoshop
Apply Filter > Blur > Gaussian Blur. Set the blur to
0 pixels. Experiment with the value according to your imagequirement.
Change the layer mode to multiply and adjust the opac-
y slider according to requir ement. In my image keep to
%.
5) Adjust the levels in the Red channel.
6) Duplicate the second layer and change the
mode back to normal. Apply Filters > Distort> Diff
Glow and choose the settings as Graininess = 4, Gl
Amount =1 and Clear Amount = 20 and reduce the
opacity of the layer according to requirements.
7) Apply some touchup color on the cheeks an
lips. Flatten the image and use the Levels comman
again. If required use the Image > Adjustment > Br
ness & Contrast. If you done everything correct the
your girlfriend will be denitely happy otherwise
#&$%@
7/23/2019 Cgarena Feb06 Issue
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XXXTPOZDPNNFEJBTPGUXBSF
8IBUNPSFEPZPVOFFE4PVOE'PSHFTPGUXBSFUIFMFBEJOHEJHJUBMBVEJPFEJUJOHBQQMJDBUJPOGPSPWFSUFOZFBSTIBTCFFOSFMJFEPOCZQSPGFTTJPOBMTGPSFEJUJOH
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UIBOBOZPUIFSQSPHSBNQSPWJEJOHBDPNQSFIFOTJWFQPXFSGVMTFUPGUPPMTEFTJHOFEUPNBLFZPVNPSFQSPEVDUJWF
/PXJOWFSTJPO4PVOE'PSHFBEETOFXGFBUVSFTMJLFTDSJQUJOHGVODUJPOBMJUZCBUDIQSPDFTTJOH745FFDUT
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UIFQSPQFSUZPGUIFJSSFTQFDUJWFPXOFSTXXXTPOZDPNNFJEBTPGUXBSF]
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4PVOE'PSHF
Pro Musicals, 25 Casa Major Road, Egmore, Chennai-08 | Email: [email protected] | Web: www.promusicals.c
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Vancouver Film School is the place to be or everything you see,
hear, and experience in entertainment and that defnitely includesDigital Character Animation.
At VFS, your classroom is a production studio. Your creativity is the
lesson plan. Let our aculty o industry proessionals help bring
your best ideas to lie. VFS covers all aspects o Computer Character
Animation with a ocus on Technique, 3D Modeling, Cinematography,
and Acting Fundamentals. Students achieve creative profciency on
MAYA sotware, an essential tool or all aspects o 3D rendering.
Every program at VFS is designed to prepare the next generation o
talent or specifc careers in the most exciting and creative industry
in the world. How? Every student graduates with a demo reel or aportolio o original work the ultimate calling card.
Vancouver Film SchoolWhere Results Matter
Dorothy MathiasInternational Admissions Advisor
Mumbai, India
+91 22 2604 3770
www.vfs.com
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CharacterAnimationat VFS
from
micetomen
For more information, contact:
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illustrator
Tracing the
Photo
Adobe stopped upgrading its vector conversion ap
cation Streamline some time ago, and the Trace
included in Illustrator has always been sadly lackThat is, until now! With the new CS2 version, Illu
tor users nally have a great trace tool.
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What are Raster Images?
Raster imagesuse a grid of small squares known as p
to represent images. Each pixel is assigned a specic
tion and color value. Raster Images or Bitmap Image
the most common electronic medium for continuous
images, such as photographs or digital paintings, be
they can represent subtle gradations of shades and colo
What are Vector Images?
Vector graphics are made up of lines and curves den
mathematical objects called vectors. Vectors describe a
age according to its geometric characteristics. Vector g
ics are resolution-independentthat is, they can be sca
any size and printed at any resolution without losing
or clarity. As a result, vector graphics are the best c
for representing graphics that must retain crisp lines
scaled to various sizesfor example, logos.
1) Create a new document and to place a image in
trator, use the File > Place command.
2) After Placing a image in the Illustrator, Live button appears in the top control pallette or you
also use the Object > Live Trace Menu. Choose a
set from the dropdown Preset menu, which is acc
from the small arrow to the right of the Live Trace bu
3) After clicking the Live Trace button, you will
many more options on the control palette. Next to the Pr
is a button that opens many more options. From this dyou can control the number of colors, the preset, the
mum size that will be traced, and even choose to outpu
swatches le.
This is one of the best new features in Illustrator CS2.
this tool you will be able to trace logos, sketches, scans
many other bitmap images that were time-consuming
difcult to reproduce.
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after effects
My Heart GoesMmmmmmmm
New Keyboard Shorcuts in AE
1. Remove Title Bar - Ctrl + Backspace
2. Maximize any window - Tilde (~)
Create New Composition, size = 640 x 480, Frame Rate = 25fps or
0fps, Duration = 5 sec.
Create New Solid layer (Ctrl + Y) Layer > New > Solid. Choose
y color and press button Make Comp Size.
this tutorial we will use the Adobe After Effects and Trapcode Particular plug-in to create this heart.
New Features in AE 7
1. Newly Designed User Interface.
2. Animation Presets for everything.
3. HDR Color Support
4. Timewarp - Can be used in place of T
Remapping for accurate results.
5. Accurate Lens Blue Effects.
6. Freeze Frame
7. Dynamic Link
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Apply Trapcode Particular Plug-in on the solid layer. Effect > Trapcode > Particular.
Set the key frame on 0sec for Emitter Particles/sec and leave the value to 100
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
t value 0 on 4:20sec
We also need to change the Position XY settings but we talk about that later.
Set Direction to Directional, velocity to 10.0, Velocity Random to 100.0 and Velocity from motion to 5.0
Particle Life[sec] to 5.0, Particle Type to Smokelet, Size over life and Opacity over life as in the following im
pacity of Particles to 40 and set the color of particles of your choice, if you want a random colors in the heart then a
Page 31 www.cgarena.com Issue 01 February 2006
after effects
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after effects
ange the setting of Color Random[%]
Now, talk about the Position XY settings. There are three ways to do this
Move the position anchor point at different places according to the shape desire at regular intervals but requir
tweaking.
Create a mask in the AE or Illustrator and copy the vertices then paste those vertices in the Position XY.
Or create any shape in Photoshop and save with alpha channel. And use Layer> Auto Trace feature, this will a
eate a mask then once again copy and paste the vertices in the Position XY. If the image dont have alpha channel th
ll you can use Auto Trace and select the channel in the dialog box as desire like R-G-B channel or Luminance chan
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Pro Musicals, 25 Casa Major Road, Egmore, Chennai-08 | Email: [email protected] | Web: www.promusicals.co
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3ds max
Making of A Passage
ll the modeling in the scene was done using 3ds max 6. For texturing I used around 20-25 medium resolution picture
mbined them in Photoshop. Light Tracer was used for the rendering.
y intention was to create a work that depicts my love for art. This is not very detailed scene and modeling wise it
nly few hours to get the stage set. But, lighting and texturing is very important to convey the meaning of the image. I
spired 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
at evening. It ended up something like the one I attached below.
hat painting depicts a lonely corridor running in between two walls, staying neglected for ages and stood guarded by
mpen walls.
staircase at the end of the corridor also serves a special meaning. The scene ends there but it gives kind of suspense fe
to what lies after that. In this sense the scene makes someone to think a lot.
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3ds max
Modelling
odeling this scene involved very little time. But to get the
ncept and idea to the drawing board took longer than actual
odeling.
started with a box and converted it to poly and made the two
ain walls on the right side. These are the walls where most of
e drama will take place. I was very particular in the height and
eir joining angle. I used a camera from the beginning to de-
rmine the exact placement, since; the angle will play a major
le. As you can see in the picture below the placement of the
alls and how the camera is placed. I also added a ground.
hen I modeled the top portion of the wall using same poly modeling method. I also used Tessellate command and
odier to make the edge more random. The picture below shows the close up.
hen I turned my attention to the wall on the left side that will make it impossible to see the other side of the scene. Alth
ry small part of this wall is actually seen from the camera angle but it serves as a barrier between the passage and the
urce.
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3ds max
had to add light source at this point to determine the exact light and shadow angle and made adjustment to the heigh
ientation of the wall.
hefollowing picture shows how the wall is actually placed and the light source behind it.
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3ds max
ext I was concentrating on making the backdrop. The backdrop has to be interesting enough to catch the attention a
e same time should convey the basic meaning the image in proper synchronization. I did lots of experiment before co
make this object. The wall is placed in such way so that it shows the two windows from the camera angle. This p
ows the walls of a building positioned in the scene.
he next picture shows a close up of the window with shutters like we have in old buildings built around the rst qu
20th century.
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3ds max
Page 38 www.cgarena.com Issue 01 February 2006
ext I added the staircase at the end of the corridor. The edge is again made random and rounded to showcase the we
ing and aging.
hen I was almost satised with the scene setup Idded some pot with plants and wooden planks near
e wall. The picture below shows a close up of the
ots, one broken partly.
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3ds max
exturing
exturing was a challenge in this particular scene. I used Unwarp UVW in most cases. For the wall rst I added an Un
VW and then took the map into the Photoshop and placed several layers of texture maps on the base. The picture b
ows how base layer containing the Unwarp UVW grid is placed.
used around 20-25 medium resolution maps for the entire texturing procedure. The process went like this way; I to
se texture for the wall from my collection and placed on top of the Unwarp UVW layer. Then I added moss layer,yer and water mark layer accordingly.
7/23/2019 Cgarena Feb06 Issue
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3ds max
Page 40 www.cgarena.com Issue 01 February 2006
nce this major texturing is done I added some special
yers that contain a tic-tac-toe and grafti sign. I used
rious layer blending method to seamlessly match the
yers with the base layer, for example Multiply, Screen
d Overlay.
he backdrop is given a blue colored wall. I was trying
ith different color and found blue color quite appealing
r this scene. For the window and shutter I used an aged
ood texture with lots of variation in color.
ighting
used one target light and one omni light as ll light ine scene. The picture shows the placement of the lights.
placed a sky light to used with Light Tracer. There was
mething more with the light setup. I needed to create a
ce shadow in the foreground area. That was achieved
ing a light blocker in front of the light path. As shown
re a box is placed so that to cast a good shadow in the
rridor.
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3ds max
ost Processing
endering process involved some tweaking with the light and shaders to get the proper mood in the scene. I tested wi
rious light settings and shaders for couple of hours before coming to a satisfactory level.
used Light Tracer of Scanline renderer with Bounce value 2. Then I took the raw render image in Photoshop and did
me color correction. I mainly work with Curve, HSL and Channel Mixer to correct the contrast level. Beside these
so had to manually use Dodge and Burn tool for perfection.
hope this article will be interesting to read and also be informative for you. Thank you for your time. Feel free to co
ent on this and send me your queries at my email address.
radipta Seth
[email protected]://pra-seth.3dup.net [Personal Site]
tp://www.3dallusions.com/forums [I am moderator at this site]
For discussion on this tutorial please click here
http://forum.cgarena.com/viewtopic.php?t=101http://forum.cgarena.com/viewtopic.php?t=1017/23/2019 Cgarena Feb06 Issue
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gallery
VLAD THE IMPALOR
Harshdeep Borah, Canada
Maya
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gallery
7/23/2019 Cgarena Feb06 Issue
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gallery
ANDO - CHURCH OF LIGHT
Karunakaran, India
3ds Max
ALL ROAD
Neil Maccormack, Geneva, Switzerland
Lightwave 3d
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gallery
PICASSO TOWER
Juan Carlos, [email protected]
3ds Max
7/23/2019 Cgarena Feb06 Issue
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gallery
FRODO
Vishal Pawar, India
Photoshop
For Detailed Tutorial on Making of Frodo Click Here
http://cgarena.com/freestuff/tutorials/frodo/frodo.htmlhttp://cgarena.com/freestuff/tutorials/frodo/frodo.html7/23/2019 Cgarena Feb06 Issue
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gallery
SPIDER & TANKLOW
Marco Antonio Delgado, Spain
Softimage XSI
7/23/2019 Cgarena Feb06 Issue
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gallery
A PASSAGE
Pradipta Seth
India
3ds Max
7/23/2019 Cgarena Feb06 Issue
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submission
How to send
in your images.. .We showcase the cream of reader images
in E-Zine and on website - heres how to get yours noticed
BY EMAIL
his is by far the quickest and easiest way to send your images to us. Send
e images on [email protected] and include the following details in themail.
Your Name, Image Title, Software Used, Your Country
JPEG format at 300 dpi (if possible)
d any other detail you like to add.
Upload Images through Websiteollow this link http://www.cgarena.com/submit.php
To Advertise: [email protected]
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50/50
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