• INAKI GONZALES

        REALISM CAN LEAD TO A CAREER    Inaki Gonzales, CG artist and specialist on photoreal rendering  techniques at Leonard Blum, reveals how t=how the studio created virtual prop in LightWave  to demonstrate the importance of photorealism as a training option The model is based on the Chippendale chair that was proposed for the(…)

  • THE FOUNDAMENTALS OF USING UV MAPS

    UNDERSTANING UV MAPS IS KEY TO PLACING COMPLEX TEXTUREON YOUR 3D MODEL.   YOUR COMMISSIONED MODEL IS FINISHED ,AND COVEDERE IN TEXTURE THAT LOOK AMAZINGLY PHOTOREALWHEN  YOU RUN THEM TROUGH YOUR RENDER. THAN YOUR CLIENTS GET IN TOUCH THAT THEY LIKE THE MODEL SO MUCH THAT THEY WANT TO INTEGRATE IT INTO AN IPHONE APP,(…)

  • THE PIRATE

          ARTIST     Freelance modeller Pietro Licini caught the CG bug when it was at university before turning professional working on commercials, short films and teaching.The piarate was created to teach character modelling for mater course at the italian CGschool Bigrock:the concept was devised with Simone Scuglia. The texturing in fact was(…)

  • preparing my pitch presentation for my final major project degree: what is the cause of transgenderism

    LIKELY CAUSES. THERE IS STRONG EVIDENCE THAT MOT TRANSGENDER PEOPLE ARE BORN  WITH A PREDISPOSITION TO BEING TRANSGENDR  THAT WAS FORMED PRENETALLY. GENERALLY IDENTITY  SEEMS TO BE FULLY FORMED BEFORE AGE 6 AND THAN BECOMES VERY DIFFICULT TO CHANGE OR INFLUENCE  LATER.   THERE ARE THOUGHT TO BE   3 MAJOR FACTORS   IN DEVELOPMENT  CHEMICAL/HORMONAL, GENETIC and(…)

  • walking backward in scared way

    http://youtu.be/pun6eQmLDQE

INAKI GONZALES

mrgonzales

 

 

REALISM CAN LEAD TO A CAREER 

 

Inaki Gonzales, CG artist and specialist on photoreal rendering  techniques at Leonard Blum, reveals how t=how the studio created virtual prop in LightWave  to demonstrate the importance of photorealism as a training option

The model is based on the Chippendale chair that was proposed for the art director ANTXON GOMEZ, in Pedro Almodovar’s film  TALK TO HER.

They decide to make a virtual model of it and comped it into the main room where the conferences were held.

 

We used LightWave and photoshop to get more realistic result. To generate a virtual environment , we took separate picture of the room at several exposures and stitched them to generate the environment HDRI that we used for lighting IBL  and reflections. We did the final comp in photoshop using different render buffers for reflections shadows diffuse ID ect.

This  model of Chippendale chair was created and then comped into the virtual conference room.

 

 

 

THE FOUNDAMENTALS OF USING UV MAPS

uv unwrap

UNDERSTANING UV MAPS IS KEY TO PLACING COMPLEX TEXTUREON YOUR 3D MODEL.

 

YOUR COMMISSIONED MODEL IS FINISHED ,AND COVEDERE IN TEXTURE THAT LOOK AMAZINGLY PHOTOREALWHEN  YOU RUN THEM TROUGH YOUR RENDER. THAN YOUR CLIENTS GET IN TOUCH THAT THEY LIKE THE MODEL SO MUCH THAT THEY WANT TO INTEGRATE IT INTO AN IPHONE APP, AND ARE GETTING AN ANIMATION COMPAMAY TO USE YOUR ASSET IN SOME ONLINE ADVERTS- COULD YOU SUPPLY THEM THE MODEL AND THE TEXURE ?

 

THIS IS WHERE THE UV MAPS BECOME ESSENTIAL TO YOUR WORK FLOW.  UV MAOS ARE EXTREMELY POWERFUL  TEXTURING TOOL  THAT SEEMS HARD TO GET INTO BUT THEY ALLOW  THE SHARING OF IMAGE -BASED TEXTURE BETWEEN 3D APPLICATION.

THIS IS BECAUSE THEY KEEP RECORD WHERE A SPECIFIC IMAGE SHOULD BE PLACE ON YOUR 3D MESH VIA 2D RAPPRESENTATION CALLED A UV SOME TIMES UWV MAP, WHICH TAKES VERTEX POINT FROM YOUR 3D MODEL’S XYZ COORDINATES AND APPLIES THEM TO A 2D IMAGE  WITH U AND V AXIS.

 

THIS FLAT WIREFRAME 2D REPRESENTATION OF YOUR MODEL WILL MOST OFTEN LOOKED LIKE  IT HAS BEEN PEELED FROM YOUR 3D MESH , ALTERNATIVELY IT WILL LOOK LIKE MANY PARTS OF YOUR MODEL LAID OUT IN RANDOM FASHION.

MOST 3D MAPS IS THAT THEY ARE 2D-3D APPLICATION AGNOSTIC, USING BASE 3D FILE FORMAT SUCH AS.OBJ MODELS THAT UV MAPS APPLED CAN BE SENT BETWEEN 3D APPLICATIONS WITH COMPARATIVE EASE, SAFE IN THE KNOWLEDGE THAT TEXTURE PLACEMENT WILL BE CONSINSTENT ACROSS  APPLICATIONS, THIS IS IMPORTANT  WHEN CREATING REAL TIME ASSTS FOR GAME ENGINES, WHICH DEPEND ON MUSH OF THEIR DETAIL FROM IMAGE -BASED SOLUTIONS.

A GOOD UV MAP WILL PROVIDE THE CO-ORDINATES FOR IMAGE THAT DEPICT COLOUR SPECULARITY ECT. THEY CAN ALSO   BE USED  TO DEFINE  THE POSITION OF NORMAL   AND DISPLACEMENT    MAPS THAT HAVE BEEN GENERATED FROM HIGHER-RESOULTION VERSION OF THE MODEL BUT IMPART  THIS DETAIL ONTO LOWER POLYGON VERSIONS.

THE USEFUL THING ABOUT UV MAPS IS THAT THEY CAN   BE EXPORTED IN 2D  APPLICATION SUCH AS PHOTOSHOP WHICH THAN  ENABLES EXPETETIONALLY  FINE CONTROL OF YOUR TEXTURES USING AN IAMGE EDITING WORK FLOW, AS WELL AS ALLOWING YOU TO PLACE TEXT ETC ON YOUR MODEL.

THESE BENEFITS OF UV MAPS MAKE THEM AN EXPETIONALLY EFFICIENT FORM TEXTURING YOUR MODEL

 

 

THE PIRATE

The_Pirate_3dtotal3

 

 

 

ARTIST

 

 

Freelance modeller Pietro Licini caught the CG bug when it was at university before turning professional working on commercials, short films and teaching.The piarate was created to teach character modelling for mater course at the italian CGschool Bigrock:the concept was devised with Simone Scuglia.

The texturing in fact was an important part of the project because my goal was to combine a cartoon character with a credible look, so i focused my attention on the details,explain Pietro

I particulary liked working on the clothes creating patterns and adding nicedetails was great fun.

Prior to start a project , pietro spends time looking at references, before modelling with classic box tecnique, trating each area separately to get good  topology.

 

 

www.behance.net/pitlicini

 

preparing my pitch presentation for my final major project degree: what is the cause of transgenderism

preparing my pitch presentation for my  final major project degree: what is the cause of transgenderism

LIKELY CAUSES.

THERE IS STRONG EVIDENCE THAT MOT TRANSGENDER PEOPLE ARE BORN  WITH A PREDISPOSITION TO BEING TRANSGENDR  THAT WAS FORMED PRENETALLY.

GENERALLY IDENTITY  SEEMS TO BE FULLY FORMED BEFORE AGE 6 AND THAN BECOMES VERY DIFFICULT TO CHANGE OR INFLUENCE  LATER.

 

THERE ARE THOUGHT TO BE   3 MAJOR FACTORS   IN DEVELOPMENT  CHEMICAL/HORMONAL, GENETIC and ENVIRONMENTAL .

WE KNOW FROM  BRAIN STUDIES THAT MEN AND WOMAN HAVE A SMALL SPECIFIC AND IDENTIFIABLE STRUCTURES IN THE BRAIN  THAT ARE DIFFERENT IN SIZE AND PROPORTION. WHEN THE BRAINS OF TRANSGENDER PERSON ARE ANALYSED THEY ALMOST ALWAYS CONSISTENTLY   MATCH  THE BRAIN STRUCTURE  OF THEIR ADOPTED GENDER NOT THEIR BIRTH  SEX.  MALE TO FEMALE TRANSSEXUAL  HAVE A FEMALE BRAIN STRUCTURES. THESE CHANGES  ARE THOUGTH TO BE CAUSED  DUE TO HORMONAL OR CHEMICAL IMBALANCES THAT CAUSE THE WRONG HORMONES TO BE EXPRESSED BY THE MOTHER PRENATALLY . THAT SAMPLE SIZES ARE SMALL IN THESE STUDIES DUE THE LOW NUMBER OF TRANSGENDER PERSONS BRAIN FOR MEDICAL STUDY AFTER DEATH  RESEARCH IS ON GOING. THERE IS A CONSINSTENT REND EVEN WITH THE SMALL AND GROWING SAMPLE SIZE.

 

BRAIN DEVELOPMENT

DURING ONE STAGE OF A BABY’S DEVELOPMENT IF THE MOTHERS BODY PRODUCE MALE HORMONES THE BABY GENITALS WILL BECOME MALE AND IF THE  MOTHER PRODUCE FEMALE HORMONES THEN THE GENITALS  WILL BE FEMALE . THIS  CAN EVEN HAPPEN IN OPPOSITION TO THE GENETIC SEX OF THE BABY.

THERE IS ALSO A SECOND WASH OF SEX HORMONES THAT OCCURS WHILE THE BRAIN IS DEVELOPING . IT IS  THOUGHT BY SOME RESEARCHERS THAT CROSSING THE WRONG HORMONES AT THAT TIME  IS WHAT LEADS TO TRANSGENDER ISSUE . STUDIES WITH ANIMALS  HAS SHOWN THAT PURPOSELY GIVING THE ANIMAL THE WRONG HORMONES  DURING THAT BRAIN DEVELOPMENT  STAGE WILL EVEN CAUSE  THE ANIMAL TO  EXHIBIT  MATING  BEHAVIORS OF THE OPPOSITE SEX EVEN IF THE GENITALS MACTH THEIR GENETIC

GENETIC MAY ALSO PLAY APART IN THE HORMONES NOT BEING AS EFFECTIVE   OR THE BABY BEING MORE SENSITIVE  TO HORMONAL IMBALANCES THAT MIGHT CAUSED GENDER ISUESS AND CHILD TO BECOME TRANSGENDER.

SO TWO OF THREE ARE IN SOME WAY HORMONALLY BASED AND PRENATAL HORMONES CAN BE EFFECTED BY STRESS, MEDICATION, POLLUTANTS, DISEASE AND NUMEROUS OTHER THINGS.

THE LAST FACTOR IS THE ENVIRONMENT THAT CHILDREN GROW UP IN BUT THAT SEEMS TO BE LEAST LIKELY CAUSE. THE SIMPLE FACT IS THAT CHILDREN IN AN ENVIRONMENT WITH OTHER SANE SIBLINGS ONLY A YEAR OR TWO APART CAN STILL SHOW GENDER NON CONFORMITY EVEN THOUGH NO OTHER SIBLINGS DO.

 

WHEN DO THEY KNOW

THE LAST PART TO ADRESSIS WHEN. FROM MY FIRST HAND EXPERIENCE BOTH WITH MYSELF AND WITH OTHERS, MOST TRANSGENER PEOPLE KNOW TE ARE UNCOMFORTABLE WITH THEIR GENDER FROM EARLY ON. THE QUESTION  TENDS TO BE HOW LONG DOES IT TAKE FOR THAT  DISCOMFORT TO BECOME UNBEARABLE  OR HOW LONG CAN THEY FOOL THEMSELVES  INTO THINKING  THEY ARE THEIR BIRTH SEX. CERTAINLY SOME PEOPLE MAY COME TO THE REALISATION LATER IN LIFE BUT EVEN  THEN MANY OF THEM HAD OTHER GENDER. NONCONFORMING  BEHAVIOURS BEFORE THAT SUCH  AS OCCASIONAL CROSS DRESSING.

THE AGE OF TRANSTION CAN BE AT ANY AGE BUT THE AGES FOR THEY KNEW THEY FELT  MORE LIKE A GIRL .(OR BOY)  TENDS TO AVERAGE MUCH LOWER. IN MANY PEOPLE  LIKE MYSELF, AS LOW AS EARLY CHILDHOOD AND AS YOUNG AS 6.

 

in the pic andrej pejic former transgnder model.

 

Oestrogen, Animation, model

Oestrogen, Animation, model

After trying to download  a clear way of   3D model of a molecular oestrogen  i decided to to create my own model.

Here there is some of mine animation with the glowing effect on mental ray Maya.

I love this programme every day is a discovering  a new way   on animation and special effects.

 

 

SPRITE EFFECT IN MAYA , AND RENDERING IN HARDWARE.

SPRITE EFFECT IN MAYA , AND RENDERING IN HARDWARE.

SOME PART OF MY FILM WHERE I WILL USE SOME SPRITE EFFECT ON MY FILM.

TO DEVELOPED THIS TECHNIQUE  IT TOOK A LITTLE TIME THAN USUAL .  I HAD WORK OUT  OPACITY  ABOUT CODING AND GIVE THE RIGHT TEXTURE WITH   OPACITY PP .

THE DEVELOPMENT IS DIVIDED IN SPRITE TWIST PP] SPRITE SCALE XPP SPRITE SCALE YPP.

 

THOSE ARE THE ATTRIBUTE:

create new float particle array attribute say rand_multPP
then on particle creation assign random values to it to get clockwise and counterclokwise spin, this will determine also the speed of rotation.

rand_multPP=rand(-1,1);

then switch to runtime and add the value from rand_multPP to the twist value this will happen each frame:

yourPShape.twistPP+=rand_multPP;

if you need them to spin faster increase the range
rand_multPP=rand(-10,10);

 

FOR THE RENDERING PART NEED TO BE RNDERED IN HARDWARE C.02

TO ASSIGN AN IMAGE TO LAMBERTH THIS IS THE PROCESS:

To assign an image sequence to the sprites

  1. In the menus above the workspace, turn on Shading > Smooth Shade All and Shading > Hardware Texturing.
  2. Select the particle object.
  3. In the Attribute Editor, set Particle Render Type to Sprites.
  4. To add default Particle Render Type attributes that let you tune the appearance, click the Add Attributes For Current Render Type button.
  5. Create a Lambert material with shading group, and assign it to the selected particle object. See Rendering for details.
  6. From the Rendering menu set, select Lighting/Shading > Assign Existing Material to display the Lambert node in the Attribute Editor.
  7. In the Common Material Attributes section of the Attribute Editor, click the map button to the right of the Color slider.
  8. In the Create Render Node window, click the File  button to create a texture file node.
  9. In the File Attributes section of the Attribute Editor, click the file browser button to the right of the Image Name box.
  10. Select the first file in the sequence and click Open.

    ImportantThe image files you use as sprites must have filename extensions in the format file.n, not file.000n (zero-padded extensions).

  11. In the Interactive Sequence Caching Options section, turn on Use Interactive Sequence Caching.
  12. Specify the Sequence StartSequence End, and Sequence Increment.These attributes specify the files available for use in the sequence. These attributes do not select the actual cached files. You do this by setting the Sprite Num or spriteNumPPattribute in a later step.

    The Sequence Start and Sequence End specify the filename extension number of the first and last files available for the sequence. The Sequence Increment sets whether each frame is available for the sequence every other frame, every third frame, and so on.

    For example, to use every file of a 30-file sequence starting with Smoke.0, you would set the Sequence Start to 0, the Sequence End to 29, and the Sequence Increment to 1. To use every other file of the same file sequence, you would set Sequence Increment to 2. In other words, you could cycle through Smoke.0, Smoke.2, Smoke.4, and so on.

  13. Turn on Use Image Sequence.
  14. If you want to assign an identical image sequence to all the sprites, do the procedure that follows, Assign an identical image sequence to all sprites If you want to assign a different image sequence to each sprite, do the procedure Assign a different image sequence to each sprite.

 

 

 

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