₦airaland Forum

Do you still need a sponsor for ur 3d studio

reidkrugger:
The child's model is nice. yours again?

Nooo...thats from a followed artist. He is a character TD with Rodeo (studio behind most of the Game of thrones vfx)

He uses Maya and Arnold mostly. He taught me how to convert blenders hair system for use in maya

I am happy to be from Anambra ( a state untouchable
Likr an Alien's nest) and an Igbo and a potential Biafran

I remember this work....Blender for life



I Found a wonderful artist

Now, this is very important. In learning how to animate, it's important dat you go cartooney. In this path you'll be able to explore the beauty and life without boundaries of animation. Once u know how to exaggerate, squash and stretch as at when u should or shouldn't then u can animate realistically if u choose to. Cartoon animation is indeed animation.

Reid, I beg to differ on that last sentence...3D Animation actually is into three broad schools.

Well, I'd notice too that most Nigerian clients will blank out immediately once they see your demo reels and discover that you are a realistic animator.

I guess, it is because they still have this rather moribund mindset that 3D animation is essentially Shrek or Minions. They would be the first to tell you that they want realistic everything and when u present your demo, they'd start to backtrack and and say...em, not that realistic just make it cartoony....its painful really.

I've sworn to only work with Film people

Hmm

I am a 3d character designer and real world physics simulator for crowds, flocks, fire, fracture and fluidfs

Hook me up for any 3d VR game you have in mind. Here's my contact

Sample of my work

codedflowz:
Where's your own original

I like ur signature...

This is a showcase.... Let's make this thread a portfolio of sorts. That's it's intent, is it?

How come no one wants to showcase their work or wip...Apart of lucemferre (this almost auto corrected to lucif...)

It does not have to look good. Just post it and we will critique. Learning is key to success.

I am having the best time of my life with this mobile app....

Do you guys remember my Isis-turned-to-Hela Sculpt?
Well look now She's more maniacal. I am so happy. I would be using this mobile app to do crazy faces off all my models

The weekend is ending. I took a break from composting and stuvs to go back to my tailoring job.

I am beginning to think I ought to be a tailor.

Getting to sow an English coat and with own patterns is not child's play.

Meanwhile let me share this wonderful eye sculpt tip and an illustration from one of my favourite artists

I always have this weird fantasy of simulating huge schools of fish jumping out of the Onitsha end of River Niger...

Damm,that'd be lovely.

Because an AI-based system is more realistic, it’s more difficult to program and more expensive to implement. Over the last few years however, some of these VFX tools have trickled down from behind the closed doors of high-end visual effects studios (like Jackson’s WETA) into the hands of the everyday designer.

Note, in many cases, VFX artists will shoot small crowds and duplicate/composite this footage (especially the Afer Effects people ) to create a more ‘full’ crowd, however the behavior of these crowds would not be dynamic (directly editable).


There are other crowd simulation apps for civil and pedestrian engineering, but for the purpose of this post we’re just highlighting the most popular software options for film and video.

Golaem Crowd

Golaem Crowd is an Autodesk Maya plugin that makes high-end crowd dynamics accessible.

Highlights of the plugin include built-in behaviors for agents, real-life physics, universal diversity controller (easily modify props, behavior and shading for a more diverse crowd) and obstacle detection. You can take Golaem Crowd for a free 30 day trial (Windows only). Renting it for 3 months will set you back nearly $2,000, while a permanent license is $6,599 USD.


Massive

Massive seems to be the Hollywood leader when it comes to high-end crowd dynamics VFX. Developed during the production of Lord of the Rings (2001-2003), Massive went on to become a standalone licensed software package. The AI component of Massive is industry leading – “the software enables every agent to respond individually to its surroundings, including other agents”.

Since then, Massive has been used on other Hollywood features including [b]Avatar, King Kong, 300, The Hobbit [/b]and World War Z. A Massive license for Maya is currently $3,500 USD.


Miarmy

Miarmy is another Maya based plugin that has been used in a wide variety of Hollywood features including Sherlock Holmes, Insurgent and Ant Man. With a host of built-in presets, Miarmy can take much of the labor out of agent interaction. check out this demo reel on vimeo “I’ve Fallen and I Can’t Get Up!” created using Miarmy and thank me later . It’s also the lowest price of the three, with a price tag of $2,600 USD per license.
See how i am talking money like its chicken feed


Then there is the Almighty Houdini built in Crowd simulation drag and drop.....this is an exaggeration. Houdini's Crowd is not just drag and drop (unless you want just Zombies idling about) its pure MATHEMATICS. dont go there if you hate maths like I am beginning to

So peeps go and get this plugins and get your Digital Zombies, Armies, Orcs and Birds flowing



N.B: I have all three plugins and there latest versions. all cracked. I've a right to BRAG....

The question is, WHERE IS THE BRAIN TO LEARN THEM...

Basics of Crowd Simulation

There are two fundamental ways to create crowd simulations.
You either
a) attach the crowd’s movement, reaction, etc to ‘particles’ or
b) give your crowd ‘artificial intelligence’.

As you may have correctly assumed, the first route is the simplest. Movement and behavior of your crowd would simply be ‘attached’ to a path generated by point particles. With this process it’s possible to simulate realistic physics, but the crowd would be unintelligent and interaction amongst the agents would be limited.

That’s why AI-based crowd dynamics takes it to the next level. When Peter Jackson needed to simulate armies for fight scenes in Lord of the Rings, it was imperative that these AI-based agents be able to interact with each other and influence each other’s actions.

Aha, I am back again with another research prompt....

This time is crowd Simulation

first, if u are a Cinema4D guy, you can simulate crowds using the ever-affordable and easilily crackable plugin known as X-particles.


when it comes to Crowds the expects will keep talking Real world physics, simulated human behavior, and realistic interaction.....bla blah blah.....

The question is ..... how can U create your own digital army....easily without the maths.

Richard Attenborough’s 1982 film Gandhi currently holds the world record for the largest number of extras in one film: 300,000. You read that correctly… over a quarter of a million people showed up for Gandhi’s funeral procession scene. Only 1/3 of those extras were paid.

But that would likely never happen today. The talent would still be unpaid, but it wouldn’t really be ‘talent’ at all… just digitally rendered animations. The area of crowd dynamics and crowd simulation in VFX has exploded over the last few years – with the ability to virtually create groups of ‘agents’ with lifelike characteristics. Agents can appear so lifelike, that the need to bring in actual extras is in many cases unnecessary.

In 2001, Peter Jackson’s Lord of the Rings was a jumping off point for the development and acceleration of VFX crowd simulation in feature films and movies. Similarly, the lines are now blurring between crowd dynamics technology being used in film and video games. Let’s look deeper into crowd simulation and dynamics, real-world examples, and how you can utilize this VFX technology in your own projects.

reidkrugger:
I'm having same problem but mine is not depression. I think I need some time away from d game but me won't let me.

It happens I guess to everyone...

Those who reach critical mass levels tip over...

We will never reach critical levels...lol

I suggest taking out time to watch ur favourite movies or demo reels from people u admire.

I cured mine by reaching out to The Autopsy of Jane doe and IT

I will upload new videos under the compositing category on my website once i renew my monthly domain hosting plan.

There are secrets to be shared...WE MUST ALL BE VFXists

We have other passes that are good and if not essential BUT the ID passess...fear them. Here are the other passes and brief descripos of their functions. with these discussion i am assuming that I am with fellow TDs
Direct
All diffusely bounced direct illumination (light that bounced exactly once in the scene before hitting the camera).

Emission

All light that is emitted directly into the camera, with no bounces (e.g. directly visible lights sources, scene environment).

Indirect

All diffusely bounced indirect illumination (light that bounced at least twice in the scene before hitting the camera).

Reflect

All light specularly reflected into the camera (both direct and indirect). Includes imperfect and perfectly glossy (mirror) reflections.

Refract

All light that has passed through a surface with refraction (both direct and indirect). Includes imperfect ("frosted glass" and perfectly glossy refractions.

Translucency
All translucency lighting (both direct and indirect).


Volumetrics

It contains the scattering in volumetric media (useful for example for separating clouds and fog).

NormalsShading

Outputs the surface normal vectors as color values (with transformation RGB = (XYZ+[1,1,1])/2). Uses the final shading normals from the lighting calculation, which include the effects of bump mapping and smoothing groups.

UvwCoords

Outputs the surface mapping coordinates for selected channel. This can be used to check for mapping discontinuities and objects lacking mapping.

Velocity

Outputs a 32 bit image containing velocity information, which can be used to add motion blur in post-processing. It offers a choice between World and Camera mode, with adjustments for multiplier and offset - the mode and values you use will depend upon the expectations of your post-processing application, for example Black Magic Fusion expects the defaults of Camera mode, Multiplier of 1, and Offset of 0.


WorldPosition
Outputs the surface world position XYZ vector directly as RGB color.

ZDepth
Outputs the z-buffer channel, with adjustable min (white) and max (black) depths.

-------------------Lets continue with IDs...Super importa-------------------

ID passes enables you to make the integrated 3D to be behind or ontop off the real actors as at when you want it

Lets talk a little about these group of passes...

ID

Assigns a random color to each pixel using one of the available modes. The most important ones are: Primitive ID: each primitive (typically triangle) in a mesh has different color, Material ID: each assigned material ID has different color, and Instance ID: each scene object has different color.


Mask
Creates a custom set of rules for including/excluding each object from the mask. The available conditions are material gbuffer ID, object gbuffer ID, and direct object selections.




Most renderers permit the lighting artist to render any bit of data they can think of to an Arbitrary Output Variable or AOV or Multipasses. If you run into a passes that you don't know how to use, ask your comp supervisor or youube how it is meant to be applied. Obviously, you don't have to use every pass you are providedwt by ur renderer, though. There are no extra points for over-complicating your flow. On the other hand, don't be afraid to use passes in a fashion it was never designed for!

Do you guys notice the ink spots on the boy's hand...They are trackers intended to aid the tracking software in calibration. It is the job of the rotoscoper/compositor to erase them in the final plates.

Go ahead download Natron or Nuke and start compositing if you already through with the rudiments of the other fields of 3D

There was a time when i asked around for the tracking software - syntheyes...Well, i'd found one copy. Cracked and working.

so, i'd been practicing geometry tracking for a while now, especially week days. The weekends were reserved for character design.

I've learnt a few things about compositing as well and i will share a few stuff that got me going.

Number one: Never, EVER use after effects if you want to do any thing other than color Grading. Its camera projection and planar tracking is wack and forever wack. They can never improve. Little wonder no hollywood studio ever have it in their pipeline.

A better alternative that is free is Natron. super powerful

The ultimate is , ofcourse Nuke 10...super frustrating to use anyway

So my ultimate goal is to do Geometry tracking. You guys know by now, that My interests in 3D or CGI is never really for Cartoon animation...its more or less for FILM and ADVERTISING. So I'd been cracking my head on how to achieve geometry tracking since watching EX-Machina.

I can do ordinary Planar tracking but to do the following image as presentable as possible is like forcing a cockrel to urinate

If i integrate the image into my camera shoots (with phone camera) i'd always find it hard to overlap my 3d Character over the live actors.

so i went back to the drawing board and began studying Multipasses especialling the[b] ID , Material ID, Object ID [/b]and Mask passes
Guys and Gurls Knowing how to composite with your ID passes is the single most important thing (apart from your shaders ofcourse) that will make that 3D Monster licking your extended fingers, to look as believable as would any Hollywood flick

resurgent2019:
This is exactly the point. And that’s why i blame the OP for even trying to talk sense into igbos. Igbos will continue hating Yorubas till eternity. An entire generation of igbos were raised to see Yorubas as enemies.

I have long stopped trying to reply igbo insults. I advice the OP to do same. Let’s face Fulani and Buhari.

That's right. At the same time, I still think this mutual hatred has causes (which every one pretends not to know of /address) . It might be a game of double reverse psychology or survival

I think the insults will forever be between the Igbos and Yorubas until this contraption splits....

We cannot pretend there's lots of love...

It's as simple as the desire to phuck...We hate each other and see each one as bitter rivals.

And it got worse with the arrival of Nnamdi kanu To the scene and the subsequent "Awoke" of the igbo consciousness...

Igbos are now woke so to speak and see the Yoruba's as the devils puppetering the Hausas And the general political space

The Hausa is really the main puppeteer... Anyway

I tell you, once we split... Relations will improve.

Good morning all...
The day is bright...no longer depressed. I will showcase my my work over the weekend as soon

I am obviously dark...

I am in one of those moments of gnawing desolation....

When it seems I am heading nowhere...

I am no longer inspired by my works...
I just want to cry...

Grown guys don't cry...

Things I would love to study...
Things that inspire the darkest recesses of my mind...

I am obviously dark... Into goth

Meanwhile I got a handful of inspiring works.

reidkrugger:
Go crowd funding. Maybe.

I will see into that... Would also want a partner.
One tree cannot make a forest

Everyone is applying.... What of me

How I wish this would be real...

A hauz full of vfx nerds

I want to start seeking for funds and form my own studio
WHO WILL HELP ME

I cant live this life without having a studio? Mbanu!

And the Hair Dresser is through with her latest style...Tangerine dye blond

The Tailor is still working on her English Dovetail Coat

check out the expressions

Here's mine so far. I have the basic expressions of forlorn, Smirk, Grin

I am working on the phenomones