Updated on September 28, 2016
Making regular GIFs appear 3D is one of the new technique up growing now a days, 3D GIFs these images, use optical illusions which makes visuals appears like 3D projections. SPLIT DEPTH is the method that separate the frame into three panel. Thus as object moves towards the camera, It look like moving out of the frame and pops out towards the viewer
Additional EFFECTS can be achieved my applying animated gifs in the photoshop software, following are some of the awesome – split depth 3d gifs shown below.
Updated on September 21, 2016
Digital Matte painting is mean to make the viewer’s eye to fully cherished with amazing look. It is a special effects technique that combines live-action footage with painted imagery that dates back to 1907— the very dawn of film making.
Following are five artistic principles for creating Digital Matte Painting:
• Concept: To start up , let your imagination run free, and capture a lot of ideas . Focus on creating the basic shapes and environment of your scene and establishing a look and mood: Are you building Count Dracula’s dark, forbidding castle-fortress, or a sunlit Disney-like castle in pretty pastels? And don’t think of this conceptual work as the easy part—you’re creating the underpinnings of your entire project.
• Perspective: having some raw concept of idea, now we can concentrate on the technical details of your scene, such as perspective. Perspective is one that innate the understanding of spatial distances of the objects and and how things should look based on their location in a scene, so it is important for any artist who wants to paint realistically to master the basics of a 2-point perspective drawing.
• Form: Form which deal with mid tones and darkness of the paint . A well-painted scene must be properly lit. Many realistic paintings aren’t convincing because the artist failed to establish a well-delineated light and dark side. Working in black and white helps to establish your project’s lighting scheme. The odd thing about form is that once the properties of light are correctly set up in your scene, you can make the color and texture anything you want and the project still holds together.
• Texturing: Many digital artists make the mistake of directly using a photo reference as a texture early in their projects. I recommend waiting until this point of your painting’s development before incorporating photography into your project. Photo references serve well as a shortcut to photorealism, but if you use them too early before strongly establishing the concept, perspective, and form of your project, you can end up with a “patched together” montage, rather than a painting that represents your vision.
• Camera Projection: Final process is setting up the camera projection on the 2d paintings created , thus your 2D paintings turn it into a digital matte painting by transforming it into a 3D environment. While this process is highly technical, the reward is worth the extra effort. The first time you see a 3D version of your painting, it’s nothing less than mind-blowing! By projecting your painting onto 3D geometry in Maya, your image comes alive before your eyes.
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Posted on August 9, 2016
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Posted on May 23, 2016
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Posted on May 9, 2016
- First and foremost, it’s important to pre-planning the list out an illustration as much as possible forexample we deal with series of X-Men here,
- Once you have a list of your final characters, it’s time to start pre-planning out your composition and Thumbnail character
- Pre-planning: Guiding the viewer’s eye
Each person’s viewing experience will be unique, but it’s important that to compose illustration in such a way that you are thinking of how to guide the viewer’s experience and make your painting as dynamic as you possibly can.
- Pre-planning: Color palette
- Painting- Next step is to paint each character in its own document so that it get close to the end then move it to the final painting with all of the characters and put the finishing touches on there.
- Conclusion – The final result will be as follows
Posted on May 7, 2016
Despite having the best intentions in ZBrush, when it comes to keeping poly count low we all want to push it to the limit sometimes. Setting “Compact Memory” to 4096 instead of the default can help under Preferences > Mem > Compact Mem.This is way beyond anything you could transfer to a texture or use in a game.
2. Lazy mouse
It’d seem that “lazy” means more than one thing for lazy mouse. It’ll most likely be on by default, despite turning it off, underStroke > Lazy Mouse, when you save your config file.
You can use the L key to toggle the setting on and off.
If you like having it on but wonder why it’s not as strong as the default brush, it’s because the Pressure setting under Preferences > Tablet > Lazy is set to 0.5 by default.
Luckily, this setting can be changed to 1 and saved to your config file with the preferences.
3. The one
the 1 key can repeat your last stroke and do just that. Make sure the process you want repeated is the very last stroke you make. The 1 key will also transform your object, making it a great way to step through a rotation preview.
4. DynaMesh and ZRemesher FTW
If you use another modeling program like Maya or 3ds Max, at some point you’ll probably want to create a detail mesh for polypainting or sculpting in ZBrush.
Just import the low res model and use DynaMesh for a high resolution grid that’s parameterized evenly on the surface. This can be sculpted and polypainted, then baked for textures in ZBrush or your favorite modeling, painting package.
For a DynaMesh, turn on Polish and set Blur to 100. The resolution slider should probably be set low to start but will even work on triangulated meshes if you set it high enough.
A value of 128 seems to be a good place to start for each SubTool.
If your model contains complex angles that aren’t maintained with DynaMesh, you can use ZRemesher by creating polygroups first. Simply apply Auto Groups With UV, Groups by Normal with an appropriate angle, or any other UV configuration that maintains the shapes of your model.
Then apply a crease (the crease isn’t always necessary) to each Polygroup by pressing Crease PG under Geometry > Crease > Crease PG.
Set Smooth Groups and the Adaptive slider to 0 and use ZRemesh with the Keep Groups and Double button activated. You can ZRemesh the same model several times to get to a subdivision level that’s ready to polypaint. In the example below, the mesh was ZRemeshed 4 times at double setting.
Sometimes it’s possible to get an even better result by using DynaMesh one more time after a ZRemesh pass depending on the shape of the original geometry.
5. Clowning around
If you use a texture generation program like Substance Painter or Quixel, you’ve probably created color ID masks at some point for your texture generation pipeline.
ZBrush has a handy setting under Preferences > Importexport > Import > Import Mat As Groups so you can use your “Clown” masks to create Polygroups and save time establishing them in ZBrush.
This assumes that each color is its own material applied to the exported mesh from Maya, 3ds Max, etc.
6. Flipped out
Exporting normal maps with the correct settings can get confusing considering ZBrush flips texture maps in addition to OpenGL and DirectX reading the green channel inverse of each other.
The main thing to remember is that –Y is DirectX and +Y is OpenGL.
Let’s start with a single, UV’d mesh at 9 subdivisions. A series of bevels have been extruded from one face at the highest subdivision level. To generate a normal map, select the lowest subdivision level then select a document size under Tool > UV Map. Under Tool > Normal Map we’ll set Tangent and Adaptive on.
You can use SmoothUV and SNormals if you have a really detailed organic mesh but the only other button to press would beFlipG which is flipping the green channel of the normal map. Pressing Clone NM will paste the rendered normal map to the texture palette and it can be exported from there.
CAUTION: ZBrush flips textures. You can flip it to the needed UV space before export as seen in the texture export window. But this also inverts the green channel again, converting OpenGL to DirectX and vice versa.
So for an OpenGL map, don’t use the FlipG setting.
For DirectX, use the FlipG setting but remember to flip your normal map vertically in the texture palette before export.
An easy way to get around this is to invert your green channel (CTRL-I) in Photoshop, if you see odd results rendering in game. Make sure just the green channel is selected when using this method.
7. Brush settings
With so many brushes to use, it’s easy to forget they each have their own modifiers. Backface masking is almost essential when sculpting anything thin and probably a good thing to have on all the time.
Find it under Brush > Auto Masking > BackfaceMask.
It’s one of those things you’ll need to remember to turn on for each brush, though, since it defaults to off. Unless, of course, you’ve saved custom brushes for yourself.
8. Brush settings again
Speaking of brush modifiers, turning on BRadius with a clip curve brush can really speed up hard surface sculpting and blockouts. The radius of the brush will determine the inset depth of the geometry you indicate, using the clip curve stroke.
Remember, tapping Alt while dragging adds a curve and double tapping Alt will give you a hard point instead of a curve. Try it with radial symmetry for more variation.
9. Morph Target Modeling
This method can be accomplished several ways to generate interesting models. The basic idea is to sculpt against a stored morph target and then compare the edit against the target geometry to generate a difference mesh.
Start with any PM3D mesh, store the morph target and sculpt away. Once you’re happy with the sculpt, click on CreateDiff in theMorph Target palette and a difference mesh will be deposited in the tool palette. If your normals are inside out, just click the Flipbutton under Tools > Display Properties.
Sometimes it takes a little extra time to UV an object in other software. One thing that’s saved the day on difficult layouts has been borrowing the UV Master plugin from ZBrush.
I’ll usually just export a model as an OBJ from Maya and run the UV Master plugin to get a base layout. Then I’ll go back to Maya to fine tune anything that’s still loose around the edges.
In the example above, I’ve used the Color ID materials to create UV Islands (or Polygroups) for ZBrush to work with. Under ZPlugin > UV Master Select Polygroups and Work on Clone. Then simply Unwrap All to generate a UV layout.
Select Flatten to inspect the unwrap and UnFlatten to return to your work.
All that remains is to Copy UVs from the clone and Paste UVs once you have you’re working mesh selected in the Tool palette. You can also Enable Control Painting or reorganize Polygroups if a different result is desired.
Posted on May 4, 2016
Call for interactive projects – Dok Leipzig 2016, the submission deadline is July 7, 2016
07/07/2016 (final entry deadline)
There is no submission fee for interactive works.
“Work in progress” submissions are also welcome, so long as the work will be presentable at the festival.
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