Hi all Closing a mesh has never been a trivial task, many research has been spent and as a result several approaches exists, with advantages and disadvantages, the price we have to pay for an unlimited complex world is that nothing is perfect but that is amazing in its own way too! Back to subject, [...]
Before there was Blender, there was Traces. Ton managed to fire up his old Silicon Graphics workstation at the Blender Institute this week and give a demonstration. The similarity to Blender 2.49 is amazing! You’ll be able to try it … Continue reading →
By David McSween. David writes: “Kids can be annoying, they allways get under your feet. They should go outside and play… shouldn’t they?” I have been working on and off to complete this short film, before my kids grow up … Continue reading →
By Stock. Stock writes: Heeey, I’m newbie on this forum, i want to show You some of my Blender 3D scenes and animations. All constructive critics are welcome : ) Cheers! Link BlenderArtists Thread Stock’s website
Blender has won the 3D World CG ‘Software Update’ Award 2012. As far as I can tell, there’s no prize attached to this other than the honor of being recognized by the industry. About...
3D File embedding service Sketchfab now offers paid ‘Pro’ and ‘Business’ versions that offers larger storage space and hosting of larger individual files, among other things....
PaintHoles is a LC based new tool that allows to accurately draw and paint holes over surface meshes, and used in combination with the new Shell command, a missing feature, allows interesting sculpting possibilities Hope you like it! EDIT: OOOOOPS!!!!!!!!! ,Extract as Skin tool in the VoxTree perform the same action as an artist [...]
Avemagnadude is back with another awesome mashup – this time Minecraft and Assassin’s Creed 3. Also check out Battlecraft 3 and Team Fortress 2 – Meet the Pyro. I was wondering about the person behind these videos so I asked … Continue reading →
Following up on my previous tutorial for BlenderCookie.com, the second part of the series is now available. In it I start talking about Composition and cover simple tips on Framing your images and a couple of important principles of design (Balance and Contrast).
All modeling done in Blender by Tristan Lock. Tristan writes: Did you do the animation also? No animation. I did a little bit of texturing and lighting in some shots. But nothing worth pointing out. What was used for the … Continue reading →
A 16-part workshop for beginners for only €60 in De Panne, Belgium. @l@in writes: One semester (sept – jan) of Blender lessons! Next week a course of 16 lessons for Blender is starting at the Cervo...
BlenderDiplom interviews Francesco Siddi about his work on ‘Tears of Steel’. Gottfried Hofmann writes: Francesco Siddi was 3D artist and animator for the upcoming Open Movie “Tears of Steel”. He is also in charge of the project’s website and created the … Continue reading →
Terry Wallwork reviews Pablo Vazquez’s latest training DVD. Terry writes: I recently got myself a copy of Pablo Vazquez’s “Venoms Lab 2″ DVD, and since I had some spare time I decided to give it a look and see what … Continue reading →
By Paulo Cristóvão. Paulo writes: Hi all. I finaly finish this short animation developed over the course of 1 year, at home in my spare time with blender 3D. It’s a gag about curiosity… Hope you like it :) Cheers
A new tool for Blender Python development. Christopher Barrett writes: Good Spirit Graphics has released an update to the ‘BreakPoint’ ‘addon’ for the software package ‘Blender.’ This tool now has...
Tim is spoiling us again with a whole week of resource giveaways. The first Resource Week Giveaway contained some seriously fun and useful stuff for studying and improving your concept art. This 2nd Resource Week Giveaway is going to focus on anatomy. Something we should all be practicing. Today’s resource is legs, which goes very [...]
One of the best ways to learn something related to rendering or lighting scenes in 3d is by reverse engineering. I just love to open the source files of a project made by other artists and try to analyze and find out how that particular project was made. And for...
Related posts:
In this videotutorial, Blender Guru Andrew Price focuses on lighting techniques. Andrew Price writes: I created the tutorial in an attempt to demystify the topic of lighting and break it down into...
A great looking glass setup for Cycles. Harry Collis writes: This glass shader is based on Kirado’s technique to simulate dispersion in cycles. I wanted to make a version that could be applied...
Issue #38 ('Power of Compositing') of the BlenderArt Mag is now available for everyone to feast on!
http://blenderart.org/2012/08/31/blenderart-mag-issue-38-now-available/
Read on and happy blending! ^_^
-Reyn
This weekly report I will start from an announcement that as of September 1st our vectorization “competition” is over.
And here’s the final results:
Jcome: 26
LoboZamora: 17
Pixelgeek: 4
Animtim: 3
It’s obvious that absolute leader in that competition is Jcome! Congratulations! ^__^
The vectorization competition was started on July 22 and finished on September 1st. During that period the community successfully vectorized the amount of 30 keyframes. It is a really significant help for the project. The results of such community involvement are evaluated by me as a big success and valuable experience. We plan to continue extending and improving such practices as part of our future activities.
My big thanks to all participants and congratulations to the winner!
…And I guess many of you remember that the 1st of September is also a deadline for our “Vectorization and Tweening” stages. Sad news here – we didn’t managed to finish everything in time. The current status can be found on the image below. As you can see there is still few major shots pending, as well as some minor works.
Tweening and Vectorization status (03.09.2012)
We hope to finish everything on this week and proceed to the next stage as soon as possible.
I’ve waited for this for YEARS: the Gimp is now finally available as a native OSX app! (Before, it was a clunky X-11 implementation). Even though most of the windows are non-standard and look a little awkward, this is a … Continue reading →
Development updates! Thomas Dinges writes: Here’s the notes of today’s meeting in irc.freenode.net, #blendercoders: 1) Upcoming Blender 2.64 release status Bug tracker at 308 open bugs, fixes welcome. Sergey will finish up Open Color IO work and merge to trunk … Continue reading →
I love Scott’s books, things are never as they first seem. A young boy arrives at a group home for children where strange experiments are being conducted on the children and it would appear the ghosts of former residents of the home are being affected as well. Troubled is an excellent title for this story [...]
Hi everyone! I’m back again on Kiev!!!!! I have many good news and things to tell from this 8 offline months in cuba and hopefully many things to share, this is just a quick post because I still need to update myself and put an order on all the things I have left here! I’m [...]
Blenderheads in Seattle are meeting on September 1st. Oscar Baechler writes: After our break in August, it’s time for another fine Seabug to commence! Saturday, September 1st at the AIS North campus, room 102 (subject to change), from 2 to … Continue reading →
Welcome to Issue #38, “Power of Compositing“ Compositing can be a powerful tool in your artistic arsenal. It is a huge time saver for rendering and allows you a greater degree of control over your final result. In this issue we take a look at some great uses for Blender’s built in node compositor. So [...]
Compositing can be a powerful tool in your artistic arsenal. It is a huge time saver for rendering and allows you a greater degree of control over your final result. In this issue we take a look at some great uses for Blender’s built in node compositor.
So grab your copy today. Also be sure to check out our gallery of wonderful images submitted by very talented members of our community.
Table of Contents:
Big Bang Compositing
Optimizing Production Workflow Using a Lightgroup Approach in Blender
Stained the Game
A Logo Animation
A Closeup Potrait
Create your own video game
And Lot More…
Reminder: Submissions for issue #40 due October 5th,
And I have again reason to open my celebration bottle of Ardbeg Single Malt. Now after almost 2 months of the release of Ara’s Tale, the movie and it’s production is again creating some fuzz.
Soon after the release of Ara’s Tale, I was approached by Ian Hall from the Foundry, who asked me, if I was interested to do a case study for Mari.
I was interested
Now, this week the article was first featured as production focus on the main site of cgsociety.org. This came as a very pleasant surprise to me.
And today the case study itself is published on Mari’s website. It is an incredible feeling to see one’s project listed on the same page with those huge blockbusters as Avatar, Harry Potter, Game of Thrones, Hugo …
The aftermath will last be a bit longer though, as I am submitting the movie to several film festivals and hope to get it accepted at at least a few ones. The first one will be the Suzanne Animation Festival at the Blender Conference 2012, where I plan to go there this year.
And there is still work to be done on the making-of , which will be shown together with the movie at a local cinema ( Leokino in Innsbruck) at 30th September.
These are still interesting times, but a lot quieter now than during production …
And then it will be time to let go and turn towards new projects.
Jason LaDere reports on the progress of his Blender Java port. Jason LaDere writes: Blender Java is back and the source code is now available. A Google code project has been created and we are...
By David Zaxis. David writes: I focused this animation test around realism. I still have a ways to go, but its close enough for me to consider done. :) I photographed my niece (360 degrees) and used 123d Catch to … Continue reading →
Dolf Veenvliet [Macouno] has created another web-based interactive gadget. This time, you can configure your own piece of jewellery and have it 3D printed in silver. Dolf writes: The ShapeWright.com website has had a new Blender based item added… The Variable … Continue reading →
By Jaxy Jaxy writes: This is a model of the mini cooper i made in my free time. i am still new to blender and use it often….. this is my first upload ever so if there is any problem … Continue reading →
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“Most of the important things in the world have been accomplished by people who have kept on trying when there seemed to be no hope at all.” -Dale Carnegie
Made with: Blender 2.63 and GIMP
Rendered with: Cycles
BlenderArtists thread: http://blenderartists.org/forum/showthread.php?264975-Probability
Texture references:
flickr users: David Wright, Raphael Quinet
Amazing – on a break, and yet I can’t miss an opportunity to record should it come up!
Just a general chat on progress: Chapter 3 script is nearly completely outlined. I’m re-drafting key scenes, and some have been re-drafted five or six times. The redrafts are worth it, tho.
During this process, I came up with a new character for a future chapter:
I’ve got an idea for some names, but was wondering if I should create another contest? This time, I’ll be creating some original art to give away, and the winner gets to have their chosen name in the comic!
Just one month to go, and I need to have the next couple of chapters scripted. Hoping I can jump onto 4 soon.
It’s time to submit your animation work for this year’s Suzanne Animation Festival! Ton Roosendaal writes: “De Balie” has a real cinema with excellent projection facilities....
A promo video by AcAnimate. AcAnimate writes: Behold, the awesome powers of Blender! I made this showreel mostly to show the incredible powers of blender! I really like this video, even if it’s a little heavy on the fluids. Also, … Continue reading →
By Sergio Cajazeiras. Sergio writes: The Butcher Inspired by the character Butcher, game Diablo. All making in Blender3D Modeling, sculpt, UV, textures and render.
Thank you so much to BlenderNews.org for featuring my work 'Lost in Stereo' as the Render of the Week awardee. It's such an honor and I'm very very humbled and inspired.
For more info, please head over to the following link
http://blendernews.org/xe/Feature_Articles/2209
Thanks for reading. :)
-Reyn
It's been awhile since I last did this. And I can tell, you it feels great when you finally get the opportunity to do what you love again.
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Thanks so much for viewing! :)
-Reyn
Hello, my dear reader! It’s only a few days left before the 1st of September, which is not only the Knowledge Day (in Russia), but also is a deadline for our “Vectorization and Tweening” stage. We are working very hard to get everything done, but looks like we are going to get an extra week to have everything finished. On the other hand, we are ahead of schedule with 3D works, which is good. The rest of September will be dedicated to backgrounds painting and 3D works, as planned.
Tweening and Vectorization status (27.08.2012)
Few words about our community call for soldiers models. For some reason it is not gained much popularity, but we got a few interesting submissions. One of them is made by Marco Antonio Real Adame was mentioned in one of my previous reports. But besides making soldier variation, Marco decided to go for second stage and created an animation for it, which will be used in shot 07. Here it is:
Due to lack of submissions for soldiers community call we have analyzed our schedule and decided to extend the deadline until the September 20th. Everyone who wants to have some fun with soldiers and get the mention in the credits is welcome to participate!
Daniel Kreuter demonstrates how to set up contour rendering. Daniel Kreuter writes: Rendering contours in Blender had always been kind of a challenge for me because there are no tools for this...
Ever wondered what all those settings in the Sapling Generator add-on were for? Well wonder no more. Peter Baumann (graytrace) wrote a 41 page pdf explaining it all in depth for us. You can download the pdf at the following link: BuildingTreesWithBlender_02b I think it is time to model a forest, or at the very [...]
Michael Gschwandtner uses an Android phone to control a Blender camera in real time in this proof of concept. Michael writes: This video shows a proof of concept implementation of an Android app and a Blender addon that allows you … Continue reading →
OpenCL is still causing headaches.. Thomas Dinges writes: Hi all, Here’s the notes of today’s meeting in irc.freenode.net, #blendercoders: 1) Upcoming Blender 2.64 release status Sergey Sharybin and Campbell Barton will work on the bug tracker when they are back … Continue reading →
I think I have become an app junkie. It totally amuses me to see the number of available apps for all our “beloved can’t leave home without them” devices. And I seriously have a very active, all be it, odd imagination. So it is more than cool to be thinking one of my odd random [...]
A cool new feature by Lukas and Campbell. Thanks guys! Boris writes: Most of your readers are likely also reading the Project Mango blog, but they had an interesting piece of news a few days ago: Copy+Pasting in the node … Continue reading →
A cool game intro by congcong009. congcong009 writes: I’m happy to release my new animation for our studio’s new game: mission of crisis. The game is a strategy game and you will control soldiers to kill all incoming zombies. Hope you … Continue reading →
By Josh. Josh writes: Hey guys, This is an animation of a rose blooming I made in blender. It was rendered in Cycles at 100 passes per frame (about 2 minutes). The total render time was around 8 hours. The whole animation … Continue reading →
Learn how to apply classic photography techniques to improve your Blender work with this videotutorial by Blender Cookie Tiago Nunes writes: This Blender tutorial covers simple notions photographers always consider while taking pictures of their subject, but which are often … Continue reading →
Alan Brito from Blender 3D Architect interviews Sunil Chavan. Sunil writes: Hello everybody. My name is Sunil Chavan and I am from India. I learned 3D by myself. It took me about a year to acquire the basic knowledge and … Continue reading →
As we are steadily pushing through to finish animation, Thomas has been creating rough mockups of the sound design, so we can iterate early and come to some conclusions before the final minute. Each time, we discuss some things about the sound, how to improve it, etc.
This time, I was getting annoyed going back and forth between a text editor and blender- clicking on one and then the other (focus follows mouse would be much, much better here!) and different hotkeys etc. Plus, text in a text editor requires me to estimate the frame/time of the note each time.
Then I had a little brainwave and downloaded gnome subtitle editor, and writing my comments as subtitles. It goes much smoother now and is a nice tip for teams who need to give feedback on videos. It’s also possible to use blender, but there the workflow would be a bit more tedious with markers (though grease pencil in the sequencer- if grease pencil could be used to display text as well as drawing, and could be rendered would be even better for me)
so here’s a little screenie in action. I paused it at a familiar shot so I wouldn’t show spoilers…
there’s actually many choices here – you can use video editors or blender (but then you have to render) or any number of subtitle editors. I just thought it was a neat use of something for the (wrong?) purpose.
Terry Wallwork reviews Roland Hess’s new book “Blender Production – Creating Short Animations From Start To Finish“. Terry Wallwork writes: I was recently sent Roland Hess’s new Blender book “Blender Production – Creating Short Animations From Start To Finish”. As … Continue reading →
By Siarhei Chekolian. Siarhei writes: Feel free to use this rig for educational and commercial purpose as long as you give credits to us. Also i am giving away animations for this monster. Use it only for non-commercial work. You can … Continue reading →
An interesting grassroots-science application of Blender’s motion tracker by Ian Elsner. Ian writes: It’s difficult to precisely measure tornado wind speed without actually going inside a tornado. Armed with Blender’s new motion tracking features, I attempt to fix that.
Quick update: the popular ‘Blender Basics’ book has moved to another location. Jim Chronister writes: For those that have looked for the Blender Basics Tutorial Book over the past few weeks, the link has been broken. The Central Dauphin School … Continue reading →
Blender Guru has announced a new competition. Andrew Price writes: There’s been some great movies released recently. So I thought it would be fun to see what the blender community could come up with in terms of fan art. The … Continue reading →
Following what I said in my UI proposal some time ago, and with Dyntopo having its options in the Tool Shelf, I've made some adjustments to my default Sculpt layout.
Only the 3D View with an open Tool Shelf is needed to start sculpting now, removing even more unnecessary choices and making access to Sculpt Mode in Blender easier.
Ctrl+UpArrow shows the full layout which contains the 3D View, an Outliner set to 'visible layers', and the Properties window.
With this layout you can sculpt various objects without having to leave Sculpt Mode, selecting them from the Outliner.
Here's a demo video of a few objects sculpted with Dyntopo and the current layout:
We could switch a few more things to the 3D View to make the two extra windows redundant.
Matcap or Material assignment.
In past GSOC projects, a Matcap selector was coded and added to the Properties panel of the 3D View. While I liked it, and it was quite handy for sculpting, it could have been a bit more flexible, allowing to assign a different matcap to each object for example, or even using materials instead of matcaps.
Selection. Paweł Łyczkowski proposed in a recent mail to bf-funboard to use Ctrl+Shift+Click (or some other combination of keys) for switching between objects regardless of the mode you're in, that could be a good solution. Changes from Blender default settings:
Default Cube with three levels of subdivision already applied.
Lamp and Camera moved to a hidden layer.
Display set to 'Only Render'.
New Sculpt layout selected by default.
Snake Hook as default brush.
Fast Sculpt Mat.
GLSL Sculpt Mat.
3D View default shading set to GLSL.
Default object set to Sculpt Mode.
Outliner set to 'visible layers'.
X-Symmetry active by default.
Added Draw Smooth brush with Smooth Stroke active.
Added Crease Carve and Crease Soft.
Added Scrape/Peaks Area Locked brush.
This is another short demo using Crease and Scrape:
The most similar work flow with features currently in trunk involves using Remesh.
Under the same mantra of moving things to 3D View I started using Nicholas Bishop's Remesh Operator and assigned it to a key, then asked for some help to create another operator for Boolean Union.
I don't know if there's enough interest in this, but I'm going to keep working on it and, hopefully, it might help making the sculpting experience more pleasant and accessible for someone else than myself.
Finally, a big thank you to Nicholas Bishop for the feedback on the startup.blend and all his amazing work on Sculpt mode. :)
I recently received a e-copy of Blender 3d Basics from Packt Publishing and was asked to give it a read and tell everyone what I thought of it. I am going to look at three different aspects of Blender 3d Basics. Content, Formatting/Layout and my Overall Impression of the book. So, let’s get to it. [...]
Hey guys! Just to let you know that BlenderCookie.com just published a tutorial I authored on how to improve your renders by applying simple photography notions. It covers why you should always play with the focal length before settling with your camera position, other things that influence the Depth of Field aside from the aperture […]
By Endre Barath. Endre writes: This is a test anim, using lowpoly game assets and a bad rigged giant character. :) Render time: 30 secs per frame on a dual core 3GHz CPU! It can run in the game engine, … Continue reading →
Blenderheads in Nuremberg, Germany are meeting this Saturday. Gottfried Hofmann writes: Hello Blender community, the Nuremberg Blender User Group (NuremBUG) is meeting once again! Party starts on Saturday the 25th of August 2012! Meet fellow Blenderheads from the Nuremberg area … Continue reading →
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My birthday gift to the love of my life and my bestfriend, Carla.
This is a cartoonified version of her and I'm hoping I'm successful with that. ;)
Made with: Blender 2.63 and GIMP
Rendered with: Cycles
Screenshot:
(click to enlarge)
Thanks for viewing! :)
-Reyn
BlenderCourse have updated their extensive free Blender e-book for beginners. Bas van Dijk writes: BlenderCourse.com has released BlenderCourse Basics V2, a free PDF e-book which teaches you the basics of Blender 3D. More than 120 pages offer you a step-by-step … Continue reading →
On our way to a local collectibles fair, I decided to put on the recorder, pick up my tabling friend, Daniel De Lafoix, and chat about printing, producing indie comics, and what we might expect the day to bring.
SPOILER ALERT: Sales weren’t great, but the overall experience was encouraging. The collectors were used to old stuff; were looking for bargains and nostalgia, and so seeing independent new stuff at shelf price must have seemed a bit unusual.
We’re keen to try it out again in November – the table cost was small ($75 for 6ft table) the day was short, and apparently, November is much bigger. So I can’t pass judgement on one experience.
Daniel’s own title, Morlok, has just started. Also being a new dad, and running his own business, he finds little time to work on new stuff, but he is aiming to get issues 2 and 3 out by next Supanova. You can bookmark the website now: http://morlokcomic.com/ and stay tuned for updates. If you like historical supernatural horror/thrillers, this is a comic for you.
PS: Thanks to Nathan, Tara and Sorab for swinging by the table and saying hi. It was so nice to see some familiar faces!
By Tamás Török. Tamás writes: Hi! After my Leopard my next target was a tiger. I plan a nature image with the tiger but at first I wanted an image like this with a message.
Blenderheads in Indianapolis are meeting this Thursday. Nicholas Rishel writes: Indianapolis Blender users are once again meeting up on the 23rd of August, featuring the presentation “Gingerbread in Space!”. From the presenter Joel Fant, we will be presenting, “An overview … Continue reading →
By Fishsnack. Fishshnack writes: Hi BlenderArtists this is my latest project. It’s for the German blendpolis community challenge “Center of Power”. It was a Cycle challenge, so we were just allowed to use Cycle for rendering. It last 3 weeks … Continue reading →
One of the more surprising news items this week :) Thomas Eldredge writes: This is my first step in using Blender as a lighting design/control tool. For now it’s just USB/serial interface but over time I plan to integrate DMX/Artnet … Continue reading →
Here I am back with another great article related to the use of Blender as a tool for architectural visualization. Today I will post an interview with a really talented artist from the YafaRay user forums. His nickname there is sc20 and he posts some really nice architectural renders made...
Related posts:
Dutch designer Metin Seven creates 3D cartoons for the large Dutch news site Nu.nl. He recently switched to Blender, and I talked to him about his work. Can you introduce yourself? My name is Metin Seven, a.k.a. Sevensheaven. I’m a … Continue reading →
Cicero Moraes uses 3D CT-Scan data and Blender to model a medical prosthesis. Cicero writes: Our Blender is a tool for artists, maybe not for scientists. But, it is possible create prosthesis with a help of other free software like … Continue reading →
Jonathan Williamson has written a good opinion article on the negative effects of Blender fanboyism. Jonathan writes: In short, the Blender community has a lot to be proud of. However, the community has one big downfall, it’s users. The majority … Continue reading →
Do you hear the ground trembling? Yes, the release date of the Demo is approaching. The critical mass have been reached and we suddenly made significant a break through.
Tweening and Vectorization status (20.08.2012)
Can you believe? For main characters it’s less than 10 shots left to do! All the rest is just background characters, 3d models and polishing. Of course that’s a lot of work too, but hey, how sweet that feels when you see something suddenly turns from random pieces into solid whole!
The vectorization competition is going on and it’s a big help for us. Here’s the current statistics:
Jcome: 20
Pixelgeek: 4
Animtim: 3
LoboZamora: 13
Good new for all participants – we have no more foot closeups to vectorize! I can imagine how much you all “liked” such tasks. ^__^
When we working on Morevna Project we always learning. And everytime when we find new trick, new workflow or new effect – we always feel happy. The discovery of the last week was the Luminance blend method for shadows. Previously we used Onto blend method, but this week we have found that Luminance can give a much better look in many cases. Compare yourself:
Unfortunately, for dark colors Luminance gives a it weird results. Right now we are combining both methods, depending on the situation, butI’m starting to think on creating the new blend method which will combine the best of two worlds. Still, i can’t tell for sure if that possible…
And yes, this week we have an exceptional number of screenshots to show. Enjoy!
By Miklós Falvay. Miklós Falvay writes: Almost a year ago I posted here my camera mapping scenes created for the documentary Motalko. It was great to read your comments and congratulations, thank you for everyone. This summer I was asked by … Continue reading →
By kaisaki1342. kaisaki1342 writes: Miki is a 3d Anime Style Model my fourth of this kind. This is a 3d model based on another person character design. This character design is not mine but the model is created by me. … Continue reading →
Bug tracker count is on the rise – the beast is untameable! Still, BCon4 (release candidates) is planned for early september. Ton Roosendaal writes: Here’s the notes of today’s meeting in irc.freenode.net, #blendercoders: 1) Upcoming Blender 2.64 release status Bug … Continue reading →
OK, people, today we are ready to announce the results of our community call for Ivan and Morevna models.
One month passed by since we published the call and during that period many artists worked to create the models of the two main characters. It was an exciting for me to meet so many enthusiastic people and see everyone was working so hard to deliver the best results. But in we end we can accept only one model of Ivan and only one model of Morevna. So, on August 15th we got final submissions and defined the models to be used in production.
Our choice
Our choice is a work by Linil Komban and Somnath Karande. They worked together as team and managed to create both models during the call period! Here they are:
Marya Morevna
Ivan Tsarevich
Without a doubt I can say that it was a big luck to have Linil and Somnath participating in the call – they have worked with an awesome speed, staying in touch during the whole period and highly responsive to fixing every issue. I really like the way they work and will be happy to collaborate with them again.
By the way, the latest versions of Ivan and Morevna models are always available in our repository under the terms of Creative Commons Attribution 3.0 license.
Honorable mentions
Although the main two models are chosen, I want to mention two other awesome submissions, that really deserve to get their fame too:
Note: All works provided under the terms of Creative Commons Attribution 3.0 license.
What else can I say? It was a great month, full of great discoveries, amazing events and most importantly – with awesome results. My big thanks to all participants – I was happy to work with you all. Thank you! ^__^
What’s next
You could notice that the images of the main models are Freestyle-enabled rendering without any colors. Right now we have draft black-and-white textures – that’s why some lines may look ugly. The next step is to vectorize texture drafts in Synfig and apply the colorcharts. That will make 3D models to inherit the colors from the main colorchart files in the same way as this is done for 2D shots. And Remake will make sure that textures will stay up to date when colorchart is changed.
Also, as you might guess, now we seriously going to migrate for Freestyle-enabled Blender. I need to prepare Freestyle-enabled Blender builds to allow other project participants painlessly install it and build the project sources in the same way as I am.
For standard Blender packages I used to take official binaries from blender.org and bundle them into rpms and debs. But if I want freestyle features, then I need to arrange all compile procedures by myself. That’s going to take some time. (And yes, I can’t use prebuild binaries from graphicall.org, because they have no ffmpeg features enabled). Time to shook the dust from my build scripts. Eh, where are my chroots?
How to Be a Good Member of the Blender Community | Blender Cookie. Excellent article by Jonathan Williamson on the dangers of “Fanboyism”, and how it affects us as a community.
I’ve created another supplement for the Extreme Future role-playing game. These starship deckplans cover four decks of the Seeker-class Exploration Vessel. The image for the vessel is a render of a 3D mesh created for the cover with Blender.
All areas of the spaceship are mapped in detail with descriptions of equipment, systems, and internal spaces (rooms, airlocks, and corridors), and, along with the deckplans, there are tactical maps of each room and corridor. The tactical maps are full-color, to a scale of 1m per square and represent areas such as; crew cabin, droid storage locker, bridge, ready room, sick bay, shuttle bay, observation deck, main airlock, etc, etc, etc.. These tactical maps are intended for use with the Seeker-class spaceship, but they can be used to represent an almost infinite number of similar spaceships, just like dungeon tiles. Full and detailed stats are provided for the Extreme Future game, with notes, allowing the spaceship to be easily converted for use in many other Sci-Fi games, of either space opera, or hard science types.
The new supplement is available from RPG Drivethru, so visit the deckplans download page and take a look.
Well, this is it, my last report for GSoC 2012: What did you do this week? I cleaned up the Pre Z code a bit more. For now I’m only doing the Pre Z for GLSL Materials since the goal is to minimize time spent on fragment shaders. However, this means that Multitexture and [...]
So remember me talking about the new project I had, modeling and texturing Mac’s Jeep Wrangler? Here’s what I had to say when I just started: (…) it shouldn’t be as hard to model given its mostly blocky structure (it does have lots of details but I noticed the most time-consuming task when modeling a […]
By the Blender Community, edited by Paul Caggegi. Paul writes: The Blender Siggraph Reel for 2012 saw over 140 entries submitted – all quality stuff. After trawling through all the entries, downloading, labeling, compressing and getting the team to select … Continue reading →
I had the honor and the privilege of editing the Blender 2012 showreel of work for SIGGRAPH this year. I jumped aboard an international team which included Mike Pan, Jonathan Williamson, Reynante Martinez and even Ton himself! Our goal was to take submissions from anyone who felt their work was of high enough standard to show Blender’s capabilities in an eye-catching and impressive way.
Jonathan set up a submission form via wufoo, and the call was put out across Blendernation, Facebook, twitter and google+ for people to submit their work via links. Over 140 submissions were entered. As editor, I had the wonderful task of downloading each and every link, often contacting those who’s links didn’t work, or linked to private pages for a resubmission. I tagged and filed them; compressed and uploaded low resolution versions to a shared Dropbox where the team could select the entries they felt wee best.
We tried to be as unbiased as possible (and I think I succeeded there, not looking at names, but rather at content) and in the end, some 24 artists made the cut. Thanks to Hjalti Hjalmarsson, I was able to source a fantastic soundtrack by Ensimi.
Ton allowed us access to the blender FTP to access necessary files, and set up a temporary mailout which we could all subscribe to and communicate about the showreel.
Once all the entries were selected, it took little time to get it together (editing is about 90% dull, boring, organization of files) and i had a first draft rendered out for the team to look at in about an hour. Second draft included some last minute entries, and while I was hoping for an animated logo to be ready in time, I had to made do with the official .eps file to top-and-tail the video.
While I’d love to say it was edited in an Open Source package, I brought all my studio tools to this, so it was done in Final Cut Pro.
Ton and the team loved the reel, and as they were setting up the booth, I received one request from Jonathan to add a credits board, which I quickly did, recompressed, and re-uploaded to the FTP. A short time later, the video was being played at the Blender booth in LA.
I’ll be cross-posting this on Blendernation, and the others will no doubt share the video as well. Of all the entries, these that made showcase really exemplify Blender’s capabilities as a robust, fully-featured 3D software package. I really hope you enjoy this selection out of several fantastic entries.
Next to NASA pitching a car-sized rover at another planet and hitting the mark, this is perhaps the most exciting use of technology ever.
Blender heads in LA are meeting on Thursday, August 16. Sam writes: A couple of guys here in L.A are planning to start a meeting group for the local people so we can share ideas,works,tips or just some laughs in … Continue reading →
By Nicolas Dussart Nicolas AKA Fathom45 writes: Hi! I made this image for the Blender Clan contest. The model is about 4,000,000 polygons. It was made with Blender 2.63 and Cycles. I’m working on the transformation at this time, I … Continue reading →
A timelapse by Max Maurel Max (aka Blackschmoll ) writes: I made a sculpting timelapse video. I wanted to test out the new Dyntopo tools from N. Bishop( thanks to him ) for the sculpt mode.
Like most all Blender-related stuff, it all started with a Cube. I fired up Blender 2.63, created a few objects, and decided to play around with the Smoke Modifier and a few days later, I realized I was already into it so much I can't stop the test and decided to give it some final feel to it.
This is my second (if I can remember well) serious test with Blender's smoke modifier, the first one,
BlenderArt Magazine is looking for content for their new issue, with theme ’3D printing’. Sandra Gilbert writes: It’s time again to start thinking about articles, tutorials and images for Issue # 40 of Blenderart Magazine. The theme for this issue … Continue reading →
Three good looking fire scenes – a result from MiikaH’s Summer of Code Smoke project. MiikaH writes: Now that Google Summer of Code 2012 is almost over it’s time for heavy testing and final improvements of my Blender smoke project. … Continue reading →
SlowmoVideo is a slow motion video editor that allows for slowing down footage by large factors, calculating intermediate frames using optical flow. Initially only available for Linux, there’s now also a Windows version available. CGEffex writes: Some of you probably … Continue reading →
Dutch designer and illustrator Metin Seven has created a Blender theme for 3ds max including the familiar layout, color scheme and hotkeys. Metin writes: Blender UI scheme for 3ds Max (latest update: August 13, 2012) Zip archive containing a 3ds … Continue reading →
The Mango Tears of Steel crew is throwing a ‘pre-premiere party’ on the 28th of August in Amsterdam (the real premiere will be online). If you have pre-ordered your DVD, then you’re invited! Check out the blog to see how you … Continue reading →
What can I say about the last week? Well, we still have a lot of fun with vectorization! The production sheet is slowly clearing up and the amount of white spaces on it is not that depressing anymore. Still it’s not a time for relaxing – we have only 2,5 weeks left for this task. Of course, we keep receiving help from the community and here’s the current stats:
Jcome: 17
Pixelgeek: 4
Animtim: 3
LoboZamora: 4
Also, there is a lot of work have been done on 3D models. The deadline for Ivan and Morevna community call is approaching and this week on 15th August I’m going to announce the results.
And yes, we have finally announced official release date of the Demo. We defined this date in early March already. It was just almost random – I’ve said to Nikolay: “We’re going to release in November, but maybe it would be good to set particular date?” And then we decided it to be 10th of November. And when the invitation to participate in FSCONS come up, we suddenly realized that this event concurs with our release date. So, we decided – hey, why not? Let’s get the first screening at the conference in Sweden! And yesterday, after receiving the confirmation of our participation accepted, we were happy to tell aloud about our evil plans. That’s the story.
So, it’s all my news for today, need to get back to work. Have a great week, everyone!
By Guismo. Guismo writes: Raspberries study in cycles using the array modifier. The first layers are the instances. The first of the second group are the flattened objects (cycles would not...
CG Cookie have created a free iOS game using Blender and Unity 3D. It looks awesome and it’s great fun! CG Cookie writes: We are proud to announce that our Eat Sheep game is now available for...
The bugcount still doesn’t want to go down, but a new testbuild is available for download. Also, next week is the last week of the Google Summer of Code and we have 2 videos of projects. Thomas Dinges writes: Hi … Continue reading →
As part of this event me and Julia Velkova are going to give a talk “Open animation projects: state of the art, problems and perspectives”. Well, in fact, I still need to find funds to cover my travel costs to Sweden. But anyway, release date and place are defined and aren’t going to change. Chances to see you there! I’ll keep you updated. ^__^
P.S. Errr… I guess we need to mock up a good poster about this? ^_^”
One of the things I’ve been wanting to investigate more since rendering clouds on Happy Feet 2 is using more physically based phase functions for volume lighting. The volume phase function describes the direction of scattered light relative to the incoming light’s direction – either isotropic (scattering light evenly in all directions), or anisotropic – scattering mostly forward, or mostly back, or some more complicated distribution altogether. Many volumes, such as smoke, are generally pretty isotropic, but clouds have quite a particular scattering behaviour, determined by the size, and distribution of microscopic water droplets that comprise their form. On HF2 we used a combination of two henyey-greenstein distributions, which was good enough for the task at hand, but after spending so long back then researching atmospheric optics, I’ve been curious to try something more realistic.
Antoine Bouthors’ excellent Phd thesis, Realistic rendering of clouds in realtime, spends a few pages on the Mie phase function – a good fit for many types of clouds. Clouds are highly anisotropic – at each scattering event, over 90% of the energy gets scattered in roughly the same direction that it enters (the strong forward peak), which is what gives the characteristic ‘silver lining’ when looking through a cloud towards the sun. Of the remaining energy scattered in other directions, diffraction and interference create some interesting optical effects such as the fogbow, or glory.
As part of Antoine’s work, he used Mieplot to generate scattering data for a general purpose droplet size distribution found in clouds, and published the data online – the relevant files are Mie0.txt and MiePF3.txt. The scattering distributions are divided into two to make it easier to sample – I imagine because the forward peak is so strong, attempting to importance sample it would barely leave any samples in the sideways or backward directions, so it helps to sample the rest of the function independently from the peak, and combine with weighted probabilities. In a traditional lighting pipeline where the phase function is just being used to weight lighting contribution and not sample new scattering vectors, we can ignore this and combine the data into a single set. To verify the results I wrote a little python script using pyglet to add the split data together and graph them on a log scale, as in the thesis – It’s pleasing to see it matches up perfectly. I also normalised the data to sum to 1.0 over the RGB channels.
For rendering in Houdini, the original plan was to copy the data in as a VEX array, and lookup/interpolate the data based on the input angle, but I think I may have hit a limit to the size of arrays VEX lets you define – arrays of a handful of float items worked fine, but using the full 1800 values introduced compilation errors. So as a more portable alternative, I brought the data into blender to generate an 1800 x 1 pixel OpenEXR image containing the scattering values. This is a lot more convenient to look up, and is easy to then reuse in a renderman shader for example. To sample the image using the U coordinate, the angle between light direction and eye direction needs to be fit to a 0-1 range. This is trivial to do in VOPs, replicating:
U = acos(normalize(I) . normalize(L)) / pi … and feeding that into a color map node.
Because this phase function is so heavily forward scattering, by default the volume may seem dark from any other angle than directly in front of the light. For best results:
Set up your scene to be more physically plausible, with a high dynamic range in lighting, viewed through a tone mapping transform (or at least a gamma curve). This way, with enough intensity in your main light, you’ll be able to see the backward and sideways scattered light, even though the light in the strong forward peak will be very intense. The tone mapping should bring the peak back into a more acceptable range while still leaving the other angles visible.
Render some form of multiple scattering additional to the single scattering, to fill out the overall light in the volume. This can be faked in any number of ways – in Houdini one way could be to add in an additional weak isotropic phase function (higher orders of scattering tend towards isotropic scattering after light has bounced around randomly for a while), perhaps with a blurry deep shadow map, or however you like to fake multiple scattering effects. Even adding in a constant ambient term can help substantially.
Here’s a little video I have prepared on how we do coloring using colorcharts in Synfig.
The colorcharts is very cool feature for animation projects – you have all key colors defined in one file and when you change this file, all colors are changed in the whole project. So you can dynamically tweak colors for your characters with a single click.
Colorcharts are natively supported in Synfig through the linking feature. Many people know that you can link parameters in Synfig within one file, but very few know that you can link to parameters from other files. And this is how colorcharts work – we just link all colors to the exported values in another file. See video below for detailed explanation.
The Argentinean Blender Conference ‘CheBlender’ has grown to no less than 5 days, spread over two cities. Martin Eschoyez writes: We are just preparing our meeting, this year to come in...
What did you do this week? While I fixed a couple of bugs, I spent way more time on optimizing this week. I spent some time with AMD’s GPU PerfStudio 2 on an AMD card. After a lot of profiling and toying around, I found that fragment shaders were really slowing down the Necrosys map. [...]
Now that Google Summer of Code 2012 is almost over it's time for heavy testing and final improvements of my Blender smoke project.
This week I have been experimenting with different fire simulation and render setups to find out new ways to improve simulation quality. While testing out new code I also prepared three fire scenes for download so you can start playing with fire too without having to do days worth of experiments. :p
Check out the renders here:
Unfortunately there still isn't a single click "Make awesome fire!" button. Setting up realistic scene still takes lots of tweaking for both simulation and render. However simulating fire in general should be now much easier with these GSoC changes.
Burning Plane
This scene is an extreme example of texture controlled emission. A cloud texture with animated z-offset is used to generate additional turbulence to fire. This gives a huge visual improvement over a plane that emits fire evenly across whole surface.
The basic idea of this scene is very similar to previous one. However this time texture is tweaked with a color ramp to emit some fire even from darkest areas of the texture.
This is a very basic scene I used to test high fuel/flame emitter. Notice how I have unticked "Absolute Density" checkbox from flow, making it "additive" instead. This way fuel can smoothly increase to very high amounts creating long lasting tall flames.
Please note that to use these .blend files you need a Blender "soc-2012-fried_chicken" branch build of r49779 or later. All scenes are also quite heavy so it's better bake the cache. :)
Update: My smoke code has now been merged to Blender trunk. So any trunk revision of r51259 or later will do. :)
Our very own AD-Edge (who used to write for BlenderNation) is featured on the Shapeways homepage this week with his Minecraft models. He talks about the history of his project and how they went viral. My favorite quote: How did … Continue reading →
In the aftermath of a disastrous incident, a biological research facility in the African Congo harbors a dark secret… William writes: The Magic Movie Machine presents REVERSION, the first 11 minute short film from hobbyist writer and director Giancarlo Ng. … Continue reading →
Hi, all!
Just wanted to share another neat trick to make your 3D Viewport more responsive. Most useful when you're designing interactive assets and environments (games, walkthroughs, etc.).
Often (if using a not-so-high-end machine), during texturing, modeling, or other tasks involving realtime view of textures and shaders via the GLSL shading option on medium to large scenes, we experience a
It’s time again to start thinking about articles, tutorials and images for Issue # 40 of Blenderart Magazine. The theme for this issue is “3d Printing” With the growing popularity of 3d printing and the lowering cost of both 3d printing services and 3d printers themselves, now is an exciting time to take a closer [...]
It’s time again to start thinking about articles, tutorials and images for Issue # 40 of Blenderart Magazine.
The theme for this issue is “3d Printing”
With the growing popularity of 3d printing and the lowering cost of both 3d printing services and 3d printers themselves, now is an exciting time to take a closer look at 3d printing and Blender. We are going to take a look at what it is, what it takes to print something in 3d, the services/materials available and some of the more popular 3d printers on the market.
What we are looking for:
Do you have a 3d printer?
What kind?
How does it work with blender, what do you need to keep in mind during the design phase
Do you use a 3d printing service?
Which one, what has been your experience,
what have you had 3d printed
Designing for 3d print
what do you need to keep in mind
Using 3d printers for rapid prototyping and product design
*warning: lack of submissions could result in an entire issue of fuzzy bunnies, puffy hearts and a galley filled with random images off my hard drive …. …… goes off to check number and variety of images on my hard drive …. just in case.
Articles
Send in your articles to sandra
Subject: “Article submission Issue # 40 [your article name]“
Gallery Images
As usual you can also submit your best renders based on the theme of the issue. The theme of this issue is “3d Printing”. Please send images of both your 3d model and the actual printed object for comparison. Please note if the entry does not match with the theme it will not be published.
Send in your entries for gallery to gaurav
Subject: “Gallery submission Issue # 40″
Note: Image size should be of 1024x (width) at max.
Blender Podcast Episode 19 has been released. Thomas Dinges writes: Hey, I visited Amsterdam last week and so Campbell and I interviewed the Mango Open Movie team! Have fun! - Thomas I love this podcast, good job guys! Link Episode … Continue reading →
Alex Telford shares 10 videos with some useful tips. Alex Telford writes: Hi guys! So I have come up with ten awesome tips for blender users to really help speed up your workflow! The official text/video tutorial list is here. … Continue reading →
Just about one year ago, Tiago Nunes finished his trek through Blender Foundations. He worked through the whole book, blogging about his progress along the way. You can read it here. It’s actually neat to follow his development, and I have to say that his style of learning was truly the ideal target for the book: curious and self-motivated.
Anyway, with Blender Foundations just over two years old now, I shot him an email with two questions. First, with a year’s distance on the other side of his learning experience, how well did he feel that material prepared him for his further work using Blender? Second, how well did he feel that the book’s content was holding up against the current Blender version?
Good news on the Pandeia front: I’ve found a potential local printer who’s prices are about the same with having prints done by Ka-Blam and shipped to me. The turn-around time is days rather than weeks, so preparing for Supanova means I can potentially be producing three more issues by next June! Which means that Pandeia Book I could be done by end of 2013!
Even though I took on board a couple of small jobs recently (setting up Anthology8; the Blender Siggraph Reel), I have now completed my part in those two projects and can once again focus entirely on Pandeia. This is my goal for the next few months. I want to finish this first story arc and tap into the momentum that is building at the local level so that new fans won’t be disappointed.
Speaking of local momentum: I was kindly invited back to talk sci-fi with the presenters of Kapow! and the episode has just gone live on the channel.
I have a blast hanging out in King’s comics with Sonya, Al and Ray. Ben (who produces the show) is a professional as they come, and his resume reads like a list of “OMG you produced THAT SHOW!? I loved that show!”. Even had a bit of chinwag with the store owner about our mutual favourite sci-fi novel, Hyperion.
I’ve been writing like crazy – outlining the stories for the next few issues, but mostly re-drafting key scenes for issue 3. The biggest hurdle is getting all the points about Marcus Blair out in front of the reader, and this is beginning to mean being choosy about what is revealed now… and what is saved for later. my deadline for writing/concepting is end of September. I aim to have issues 3 and 4 scripted by then, with a view to have issue 5 well on the way.
Finally – I have to take a brief hiatus from the show due to a work commitment, but I’ll be back in early September, hopefully with a bunch of updates and news about Pandeia. Onsite work allows me to work on script and concepts while commuting, and there is a lot of stuff which needs working on, so i’m looking forward to having that time available!
It took me a couple of personal persuasion and repetitive comebacks before, now I have a Tumblr account.
http://www.reynante.tumblr.com
Nothing much to show now, but hopefully I can get the hang of it.
See ya!
A 2.5 hour video registration of the French Blender Conference last May in Paris. In French, of course. e5dy writes: A full conference/workshop in french (sorry for non-french speakers) 2h35 mounted by CoyHot (François Grassard) This conference was done at … Continue reading →
By Blender360. Blender360 writes: In this video I show a simple way to make a nut or a screw head. With just a few modifications. The advantage of this method is that we can control the Number, of vertices that … Continue reading →
Edouard Gautier created this espresso cup in Blender. e5dy writes: The ceramic 3D printing interested me since a long time and this summer I’ve decided to pass the gap. I use Blender since 4 years and experienced the 3D printing during … Continue reading →
In a surprise move recently, Pixar has released open source code called Open Subdiv.
Directly from the website :
OpenSubdiv is a set of open source libraries that implement high performance subdivision surface (subdiv) evaluation on massively parallel CPU and GPU architectures. This codepath is optimized for drawing deforming subdivs with static topology at interactive framerates. The resulting limit surface matches Pixar’s Renderman to numerical precision.
OpenSubdiv is covered by the Microsoft Public License, and is free to use for commercial or non-commercial use. This is the same code that Pixar uses internally for animated film production. Our intent is to encourage high performance accurate subdiv drawing by giving away the “good stuff”.
The source code for OpenSubdiv is located on github and is entering open beta for SIGGRAPH 2012. Feel free to use it and let us know what you think through the github site.
While it is highly unlikely that this will end up in Blender at all it is a very interesting project, coming from a highly unlikely place to ever release anything to the public. Though Pixar has released papers and some shader source code to the public, nothing was expected to ever come in the form of a software library, so this is a welcome surprise to say the least.
At the exhibition Gangarten on 3. August 2012 at Einstellungsraum Hamburg I presented amoung other installations an interactive DVD with 12 (very) short videos, mostly animations. This a one of it, made with Blender.
At the exhibition Gangarten at Einstellungsraum Hamburg I presented amoung other installations an interactive DVD with 12 (very) short videos, mostly animations. This a one of it, made with Blender.
Yummy! This was trending on Google Plus so I decided to give it a go. It’s very simple to do, it looks great and it tastes accordingly. I couldn’t find pre-cooked bacon so I had to pre-heat it before putting the eggs. It’s a bit tricky because I pre-heated them in the muffin molds already, so they started to loose their ’roundness’. Use chopsticks to get them out of the molds
I’m proud to announce the arrival of the Blender Network – the official Blender Foundation partnership program for professionals! The Blender Network will support these professionals by...
Time is flying like crazy, and we only have 3 more weeks to go until pre-premiere.
So we do a little bit of time-travel and go back 1 week in time when we have a whopping 4 weeks left until premiere and do some interviews and random stuff to give you some impressions from the studio.
Last week was extremely productive – we have finished a few complex shots. Although I still do some vectorization, my main task is to stitch vectorized keyframes together and tween them. Working with such complex shots with a lot of action I can feel my skills growing, I can feel how expands my understanding of timing, I challenge myself to get better results with very few keyframes – and that’s really exciting. I see I can do animation tasks faster than before and that’s a good sign. Right at the moment I can estimate our progress as about of half of the work on vectorization done – we still lag behind the schedule, but the skills are growing and that gives me a hope to get this task finished in time.
Tweening and Vectorization status (06.08.2012)
Nikolay works all at his rage on vectorization – he is so enthusiastic that he did not have any scruples to rework his artwork right in the process, bringing the real creative touch to some shots.
I can say our vectorization competition is going very well – thanks to the contributions of the community we have almost finished shot 34 (only last keyframe left which I should vectorize by myself) and shot 31 is finished as well.
Here’s the score stats for current participants:
Jcome: 14
Pixelgeek: 4
Animtim: 3
Also, Julia Velkova finished reviewing the English translation. Now it’s pending for my final review to get this task marked as “done”. Yay!
Finally, we got some help with 3D truck from Umesh Marappa – we asked him to improve the low-poly model we had. As result, he did a full rework from the ground and now we have shiny new detalized model. Thank you, Umesh!
Truck model by Umesh Marappa
That’s all my news for today. Stay tuned and have an awesome week, everyone!
At the exhibition Gangarten at Einstellungsraum Hamburg I presented amoung other installations an interactive DVD with 12 short videos, mostly animations. This a one of it, made with Blender.
By Tokabilitor. Tokabilitor writes: Some houses inspired by Anno 1404 pc game. Textures have been made with blender itself respectively own photographs Link Medieval Kind of Seaport
We have been thinking on how to improve the service. As of late we have been getting so many renders that we need to figure out a way to priorizise our work. After some forum discussion we have finally arrived to a decision that should increase the service's performance a lot for those who really need it:
We will not render your session if your description does not clearly state that the animation is used in some kind of production, may it be a film project, commercial work or personal portfolio. Any kind of tests will be rejected if there is anything more urgent in the queue. If the description does not state that the render is for some kind of project it is assumed to be a test render.
This policy is in power immediately. We'll be sorting our current queue of 240 sessions and rendering only what is really required. Afterwards we hope to really eliminate the wait times for those who are facing deadlines and require their projects done fast.
We believe that we have finally nailed the issues caused by the new validator. If all goes well we are probably able to return to usual rendering at full speed. Today we will begin trying to drive the farm with a light 5 simultaneous sessions test, tomorrow moving to 6, then 7 and so on. Hopefully we are not seeing any more jams. The farm will be working pretty heavily for a few weeks =)
We are also working on adding priorities. These are user settings that you can use to define what kind of work you wish to render: You may state that you prefer open licenses, and always render anything that belongs to a movie project, and refuse to render anything with a copyright license, maybe like some user and always prefer to render his animations. There is still some work to do here, but it's looking for good from the backend side of things.
Off-Topic: Curiosity has successfully landed on Mars! Today is a good day to be a member of our species.
Even with SIGGRAPH happening, the Developer Meetings just keep continuing! Thomas Dinges writes: Hi everyone, Here’s the notes from today’s meeting in irc.freenode.net #blendercoders. 1)...
Jonathan and Wes will be fortunate enough to be attending Siggraph this year. These two will be helping out at the Blender booth and walking around the conference with their mouths and eyes wide open in awe of the talent and inspiration there.
To help celebrate this event we are offering the below coupon code to be used on the shop which is valid through the duration of Siggraph 2012! Save 20% on any order or combination on the items in the Cg Cookie Shop!
Save 20% on the CG Cookie Shop : Use “s2012” at checkout.
If you happen to be at Siggraph this week be sure to come by the Blender Booth and say hello!
With Jonathan and Wes at Siggraph please bare with us with on the site. We may be a bit slower to respond to e-mails, comments and tickets. We’ve left Tim (Concept Cookie) alone at the office to fend off evil spiders and keep things moving at the CG Cookie Studio by himself.
Roughly 3 (Three!) weeks left! Unfortunately we weren’t able to stream the last weekly, but here is the usual random selection from the weekly folder. Also, this week Thomas Dinges and Campbell interviewed the entire team for the Blender Podcast, which will hopefully be online soon!
Since the last blog update, the Freestyle branch made a slow but steady progress. Here is a brief summary of new elements and user-visible changes in the Freestyle rendering engine and its user interface. General usability improvements 1. New options for specifying unit line thickness has been added in the Post Processing tab in the […]
I just came across this video on one of the blogs I occasionally read.
This is some pretty awesome stuff. Finally, we've managed to catch photons "in the act" so to speak (did anyone notice the SSS reference in the vid? ;)
Interior Architectural Visualization is now available on DVD via Blender.org!
We are pleased to announce that our very well reviewed training course on Architectural Visualization is now available on DVD through the e-shop at Blender.org. This is excellent for anyone wishing to have a hard-copy or are unable to stream the Citizen version. Another benefit to purchasing the DVD is most of the proceeds go directly to supporting Blender and the Blender Foundation projects.
Interior architectural visualization is an ideal use of 3D rendering; it can help portray exactly what an interior could look like after being built without ever setting foot in the space or picking up a tool. Through this course, Jonathan Williamson will give you a complete run-through on how to create an interior architectural visualization completely within Blender 2.6. This course makes use of the Cycles render engine to achieve an excellent sense of realism and mood. To gain access to this course you can signup as a Citizen member of the CG Cookie network for just $10 USD per month. This is an incredible deal, the course contains just over five hours of training; covering modeling, shading, lighting, rendering, compositing, and post processing. You can sign up for a Citizen account from our membership page HERE.
As a Citizen member you get access to the complete streaming course, including all project files and the ability to download each individual video. All the source files and videos are also included on the DVD.
Update:
Production files available at http://reynantem.blogspot.com/2012/09/lost-in-stereo-production-files.html
"The one who follows the crowd will usually get no further than the crowd. The one who walks alone, is likely to find himself in places no one has ever been." -Albert Einstein
Initially inspired by a modeling exercise I did, partly by the song 'Lost in Stereo' by All Time Low,
Kompilasi animasi Indonesia yang dibuat dengan software utama Blender 3D.
Animasi dibuat sejak tahun 2008 s/d 2012 berupa animasi pembelajaran, TV serial, TVC, web series, tugas akhir, film pendek, showreel personal, dll.
What did you do this week? Recently I’ve been profiling the BGE’s VBO code, and I’ve been rather disappointed with it. Even after some cleanup/optimization (including a nice speedup to skinned meshes and other frequently updating meshes), I could not get VBOs as fast as vertex arrays with display lists. I’ve also come to find [...]
Just some random sketches made at the end of a long week (of frantic but productive hacking). For now, no hardware+software combination quite matches the immediacy and control of a humble pencil and paper.
A few simple characters/objects, starting from a characteristic curve or two as usual...
If only there were more buildings of sculptural beauty in town in future... (pity, the architects, engineers, and stingy property developers here probably can't figure out how such things can be built :P)
Remember how this all started? I followed the Blender Foundations book from start to finish, actually doing everything step by step, to get myself familiarized with Blender. I was done mid-May last year, just a little over one year ago. Back then I exchanged a few e-mails with the author, Roland Hess, both when I […]
The Digital Arts Experience in Whiteplains, NY, is offering an intense Blender workshop for teens. Cristina Calabrese writes: I’d like to submit our course for 3D Animation using Blender to...
I’ve got a couple of new tutorials up on Blender Cookie, on modelling and rendering an ancient Greek temple. You can find them here. You’ll need to be a CG cookie member to download these particular ones, but if you don’t fancy that you can check out some of my other tutorials up there that are available to all, […]
Nahuel Belich shows how to get rid of Cycles ‘fireflies’ (white noise). Nahuel writes: The last week i run into some white pixel on a Cycles render, i confront face to face the famous...
Andrew Price announces the winner of the BlenderGuru Photorealism contest. This image, by Bruno Borgiani, is one of the runners up. Andrew Price writes: At the start of June I posed a challenge:...
NOTE: This is purely a result of an accident and I'm not yet sure if this is already published elsewhere or tested before already.
Just discovered something nifty in Blender and I thought it might be worth sharing (to those not aware yet); when editing meshes in Edit Mode and with Proprtional Editing on, you can press the keyboard shortcut 'SHIFT O' to switch between Falloff types (smooth,
Hello and welcome to this Blender modeling tutorial by Ben Simonds!
In this two-part video tutorial you will learn how to create a Greek temple in Blender 2.6. Ben will show you how to model this temple with smart techniques that make for very fast modeling, quicker and more efficient rendering and great results.
What you’ll learn:
You will learn how to model the columns by starting with a curve circle and later converting it to a mesh.
After modeling the columns learn how to easily replicate the columns with DupliFaces, allowing Cycles to render them much faster.
Learn how to quickly replicate a single tile mesh for the roof to create the whole surface with variation in a matter of minutes.
Find out how to set up a simple lighting environment to render the scene in Cycles with a background sky
The techniques Ben shows in this tutorial can be applied to many, many other projects, enabling you to quickly created detailed structures with great variation in very little time.
BlendedSkies is a new stock image site that offers tracked footage, 360 degree panoramas and backplates for Blender. Sam Schad writes: BlendedSkies.com, a new site being offered to the Blender...
Designs for Al-Kmer, DVNR-1 and first concepts for a Cadian outpost/bar:
Script has gotten to the point where I’ve redrafted enough, explored enough, and just call it a day on the opening scene. The main issue I have writing is putting too many plot-points in a scene to pick up on later. I’ve stripped some back, and focussed on one character. There’ll be enough time to go back to another character later on. It’s important to stay focussed on the point of the scene, and in this case: it’s to outline some facts about Marcus Blair. The set up is important, and serves as background for when we finally meet him.
One week to go before I announce the winners of my first Process Diary competition! Have you spread the word about Pandeia? All you have to do is one of the following:
Leave a review of either Issue 1 or Issue 2 Pandeia eBooks you may have downloaded/purchased in the eStore
Like the pandeia facebook page and announce it in a status update
Use G+ and include mention to my G+ page (name:+Paul Caggegi)
Entries close next week, and I shall announce three winners on the next Process2Go episode. What do you win?
A signed, print copy of Pandeia Issue 2! I will contact you to get your postage details and get the book sent out by the end of next week.
Blender SIGGRAPH reel is almost done! It looks FANTASTIC, but that’s due to the wonderful entries. I cannot wait to release the finished edit, and boy – will you guys know about it.
By Conner Addison. Conner writes: A slightly older model of a ’33 ford deuce hot rod, V8 exposed and everything. Modeled in Blender 2.55 but rendered in Cycles in 2.63. Link 1933 Ford Hot Rod
By Georg. Georg writes: This is a human portrait test in Cycles. The ears needs more work, I think. I hope to see hairs implemented in Cycles someday. Some of the hairs in her eyelids are curves...
I've recently been asked by PacktPub to review their recently-released Blender book for beginners titled 'Blender 3D Basics' by Gordon Fisher.
More info on the book here http://www.packtpub.com/blender-3D-basics-complete-novices-guide/book.
I'll start reading it soon and will let you know what I think about it, so stay tuned.
-Reyn
Al Fath, mungkin merupakan Blender Army Indonesia pertama yang telah mengunjungi Blender Insitute di Amsterdam. Blender Army Bekasi yang kini kuliah di Binus jurusan Animasi telah mendokumentasikan kunjungannya yang pertama di Blender Insitute.
Berikut video kunjungan ke Blender Institute sekaligus wawancara dengan Ton Roosendal
The Photorealism Competition was one of the biggest competitions ever, with 270 entries.
I know I say this a lot, but the quality of entries this time round was incredible. Every artist strived for photorealism and quite a few people pulled it off!
Tuesday evening 28 August at 20:30h we’ll do a first official screening of Tears of Steel in De Balie in Amsterdam. This pre-premiere is for invited guests and (DVD) sponsors only! After the screenings (we’ll show it a couple of times) there will be a wrap-up party with the entire crew in De Balie cafe, to enjoy the past 7 months of work here and to say goodbye to Roman, Jeremy, Kjartan, Sergey, Campbell and Nicolo. Four artists – Ian, Sebastian, Andy and Francesco – will be staying during September to prepare the film for the official premiere (online) and the master the DVDs. The online premiere data is not known yet.
If you want to join us this evening; just send me an email with your DVD order number, you then will be added to the guest list. A sponsor can bring 1 guest, but let me know please. :) We have 150 seats, so don’t wait too long.
The LuxRender team have released their third release candidate for 1.0. The first RC was in April – these guys are taking their testing seriously! Lord Crc writes: Changes since v1.0RC2: GUI supports loading “queue files” (.lxq) directly, they’re simple … Continue reading →
Submission Deadline is approaching: August 5th, 2012 Have you turned your submission in yet? It’s time to get things all wrapped up and ready for submission. Call for Content: Blenderart Magazine #39
(click to enlarge)
“A ship is safe in harbor, but that's not what ships are for.” -William Shedd
Composition inspired by an image from CGSociety.
Thanks to Andrew Price (http://blenderguru.com) for sending the link.
The production process had been a huge learning experience as well.
Made with: Blender 2.63
Rendered with: Cycles
Hello and welcome to this tutorial series on creating a realistic head in Blender 2.6!
This is a complete tutorial series explaining the creation of a realistic human portrait with Blender. The entire process will be covered from base mesh modeling, detail sculpting, texture painting, hair growing and styling, sub-surface scatter shading, and compositing. Some of the more time-consuming tasks will be time-lapses with commentary like modeling, sculpting, and texture painting; the other parts will be mostly real-time.
Part 7 is a shift of gears to modeling clothing for our bust. First, we will generate a stand-in mesh to represent the upper torso, which then allows us to retopologize on top of this geometry to better separate the artistic and technical portions of the process. We will also generate our base meshes for a shirt, jacket, and tie, then we’ll sculpt wrinkly cloth detail onto these base meshes. To finish the tutorial we will quickly lay out UVs to prepare for texturing.
DISCLAIMER: We cannot redistribute these references, due to the license, but we can use them under Fair Use laws for educational purposes. They’re not available for commercial use, though.
Having realized that there are very few Blender tutorials in Turkish, Hakki Rizza has decided to start creating Blender tutorials for the Turkish community. His first one is already uploaded to vimeo. And there will be more following as he gets them created. Ev modellme dersi- bölüm 1
Learn how to achieve this effect with this quick tutorial by Blender Sushi Blender Sushi writes: There is this particular “Voronoi” effect I have been wanting to do for years. I have tried to achieve this particular effect using other … Continue reading →
Another week passed by. The activity in the project increasing and there are lots of things I want to share today.
First of all, we are happy to get two participants joined our community call for vectorization. Don’t be distracted by the small number of participants. I should say – even one person can make a significant difference and even a little help with such a big job is significant. I want to give a special mention to Yu Chen – he is working very intensively. We are very happy he is joined our efforts.
This week we got first submission of soldier variation by Marco Antonio Real Adame. He is joined our soldiers community call on July 21st and yesterday have presented his work (see soldier-2.blend file in repository). Now he took the task to animate his model for shot 07. Let’s see how this will turn out!
Isn’t that guy is charming one? ^_^ Still I haven’t played with render settings yet…
Also the work on Ivan and Morevna models is still on the way and we already got some awesome results. But I should handle myself to announce final decisions on August 15th.
Nikolay did a great work by vectorizing all keyframes of Ivan for shot 20. Now they are pending for my review. I have been doing some vectorization too, as well as administration routines. Also, I managed to do one more important thing (that surely should have been done earlier) – set up the colorchart for the main characters. Now its possible to use common colorchart files for vectorized artwork (I hope to to post video about that soon).
And finally, good news for everyone who got “more than $100″ rewards from our donation campaign – the promised goodies are finally packaged and sent! My apologies for taking it so long. The tracking numbers will be provided by e-mail on personal basis.
That’s all for today. Have an awesome week, everyone!
Here’s a heads up about the new book. Reader Pete Robie pointed out to me that the website (blenderproduction.com) listed in the book is empty. Focal Press has the content available here, but the blenderproduction.com address was supposed to take you directly there. At the moment, it does not. Focal Press very recently changed hands, and according to my editor they are having problems with the domain registrar and taking possession of the domain. It was bought by their old parent company, and the new parent company is having difficulty getting full control.
Until then, a direct link to the content can be found here:
Blender Cookie announce their upcoming new Blender DVD: ‘Compositing in Blender’ by Bartek Skorupa. Jonathan Williamson writes: We’ve just announced pre-orders for our latest training series by Bartek Skorupa. Bartek is a compositing genius and is the author of the … Continue reading →
Last year, I began work on a new edition of the outdated Animating with Blender. It’s a guide to the short animation creation process. There is a lot of Blender-specific stuff in the book, but non-Blender readers have also found it useful as a general guide. Well, the Blender-based portions have been rewritten, in some cases completely, and we’ve updated the title: Blender Production.
What do you get? In this book, I’ve detailed the time-tested process of producing a short animation, from story creation and story boarding through sound capture, the actual 3D work (modeling/animation/etc) and finally on to editing and post-production. While the book does get technical and Blender-specific in many places, it always keeps its focus on the production process. So, while we have a piece on character creation, it isn’t a modeling tutorial. You can find those in plenty of other places. In this book, we focus on how incorporating different technical aspects and approaches into your model can help to make it more suitable to a larger production that might use a small (or even large) team of talent.
The project that accompanies the book is completely new for this edition. It’s the Snowmen Will Melt Your Heart animation that you saw completed here in January (shortly before the book was put to bed). I swear right now on a stack of Bibles that I will not ever again simultaneously write a book whilst producing a full-fledged animation project.
The real goal of the Blender Production though is simple, and easily identified by anyone who has ever tried to make a short animation: just get it finished. If you’ve never attempted a short animation before, the job is much larger and significantly more complex than your intuition tells you it’s going to be. I’ve seen teams put a year of time into a short animation project, only to have it die because they went in without a plan. They didn’t feel like they were wasting their time, but… they were. This book tells you the plan, and shows you how to execute that plan in our favorite 3D application: Blender.
FYI, Amazon has the “Look Inside This Book” feature enabled, so you can get a preview right there. If you have the previous title (Animating…), and have really internalized the information it had, there’s probably no reason to get this newer edition unless you are some kind of Blender bookshelf completest. Everyone else who is considering working on a short project though, would do well to at least check it out.
Is it rendered? Is it real? Read on ;-) David Hirmes writes: I’ve created a series of sculptures called Boolean Buddhas by taking advantage of Blender’s recently improved boolean functions and fabricated using a Makerbot 3D printer.
Even though the bug count goes down very slowly, it looks like we’ll have a 2.64 test build next week (just in time for SIGGRAPH)! Ton Roosendaal writes: Hi all, Here’s the notes from today’s meeting in irc.freenode.net #blendercoders. 1) … Continue reading →
By Zero4mike. Zero4mike writes: Inspired by the “Greyhound” music video by the awesome Swedish House Mafia, this project took me around 30 hrs. to complete(I know I’m slow). Blender Internal rendered...
Here is a quick less than 5 minute tutorial that will teach you how to mix 2 shaders using vertex color map. This is a “<5min tutorial”. I plan to make some more of those. They are quick and expect some background knowledge so not well suited for beginners, more like intermediate/advanced users here is […]
Yesterday’s weekly meeting we had visitors from Chile, USA and Germany! Always great to get fresh feedback on your work… they all confirmed they were absorbed with what goes on at the screen – even with unfinished greenscreen shots and without (good) sound.
Below the usual random selection of past week’s work:
Winner: SK with his collapsing bridge. This was by far the most ‘complete’ entry – not just a tech demo, but a short video with a ‘story’ and nice sound. Good job! Read...
What did you do this week? I managed to finally get Nvidia Nsight and started profiling some OpenGL usage. I cleaned up some of the BGE’s OpenGL usage (eliminated some glGet and glIsEnabled calls), which got me a few fps in the Necrosys map. I’m hoping for more gains, but I’m still learning how to best use [...]
And no I am not talking about the cartoon character that runs around waving a sword while wearing fur undies. I am referring to the image I drew based on Tim Vonn Rueden’s Stylized Character Concept Art – The Software Brothers tutorial on Concept Cookie. I love watching Tim’s tutorials and while my results rarely [...]
After a lot of tinkering and various attempts, I am glad to be able to announce the availability of the production files for Ara’s Tale.
To be able to host those files, I had to make some restrictions, which I think will have very little impact for the interested.
I have split the project into several parts:
base production files (1GB): everything but the textures and simulation cache files.
texture files (1GB): all textures but reduced to half the resolution of the real production textures.
Simulation cache files: One zipped simulation cache directory for each shot, typically ~140MB per file (total 6GB). With this it is easy to recreate a render and further compositing for a single shot.
No render outputs are packed into these files, you have to recreate them yourselves . In case there is real interest into the full resolution textures I will gladly try to find a way to host these additional 5GB.
All these files are hosted on goggle drive. This has proved to be a working solution for the movie files themselves, so I hope this holds true for the production files as well . If you encounter any problems please tell me.
Here is the link to the shared folders for the production files and be sure to read the _README_ first:
As I have mentioned on other occasions, having only these files at hand will not help you very much. That was my experience with all the assets from the Open Movies so far. I am willing to do a series of in depth explanations/making of’s/howto’s to bring to you the ideas behind all these setups. Some are just crude workarounds, some may be usable for your own projects.
But to be able to do this in a sensible way, I would first ask you to provide me with wishes/suggestions, what topics you would like to have covered. It can be very specific like ‘How did you do the disintegration of the dragon’ to more broad topics like ‘How is the whole project organized’.
I really hope to have your feedback on this. After 3 years of me working on this project it is now time for a little of your time
Quick one since this isn’t really a production topic. I’m back from OSCON where I gave a talk about Tube. I talked a bit about the (very short) history of open movie projects, the motivations of making tube and some other topics that would in themselves make a nice post. I also showed some hitherto unseen work in progress shots, and demo-d a bit creating a crowd scene with the autowalking. Some of the ideas that I came to the conference with (about making open movies mainly) are probably best saved for their own post.
Due to the ‘giving a talk’ effect of preparing up till the last minute, I ended up missing pretty much the first half of the conference, and sat out most of the last day doing Tube stuff – I thus didn’t get to attend that many of the talks. Those that I did sit in were interesting – though some were not quite open source in topic. I was very interested by the panel on software patents, and I’m rather enamoured of Bradley Kuhn’s idea of a ‘free software patent troll’. I’m not sure this would work, but it’s fun to contemplate.
I also did an interview during the conference with Linux Format, and another with O’Reilly media:
During the week I met with several new and old friends, including some of the past and present Tube crew! Chris Webber (of mediagoblin fame) who coded reference desk (part of the mini-demo) and Oscar Baechler, who rigged a bit earlier in the project, and now returns as an animator. In the weekend following the conf, I took a train from Portland to Seattle, and met with our assistant producer and previous production manager Liz Ellis, who’s now launching a web series, also in the free culture vein, and with Oscar (again) and Nathan Vegdahl, who continues to be fabtacular.
I managed to destroy my achillis tendon (again) running a 5K, and then getting lost the next day and wondering around Portland for 3 hours. I took a lot of taxis after that. I also quite typically did not take a single photo of the conference itself, nor of any conference related activities. Here are a bunch of random snaps (mainly in Seattle, though a couple are in Portland). I’m not sure how I feel about that bus.
post a link to my facebook page, referencing the page so I know it’s been linked.
Write a review for one of my eStore items. (you may have purchased already, or you can just download one of the free items and review)
At a pinch, I’m happy to give away a printed, signed copy of Pandeia Issue 2 to three winners (picked at random). I will post it to where-ever you live.
I’ll pick the winner and announce by the end of next week – Friday 3rd of August. on the next Process 2 Go episode. Your name will be at the door.
Shoutout to Nathan Seabolt, fan of the show, who gave me an awesome piece of original art:
Suite à la conférence sur Blender que j'ai eu l'honneur de donner à Paris le 12 Mai 2012, après de multiples retards indépendants de ma volonté, des problèmes techniques et encore plein d'autres choses ... j'ai enfin réussi à monter et mettre en ligne cette conférence !
Attention, celle-ci pèse plus de 1,23 Go. C'est dire si ça pèse lourd ... et que le téléchargement peut durer longtemps chez certains.
De plus, une fois le fichier sur votre disque dur, vous êtes partie pour 2h35 de conférence. Donc prévoyez les chips et la boisson ... :o)
Voici le lien, cliquez dessus avec le bouton droit afin de choisir "Enregistrer-sous", sinon votre navigateur peut tenter de la lire directement. Et là ... ben il va falloir attendre une paye :
We are pleased to announce our latest Blender training series by Bartek Skorupa! Available for pre-order now
If you have ever wanted to know all the technical details and knowledge needed to produce stunning compositing, not just how to throw together random effects, then this is the series for you! In this series you will learn nearly everything you need to know to perform good compositing in Blender with the node-based compositor.
Learn how to Composite properly in Blender
This series will not only teach you how to get great results through compositing, it will also teach all of the technical details that need to be considered with compositing. This includes image levels, image colors, color management, handling proper alpha values, green screen keying, and much more. You will also learn many techniques for managing your renders in a smarter way that enables to perform many changes and make finer adjustments without needing to render again. An example of this can be seen in the images below with the car of multiple colors; this was only rendered once. All color is controlled with the compositing.
You will learn advanced masking techniques, how to work with all of the different render passes and even how to make your own render passes. Beyond that you will also learn how to properly handle ambient occlusion, environment lighting, shadows, reflections, refractions, and more.
Everyone’s busy… we’re on target to be finished end of August. That’s a mere 5 weeks! Doing interesting blog posts in crunch time is a too demanding; so I’ll just be slamming some stuff online to feed your curiosity :)
Here’s images I copied the past day from our renderfarm UI. It’s all WIP and tests!
Dolf Veenvliet’s crowdfunding campaign for the new caliper script has reached its first threshold. He reports on the progress. Dolf writes: I started work on the Caliper addon for Blender last week. You can find the current state of the … Continue reading →
By Peter Draculic. Peter writes: This is a video tutorial showing how to combine Rigid Body Bullet Physics and Hook modifier,along with a Curve and Array modifiers for rigging and animating an old...
By Tom Walks. Tom writes: A week of tweaks. 1080p Artworks here 1, 2. All done in blender, internal render. I made some corrections with GIMP for the to images.
The Politecnico di Torino, Italy, shares the results (40 videos in total) of their students in 2011 and 2012. Worth watching! Fabrizio Valpreda writes: Dear all, I am very proud to announce the availability of the results of the course of … Continue reading →
Hackerspace Brussels, Belgium, is offering six free Blender workshops in August and September. ZipionLive writes: HSBXL (or Hackerspace Brussels) is an active and open-source loving hacker community in the heart of Schaerbeek, Brussels. We’re organizing workshops on a regular basis, … Continue reading →
I have been very busy lately, I move across some projects and studios, also working on soki and plizzz at home so i never make some time to write here. sorry for that again.
well. i will put here some stuff i did in this time, hope you like it!
Ian Hubert presents the first three episodes of his *other* movie project – Dynamo. Ian writes: Howdy! Over the past several months we’ve been working on another episode for an online series called Dynamo – featuring quite a bit of … Continue reading →
I started modeling a pool table. I see this as part of a test for the new b-mesh, which I have tried out very little so far. Here is a summary and how to avoid some of the pitfalls.
Ayoh! After the success of the Corolla (check it out on the cover of BlenderArt Magazine #37!), it turns out I will pick up another car project sooner than I expected. Over at BlenderArtists.org Tyrant Monkey is organizing a workshop for anyone who wants to join. He’s calling it Modeling Jam 01, as he plans to […]
Daniel Barton – not just another web-comic artist! He quickly cobbled together a couple of intro tracks using Audacity before we embarked on this cross-interview, and sent them over. Daniel is a fun guy. We just talked about a whole heap of stuff, but mainly each other’s work.
Goober and Cindy: a web-comic about a little girl and her adopted alien brother. The humor is off-the-wall. Sometimes I found myself laughing not knowing why. To get a taste, go to Dan’s favourites first.
This interview will be cross-broadcast on Dan’s site and youtube channel where you can see Dan in full-frame, and me as a still. He may edit the show a little differently, too.
Daniel also composes music! His stuff can be found at Alien7.nl
Blenderheads in Melbourne, Australia, are meeting this Thursday! Alex Fraser writes: There are a lots of meetings coming up in Melbourne – if you look far enough into the future! We are moving to a quarterly cycle of meetings; see … Continue reading →
Just a little aside from other items in progress -- morphing from the 60s bat-logo through the Tim Burton version ending with the current Dark Knight logo.
Not enough inspiration. Vacation is the worst... You have thousands ideas when you are working and can't do anything else than just work. And then when you are all of a sudden given all this free time... I don't have a single uniqe idea or inspiration to do any of my own stuff.
Blenderheads in Nuremberg, Germany are meeting this Friday. Gottfried Hofmann writes: Hello Blender community, the Nuremberg Blender User Group (NuremBUG) is meeting once again! Party starts on Friday the 27th of July 2012! Meet fellow Blenderheads from the Nuremberg area … Continue reading →
I will start today’s weekly progress from screencast demonstrating our “lazy tweening” approach.
This approach can be shortly summarized in following steps:
Vectorize each keyframe independently.
Use stickman to deform first keyframe to second and create tweening transition.
Repeat the same for second and third keyframes and so on.
We have spent the whole week testing how much this approach suitable for making different types of animation. And hey – it’s kind of all-purpose thing! (Except maybe some cases of close-up headturns…)
When we settled this approach, we found that even for complex animation it’s possible to vectorize each keyframe independently. That means we can break each shot into small tasks and ask for community help with vectorization. That’s how we started the last community call for Synfig users.
Does someone thinks that we plan to have a rest and wait when all hard work will be done by the community? No way! The community call is just an experiment to find talented Synfig artists around and proof that we can collaborate with them. And we are still working hard to deliver most and the best!. ^__^ Last week we have hit very complex shots – I have spent much time on shot 34 and Nikolay worked hard on shot 19. The next challenge for us is shot 20 – the most complex shot of the demo. Nikolay already started to work on it today.
Tweening and Vectorization status (23.07.2012)
At the same time the work on Ivan and Morevna models continued. The modelling is mostly done and now we are waiting for rigging and textures. Also we have two artists willing to improve truck and helicopter model and three persons interested in creating soldier model variations. I can’t wait to see how all this turn out!
By Oh Yeah Wow! Josh Thomas writes: Hiya Blenderers! Oh Yeah Wow (our Melbourne based studio) recently completed the post work on a music video called ‘Paint That Picture’ for folk artist...
Learn how to achieve a page turning effect with this extensive, 5-part video tutorial by Blender Cookie. Jonathan Williamson writes: In this advanced tutorial by Stanislas Paillereau you will learn how to create a detailed animation of a book with … Continue reading →
Ooooh :) Ton Roosendaal writes: Hi all, Here’s the notes from today’s meeting in irc.freenode.net #blendercoders: 1) Blender 2.64 – upcoming release The bug tracker is still on 300 open issue, a too high total! Release notes: Sergey Sharybin started … Continue reading →
Today we’re taking one more step to attract the community to Morevna Project development. This time we will ask for attention from Synfig users.
Let me introduce you:
We are working hard vectorizing and tweening the keyframes made by Nikolay. Still, looks like efforts of two men are not enough here. We are asking Synfig users to help us with keyframes vectorization.
All keyframes should be vectorized using stickman template. This process is described in video tutorial here. We will provide a .sif file with everything set up in place (keyframes combined with stickman) and your job is to vectorize all parts according to “stickman workflow. All vectorized parts should be attached to stickman – this is mandatory requirement.
We have spent a lot of time thinking about the best way to organize this process. We’re on the hard deadlines, so we understand that we need to optimize it as much as possible. That’s why we have decided to turn this process into a game!
Here are the rules:
You contact us by e-mail (see below) identifying that you are willing to offer vectorization help.
We will assign the task to you and send you all supporting files – zipped sif file with keyframe image, plus some notes about coloring, line width, etc. One person cannot take more than one task at once.
We will wait 48 hours for you to submit the finished task. Possible cases:
The finished result isn’t submitted within 48 hours – the task is transferred to another person.
The finished result submitted within 48 hours – we review it and if accepted you get 1 point to your personal score.
The finished result submitted within 24 hours and if accepted you get 2 points to your personal score.
We contact you informing about results. The task is over.
Whether you succeed completing task or not, after the task is over you can contact us to get the next task and process is repeated. The higher your score – the more complex tasks are available to you.
The game will be finished on September 1st.
We will appreciate your help very much. and of course everyone with at least one accepted work will get mention in the credits.
So come on, Synfig community! Join us! Join our little competition!
I’ve been enjoying the numerous videos that use the new fracture add-on. So let’s smash some stuff to bits and get some cool videos out there with a mini contest! To participate, just add a link to your YouTube video … Continue reading →
Last week the weather was really nice - somewhat unseasonably so for this time of the year. Here are some shots I took after a day of intensive hacking earlier in the week.
Software developer Jason DeRose used open tools to realise his obsession: building a variable tooth sproket for his bike. He used only open tools to design it, and has open sourced the design. James Raymond writes: Jason DeRose is a … Continue reading →
What did you do this week? I started off this week looking at multi-uv bugs to see which ones are actually fixed in Swiss. I’ve verified that bugs #18146 and #17927 are fixed in Swiss. #20281 and #37775 should be solved after I get a bit of clarification on some Blender code. There are also a couple of bugs [...]
Coming from a "commercial application" usage, you face quite a lot of problems when you try and adapt the OpenSource world into your production. And I would think that most of the problems could be solved if there was a more "mature" attitude towards the development. Blender Foundation is trying to overcome this with producing a shortfilm every two years, which is great since it really boost the development of Blender. But at the same time a lot of the features that are developed are done in a rush, and implemented just to suite the film.
Anyhow, to keep this rant a bit short.
Rendering in Blender is no fun at all. Tons on rendering engines, but none that can really compete with the commercial options. And they have way to many issues to be used properly.
Blender Internal Motion Blur and DoF that can't be used with good accuracy. And GI engine which is old and slow, and texture sampling that is worse than the Quake2 engine.
Blender Cycles Almost not even born yet. Lacks too many features, and is still evolving. Also has a lot of noise issues.
Yafaray Has lost development speed. Lack motion blur, which is a must. Also SSS is only in experimental stage.
LuxRender/Octane I would call it a Maxwell clone. Useless for anything else than still images. In order to work with live action material you need to be able to use a lot of different passes. GPU rendering is also useless if you use a lot of highrez texture maps.
Blender also suffers from being a game platform from the beginning. It doesn't handle big scenes or assets very well. And large texture maps is almost impossible to tweak and use. What people don't realize is that a 2K texture map is most of the time thought of as a lowrez proxy.
And the workflow is influenced from all the developers, not from a user design specification. So the different modules in blender has little or nothing to do with each other.
Harsh? Yes. But a reality. And it's this reality that make Blender not being used in larger studios. Sure we might use Blender for a specific task, but the reality is that we just can't bother... we need to get the job done, and we calculate the license fees into our budgets. We could calculate a programmers salary into the budget, but there are too many loose ends that keeps us from doing that.
Where does all this leave me? I still love Blender!! :) I have high hopes for Blender and it's future. I think it helps if people like me give the input and use the software on a daily basis. And I wish more 3D professionals would do the same.
[post introduction here] Simone Tomasello writes: Hi, I would like to talk about the Reibe Studios and our second short movie, X-Gift: Reibe Studios was born 3 years ago, by an idea of our teacher and productor Giovanni Gallo (who … Continue reading →
This is a long video tutorial about the new voronoi cell fracturing tools in the new Blender 2.64 test build. Daniel Kreuter writes: This video contains: Information about how to activate the features A demonstration of what it can do … Continue reading →
I’m currently working with the Blender Foundation to launch the Blender Network at SIGGRAPH 2012! The Blender Network will be a service for Blender professionals, aimed at connecting them and further driving their business. It is our belief that creating … Continue reading →
I'm very happy to announce that the Blender Network now will finally happen! After more than a year of brainstorms and trials I've managed to find Bart Veldhuizen (BlenderNation) interested to build and manage the networking website for us.
In short: the Blender Network is the Blender Foundation's partnership program, an online directory and social network for Blender professionals at blender.org.
It will help us realising three main strategic goals:
1) SERVICES & SUPPORT We want to improve visibility for the outside world that Blender's being used by professionals, and that there's services being offered around Blender commercially as well. For example for integration and customising, development support, training and courseware, pipeline consultancy and for CG artwork and animation in general.
2) CONNECT, SHARE & GROW Companies and professionals in our community need to get connected better. There's a lot of activities around Blender already, it's really time to map this out well and help everyone to find each other efficiently for projects or work together. Further growth of Blender as a professional product only can be established by a strong network of professionals themselves.
3 OPEN BUSINESS We should support and stimulate business for professionals, with everyone who's visiting the website. For that reason all information about Network Partners and their connections will be publicly visible, including contact details.
More details will be released soon, on the new network website that goes live on August 6, 2012 latest.
By Kuhn0362. Kuhn0362 writes: So I decided it was time to work on my texturing skills (got some great brushes and advice from YAZJACK). Unfortunately, most of my stuff was too high-poly for the...
A long episode today. Lots of pandeia talk, but in the second half, some in-depth stuff about Anthology8.com.
Also, are you an independent artist? There might be something missing from your plan to get your stuff more noticed. But before you go out looking for that one-step solution, there are some things you need to get straight. I talk about the type of PayPal account you might need to set up, tax considerations, and where to go to get your book an ISBN.
Being independent allows you freedom to do your story your way, but in losing the middle man, we have to take on the responsibilities that guy was getting paid for. Anthology8 is part experiment in trailing a proof of concept for independent comic art. There’s a lot of stuff I know works, but I have no real idea I the concept will yield results to our satisfaction. I’m always in contact with artists across the spectrum from independent to commercial, and I am getting a great overall view as to what is happening in the print and distribution arena. Independent is not a word which gives you immunity from the larger processes. There are print companies waiting for you to make contact with them.
This will probably be the most boring video of the whole project, but maybe someone finds it interesting. It is a timelapse demonstration of how we convert the footage from the RAW Sony F65 footage into something more useful, which in our case is OpenEXR in ACES Color Workspace. For that first conversion we have to use the F65 Viewer from Sony, which only runs on Windows and OSX, and also is not the most pleasant software to work with. Anyway, once we have the ACES EXRs we convert them to rec709 linear with OpenColorIO, which is Blender’s native colorspace, and we stay there as long as we can.
The whole workflow is maybe not very elegant, but so far it works quite well.
We also have to deal with 3 different naming conventions, which is the camera’s naming of the clips, the shotnumbers used on set (seen on the clapperboard) and the shotnumbers that we use here in the studio. Therefore part of my job is to keep track of the framenumbers, shotnumbers, In-Points, Out-Points, foldersizes, and so on. I have to find out which shot is used in the edit, which part of the shot is used and how long it is, in order to export and convert only what’s necessary.
After the conversions are done, and linear HD proxies have been generated, we erase the ACES files. Because oftherwise we would run out of diskspace very soon. Each frame is 50MB.
By Georges Mignot Aka Meltingman. Georges writes: Hi, I just finished this picture for the BlenderGuru Contest. Made with Blender 2.63, Cycle and Gimp :-). You can find the blender and gimp logo in the picture :D. And this is … Continue reading →
Hello and welcome to this tutorial series on how to animate a book with flipping pages in Blender 2.6!
In this advanced Blender tutorial by Stanislas Paillereau you will learn how to create a detailed animation of a book with turning pages. This tutorial uses simple methods that allow you to easily add as many pages as you would like, while also being easy to control and modify.
What you’ll learn :
In Part 5 of this series, we will do a nice render of the book using the Cycles render engine in Blender. We will create the shaders for the cover, binding, mass of pages and pages using some methods to have different textures in both sides of the page. We will also learn how to change the textures on the same page when flipping a second time during the animation.
I've always loved being able to automate repetitive tasks. Whether using AppleScript with Quark or Lingo with Director in the 1990s, to shell scripting Solaris and OSX, Illustrator with JavaScript, or Python with Blender.
For some reason, I've neglected JSFL with Flash (JavaScript automation for Flash Professional). It's been in the software since 2004. Recently I started looking into it, given the amount of documentation on the subject I think I know why I waited, but now I wish I didn't. The thrill of being able to type a few lines of code to save you time and drudgery is addictive when it hits.
I just had a small but practical real world use of my newfound JSFL skills on a FLA I am building. I'd created 9 symbols and set there base class to flash.display.Sprite as I made each one. After the fact, I decided that the 9 symbols that I'd made sprites should really be flash.display.MovieClip. In less time than it'd take to open up each one's property dialog and reassign its base class, I was able to type run the following in my script:
function changeBase(){ for each( var i in fl.getDocumentDOM().library.items){ i.linkageBaseClass = "flash.display.MovieClip"; } } changeBase();
If you've never tried JSFL before, here are some simple steps to get started.
Create a text document with the JSFL extension.
Add your code.
From Flash, select Commands -> Run Command...
Find your JSFL file (from step 1)
Start simple with a file like this, hello.jsfl:
alert("Hello, world!");
Then wrap it in a function:
function hello(){
alert("Hello, world!");
}
hello();
The code outside the function is what actually executes. This makes it easy to add additional functions and test. Eventually, you can create a gui for your code in Flash and create your own tools that appear under Window -> Other Panels, but that's a post for another day. In the meantime, here is some more info from Adobe's site as well as a PDF reference.
Un control que siempre me resultó cómodo para disparar shapekeys faciales es el control de tipo Joystick o “4 shape slider” que describe Jason Osipa en su libro“Stop Staring”. El control funciona hacia arriba y hacia abajo disparando shapekeys simétricos. Por ejemplo los lados izquierdo y derecho de una sonrisa al moverlo hacia arriba o los lados de una mueca triste al moverlo hacia abajo. Al dispararlos a la vez obtenemos la sonrisa o la mueca completas. Pero si movemos el control hacia los lados, se modula disminuyendo la influencia de uno de los dos lados.
Lo bueno de un control así es que reduce la cantidad de controles necesarios y evita que shapekeys “contrarios” puedan sumarse accidentalmente.
Para el Mercator Project yo había configurado algo así usando Py-Constraints, pero desde la desaparación de este feature de Blender, no había logrado reproducirlo. Finalmente con un poco de trabajo lo he conseguido sin la necesidad de Python. ¿ Cómo funciona ?
Control tipo Joystick
Fijense en esta captura. Tenemos 4 huesos, cada uno con un constraint del tipo Transformation apuntando al hueso control principal (con forma de gamepad). Cada hueso copia la posicion del principal solo dentro de su “cuadrante” indicado en la figura (A, B, C o D). Así, mientras el control está en el cuadrante A (X e Y positivos), el hueso “smile.R” copia los movimientos del control en Y, pero si nos movemos al cuadrante B (X positivo e Y negativo), es “sad.R” el que copia el movimiento del control en Y. Cuando me muevo en X, ambos huesos copian la componente X del control.
Constraint Transformation. Restringe el movimiento en el cuadrante deseado.
De este modo, podemos obtener dos valores, que serían la INTENSIDAD del shape en cuestión (la sonrisa o la mueca) y otro la MODULACION que sería un multiplicador para ajustar el balance “izquierda-derecha” del mismo shapekey. Si nos mantenemos en el centro, la modulación vale 0, y ambos shapekeys (izquierdo y derecho) son mostrados al 100%. Si nos vamos para un lado o el otro, la modulación cambia y por tanto obtenemos una mezcla de shapekeys.
Con esto en mente, creamos los drivers necesarios para los shapekeys y usamos la expresión: INTENSIDAD * (1 – MODULACION) para hacer el cálculo, donde INTENSIDAD y MODULACION serán los canales de transformación Y del hueso Joystick y el canal X del hueso con el constraint respectivamente. La curva será positiva o negativa dependiendo del valor que usemos en cada caso. Si estamos dentro de los cuadrantes negativos, en lugar de ser (1 – MODULACION) usaremos (1 + MODULACION) para mantenernos entre 0 y 1 como resultado.
Drivers. Las curvas son positivas o negativas segun el cuadrante.
¿ Por qué no usar directamente el canal X del hueso Joystick para modular ? Pues porque no está restringido en cada cuadrante, con lo que al pasar al lado “izquierdo” seguiria dando valores para los shapekeys del lado “derecho”.
Do you have what it takes to create a design using only Blender native primitives and modifiers? Join the BlenderDiplom contest and win! BlenderDiplom writes: Contest Rules: You may only use the Blender native mesh primitives. You may not use … Continue reading →
By AgenZasBrothers. AgenZasBrothers write: Hi everyone, you may remember our last 3d animation for our client Grundig Business Systems. Now we’ve made another 3d animation for the same client....
Kids in Switserland get a chance to learn about Blender. Alain (mcBlyver) writes: Hi everybody, I’m proud to announce that we are doing it again: Introducing Blender to a group of young people (14-15 years old). We allready organised this … Continue reading →
By jimbo45uk. jimbo45uk writes: I created this simple model of a P51 Mustang WWII fighter plane for a short animation project I am working on. The model has been kept fairly low poly (12258 faces) and I have UV unwrapped … Continue reading →
Long time has passed and many things have happened in our lives in these long months with no news. News is the project has not died, it has suffered a transformation but it certainly has not died. These things happen to projects. More news coming soon…
One of the best places to find references for Blender related material is Blend Swap, where you can find all sort of things uploaded by Blender users. There are free 3d models of furniture, procedural textures and much more. If you don`t have an account there, I suggest you to...
Related posts:
So a little blog post from my iPhone. The weather has been a bit weird, but offers some cool skies and dramatic lighting. I've also taken a lot of walks in the forrest and found a place that had a huge amount of white moss. All the photos are taken with my iPhone, so I have no idea on how they look on a computer :)
When starting a blender scene almost everybody removes the default cube. This is kind of sad and therefore I started thinking about who to remove it with style.
By Yazjack. Yazjack writes: I fixed that ridiculous amount of textures, there is just 22 now ~230k poly including SubSurf. Also fixed textures themselves. There was a lot of texture painting involved Some tweaks to the model and scene, composition is … Continue reading →
Learn how to model this computer fan with this video tutorial by Anandha Raja. Anandha writes: This is a two part tutorial, explained how to model a computer fan, and also you will learn how to use array modifiers and mirror … Continue reading →
Karen Beilharz wrote and produced a wonderful collection of stories in her book Kinds of Blue. She funded the project via pozible - Australia’s answer to Kickstarter – to print 500 copies thru whirlwindprint. She managed to secure funds for 142% which got funnelled into 100 more copies.
Karen produced this book during her pregnancy, and during being a first time mum! On top of this (yeah, as if that’s not crazy enough) she battles with depression herself, and is married to Ben who also suffers from depression.
Karen explains to me how depression is diagnosed… why she wrote the book… and we talk for a bit about being first-time parents to boot! She gives me a great insight into dealing with artists on an anthology, self-publishing, layout, and juggling those commitments with everyday life.
Up-front, I apologize for the noisy cafe. Last time I recorded it was much clearer. You can hear us, but it’s a tad noisy. Still, it may be impossible to re-create this exceptional chat with an exceptional person.
By M.Christopher Lee. M.Christopher Lee writes: Here Is my blender work…..modeling, texturing,lighting,rendered in blender internal…… Blender screenshot:
By Digital Dreams. From New York Times bestselling author Lauren Oliver comes a luminous and magnificent novel that glows with rare magic, ghostly wonders, and a true friendship that lights even the darkest of places. Liesl lives in a tiny … Continue reading →
This is the 2nd in a series of videos about my environment art work on project Mango (wait! – actually: Tears of Steel ! )
It’s an overview of: dome models library, tileable and specific textures and the greeble kits.
For the actual modelling and texturing there’s lot more to say, specific videos will follow, on individual areas and topics.
This mainly is about the assets organization: naming, grouping and linking: how i split things into scenes, named objects and materials to sort them, grouped objects so that they could be used as detailing greeble or as set pieces to link the sets into the final shots.
Of course: the whole assets management pipeline is much bigger than what you see here Plus, things are still evolving and being optimized during production and creation of actual shots, other team members like Francesco Siddi and Sebastian Koenig have a better technical/organization overview and know the pipeline way better than me.
Still this will be useful for modellers and texture artist looking for infos on how to sort and manage their assets.
Terry Wallwork reviews Nathan Vegdahl’s ‘Humane Rigging’ DVD. Terry writes: Another month and it’s time to do another Blender Foundation Open Movie Workshop training DVD...
What can I say? The last week was hot! We did a lot of work on animation, we have started working on 3d elements of the project and published two community calls…
Tweening and Vectorization status (16.07.2012)
Today is exactly a middle of the period dedicated to the Vectorization and Tweening task – according to the plan, we have 3 months for this and on 1st of September we should have all keyframes vectorized and animated. Well, looking at the production sheet I must admit – it’s not even a half of the work done yet. Still this is usual situation and we still all have all chances to catch up. ^__^
As I mentioned in my previous post, we got awesome response from blender users on our community call for Ivan and Morevna models. Looking at the intermediate results I really believe that the models will be really awesome. Unfortunately, for some reason people avoiding the community call for soldiers models. That’s a bit unexpected for me, because I really thought that it’s the funniest way to contribute. Comparing to Ivan and Morevna task it less strict on requirements and really lets your imagination flow. Maybe people treat this task as menial work? Or maybe it’s easier to create your own model than modify existing one? Or maybe it’s just too early for results? ^__^
One more thing to mention – Julia Velkova joined our team to polish the screenplay translation and last week she have finished stylistic editing of the first four (most complex) parts of screenplay. She’s very serious about this task and looks like we will have final version of screenplay translation available soon.
That’s all our news for the moment. Let’s have an awesome new week!
For everyone working with 3d modeling or animation, one of the critical aspects of any job is the render time. It is quite common to remove details or effects from materials in order to get the render done on schedule, or otherwise you will miss the deadline. One of the...
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By Fab Design Fab Design writes: Hi, i wanted to let you know of our latest project, it is a commercial 2d animation created to publicize the event Saperi & Sapori in Bari, Apulia. All the animation in the video … Continue reading →
Jimmy Gunawan compares Maya’s SOuP BMesh against Blender’s Skin Modifier. Jimmy writes: As you knew already Maya recently got BMesh via SOuP plugins allowing us to do quick meshing based on Joint similar to ZSphere inside ZBrush.. While on the … Continue reading →
By Robo3dguy. Robo3dguy writes: Here is a set of cartoon village assets. Includes winter/Christmas themed models as well. Contains: Houses Cars Fences People Snowmen Candycanes Popsicles Everything is set up for Cycles. It’s all CC Zero, so use them however … Continue reading →
It's been unseasonably nice and warm over the past few days (22.4 deg C yesterday, in the middle of winter). With a few flu-like illness scares and nose bleeds too, it was about time that I took a few days off from all the projects that have been keeping me busy for the past while. That's not to say that the past month of dedicated project time has been hard-slog; rather, compared to the madness of a few weeks back, the slower pace of research vs courses/classes was quite a godsend that didn't last long enough!). Anyways, some pics from around the house (as usual).
I’ve done some prior experiments in Soft IK, but shied away for it in gilgamesh because the rig was getting too complex for it’s own good, and because I couldn’t find a satisfactory way of solving it in blender 2.5 and above (my 2.4 solution depended on py constraints). Since we have great drivers in 2.5/6 series, I thought I’d try it that way. The result is below:
I’m guessing only seasoned animators will see the difference. From left to right we have:
normal, non stretchy IK
soft, non stretchy IK
normal, stretchy IK
soft, stretchy IK
Ik softness basically takes care of the ‘pop’ at the knee so common in IK when going from straight to bent (or vice versa). This works out because the speed of that joint non-linearly increases as we are close to straight. Good sources here and here (softimage blog). My solution for non stretchy is exactly the same as that blog post- plugging the equation into a driver. For the stretchy case it was a bit trickier and they diverge, but the mathematical result is the same.
I’m not publishing the .blend yet, nor can I use this as is in gilga because the solution depends on driving a bone within a bone inside the same armature; until I find a workaround or blender will successfully handle this case in the dependency graph, this solution causes lagging and errors (there are python frame update handlers here double calculating the rigs to make them behave)
Once I get this working I’ll publish a simple .blend.
Blender 2.64 is a tough cookie to crack – the bug count remains high and the release may be postponed until september. Ton Roosendaal writes: Here’s the notes from today’s meeting, irc.freenode.net #blendercoders 1) Blender 2.64 status Bugs bugs bugs… … Continue reading →
Hello everybody! I’ll be going to Portland/Oregon and OSCON 2012 where I’ll be giving a talk about tube and meeting up with various great people- including tube contributors Chris Webber and Oscar Baechler. chime in if you’re going there, and let’s have tea.
This week was quite full. we’ve got a beautiful anim team who are going through their shots (perhaps I should post some snippets?) and we are now at only 17 shots left for character animation. (not counting assigned shots that are in progress) This might mean we will make our goal of getting 90% of the character animation done by the end of the summer… we shall see.
This was also the week of infinite recursion! Two blender crashers turned out to be due to infinite recursion errors in our files, to whit:
we couldn’t link anything into one file without crashing. Joshua Leung found that one by looking at the backtrace – turned out we had a file with a group duplicator inside its own group.. tsk tsk.
instantly crashing files! this is because newer versions of blender can’t cope with nodal materials that are referenced in their own groups. I found this one by looking through the bug tracker.
The rest of our team haven’t been idle: we have more progress on lighting , new effects in some shots using various techniques, such as dynamic paint, smoke, modifiers and careful keying. Our new sparkly pipeline is (mostly working) and we’ve introduced it to our new anim team. Since this is a rush post, I’m going to copy ton and post a few random images, with no explanation
next week might be slow, because of oscon, but I’m hoping we’ll make more animation progress, add a couple of small rig enhancements, get some new shots into animation, and continue our work on models and layouts.
By DeNapes. DeNapes writes: This model is similar to the normal drums but not entirely the same, because I only had a reference image. The reflections of the drums and cymbals are generated with an...
There was so much response about our previous call, so we decided that it will be bad to waste your attention just on two models.
Let me explain the situation. Right at the moment there are some artists working on the model of Ivan. No one is working on Morevna yet.EDIT: And now Morevna in the work too. But the thing is that we will be able to accept only one model of Ivan and only one model of Morevna. And at the same moment I keep receiving mails from awesome people kindly offering their help for the project. If we will have 4-5 people working on one model and just one of them finally credited, then it will be waste of resources, that will be unfair and kind of disrespectful to the Blender community. Of course, the target of our call was not only to get models, but also to find people who we can attract to the project in the future when the time will come. And of course, some people taking this work to (im)proove their skills and as result we will have amount of CC-licensed content available around. But still, for many of artists mention in the credits, the fact that their model is accepted and used is a very important as motivation.
That’s why we’re taking the moment to post the another call, which will extend the opportunities to participate.
I’m talking about soldier models. Right now we have a basic soldier model, created by Erik Castillo:
But for Morevna Project Demo we will need a lot of more soldiers to appear. The idea is to create 5-6 variations of this basic soldier. For example, change the body constitution, cloth elements, head shape, hairs – everything in your hands! In the Demo the soldiers play a role of punky bandits at some meaning. So you can free your imagination and the variations could be quite radical or funny.
Please look at the wiki page for more information about soldiers.
So, all you need is to download the model above, play with it and send it back to us! Easy, fun and safe. ^__^
This idea to attract the community for creating soldier models is surely not belongs to me – I have stolen it from the Durian project. Although in case of Durian the idea didn’t worked as expected, I think in our case it could work because the low-poly models are enough for us and we have no such demands as “photo-realism”, “high resolution textures”, etc. We will use models in long-distance shots only – that’s why it’s ok to keep them low-polygonal and low-detailed.
The cool thing about soldiers task: in case of Morevna and Ivan models we can accept only one (best) work. But in case of soldiers we have no limit in accepting results. 5 or 6? More? No problem! So the probability of model to be accepted and you get credit is much higher. The only requirement is the quality of the model. ^__^
Just in case if it wasn’t clear in previous call, I will outline few important moments:
We can’t offer any monetary compensation for the models – everyone is working at Morevna Project Demo on a voluntary basis at the moment.
If the model gets accepted then we guarantee the mention in the credits. Please note, that in order to be accepted your model should be provided under the terms of Creative Commons Attribution license. It means that you don’t mind if your model will be used/reused/modified in this or any other project as long as you are mentioned (credited) you as an author.
The models are accepted before August 15th.
So, join our efforts! Army MorevnaProject wants you! Contact us!
Ton Roosendaal writes: The open movie project Mango now has a title: “Tears of Steel”. A teaser edit with music by Joram Letwory has been made available now. The Mango project and blog will continue as usual – we’re far … Continue reading →
Some time ago Paul Bourke sent me some images he captured with the Red Scarlet and a 4.5mm lens. The result is really impressive. He can get a recording in crystal clear 4K at 30fps. Below you can see one of his images:
Red Scarlet sample photo – credits Paul Bourke + synthetic elements by yours truly
Ok, that’s not really his original capture. I wanted to explore how would be to insert virtual elements in a fisheye image. It shouldn’t be much different than integrating synthetic elements in a panorama (topic of some previous blog entries and a paper waiting for approval – more on that later this year ). And as it turned out, it’s ‘straightforward’-ish enough.
First take a look at the original image:
Red Scarlet sample photo – credits Paul Bourke
This is a cropped image, expanded vertically to fill the 180 FOV (field of view). This arrange of camera+lens+4k doesn’t give you a full frame fisheye nor a circular fisheye. As a curiosity, the Red Scarlet can get a complete 180 fisheye circle if the photo is made in 5k. However you can’t get a 30fps movie capture at that resolution.
In order to use the IBL Toolkit for the scene reconstruction I first generated a full panorama (360×180) out of the original fisheye photo. I used the open source tool Hugin for that.
Be aware that Hugin has a bug in the calculation of the focal length multiplier for equisolid fisheye lens (basically it’s using the full frame fisheye calculation for all its fisheye modes). Actually if you know someone involved in Hugin/Panotools project, I would send her/him over this patch. As far as I can tell the fix is along these lines. I couldn’t manage to compile Hugin though, so I don’t feel like sending a not-working patch for their tracker.
Back on topic … this is the image I got from Hugin (using 4.5 as lens and 2.35 as scale factor for equisolid – 2.35 was eyeballed because I couldn’t find in the internet the sensor size of the 4K capture for the Red Scarlet, and remember, once they fix the software the input would have to be different):
360×180 fullpanorama
Once I got the full panorama the rest of a piece of cake. This scene is perfect for the IBL Toolkit (this square in the front plane is practically screaming “Calibrate with me !!11!!”).
Blender IBL Toolkit in Action
And a render from a different angle (where glitches are expected). I used the Project UV option of IBL Toolkit to project the corresponding UV in the panorama to the subdivided meshes.
Extra ‘render’ – more a behind the scenes shot instead
Final considerations:
I really wish Blender had a shadow-only shader to help integrate support meshes, synthetic elements and a background plate.
I’m pretty sure Blender Institute crew worked nicely around that for the Tears of Steel project. I’m still waiting for them to finish the movie and release the files though.
The lighting is indeed bad here because the original plate was a LDR, not an HDR, so I didn’t have the lighting of the scene (and didn’t want to bother recreating it – thus you see no shadow in the original scene support elements).
If I had the HDR I would use Luxrender (AR Luxrender actually) for the render
IBL Toolkit should be called Pano something instead, anyways
I forgot to say that the final render was only possible due to the Fisheye Lens in Cycles, a patch that I wrote on top of Brecht’s original full panorama code and is already on trunk (and will be available in Blender 2.64).
In fact I’m sure I could have fisheye implemented as an input option for the IBL Toolkit (discarding the need of Hugin). That would help to output the content in the exactly same position as the original camera (if you put them side-by-side you can see they have a slightly different orintation).
I’m planning to present a complete framework for working with panoramas and virtual elements in the Blender Conference this year. Even though this is based of my work with Aldo Zang (using Luxrender and not Blender) I think it can help to inspire possible solutions for Blender. So finger crossed for the presentation to be accepted and I hope we can make it interesting. The original paper (submitted to CLEI 2012 goes by the name:
Production framework for full panoramic scenes with photo-realistic augmented reality
So stay tuned, (and enjoy the Summer, Vancouver is finally sunny \o/)
Dalai
(thanks Paul Bourke for authorizing the re-use of his image, consider giving his website a visit, its one of these corners of the internet that will keep you busy for a long time)
The Morevna project needs a hand with the animation of their main characters. Konstantin Dmitriev writes: Morevna Project is an effort to create free-culture anime with free software, it was covered by BlenderNation a few years ago. Much like in … Continue reading →
After 4 months of work the Mango Project team can finally present the teaser to the shortfilm “Tears of Steel” that will be finished end of August. We have worked hard to get our pipeline to work and to create the tools we need to produce this movie. Since everything has to be done with [...]
Summer and rain offers a opportunity to take some nice bokeh photos. This one is from last year, but now that I have my vacation... I'm pretty sure there will be a lot of rain and opportunities.
What did you do this week? This week was a rather slow week for me as I was busy with other things and waiting on files. However, I’ve fixed some memory leaks in both trunk and Swiss that I found using the handy Visual Leak Detector. I also wrote up a Game Engine release log [...]
Blenderheads in Seattle are meeting this saturday. Oscar Baechler writes: Where: AIS North Campus, 2601 Alaskan Way, (probably) Room 104, Seattle WA When: Saturday, July 14, 2 to 5:30 What: Blender! In addition to the other stuff listed here, we’ll … Continue reading →
By kuhn0362. kuhn0362 writes: The fastest hunk of junk in the galaxy… NOTES: “High Poly” is an understatement- this thing has almost a million vertices. I was making it for a large...
Yet another example of a company that removes credits and rebrands Blender. The Chinese community has done some research into them and Ton Roosendaal reports. Link 3DMofun – shamelessly removing credits
Deadstar follows the adventures of Harrison, a space traveler that encounters a lost girl, Panala, on a distant planet. As her mysterious origins begin to unravel. Harrison learns that Panala may have acquired a strange power that may not only be a danger to him but to the entire universe.
Well I am getting caught back up. I think I fixed my Google Docs vs Drive problem. I’m waiting to hear back from my proofers to see if all is well. (Seems they can get in now, Whoot for me!!! ) Then I went through all the forest photos I took while camping. I deleted [...]
Campus Party 2012 in Berlin will feature Blender talks and workshops. If you'd like to join one of Europe's biggest events on tech and open culture, BlenderDiplom got 30 tickets to spare.
I've had my eyes on this fantastic school in Spain started by Daniel Martinez Lara, Pepe-School-Land. It looks to me that they are doing a fantastic job, and they create some really nice animations. They are in the process of making a new short film called "Alike". It's very nice to see that someone is doing to really nice high-end animation work in Blender.
‘Bake’ particle hair into a low-poly hair model with the Hair Factory by MajorNightmare. MajorNightmare writes: Here’s an easy way convert Blender’s pretty particle hair into a Low Poly...
Animations test from "Alike" Just to test the pipeline, rigs, animation tools, render, etc ... so this footage is NOT the Alike short itself, just animation tests.
Some insights into printing costs, local vs international, and what it means to be an independent, international artist on the internet.
I’ve been moving in new artistic circles, and it’s been extremely productive. While still doing the indie comic thing, it’s beneficial to keep in contact with artists who have worked in commercial projects. They are invaluable as mentors and contacts, and support up-and-coming artists.
I’ve learned about a new P.O.D service which sounds really promising called lightning source. It is a print-on-demand service, which will distribute your book via channels which reach a wide market. They also will print in three countries depending on where the order comes from. This means that an Australian order will be printed and shipped from within Australia; a US order will be printed and shipped within the US. This saves a lot of time, and saves of shipping costs for the buyer. That’s a win for me.
A soft-launch of Anthology8 - the next step in evolution for some of us from the Illopond. It’s a new website where we will be marketing new work to a wider market. We’re still researching avenues for printing, selling our goods on the internet, and how we’re going to include future artists. We’ve got a common goal, and will eventually open this up, but for now we’re testing the waters. Please drop by and check out the forums, the blog, and subscribe so you can see how we do what we do.
My role was simply setting up the website and social media for it, but the others are going to soon work their magic on the very first book under this brand. As they work, I’ll be solidifying the marketing strategy and working out all the nuts and bolts. It really is a case of jumping of a cliff and building our wings on the way down!
A small chat about contracts: should you write one, even if you’re doing independent work? Well it depends if you’re going to be BFFs forever. it’s really not as nasty as it sounds. A contract is simply a legally binding document which outlines what you intend to achieve and how. If anyone ever has any doubts or questions about it, they can always check it. It can be as simple or as complex as you like… but simpler is definitely better. I encourage anyone who is working on something where money will be involved to write up a contract.
Lastly: am I the anti-Chris Oatley? *jokes* Where Chris offers loads of inspiration and keeps you pumped about being creative, do I tend to be too much of a realist? Sometimes I reckon I do get a bit too obsessed with the nuts and bolts, but hey: someone’s gotta be the grease-monkey!
Next week – a special interview with a local independent author and her brilliant comic anthology about depression.
Just my luck: while trying to print off some stuff this morning, I ended up with a bit of a problematic paper jam...
Somehow, a sheet of A4 paper had become crumpled/folded in the printer, with one corner of it sticking out like an origami flame or napkin (as seen above), and the other end wedged firmly underneath the print head (as seen after opening the lid). Unfortunately, things weren't a lot better from the print tray - a narrow < 1 inch slit 2-3 inches deep - where a mere 1-2 cm of paper was still visible.
Hello and welcome to this tutorial series on creating a realistic head in Blender 2.6!
This is a complete tutorial series explaining the creation of a realistic human portrait with Blender. The entire process will be covered from base mesh modeling, detail sculpting, texture painting, hair growing and styling, sub-surface scatter shading, and compositing. Some of the more time-consuming tasks will be time-lapses with commentary like modeling, sculpting, and texture painting; the other parts will be mostly real-time.
Part 6 is all about the eyes which are paramount in achieving a believable result. From modeling to texturing-painting to shading, we’ll create realistic eyes by artistically interpreting human eyeball anatomy. Some of the texture is sourced from Google and some hand-painted in Blender/Photoshop. Blender Internal is utilized for rendering. Textures and images are packed into the .blender file.
DISCLAIMER: We cannot redistribute these references, due to the license, but we can use them under Fair Use laws for educational purposes. They’re not available for commercial use, though.
Note: This series has been previously available on Kent’s Vimeo channel but he has kindly permitted us to repost them here in order to reach a greater audience. All parts will be available on Blender Cookie very soon, while part 05 will be available exclusively on Blender Cookie.
The Blender Foundation has released a first set of test builds for Blender 2.64! Check out the preliminary release log to see what’s new. As always: test, test, test and be sure to report any bugs to the Blender bug … Continue reading →
Martin Lubich worked for a staggering three years on ‘Ara’s Tale’, and the result is beautiful. Martin writes: This movie was created in my sparetime over the course of 3 years. It was produced in the spirit of an Open … Continue reading →
Well okay I was actually back yesterday. But between unpacking and general tiredness, I was too tired to do much of anything else. I did brave checking my email and almost had a heart attack. I had over 600 emails and an additional 1200 spam mails to sort through. The spam just got deleted, but [...]
We are looking for volunteer Blender modeller who can make a 3D models of our two main characters – Ivan and Morevna. The models are going to be used be used in the Morevna Project Demo and for reference drawing. And yes, we plan to use them in the next parts of Morevna Project.
Detailed enough, like here or here. Though, the models will be used in long-distance shots only (there will be no close-up face shots), so detalization shouldn’t be too high.
Here’s a little timelapse of the general workflow for our keying shots.
First we track the camera and save that as a blendfile. From that file we generate a new file that is then used as base for masking and keying. The tracking markers can often be re-used as a way to mask out stuff from the footage.
The cleaned footage is then saved as 4k openEXR files with premultiplied alpha channel.
A third blendfile is created as a base for that layout, swapping the footage for the clean plates and setting up the final shot dimensions (1920×800). That file is then handed over to the person that is then doing the layout for it. The scene layout for this scene was originally done by Andy.
Usually after the main composite is done I fix some alpha-blending issues that cannot be solved in the pre-key outside the main composite.
The key that you see here is still a little but too harsh on the one side of the head, but for the demo I didn’t want to tweak it too long.
Very cool to see the crew doing dailies now (not every day but alas… :). Doing art crits and reviews is a great added value of being in one studio together.
A new Blender book by Gordon Fisher has hit the shelves. Gordon Fisher writes: Packt Publishing is proud to announce Blender 3D Basics. Blender 3D Basics takes the beginning Blender user through the process of doing 3D animation with Blender, keystroke … Continue reading →
Enrique Sahagun exports mathematical data to Blender for visualization. Enrique writes: I’m converting Blender in a graphing software. As a theoretical physicist I generate a big amount...
Last week I have spent 5 days attending the festival of children’s animation “FireBird” in Novosibirsk. We had a screening of the work done by kids under my direction and got some awards. One of the important festival events was a meeting with Plenipotentiary Presidential Representative in the Siberian Federal District Viktor Tolokonsky. The talk haven’t touched Morevna Project directly, but some of our latest achievements were mentioned.
The bottom side of this event is that I almost haven’t worked on Morevna during those days (you probably noticed the the missing weekly progress post). That means I am working this week with double efforts. Right now I’m reviewing all the work done by Nikolay during my absence.
Also, people reported the instability of the Synfig packages we provided in previous post. Looks like my approach for fixing “on-close” bugs was a bit wrong. Now I have made a different fix – it should be much more stable now. Please grab binary packages from the software page.
One important note. Looking at our modifications people may think that the main Synfig developers are inactive at the moment. This isn’t true. Last months Carlos Lopez Gonzalez and Nikita Kitaev are working hard on implementing cairo-optimized rendering engine for Synfig Studio. This should give a major performance boost for the workarea redrawing operations and it is critical step for the whole project development. And of course this is a way more complex task than the tiny modifications we did. This is a long road, but I believe – they will succeed.
Same as the original Prometheus Unbound video, this time with MOCAP actor.
Motion Capture -------------------- Software: MYCAP Studio 2012 Pro Cameras: 2xLogitech Webcam Pro 9000 Markers: white stickers with center cross Lighting: sunlight
Rendering -------------- Software: Blender Cycles Hardware: Core i5 2500, 8GB, Geforce GTX560 Ti Total render time: 50 hours (CUDA)
It's a funny situation: many if not most photographers wish it would go away, with some going to expensive (quite literally) extents to avoid/minimise its effects. And yet, we as CG artists are all too trigger-happy to apply it liberally, adding into nearly every comp, and boosting the intensity until its effects are smeared across the screen for the world to see. Enough is enough!
If you've ever had to sit through more than a few multi-hour long presentations with a bad-quality/uncalibrated projector that's giving 2-5 cm color-fringe shifts (yellow/blue or red/green in opposite directions on one or more axes), eyeballed a batch of photos (*) only to notice that they're blighted with severe fringing in the worst/most noticeable places, then perhaps you'd think twice before trying to apply this effect next time. At the very least, if you must have it, keep it down to 1-2 pixels max. Please.
Three years in the making, Martin Lubich has finally released his short film "Ara's Tale" - an impressive solo effort, especially for a project done during spare time and in Blender nonetheless :)
Some very slick cover designs by ibworlds. ibworlds writes: Here are some cover designs I recently put together for a series of policy journals, done in Blender. I chose a clean, more NPR-style to...
for a wide angle shot we needed a clean plate that’s going to be mixed with holographic effects of amsterdam. unfortunately there was no clean plate shot, that’s why we had to clean it up by hand in gimp. for the scale to look more correct, a lamp had to be removed. also the shadows had to match the footage shot on that day and people on boats and in the street had to be erased.
this is a timelapse recorded during the photo touchup process. there’re still some obvious mistakes, but since this is only the base of the background for that particular shot I hope they will not draw any attention.
Beniamino Della Torre is back with the second part of his epic ‘Alien Invasion’ trailer! Read on to learn more about him and his project. Can you tell us a little bit about yourself? What is your background? Ok, I’m … Continue reading →
or directly download the movie files from the following links. I have provided links to google drive and dropbox. (note for the links into google drive: to download it, you have to open the menu and select ‘download’ or just hit ctrl-S)
!! The alternate links (dropbox) are all down at the moment. Dropbox has dicontinued serving these files due to excessive traffic. I am really sorry for this !!
1080p, h264, 5.1 Sound (968MB; alternate link):
This is the highest quality visuals with the ultimate 5.1 sound. Use this if you have a 5.1 equipment at hand. The movie deserves it.
I developed this short over the course of the last 3 years in my spare time. Which started as a simple naive idea, soon grew into something hugely complex, but in the end utterly rewarding.
Without the work done by Phil Rey (Music) and Mikkel Nielsen (Sound) this movie wouldn’t be what it is today.
Without the work done by Phil Rey (Music) and Mikkel Nielsen (Sound) this movie wouldn’t be what it is today. I want to express my deepest gratitude for their work and dedication throughout the project.
Thank you Mikkel and Phil !
This short is intended to be seen and heard. So turn on the volume when watching this short.
I also want to thank all who have given feedback and have shown their interest in this project. This gave motivation in times when everything seemed hopeless . Thank you!
The full movie is licensed under a Creative Commons license (CC-BY-NC-ND). The movie was created in the spirit of an Open Movie, thus I am in the process of preparing all the production material for release under a CC-BY license as well. With this a visuals only version of the movie with a CC-BY license will be released as well.
Enjoy the movie. Any comments and/or critique are highly appreciated and encouraged.
If you like the movie, please spread the word. If you don’t, spread it nonetheless
Scientific visualisation of some ‘computation fluid dynamics’ data. Henry Pang writes: This is a CFD (Computation Fluid Dynamics) simulation of a car/caravan combination using a DES modelling technique conducted by the CFD Consultancy, TotalSim. The movie was rendered in Blender … Continue reading →
Blenderheads in the Seattle area are meeting on Saturday, July 14th. Oscar Baechler writes: The next Seabug’s coming up July 14th, 2 to 5:30 PM, and we need some intrepid volunteers to show off some cool Blender stuff! There won’t … Continue reading →
A short videotutorial by Blender Cookie. Jonathan Williamsom writes: In this Blender tutorial, Jonathan will show you how to easily model a soccer ball in only a few minutes time by starting with a regular solid in Blender 2.6. During … Continue reading →
Despite holidays (I’m currently in France myself ;-), Blender development continues! Ton Roosendaal writes: 1) Status of 2.64 release and the current code Bug tracker… keeps sadly being...
For the past weeks I've been working on a new mechanism that handles our validation of results computed by our users.
We used to have a pixel-by-pixel comparison, with a small error tolerance hard-coded for the different file formats (PNG, EXR). The problem with such a comparison is that between different platforms the same rendering process can result in very small numerical differences. These differences are so small, that in most cases our eye can't distinguish between such results. Unfortunately, doing a pixel-by-pixel validation using their absolute values can quickly trigger the error tresholds, especially for larger images, invalidating results that good.
The solution to this dilemma is to use a computational model that simulates the human visual system. This is known as http://pdiff.sourceforge.net/ypg01.pdfPerceptual Difference. Based on information found through pdiff.sourceforge.net the idea was to implement this technique from the ground up, but after some time and tests I determined that it was better to outsource it to the already working implementation that the tool PerceptualDiff already provides. Apart from being able to use a proven implementation our system also benefits from a lowered memory requirement to do the validation in this manner.
The robot model was made by Arto Harju / Samuli Jomppanen.
The main problem for me to solve became the question: What result image to use as reference? Normally one would use PerceptualDiff in a controlled environment, where the reference image is known beforehand. On Renderfarm.fi it is not the case, we get a number of results from which we can't directly tell if they are actually correct.
Our current system will calculate a special value for each result. The system picks the result with the value closest to the average in the result set. Using the selected reference result all other results will be validated. If PerceptualDiff determines that the images differ perceptually such a result will be invalidated.
The tests we have conducted show that this process is quite robust: even sessions with very low amount of AO samples get properly validated, despite minor differences in results from different platforms.
This means that finally we can render sessions again on all supported platforms instead of assigning them to one operating system only. This will improve the overall performance of our grid for sessions, and everyone will be getting an equal quantity of work.
Other improvements and future plans
During this summer we've been mainly focusing on fixing open issues and improving the service performance. A number of smaller problems have been eradicated (zip corruption that jammed sessions, clients crashing due to library issues, OS X computers not getting work, automatic file deletion after 2 weeks, &c.), and we'll be focusing on this for a while longer. We'll be observing how the new validator behaves and giving it some patches when it shows signs of bugging, although it is expected to perform excellently.
The uploader was given a small feature update which makes login automated once you have done it once. This means that you no longer have to type your email and password every time you wish to upload new work to the farm. This was pushed to the Blender trunk this morning, and will be available in the next Blender version.
In the autumn we'll have the screensaver finally deployed for Windows machines and for other platforms when we have the Windows version working properly. We have also been looking at replacing all our old rendering clients with virtual machines by basing the software on the CernVM developed by the folk at CERN, but it would seem that the VM support for BOINC is not quite what we require, yet. We'll be continuing the work on this if it seems to be functional enough.
Here is a good checklist if you want to work on a motion capture project. Delfeld writes: Given the popularity of the new Blender movie, Kinect, and other live action capture technologies, more people are becoming interested in motion capture. … Continue reading →
Forgive the tardiness of this episode. I recorded it on time, but due to sick kid, and an interstate job, I was not able to edit and get it out. So this week, you get this episode, and the usual Thursday/Friday episode. I say “usual” because that’s become my schedule of late. :)
Talking Celtx this week – a brilliant app which is available for the iPad. I am really enjoying writing script on the fly, and Celtx does make it very easy – buttons exist to add pre-formatted headings. Now I used to think “why bother? I can write these myself as needed” but I am addicted. Having this program do the automatic indents, formatted uppercase, brackets or numbering for the parts of script you need allows you to think of the dialogue, layout and character. I feel as if writing is now an enjoyable experience.
What’s more: it saves to the cloud, and by logging in online, you can edit on your desktop, and even share the script with other Celtxz users should you need to collaborate with someone.
I talk a bit about script today, and what I think it lacks… but why I think it is important as a starting point. Here is a sample of the first two pages:
West-Cadian Ridge as seen from desert. The Menai glow faintly in the morning sky.
West-Cadian Ridge. Three days ago.
An explosion. A vehicle hurtles towards the foreground.
The vehicle crashes into the sand, bounces and…
Lands in foreground, upside down. A metallic logo – a bold M on top of a C – gleams clearly on the front: MASON CORP
Chapter 3: Marcus Blair.
Al K’mer. Wide shot. A large metropolis sits on an island, shaped like a great, black hand.
FIETTA NAVARA
It’s a disaster, ambassador. We only hope we can find a diplomatic solution before we resort to more… drastic measures.
Closer shot of city. A tower begins to stand out. It bears the same logo that was on the front of the vehicle. This is MASON CORP TOWER.
DAVID WINFIELD
The details, If you please, Ms Navara. The sooner, the better.
FIETTA NAVARA
Of course, ambassador.
Closer on MASON CORP TOWER. Close in on a large, Oval amber window. A zeppelin can be seen still tethered to a docking platform on the upper level.
FIETTA NAVARA
A prototype vehicle, and the vent miner piloting it, we’re lost to the Cadian desert this morning.
Close on the window. A silhouette of a gantry and two figures can been seen.
FIETTA
Salman Wedge – Blair’s colleague – was surveying from a distance and saw the whole thing. He’s been ordered to assist you in any way you need. I cannot stress how delicate this situation is.
Just silhouettes. A tall female hands an electronic tablet to a shorter, well-groomed male.
DAVID WINFIELD
Thankyou, director. We’ll be in touch.
No real spoilers. These pages kick off the issue, and as you see thumbnails posted, you’ll be able to see what cannot be expressed in script, but how that lack of expression allows for experimentation.
Another link I mentioned is for ISSNs. Here is how to register yours:
http://www.issn.org/ is where to go to register for your FREE ISSN – this is different to ISBNs, because they are specifically for serial publications. There are a couple of steps, so after you register yours, you need to create a barcode – here is a free service to generate your barcode: http://www.terryburton.co.uk/barcodewriter/generator/
Once you’ve created your barcode, download an EPS (so you can scale it – it’s vector) and put it on your cover before you send the file off to print.
Finally, order at least 5 copies in print. You will need to mail 4 to various libraries mentioned on the ISSN website, but it’s good to keep one for yourself.
A new site I’ve come across is http://indieaisle.com/ if you want to get your book listed on their site for sale, they take a small cut for the service, but don’t as yet send it out to the big eBook stores.
A quick plug for a couple of podcasts I will talk more about in the next episode:
First up: Escape Artist by Marshall Calmplex. Another “on the road” podcast about Marshall’s process when creating his projects.
Second: Candrai Comics by Michael Dambolt, in which he talks about the Behind the Scenes of his web-comics and graphic novels.
Both – I am proud to say – are fans of The Process Diary and both are emerging artists in their own right. Listening to their shows, I am reminded of the ending of that Christian Slater movie Pump Up the Volume.
This week’s podcast will be up in a couple of days!
It's been awhile since BGE (Blender Game Engine) got something nice to show-off or at least something the community can truly be proud of; but alas, Martins Upitis got the guts to prove that BGE is in fact an aspect of Blender worth embracing. I, for one, am a total noob when it comes to things BGE-related, but after watching this demo by Martins Upitis, it makes me want to come back and give it
Through this Blender and Unity tutorial you will learn how to create low poly assets for games. Over the course of this tutorial you will learn the high poly and low poly modeling techniques needed to create the fire hydrant subject matter. You will learn how to unwrap the UVs of the final low poly model and how to bake out normal maps, ambient occlusion and texture maps.
After the UVs are unwrapped and the baking is done we’ll take you into Photoshop to show you how to finalize the textures by adding the ambient occlusion and extra detail. Once the texturing is done we’ll go back to Blender and export the finished model out to an Autodesk FBX file and import it into Unity. In Unity we will then show you how to setup all the materials and textures and create a prefab for easy use in-game.
What You’ll Learn in this Course:
High poly modeling methods with minimal effort
How to create the low poly model quickly
Techniques for creating convincing low poly models with good silhouettes
UV Unwrapping and how to optimize your UV space
Normal map baking and how to deal with common problems
Baking ambient occlusion and color passes for easy texturing
Creating detailed texture maps in Photoshop
Making a specular map for good highlights
Mixing and improving normal maps with Crazy bump
Exporting the model out to Unity and setting up a prefab
So, I've been using it for a while now (again) and trying (again) to make it as my default application. And while it's getting closer, it's still a bit to go before I will actually try and put it into production as the base package.
Issue #1 I've "solved" one thing which as been really nagging me for a while, and that is how to select everything under a parent, and that includes having the parent still selected. In Blender you need to have all the objects in a hierarchy selected in order to duplicate it. So it's not enough to have just the parent selected. In Softimage you have something called "branch" select, which helps you, and in Maya you just select the parent and duplicate it. In Blender it's a bit more complicated. But here is how you will do it
First open up ther preferences, under the "input" tab do a search for "Select Grouped". There find the "object" key and there you can find the option "extended". Check that one!
Select your parent, then "shift-g" and chose "children".
This is quite typical in Blender that you need to over and over again confirm your choice.
We can go on and on with all of these. I think they really need to think about the workflow and have it more context sensitive. The software really should take for granted that you want to delete a polygon if there is a polygon that you have selected when you pressed "delete" (or the x key). And if you are in object level, it shouldn't ask you again if you really wanted to delete that object (this is why we have a undo stack).
My rant for today :) Leave me a note on twitter ( @sanders3d ) or here to discuss.
Nicolò Zubbini from the Mango team shares his Cycles materials workflow. Nicolò writes: It’s about materials in cycles , shaders-preset nodegroups in particular , next videos will be more strictly about modelling and texturing , but i’m starting with this … Continue reading →
An interesting project by Micah Denn. Micah writes: Modeling in blender using a Wiimote has a surprisingly natural workflow. Its Linux Mint12 using Gnome 3, I’m using libwiimote library’s...
Alex Glawion’s ‘Risk not Taken’ has been selected to be shown at the prestigious Siggraph Animation Festival! Alex writes: After the premiere of my most recent (blender) animated...
Here’s a GREAT water setup by Martins Upitis. Martins writes: This is a water shader I am working on in my spare time. The work is based on my own observations of water characteristics and written from a scratch. It … Continue reading →
Here’s a first tutorial/log about environment modelling and texturing.
It’s about materials in cycles, shaders-preset nodegroups in particular , next videos will be more strictly about modelling and texturing, but i’m starting with this because .. it’s just such a cool topic: while setting up textures for the dome it was necessary to organize them in a way that lighting and shading artists could make sense of it, tweak it or rearrange the material for the final shot .
So i started using nodegroups for organization… But it’s more than just keeping the node-tree tidy and readable, it speeds up material creation, keeps things consistent and allows to refactor and do quick ‘global’ changes on materials.
It’s also a good starting point to just discuss best-practices for texturing and shading in Cycles, so i’m looking forward to comments, and the presets you see in this video could be expanded with more types and variants (there’s quite a few threads on BlenderArtists i need to dig through :)
More to come, I’m still tuning the audio recording quality (I removed noise and normalized in Audacity, but my new soundcard is still misbehaving. It’s also tricky to find the right balance between doing many takes and editing more, to make the speech more fluid)
In an effort to remove the platform and architecture hard dependencies caused by having compiled C parts, there is now a pure python version of MH. See this forum post http://www.makehuman.org/forum/viewtopic.php?f=7&t=2646 for full announcement.
Learn how to model and texture this Ninja character in this two-part tutorial by Karan Shah. Karan writes: In this tutorial you’ll learn how to create a low poly ninja character model for games using Blender. The final model will … Continue reading →
What did you do this week? I finally implemented an interface to work with asynchronous lib loading. I settled on a future object that can register callbacks as mentioned in this post on my feedback thread. As for the tracker, I managed to close eleven reports, but five new ones came in. The good news [...]
Tip: Dirección de cámaras en Blender, Con el efecto de MultiCam Selector del VSE (Video Secuence Editor) puedes renderizar varias tomas en una misma escena.. :D
musica: cantecademacao.net tutoriales y recursos en klibre.net.ve
Last week I did a post listing some of the external renders available for Blender 2.6 and how they can help us to produce quality architectural visualization with Blender. And this week I found out that another big commercial render has now an exporter for Blender. I`m talking about Maxwell...
Related posts:
We define ourselves in the 3D animation world by the tools we use. Should we be more indifferent about our software or more passionate about our digital hammers? Download .mp4
AndysInspirationalPosters.com (Not a real site. But it should be.)
So!
Sooo……..
We’re making a movie. And it has a lot of VFX shots in it (110ish?). And they were not photo-real enough. So now we’re making everything more realistic! And keeping up with our quote of 50 seconds per week.*
You want to know what’s tricky? Staring at a picture that looks pretty good, but not entirely realistic, and trying to figure out what exactly is off about it.
It’s a really abstract place to be. Take a look at the image below. It looks like a reasonably solid game cinematic, but not exactly realistic. But what exactly is off? Of course you can always look at the models and find problems, but it’s something more than that, since the picture doesn’t look any more realistic if you step back and see it from a distance where the details are unnoticeable.
One of the biggest factors contributing to “The CG Look” in general is perfection, or a lack of randomness. You can see in the above picture a lot of the tricks we employed to try to get rid of that: haze, film grain, lens flares, destruction, a wee bit of diffusion, a narrow depth-of-field, angled boards, burned textures, specular maps, image textures, worn down edges on the robot, beveling, chromatic aberration (and though you can’t see it in the picture, some handheld shake shake and lens jitter (nothing distracting)). It’s a smorgasboard of tricks to try to convince you that the image looks too natural to have been made by a computer, and in a lot of cases you can take an fairly mediocre shot, throw some of those tricks at it, and have a great final render.
Though sometimes, as in this case, it backfires. Especially with Blender, chromatic aberration is an infamous cg ‘tell’, and lens flares have been overdone since the 90s.
It’s easy to find details that are off- things being out of scale, modeling being low res- but if a whole scene is looking weird, that’s usually a sign that the lighting itself is wrong. I’ve always considered it a good practice that if you render the scene all gray without textures, your lighting should still work.
Shooting day for night is a reasonably common practice where you shoot during the day, but put various filters in front of the lens to try to make the image look like it was shot at night. It can work reasonably well under certain conditions, but one where it never really flies is when you’re trying to pass of sunlight as moonlight. It’s all about contrast. We know that the contrast between the light and shadow from the moon is far less than the light and shadow from the sun, and we don’t buy it (even if it’s tinted nice and blue).
That was a problem with the above shot. The sunlight’s intensity didn’t have the right ratio to the ambient light’s intensity. So to try to fix it, I brought in a picture from the internet that had the lighting that we were actually going for, and made everything match as well as I could. The color of the haze, the intensity of the light, and the shadows. It was a combination of doing the initial lighting setup in the viewport, then doing the final black-level tweaks in the compositor. At some point I might figure out a more automated way of balancing the sun/ambient lighting intensities, but until then, it’s all just eyeballin’.
Meanwhile, across the room, Rob was remodelling all the buildings like a madman. I don’t want to talk about it too much, since I suspect he’s going to be doing a post soon, but he’s been incredible. He modeled dozens and dozens of buildings and city props. Initially he had burned out most of the roofs in the city, showing evidence of a massive robot war- but trying to get that level of detail and randomness on a citywide scale was proving a bit prohibitive (seriously- just try googling ‘burned building’. and imagine trying to model an entire city of that, that has to be realistic even in close-ups. Super tricky!)
So here’s where we’re at now. Not final, but definitely a lot better. Rob is still going through pumping up the resolution/textures of various elements (I suspect he’ll be irked by my uploading a WIP :P), and a bit of coloring/grading could be tweaked, but it’s a definite step up. You’ll be able to see how the shot finally turns out when we release the upcoming teaser (soon!).
Even with faster ways to light up a scene these days with render engines like YafaRay, LuxRender and Cycles we still find room for old school style lighting for architecture. If you want to learn a way to light up a scene using the Blender internal render and with some...
Related posts:
In new builds of blender you will find under User Preferences/Addons/Object/Cell Fracture the new voronoi fracturing tool from Campbell Barton! It’s still under development, but already useful.
screenshot with all the options
and a example video:
(Sorry for the short post and the boring example video. Back to work!)
Sergej Reich is working on the Bullet integration project for the Google Summer of code. In this progress video he demonstrates the new workflow that this will enable. And boy, you’re gonna...
The Complete Guide to Blender Graphics: Computer Modeling and Animation by John M. Blain
Hey everyone! I was recently sent a copy of a new Blender book and asked to share my thoughts on it. Rather than blab on like I tend to do in many of my tutorials I’ll just get right to it! I’ve broken my review up into several sections: Content, Printing Quality and Final Thoughts.
While Blender is a wonderful free and open source program for computer modeling and animation, there has been a lack of unified, up-to-date documentation for beginners. Removing the frustration from the learning process, The Complete Guide to Blender Graphics: Computer Modeling and Animation helps beginners understand the basics of computer animation using Blender.
The author begins with a detailed explanation of the Blender graphical user interface (GUI) and its method of navigation. He covers basic mesh modeling on both the object and sub-object levels. At this point, the beginner 3D modeler can create a wide variety of models. The author moves on to materials, camera, lighting, and rendering, allowing the creation of more complete models and rendered images. He also includes a section on animation. This sequence provides a solid foundation for the more advanced topics discussed in later chapters.
Alleviating the difficulties in learning Blender, this book provides thorough instruction on the basics of this 3D modeling and animation program.
View the table of contents and sample chapters HERE
Content
As with any software book, the most important aspect is the value of the content, followed closely by the quality of the presentation of said content. The first thing to note is this book is intended for beginning users. Intermediate and advanced users will not find much to ingage them here. However, assuming the reader is a beginner then this book provides quite a wealth of information.
As can be seen from the Table of Contents the book covers nearly every aspect of Blender 2.60, which was the newest version at the time of writing. It does not cover Cycles, BMesh or any of the other newer additions, but all of the information is still relevant. All of the content is presented in a reference-like manner, with short tutorials interspersed to help the reader directly. The book reads quite a lot like a textbook, which I find to be refreshing but could also be off putting to those people wanting a step-by-step production guide.
Let’s be clear, this book is much more a reference rather than a tutorial book. You won’t find any example projects and final results in the book. Instead you’ll find a large collection of quick guides on how to use each of the tools and aspects of Blender covered. If you’re looking for a production guidebook then this is not the one for you.
Printing Quality
In short, the print quality of this book is quite good! Every page is printed in full-color on high quality stock. Next to the numerous Blender books with poor print quality, sadly including my own, it’s great to see high quality printing for this title.
The only problems I found with the printing were a few screenshots that had to be scaled up dramatically for printing that saw some pretty severe artifacts.
All things considered, the print quality is not a concern with this book; I don’t think you’ll be disappointed.
Final Thoughts
All in all I was pleased. I think John has done a great job at simplifying the first learning steps for Blender. As many of you are surely familiar with, this can be a very intimidating and frustrating process. A reference book like this can really help ease the transition into Blender, even for those people that don’t have the first clue about where to start. If you’re a brand new Blender user or someone that is interested in learning Blender then you’ll likely find this Blender book a valuable resource.
However, what you won’t find in this book is any info covering workflow, the production pipeline, specific techniques, theory, or any of the other key items that factor into being a successful artist and Blender user. Granted, I don’t believe it was ever the author’s intention to cover any of these items and so I was not disappointed.
This book would make an ideal reference companion for a Blender classroom environment if presented by the right instructor.
Book Details:
Paperback: 390 pages
Publisher: A K Peters/CRC Press; 1 edition (April 16, 2012)
A very high detail naval ship model by GuillaumeCote. GuillaumeCote writes: So this is a replication of the Japan WW2 battleship Yamato. I have made it as accurate as possible with a high amount of polygon so the file will … Continue reading →
When starting a blender scene almost everybody removes the default cube. This is kind of sad and therefore I started thinking about who to remove it with style.
I’ve been experimenting more with cycles lately, and one thing I’m really impressed with already is the speed with which it handles instanced objects. I thought I’d share some silly experiments I made in the process and also a tip for using instances. It’s great fun to use instancing to create fractal-like structures out of [...]
If one word can summarize my experience as a composer with Ara’s Tale, it would be : “Magical” ! (and also maybe “Nutella”…)
I met “by chance” Martin’s project in May 2010. I was immediately seduced by the magic (and rigor) which was already emerging from his work at this moment.
I was so impressed that I fastly composed 2 minutes of music for one of his ”raw” video of Ara’s Tale, for fun, but with the slim hope of seduce him ! I wanted to be a part of the adventure !
I think he liked the music at this time, but unfortunately (for me) he was already working with another composer. (That day I sacrificed an entire jar of Nutella to comfort me – let’s call it jar number 1)
I continued to follow his project as a fan, and 7 months later, I was very surprised to receive an email from him asking me to finally work with him! I could not believe it ! (this day i had to murder a second jar of Nutella - jar number 2)
Inspiration has never missed me during these months of work, I think Ara has a powerful magic that infuses a breath of love and creativity. I think the problem was even the overflow of ideas !
The first step was the teaser for Ara, where we tried several approaches, then the work on the film finally began. Again, after several very interesting and very different attempts, we have finally understood how to approach the film. The rest of the score was easier to realize, I just had to follow the thread, to let me be guided. Magical !
At half of the film we took a break. It was time to compose the song of Ara. I knew Martin expected much from the film score, and had a particular attention to this passage. In other words, I was under pressure! (jar number 3)
Like him I wanted a simple but captivating melody. I was initially afraid to
spend weeks on this song, and finally (again), the notes came very quickly, almost from the first attempt. Magical !
I provided the score to Martin, who later worked with Julia (the wonderful voice of Ara) to record the song. The result went beyond our expectations.
We also had to make some adjustments to allow the score and sound design to work perfectly together. Mikkel, our Master of Sound, did a fantastic job. We all had fears that the score and the sounds cannot coexist in harmony sometimes, and finally, again, it worked perfectly well. Magical !
After another break for a few weeks, I came back to work. As in the beginning of the adventure, the end of the score took place on its own without a lot of corrections either.
In conclusion I confess I’ve rarely seen a filmmaker putting as much passion, sincerity, and love in his project. It is primarily these feelings which have guided me. So I think it’s fair to say that a big part of the music was primarily written by Ara, and Martin.
An interesting read on the digital recreation of historic medical wax models. John Fino writes: Last year, I put together two projects to show how Blender could be used in historic interpretation (museums, historic sites, archaeological sites, etc.) and presented … Continue reading →
It has come to my attention that in recent weeks that many of you out there have been trying to assign drivers to properties of Cycles materials, with a few bug reports appearing in the tracker in as many days. Yesterday, I took a short break from some of my other projects to try and find a fix for these problems, so now:
A live version of the image above can be found on BlendSwap (link will be added when available), and Pasteall.This blend is based on Bicycle (low Poly) by Brandon Farley, originally released under (CC-BY)
This is a slightly technical detail kind of post- the kind of geekery you’d be interested in if you’ve heard of revision control systems, GIT, Subversion, etc. It doesn’t seem to have to do a whole lot with 3D graphics, but managing files is always going to be an issue in a project of any size.
Since the tube kickstarter campaign ended our team has swelled to 25, and most of them are not located at Hampshire. (Iincidentally why I haven’t blogged for so long- keeping the project running with an expanded team was a greater than full time job) Even a while ago, it was clear that SVN (aka subversion) was not a great fit for most people, for a bunch of reasons:
You have to download the entire project (roughly 8 Gigabytes!) the first time you use it. Slow internet connections and bandwidth caps make this impractical for some.
Not everybody is ‘technical’ – updating and committing is several, potentially error-prone steps, sometimes involving the dreaded command line
GUI front ends are platform specific – different docs for different people.
Animators previously used what we called ‘production packages’ : we used blenderaid to pull out dependencies and make a zipped bundle of all the file the animator needed, this was:
impractical to do updates on rigs/etc. while an animator was working
hardcoded to anim files (though I could have fixed this)
needed to ask the animator to send back work in progress for lighting tests.
So we found sparkleshare ! Sparkleshare can be best thought of as a dropbox clone with a git backend. A while ago I looked at it, but it only had a linux client; now that it gained windows and mac clients, we migrated from the production package way to sparkleshare, and away from blenderaid to the blender python api. Now we have the following advantages:
one click (on my end) to create a package for *any file* in the production tree – with a choice of including or excluding image files, and the possibility of adding more files easily to the same package.
user on the end has to click twice, and enter two bits of information.
end user experience after that resembles dropbox. updating rigs means just dropping them into the share, and we can get wip files at any time without having to ask.
Is it perfect? we found some issues (where else) on Windows, where there was no SSH client available (luckily one of our interns- Arindam Mondal) figured out how to use Putty and wrote an extensive Howto , and we also found that Windows XP is not supported. I’m frankly stunned that anyone is still using XP though
First rough sculpt and paint test, retopo with BSurfaces and second paint test. (CC-BY-SA 3.0) Concept Art Katarzyna Zalecka kasia88.deviantart.com Ancient Beast AncientBeast.com
By TheDuckCow. TheDuckCow writes: This was a mini project that I used to kick off my entry for Andrew Price’s Photorealism Contest. The idea was to force myself to pay attention to details of a model by drawing it out … Continue reading →
Because this is a vfx film, the animation workload is a little less stressful than it would be if everything was animated. Which lets me get in with a fine tooth comb and really polish the c**p outa these shots.
Other things it lets me do it to add in little bits that’d make it look a lot more awesome (because we love that word here at Mango!)
So here’s a very brief tutorial on how to break things.
Step one
Take your bike.
Step two
Mesh deform your bike!
Step three
Rig your mesh deform.
Step four
Get a 3 tonne robot to stand on it.
Should all go well, you should end up with something that looks a little like this:
Happy smashing!!
-note: Please do not try this in real life. Here in Amsterdam, we’re rather fond of bikes and don’t support the smashing of perfectly good bikes.
-Unless you film it.
-Then it would be awesome.
By Rajiv Jayant. Rajiv writes: A short Film I just completed, done completely on Blender 2.63. Blender 2.63 Modelling, Texturing, Lighting, Rigging, Sound, Video Editing and Animation Gimp for Image...
The Libre Software Meetings (Rencontres Mondiales du Logiciel Libre) is a worldwide gathering of enthusiastic FOSS users that usually takes place in France. But this year the organizers decided to change a bit and it will take place in Switzerland, in Geneva to be precise. Although still in a french speaking territory, most of the […]
(click to enlarge)
Before you is the object often regarded as the resistance weapon during the 1898 Philippine revolution, called 'Itak' or the bolo knife.
To freedom.
Created with: Blender 2.63 and GIMP
Screenshots:
(click to enlarge)
(click to enlarge)
BlenderDiplom presents 25 short videos on Blender modifiers. Gottfried Hofmann writes: Frederik Steinmetz explaines all 25 generate and deform modifiers that are currently available in Blender 2.63a....
Hello and welcome to this tutorial series on creating a realistic head in Blender 2.6!
This is a complete tutorial series explaining the creation of a realistic human portrait with Blender. The entire process will be covered from base mesh modeling, detail sculpting, texture painting, hair growing and styling, sub-surface scatter shading, and compositing. Some of the more time-consuming tasks will be time-lapses with commentary like modeling, sculpting, and texture painting; the other parts will be mostly real-time.
Part 5 is about finalizing the skin shader. In this second phase of creating the look an feel of our skin, we’ll generate a texture map for each sub-surface scatter layer: Backscatter, Subdermal, and Epidermal. Then we’ll generate our bump and specular maps. All maps are derived from the texture painted in part 3. After we render the SSS pass in Blender Internal, we’ll render a “specular” pass in Cycles. This is due to the physical inaccuracy of traditional specularity for materials since it’s an approximate reflection of direct light sources only. Rendering true reflections in Cycles, instead of specularity, will yield a more accurate result. Compositing both passes together finishes the skin’s shading quality.
DISCLAIMER: We cannot redistribute the references used in this tutorial due to the license, but we can use them under Fair Use laws for educational purposes. They’re not available for commercial use, though.
Note: This series has been previously available on Kent’s Vimeo channel but he has kindly permitted us to repost them here in order to reach a greater audience. All parts will be available on Blender Cookie very soon, while part 05 will be available exclusively on Blender Cookie.
What with July getting started we felt it was high time we tossed out a few more free Citizen memberships to help celebrate the 4th of July. We are giving away three 30-day memberships to a lucky few!
The Citizen membership gives you access to every source file and HD video file of all tutorials alongs with an ever growing list of exclusive tutorials and complete courses!
How to Enter:
For this contest we are using an awesome service called Raffle Copter. The way it works is by using the form below to do one or more of three things:
Like us on Facebook
Follow us on Twitter
Tweet about this contest on Twitter
For each item you receive a point, for a maximum of three points. Thus, if you do all three things then you are three times more likely to have your name drawn!
Choosing a Winner:
The contest runs until July 4th. At an indiscriminate time on July 5th we will randomly pick three winners and notify them of their winnings.
Note: although Facebook login or email is required for entry, we promise not to use your contact details for anything beyond notifying winners of their prizes.
The Blender Institute has released a new training DVD, this time with a twist: it’s aimed at explaining Blender for experienced 3D designers in other 3D software. (Or as they say it: A perfect...
Today I’m going to work on more shorts from the inside of the command center. Mostly set extensions and integrating the Captain, Thom and Ghengis into the CG environment. I decided to share my screen for today and let everyone look over my digital shoulder. I’ll try to keep it entertaining, but since I’ll be rendering, sometimes things can go slow :)
edit: I’m sorry, it looks like this turned out a typical monday, with lots of off-screen discussions, so I had to stop the screen sharing. I will resume this experiment at another point in time probably.
It’s crunch time for Blender 2.64 development. There are still lots of bugs to be fixed and the Mango development team is tied up in their own work, so the Blender Foundation can use all the...
Last week, Friday, June 29, 2012, I lost my wallet on my way home from the mall after purchasing a 25 lbs kettlebell; whether I was a victim of pickpocketing or careless handling, it doesn't matter, what matters most is I learned a ton of things when I got my composure back after the shocking incident. Included in the wallet are all my identification cards, ATM cards, love letters (*smiles*),
OK, as I promised, today we delivering you new development build of Synfig studio with some new features. The changes are:
Disabling keyframes. Now you can make any keyframe inactive, which means it will not influence any waypoints and not produce new ones. Disabled keyframes allow you to edit animation on different levels – just switch off the keyframes that are on your way and edit the motion “at bgger scale”. And of course you can enable them back when you want to work on motion detalization.
Bug fixes. We have fixed a bunch of bugs, crashing Synfig on file close event. That was required to deliver stability for the plugins feature, which uses file closing operation extensively. Also we have delivered fixed a number of bugs related with timeline not updating on keyframe operations.
The sources are published on github, binary packages for linux are available at our software page. Enjoy!
And of course we have working hard on our direct target. Nikolay did terrific work on vectorizing shots and I was working on animation. Though, I was a bit distracted by coding – I promise won’t code anything next week!
This comes bit late, but decided to drop an summer update. As other things progress, so must this. An friend of mine, who shall remain unnammed for now, has taken over the VO procurement for “The Narrator”, and hopefully gets the recordings done in the end of summer. This should allow the story to be finally told, in an audiodrama form, instead of the original film format. More info shall be released later.
A complete training DVD intended for Experienced 3D Artists that wish to learn Blender! On pre-sale now
This training DVD, by Jonathan Williamson, is intended for experienced 3D artists that wish to quickly learn and adapt to Blender. Through this DVD you will become familiar with many of the standard tools Blender offers, be introduced to the way Blender works and be given a tour of many of the bells and whistles Blender offers through it’s advanced feature set.
This training has been created and reviewed by professional artists with a wealth of experience with commercial 3D packages.
Chapter 1: Getting Started
Touring the interface, the key basics to survive Blender quickly: Selections, transforms, and search!
Chapter 2: Making Blender work for you
Customizing the UI, preferences and changing shortcuts.
Chapter 3: Mesh Modeling
Based on common tools and metaphors from other programs, the modeler is being explained in 20 short sections.
Chapter 4: UV Unwrapping
An introduction on using Blenders UV tools. These tutorials will quickly explain how it works.
Chapter 5: Using Blender’s Animation System
This chapter gives the big picture of the Blender timeline, dope sheet, graph editor, working with key-frames, animation curves, and using the rigging system.
Chapter 6: Materials, Lighting and Rendering
Both Blender render engines are being introduced, including the new node-based shading system for the Cycles raytrace engine.
Chapter 7: Using Add-ons for Extra Functionality
Many python add-ons are bundled with Blender for additional features and tools to better optimize your workflow. This chapter gives an overview of several key add-ons.
Chapter 8: Solving Common Problems and Tips for Success
Perfection does not exist; also Blender has half working features and bugs. This chapter shows some of the current issues, bypasses and especially how to get support and your issues solved!
Chapter 9: Bells and Whistles
The show-off chapter; Blender offers a wealth of advanced features that go well beyond the usual fundamental tools. This includes a quick look at the fluid and smoke simulator, the particles system, the compositing and post production tools, and more.
Here’s the latest in our Creative Commons dvd training series: “Blender Inside Out”. I’ve asked Jonathan Williamson from cgcookie.com – they have experience with other 3d tools – to make a cool collection of videos for experienced 3D artists; to explain Blender for them by using metaphors and methods they know.
The DVDs will get printed around July 10th, and get shipped to you before August. As usual – profits on our dvd bizz goes to supporting open movie projects like Mango! And as a bonus this time; it will allow us to do a bigger presentation at Siggraph – spreading free copies of this DVD to the audience as well!
And here’s again a random pick from this week’s presentation of progress :) Explanations about what’s what, and why and how should be posted in separate blog posts. The main quest currently is design style vs realism – efficiently using composition, detail levels, light, color and dynamic ranges to make things look photo real – and not CG. Really tough stuff. :)
By Janjy Giggins. Janjy writes: I had a go at redesigning a Cyberman from Doctor Who. I was aiming for something that gets a bit closer to the original surgery-victims/zombies with machinery grafted...
Create this effect with this new videotutorial by Michalis Gkiokas. Michalis writes: . In brief on this tutorial i quickly revise Displacement modifier Dupliverts Cast Modifier Bake Sound to F-Curve Envelope F-Curve Modifier :) Check it out on Michalis’ new … Continue reading →
What did you do this week? I’m still awaiting more feedback on the LibLoad thread to figure out which direction I want to go on the interface to asynchronous LibLoad (callback or future object). I did manage to get some speed ups in the converter for loading non-power-of-two textures by avoiding scaling the textures to [...]
Hello and welcome to this tutorial series on how to animate a book with flipping pages in Blender 2.6!
In this advanced Blender tutorial by Stanislas Paillereau you will learn how to create a detailed animation of a book with turning pages. This tutorial uses simple methods that allow you to easily add as many pages as you would like, while also being easy to control and modify.
What you’ll learn :
In Part 4 of this series, we will combine what was done in part 1,2 and 3 to achieve the animation of a book with flipping pages. We will learn how to use Blender’s shrinkwrap modifier to obtain the right deformation of each pages on the top of the mass of pages and how to apply a time offset to give the right flipping effect.
It is not the first time the this project creates a momentum out of its own and steers to directions I have never thought of.
Today I managed to get a very generous offer from a local cinema. With the idea of supporting the local movie making community, I was offered to rent a full cinema hall for a local premiere of Ara’s Tale. The price is such, that I feel able to raise enough donations to get this actually financed.
This all comes with a catch, .. of course
To ensure the best picture and audio I have to deliver the movie as DCP – Digital Image Package, the actual world wide standard for distributing digital cinema content.
Fortunately there are free possibilities to be able to produce these type of digital media. But looking at the whole specifications behind this, I guess that there is a whole new world of things which needs to be handled correctly to get a working DCP movie.
What I would like to ask the community: Is there any knowledge out there, that could give me a good starting point and tips to start into the right direction ?
If you happen to have some experience with this, I am glad for any input you can provide.
A t-shirt -of course- that says : “i survived project Mango” …
But then forget the usual part about only getting the t-shirt: On the contrary ! you really get lots out of participating to an open movie at the Blender Institute!
And also , the project is not over , it’s actually running at a crazy pace. (So, don’t worry guys , there’s time for the t-shirts .. but make it a Pablo Londono’s design ! )
For me, the top 2 things i got out of it, are the opportunity to work on just what i like the most : the gloomy charm of a post-apocaliptic urban environment ? -and Amsterdam none the less- ? plus some rusty decayed sci-fi machinery ..can’t ask for better.
But perhaps more important is getting to work with the team , and just everyone was super-great, and it really makes a difference working and spending time in such an environment : i’m talking about the scary-good ninja artists in the team, but also Ton (himself!!) and the developers (and i was lucky to meet quite a few of them!) ..it really gives a different perspective to Blender not just as a piece of code but a more complex project and network of people.
So here’s the video i recorded for the weekly : there’s an awful lot of trivial technical questions in it .. but that’s the reality of the job :)
Cheers to everyone ! see you again soon on these pages.
Blenderheads in Minnesota are meeting on July 8th. John Fino writes: This months MinnBUG get-together will be held on July 8th (a week later than usual), but at the same time and place. June’s...
By Tomol. Tomol writes: Here are a few Norman Rig variations I made for doing animation exercises. They are rigged using rigify and I copied some things from the Norman rigs by Kiopaa and Ivo Grigull...
(click to enlarge)
Inspired by the movie "3 Idiots".
I'll always keep this as a personal reminder to myself.
Problems can be solved and when we do, they teach us very valuable and priceless lessons in life. Don't complain over small things, or larger things for that matter, they're there to make you grow and make you tougher each step of the way. Everything's gonna be alright.
In the end
When starting a blender scene almost everybody removes the default cube. This is kind of sad and therefore I started thinking about who to remove it with style.
for this part i made the default cube disappear in a puff of smoke
Andrew Price shows you how to achieve this cool splash effect. Andrew writes: I’ve always loved the way splashes look in photos, so I decided to recreate the effect using Blender and the Cycles rendering engine. In this tutorial I … Continue reading →
Proses pembuatan film animasi jauh lebih kompleks daripada sineteron, FTV maupun film yang menggunakan benda-benda nyata. Tidak heran bahwa studio animasi sekelas Pixar membutuhkan proses bertahun-tahun untuk memproduksi film animasi dari nol. Karena memang dalam film animasi kita membuat semua detailnya dari nol. Tidak seperti membeli properti kemudian meletakkannya dalam scene. Coba tengok blog resmi Mango, dan ikuti terus perkembangan open movie besutan Blender Institute tersebut. Kita bisa mempelajari banyak sekali tentang proses produksi dari blog tersebut. Proses pembuatn animasi, dapat dibagi menjadi 3 bagian, yaitu
Pra Produksi, merupakan tahapan dimana kita mempersiapkan segala hal yang kita butuhkan untuk memproduksi sebuah film. Sangat disarankan untuk memaksimalkan masa ini sebelum masa produksi. Karena matang tidaknya pra produksi akan sangat mempengaruhi proses produksi yang kita lakukan. Banyak orang yang bilang bahwa lebih baik capek di pra produksi daripada produksi. Karen prose pra produksi tidak terlalu banyak memakan resource sumber daya seperti masa produksi. Beberapa hal yang masuk dalam kategori ini adalah proses pembuatan cerita, naskah, storyboard, timeline, concept art
Concept Art
Produksi, merupakan masa yang paling banyak memakan resource sumber daya. Proses ini merupakan proses pengerjaan semua hal yang sudah dibuat saat pra produksi. Jika pra produksi kurang matang, maka proses produksi akan memakan waktu dan biaya yang jauh lebih banyak. Karena resource yang digunakan saat produksi tidaklah sedikit. Hal-hal yang masuk biasanya dilakukan dalam proses produksi adalah, modeling, texturing, rigging dan animasi.
Modeling
Paska produksi, merupakan masa akhir dari sebuah pembuatan animasi, proses ini mengabungkan berbagai macam scene yang dihasilkan saat proses produksi. Mulai dari penataan urutan scene sesuai storyboard, penambahan visual efek. koreksi warna, compositing. Sehingga akhirnya mendapat sebuah kesatuan yang sudah sesuai dengan cerita dan storyboard yang dibuat di awal. Setelah itu penambahan musik dan suara-suara untuk mendramatisir cerita yang ada kemudia final render yang bertujuan untuk mengonversi animasi tersebut menjadi sebuah video yang bisa dinikmati melalui player. Tidak lupa juga setelah itu ada proses promosi yang bertujuan untuk memperkenalkan karya animasi kita. Biasanya proses promosi menghabiskan anggaran sama bahkan lebih banyak dibanding proses produksi.
Color Correction
Kurang lebih begitulah alur produksi dalam sebuah film animasi maupun yang real, semoga sedikit tulisan tersebut bermanfaat, dan jika pun ada kesalahan harap untuk dikoreksi.
What I enjoy about Paul Caggegi‘s work – and why I am presenting two examples of his writing in this review – is that he does touch on the steampunk aesthetic, but never shies away from the big, mad science fiction notions that are the bedrock of the genre.
So thanks, Emmet! I am now a fan of your blog – it’s liked on facebook; added to my google feed-reader, and I look forward to all your reviews, now.
Some more Supanova talk; and finally some talk on Pandeia. I’ve begun using Celtx. What did it take? Oh just the awersome iPad app version which is like the bestest app evah! I’ll be singing its praises when I’ve worked on enough script, so stay tuned.
Finally, a timeline for the issue. Deadline: end of December for issue 3# and end of April for issue 4#. So writing is frantic, and designs are being churned out at record pace.
Rogério Perdiz (of Orion Tear fame) is working on a new animation project and is asking for your financial support. Rogério Perdiz writes: Hey, My name is Rogério Perdiz, I’m from Portugal and for the past 4 years I’ve been … Continue reading →
Mike Pan writes: The game engine has always been living in the shadows of the main software. This list of games, put together by Ross, is a pretty good survey of some of the games out there made with the … Continue reading →
Blender Guru is expanding! In order to better serve the blender community, I am looking for two blender artists to join the Blender Guru team to assist in future projects and developments.
Role
You will act as a general 3d artist and assist in the production of assets for Blender Guru. You will work from home and communicate with me via Skype. Location is not important.
Day-to-day tasks will include:
Modelling assets (hard surface and organic)
Creating environments
Creating promotional images
Answering support questions from the blender community
Salary & Contract
Your contract is for 3-months, after which you may be offered a permanent position based on your work during that time. You will work 8 hours a day, Monday to Friday from your home.
The salary is $5,000-$8,000 USD for the 3 month contract, based on your experience and suitability for the job.
Requirements
To be applicable for this job, you must:
Be at least 18 years of age
Speak English
Meet the legal requirements for work in your country
Have an internet connection
Professional experience in the field of 3d is not required but highly regarded.
Portfolio
You must have a portfolio or demo reel to apply this role. Your success in being selected for the position is almost entirely dependant on your portfolio, so make sure it contains your best work.
Your portfolio can be images or video and must be hosted online. If you need portfolio hosting, I recommend Carbonmade.
Highly regarded skills
These skills are not required, but you will be looked favourably upon if your portfolio includes them:
Architectural modelling and rendering (furniture, complete scenes etc.)
Car modelling and rendering
Character modelling, texturing and rigging
Apply
Sorry, this job opening is now closed. The deadline for new applications was July 17th, 2012.
If you submitted an application and did not receive a reply, please email support@blenderguru.com.
Hello and welcome to this Blender tutorial on modeling a soccer ball!
In this Blender tutorial, Jonathan Williamson will show you how to easily model a soccer ball in only a few minutes time by starting with a regular solid in Blender 2.6.
What you’ll learn:
During this tutorial you will learn how to use an icosphere as an easy starting point for modeling the soccer ball. You will learn how to create the ball tiles by using specific selections, how to use the inset tool and other various modeling techniques to perform what would otherwise be a very difficult modeling task.
By hjmediastudios. hjmediastudios writes: A simple model of a standard city bus from my hometown. There’s no interior, as this bus was made for a car chase scene, and not a bus-hostage situation. The...
Here is a quick breakdown of the compositing layers of a shot I’m working on this week (You might remember the set from nicolo’s post earlier). Beware, it’s still heavy WIP, but it’s looking pretty neat altogether, so I quickly slapped together all the passes:
The BlenderPlayer for the Android platform is really starting to work now! A first downloadable package is now available and people are already building demos on it. Dalai Felinto writes: Do you know...
Another quick demo of the upcoming ‘adaptive domain’ for smoke simulations by Miikah. oMiikah writes: Testing new adaptive and moving domain features. Simulating this wide scene with the old simulator would have required thousands of cells wide domain. :) In … Continue reading →
This videoclip by Pedro Teixeira has been viewed more than 4.2 million times! Pedro writes: I invite you to watch the portuguese videoclip I have made with blender 2.6. Back In Portugal it have been a musical hit, since it … Continue reading →
When starting a blender scene almost everybody removes the default cube. This is kind of sad and therefore I started thinking about who to remove it with style.
in this part I removed the default cube using an animated cycles material to make it burn
Thanks to Marshall Couture for this topic. I have a bit to say on the subject of participating and creating an anthology. I outline some tips, and list some things I’m still exploring.
If you are thinking of starting an anthology, or being part of one, here are some pointers:
Before you begin, email, sit down with, or otherwise get in contact with everyone who is going to be involved. Discuss the overall vision of the book – theme, target audience, overall style.
Decide on a format, page size and boundaries: how many pages per story? Color or Black & White? This can usually be determined by selecting a Print-On-Demand service such as Ka-Blam, and downloading their free templates first. Once you’ve figured this out, everyone will be producing work to spec.
Keep in touch with everyone, and regularly. Figure out a deadline. Try to stick to it as much as possible.
Consider the outlets where you will want the anthology sold: eStores, physical copies, etc.
Consider how you are all going to get paid. Most P.O.D services, eStores, etc will require a paypal account. You only need one for a book to be listed, but consider how you’re going to get profits to the other artists involved. If they all have paypal accounts, you may have to act as the accountant, and split profits (minus the paypal fees), then transfer to all those paypal accounts.
Working on your own title is easy. Now you’re going to have to tackle working with other people, and you’re all in this to make a bit of money. There are some things we did at the illopond when it came to online sales vs direct sales which simplified how we worked things out. One tip I would recommend – if you use a service like Ka-Blam, is to collect everyone’s Ka-Blam account names, email Ka-Blam and ask them to place the book on their re-order list. This will enable everyone to order their copy at cost and sell it directly.
Above all: stay in contact. Be it on a facebook thread; forum; emails – as soon as you drop the ball, the project will begin to stagnate. A great impetus is an upcoming convention. With a deadline like that, you have to get prints made and shipped to you in advance.
Finally, here is a list of services I would recommend you check out for distribution:
Ka-Blam – a print-on-demand service who will list your finished book on their eStore, both for print orders and eBooks. They can provide additional ISBNs, bar codes, etc
Smashwords – focusses solely on eBook distribution. You need to format your work as a .doc first, then sign up for a free account, upload your finished book, and let them do the rest: Apple iBookstore; Barnes & Noble, SONY, Kobo.
Createspace – Amazon’s P.O.D service. Will distribute print via the Amazon site, and ebook via Kindle (optional)
Lulu – also offers the same service as Createspace.
For all of the above, read their terms and conditions carefully.
Ka-Blam is the best option if you want to do direct sales, or can rally people to seek out your item on Indyplanet.com and buy them buy the truckload. Their turnaround time, however, is quite slow. As someone who is international, this is not really a problem, and they don’t cost me any more for not being in the US.
Createspace is very flexible, covers all bases, distributes your book the widest thorugh its affiliate network, but takes a hefty chunk of the profits, so you will have to list your product at a higher price just to make a respectable cut… which is going to be split between a number of you afterwards. It is also limited to certain countries. As an Australian citizen, this is not an option, because while I can get amazon credit, I will never be able to turn that into real money.
Lulu also takes a cut, tho not as big as Createspace, but it won’t distribute your work as widely.
Smashwords takes a flat 15% of all sales. no joining fee; no page count loading, etc. But it only does eBooks. It will, however, give you a FREE ISBN for your eBook imprint, and put your work in all the major eBook outlets. Converting a graphic novel to a .doc, however, is a pain in the preverbials. If anyone figures out a good way, let me know?
Hope you’ve enjoyed this little “process by request”. if there is any topics you’d like more info on, or feel you have a good topic for a “by request” future episode, email me: flawedprefect (at) gmail (dot) com or leave a comment in the section below.
Hello and welcome to this tutorial series on creating a realistic head in Blender 2.6!
This is a complete tutorial series explaining the creation of a realistic human portrait with Blender. The entire process will be covered from base mesh modeling, detail sculpting, texture painting, hair growing and styling, sub-surface scatter shading, and compositing. Some of the more time-consuming tasks will be time-lapses with commentary like modeling, sculpting, and texture painting; the other parts will be mostly real-time.
In part 4 we’ll begin setting up the skin shader. This first phase doesn’t involve the texture painted in part 3. Instead, we’ll use solid colors so we can observe the sub-surface scattering behavior more clearly and establish a solid foundation for the shader as a whole.
DISCLAIMER: We cannot redistribute the references used in this tutorial due to the license, but we can use them under Fair Use laws for educational purposes. They’re not available for commercial use, though.
Note: This series has been previously available on Kent’s Vimeo channel but he has kindly permitted us to repost them here in order to reach a greater audience. All parts will be available on Blender Cookie very soon, while part 05 will be available exclusively on Blender Cookie.
A totally awesome Blender gift for Emile! Emile writes: I thought I’d share this little gift I got from my wife with the Blender community. I tried – my wife says ‘no’. Darn.
Do you know Momo? He is a cute little monkey traumatized from being a second character in the Yo Frankie game project. Now what if you could carry Momo with you wherever you go? Your dream is closing to come true!
(wth are you writing about? — if I had an editor for my blog she would probably write that down)
Alex Ku is working in the Google Summer of Code 2012 to bring porting the Blender Game Engine to the Android platform. His work is progressing smoothly and there are already some visible-shareable results. Today he announced the first Blenderplayer.apk release, so I couldn’t help but testing it.
So it works, is that all? well, not really. There are still bugs and non-supported features. But skinning-armature, mouse click, glsl shaders (partially), physics they all work.
This sample file is part of the examples that go with the book I’m finishing up writing with Mike Pan. We are already on author review stage, so I should be able to talk more about it soon. Since I’m ‘giving the file away’ anyways I may as well explain it This file showcase the use of dynamic parenting and bone parenting in BGE. It’s a good technique for character customization (as you can see with the hats).
Phil has delivered the final score for Ara’s Tale.
Over 8 minutes of original soundtrack, fitting perfectly to, and enhancing the visuals by a huge amount.
For me the score is fantastic. Phil and I have both a very similar emotional response to the images and the whole mood. That means working with Phil on the score was a perfect match, sometimes even eerie.
There is one part especially, complimenting the climax of the movie, where when I received the first proposal, I just sat there, totally stunned. It was like watching a completely new movie.
My deepest respect and gratitude goes to Phil for enriching the movie with such a beautiful score.
Now, that only leaves the sound fx to be finished, which Mikkel is very hard working on. And looking at the work he has already done for the movie, I am very excited to hear the remaining bits. This will take yet some more weeks though.
That also means, that the long waiting will be over comparably soon …
By BMF. BMF writes: My goal with this model was to create a realistic ocean as seen from a typical New England beach. The scene is rendered with the Blender Internal engine and there are no...
A Onflow Tuts nasceu com objetivo de criar material de qualidade em português no ramo de Tutoriais e Treinamentos Profissionalizantes, é uma iniciativa da Lotus 3D Studio em parceria com Caleb Fernandes, onde terão tutoriais e cursos de Blender, Photoshop, Motion e as diversas areas que podemos pensar em CG chegando até Game Design e [...]
2.64 is coming along, but work on some issues it causing a delay of the release to the end of July. Ton Roosendaal writes: Hi all, And here’s a summary of today’s topics at irc.freenode.net #blendercoders 1) Blender 2.64 progress … Continue reading →
Tomorrow (June 25) I am taking off for a two week camping trip. Which of course means no internet. Unless the woodland creatures got together and installed a WiFi hotspot, which I am seriously doubting. Although anything is possible. I will of course survive and most likely will come back completely refreshed and eager to [...]
I'm writing this while sitting in the studio at Clatter & Din with Kyle Kramer and Wesley Slover as they work to finalize the soundtrack mix for Project London. This is easily one of my most favorite parts of filmmaking because you get to see and hear it all come together. Right now Wes and Kyle are dialing in the bottom end. This sci-fi actioner has lots of hits, impacts and explosions. In fact, the guys just set sub-woofer levels for the opening battle at Benny's Fuel & Repair to deliver some SERIOUS THUMP--you will feel it like a smack to your solar plexus!
In other massively cool news, I met Barry Gregg at the Edmonds Ferry Dock yesterday to take delivery of the final uncompressed renders of the color corrected reels of the movie. Code words for the hand-off, "Subject C Has Landed." That means I will have all the final, finished movie elements this weekend! Well, almost all of it. I still have to edit the massive and amazing credit reel, which will happen as soon as I'm able.
The push is on to get the movie done in time for a special sneak peek which we are going to announce to fans who've added their email address to our email newsletter. Following this activity, we'll start planning for the world premiere. And again, the people who have signed up for the newsletter will get the news first.
Many thanks for your continued support!
Sincerely,
Phil
(L to R) Ian Hubert, writer director; Phil McCoy and Nathan McCoy, executive producers.
This week wasn’t very productive. Nikolay was mostly busy on other things, so you will not see new vectorization results. Though, we have managed to make some really neat improvements.
First of all, we have made some significant impact on shot 06. I was a little worried about this shot being a little bit too static for my taste. This week, after another review, we have decided to draw a few “unplanned” keyframes and now it looks very cool.
Next, we started preparing the reference data for 3D models of the main characters. As you might remember, we have decided to use high-polygonal 3D models for some shots and we need someone to take on modelling them. Most probably I will post community call here and to the blendswap.com. Any other ideas where it’s worths to post a call?
Finally, as we using Synfig we continue to improve it. There’s one more feature coming and, if everything will be fine, I’m going to post results next week.
Here I want to show one typical hour of my work.
Summary of the video:
I’m preparing all drafts by converting .ora files to .jpg. It’s quite routine task and I have cut out most of it. For some reason Gimp 2.8 refuses to remember my export settings and it’s a bit annoying. On the rest I found that this version makes my work much more productive, comparing to 2.6.x.
Then I import artwork images into Synfig. I used to run Synfig Studio via debugging session in Anjuta IDE. That allows me to catch and fix errors right “on the fly”. So, right now my workflow is a combination of animation and coding work at the same time and I’m very happy about that.
When all images were imported, I realized that they are consume too much memory because of their size and thus Nikolay might have a problems with my file. So, I’m taking time to reduce resolution for draft images.
After that I encounter nasty bug which happens randomly on file close event and very hard to reproduce. With my very limited knowledge I’m trying to fix it.
And finally there goes usual stickman preparations until I get satisfied with animation results.
When starting a blender scene almost everybody removes the default cube. This is kind of sad and therefore I started thinking about who to remove it with style.
for this part I dissolved the default-cube into lots of smaller cubes and made them slowly fade into non-existence
The env. modelling phase is really approaching the end now!
i’ve been working remotely for the last 3 weeks , and next one is my last on the project ! sigh ! but it’s time for the models to be final since further steps depend on that.
Last weeks have been basically a big post-apocaliptic spring-cleaning, going around the dome fixing and adding all the missing bits . Once you’re done ‘adding’ things, there’s always a quite important phase of going over everything again and ..clean up, complete and repair.
Continue, to read more about this and control center detail modelling :
I haven’t been rendering much lately, just quick renders just to look at passes : mostly difcol to balance texture brightness , like here:
And working on greeble kits:
Then, This week was about the control center (the house attached to the south facade of the Oude Kerk)
This is how it looked at the beginning of the week :
So i started by taking reference data from Sebastian’s tracking file.
What i did is mostly outside of the actual tracking/masking/shot set up done by Sebastian/Roman/Andy and others. I just lined up camera and env. , then traced a rough reference mesh for actors and elements of the set , imported the 2 into my dome file and went on modelling knowing set dimensions and shot framing.
Back to the actual modelling , it was pretty much a greeble-fest : tech pieces , wires , broken wood planks and beams … 80% of this scene is dupli-group objects , for 2 reasons : to reuse them elsewhere and to be able to move stuff around : if doing the last shot in this set turns out that something is blocking the camera path you don’t want to have to modify meshes , redo uvs and paint textures, etc..
Some of the objects you’ve already seen , but the metal pipes , the wires and concrete debris were made for this set.
Clearly the other big topic is the bricks : single brick meshes on the edges , textures for the inner parts of the wall , various blended layers of tileable textures for the fine patterns , vertex color and random-by-object color respectively to give specular highlights on edges and base color to each brick , and a custom painted grungemap to give a dirt gradient and big patterns over the whole facade.
And this is the current render: (but still no comp nodes or real light design yet , that will happen when actual shots are setup)
next step is to move outwards and apply new ground textures and debris around here (church) , the bridge area and scientists boat (which is the other set i’ll refine next week)
Here’s a quick render , a bit more work can be done on this base for the ground, then debris and detail objects can be placed to fill up, based on the precise shots framing (..there’s also the risk of putting too many detail objects all over , and that would be too heavy…) :
Blender Podcast Episode 18 has been released. Thomas Dinges writes: We released Episode 018 / Interview with Ian Hubert! Campbell interviewed Ian in Amsterdam, at the Blender Institute and they talk about Mango, Project London… It’s a very funny episode, … Continue reading →
What did you do this week? I finally got some time to dig into the converter code, and I managed to get around a 35% speed improvement on scenes with lots of polygons. Here is the commit log: Some refactoring of the Mesh conversion code to make things easier to read. Material conversions are now [...]
Just a few years ago we had so little options to choose when we had to use external renders in Blender to boost our visualization work. And today there are so many options that an artist could get really confused to choose only one, and with Cycles as a welcome...
Related posts:
So- this last week has by far been one of the most rewarding! We’ve finally primed the pump, and renders are coming out of the farm in a steady flow. We have about 140 seconds of ‘finished-ish’ film- stuff that’s come out of the farm, and more or less works (though in a lot of cases we may through it through the farm again, just to fix something small). Meaning- we’re actually on schedule! For now….
For time-based effects and problems, we can’t see if they work or not till we send them through the farm- and sometimes the farm itself introduces glitches- so we’ve been doing lots of re-renders. But the farm’s keeping up!
I think it’s kind of amazing, actually- all of our posts have been showing the same old stuff over and over (even now I’m just kinda reposting some things you’ve seen before), but we have a ton of new finished stuff sitting around. I should upload some of that. Later!
That said: So many cool final shots! So I’m gonna do a super lazy blog post and just put up some framegrabs!
ALSO: Teaser next week?
Robots climb the church tower! Check out the eyes Kjartan painted on the back of one of em. We’re making all of the robots a bit more individualized.
This one is almost done, apart from the slight white fringe around the keying! (Keying is hard, man). The scope is animated a bit to keep auto-focusing as he moves the gun around.
Rob’s insane city.
And one shot…. (still a bit of a WIP- but mostly done).
Learn how to achieve this effect in this videotutorial by Dimitris Christou. Dimitris writes: We’ll use a nice and simple technique to build an abstract animation using Blender. You can actually use the technique described on any single mesh for some … Continue reading →
#blender.fi-kanavan sivusto on ollut jonkin aikaa unessa, ja sinä aikana sivuihin oli ehtinyt kertyä jonkin verran bittipölyä. Nyt kun sivut on taas siistit ja toimivat on aloitettu uusi mallinnustapahtuma Modelcon 4.
Tarkoitus on yhteistuumin ja vuoropohjaisesti rakentaa skenen, jota lopulta rendataan. Jos hyvin menee siihen voidaan tehdä vielä animaatio ja laittaa kunnon session Renderfarm.fi-palveluun rendautumaan.
Pyyhikää siis pölyt Blender-asennuksistanne ja osallistukaa!
This patch by thesleepless should make Blender fashion designers happy! thesleepless writes: I added a control to adjust how quickly the sewing takes place to reduce tunneling through the collision object. Patch is available from: http://www.impbox.net/tmp/blender-cloth-patch-0.1.2.patch Please note that this … Continue reading →
Here is another study comparing the results of a render made with Blender Internal, Blender Cycles and YafaRay using an architectural scene as a basis. A few years ago there were very little options to choose in terms of external render engines for Blender, and today we can`t complaint about...
Related posts:
Wow. Teisson Froes writes: This is the new reel of OvniVFX. For those who do not know OvniVFX is a studio focused on the advertising market. Located in Sao Paulo Brazil. Our pipeline is all in Blender 3D on Ubuntu … Continue reading →
FxMachina is hosting a 2-week Blender workshop in Paris from July 2-13. Hervé Pellan writes: We represent a brand new firm specialized in CG training and practice of dedicated softwares for 3D and movie SFX. We decided to organize and … Continue reading →
I’m the head of front end web development for a rapidly growing boutique consulting firm. We do fantastic work, which means not only consistently delivering our projects on time, on budget and with zero defects, but making our customers just generally very glad that they chose us.
One of the ways that we make this happen is to be very picky during the hiring process. As I’m the lead for front end/web development, it falls to me to do the technical interviews for anyone coming into that space. In this post, I’m going to take a look at the different skills that I think you should have acquired by this point (or be working on) in order to be considered baseline acceptable. You don’t have to be a master of these, but you should have at least touched them and be able to integrate them into an intelligent conversation.
Now, depending on your current job, there might be constraints on what tech and processes you have actually gotten to use in a professional fashion. But here’s the rub: I don’t care. Learning and experimenting with this tech is free. If you show up and tell me that you have a “passion for web development” or some such, but follow that up by saying that you’ve never actually used jQuery because they don’t use it at your job, that’s bad. This stuff is all free to do at home. The curious, the intelligent, the driven, those who really have a passion for this technology will do their own work on it, finding the standards and best practices on their own regardless of what their employer mandates on the clock.
With that said, here we go:
Object-oriented JavaScript
If the extent of your JS knowledge is copying and pasting someone else’s JS library to make something blink, you’re probably going to be asked to move on. Today’s enterprise-level web applications implement a lot of the functionality directly in the front end, and this means JavaScript. Best practices implement good MVC architecture and really make use of the object-oriented nature of JavaScript. If you don’t understand it, you’ll be left behind. Actual non-JS programming experience is a huge plus, because as a modern web developer, you’ll be doing some serious programming.
The Mozilla Developer Network has a page full of content broken out for beginner/intermediate/advanced. Pretty much all of the stuff there is great. It’s also a good way to see where you fall. Find that you’re completely lost reading the intermediate stuff? That should tell you something.
Semantic HTML
HTML should be used as the informational structure of the page, not the design, and not to store data points for scripts. Using DIVs for logical grouping is fine, but don’t be putting them in there “just to make some space” or to serve some kind of visual goal. Likewise, don’t store your data in element properties, like adding a “clicks” property to a button to track how many times it’s been clicked.
Learning: when looking for resources online about this, don’t simply google “semantic HTML.” There are actually a set of tags for something called “semantic HTML” that in general you will never need. It is more the conceptual framework that we’re looking at.
Styling through CSS
This goes hand in hand with the previous point. You would not believe how many people I’ve interviewed who show up with a portfolio that uses tables for page layout. Seriously. Don’t do that. Also, make sure that you understand the hierarchy of effect of applying CSS at different levels. What takes precedence: ID, style class, in-line? If you think that is advanced voodoo, you’re going to be in trouble. Folks who already know this, please don’t laugh. There are plenty of people who think that because they can bang out a stylesheet and make the screen look right that they know CSS. A large part of web development in a professional environment consists not just of creating an initial style sheet for a simple web site, but of working with and troubleshooting CSS that others have produced, extending it, and creating well-structured styling work on which others can do the same.
Learning: More than a real skill set, this is more of a discipline. You either do your design this way or you do not. I honestly can’t believe that anyone is still not doing this, but if you’re … using … (gasp) … tables for layout… start here.
jQuery (or some other toolkit)
jQuery is the most popular helper toolkit right now. It actually doesn’t take that long to learn, and once you learn it you gain expertise rapidly with frequent use. If you don’t use it, it tells me that you want to work harder than you have to. There are some other toolkits around that can make your work easier — MooTools, dojo, and underscore to name a few. But if you’re looking to start with one, make it jQuery. The main reason that you need to know this sort of thing is because it’s a bit of paradigm shift to read someone else’s code that makes use of it. Having no experience with it whatsoever is kind of like trying to read someone else’s Perl code. It’s going to be prohibitively difficult.
Learning:
jQuery’s docs are great. Tutorials here, the “getting started” guide. Once you know your way around JavaScript, this stuff will be a snap. Additionally, you can do live jQuery work (as well as general JS and CSS) in a superb online environment called jsfiddle.
For Dojo, things are a little rougher. The documentation at dojotoolkit.org is horrific. There are no up-to-date books. Honestly, I’m not sure how you are supposed to effectively learn to use this framework, other than having a great understanding of OOP, JavaScript and a willingness to keep plowing through mountains of terrible documentation.
XHR and AJAX
The modern web is built on making calls to services and displaying the results in the existing page. This is all based around the XHR (the XMLHttpRequest) and AJAX tools. You don’t need to be an expert in these, but you should have the basics down of making requests and dealing with the responses.
Learning: Once you get jQuery and Dojo down, just use their tools for dealing with AJAX/XHR. Most of the AJAX tutorials you’ll find on the web have you building the calls and handlers “by hand,” when in practice you will probably never actually do that. It’s not bad to know how to do it the hard way, but not necessary in my opinion. Once again, Mozilla Developers Network has a good intro here.
Cross browser issues
If you’ve never had to support IE7 (or 6 for that matter!), and only ever made things for Firefox or vice versa, you’re going to have some serious problems in a professional environment. Not only do many of our applications have to play nicely with the big 3 (IE, Firefox, Chrome), but have to also represent well in Safari, Safari mobile and the Android browser. Of course, four of the mentioned browsers use the same rendering engine, which is something you should also already know.
Learning: You learn this one on the streets, man. If you’re just starting out, try this development pathway: develop on Chrome or Firefox, and spend the last hour of your work day trying to retrofit what you did so it works in IE. When doing project estimates, I generally assign a 20% premium for IE support.
Some kind of non-web programming
The company that I work for is specifically a Java shop, so anyone with real Java development experience is going to get bonus points here. But to generalize things, I’ve found that web developers who have a general programming background get up to speed in an enterprise environment much more quickly than those who came from, say, the art and design side of the world. They have already been introduced to the concepts of object oriented programming, re-usability, supportability, the model/view/controller structure and the ins and outs of the software development life cycle. That’s not to say that you cannot succeed without coming in knowing those things, but it’s going to mean you have that much more to pick up on the fly than everyone else.
Isn’t this kind of picky?
That’s “the list,” as I see it right now. Next year, it will probably look a little different. I want to stress the point that it’s not a factor of “if you don’t know this stuff, you won’t do a good job.” It’s the fact that this stuff is all available to you, for free, and there are copious resources around that point you to it. If you are really into serious web development, you will have run across this stuff and tried to educate yourself. If you don’t know this stuff, it tells me that you’re maybe mediocre, or just at the beginning of your path of discovery. Either way, you probably shouldn’t be referring to yourself as a Web Developer. Rather, you might want to say something like “I’m getting in to web development.” I wouldn’t throw a fit it I heard that.
So, use this list as an indicator of how much more information you need to pick up before you’re ready for prime time. Or, to be less pejorative, use it as a list of interesting things that you should learn about that will make you a much stronger web developer. These are skills that you will have picked up (at some expense of training and lost productivity) through your first year on the job in a professional web development environment. Having them on your resume, and being able to talk about them intelligently and demonstrate your knowledge in an interview, indicates that you care about your craft.
If you’re missing some of these, don’t panic. Like I said, you can learn all of this stuff for free, on your own. You don’t even need a server to do most of it – just use Chrome, write your code in something like Aptana studio, and do File->Open to test it. Cool things abound such as jsfiddle.net and dabblet.com for writing and learning to code directly in the browser.
Have this skill set down? From our perspective, the most attractive knowledge base afterward includes deep knowledge JS event handling, asynchronicity and closures, HTML5 and CSS3, optimization for mobile, and PhoneGap/Cordova. Once again, those aren’t meant to be items on a checklist, but represent a look at what the industry is using and the kinds of things that I think a curious junior level web developer might be interested in next.
Finally, for those of you who already know this stuff, you might be shaking your head and wondering how you can get along in web development without it. Once again, don’t laugh. I’ve met too many people who have “web developer” listed on their resume who couldn’t write a simple recursive JavaScript function, build a non-table-based layout or create a jQuery selector for a style class to save their life. And hey, if you are shaking your head right now and already know this stuff, don’t mind moving to Pittsburgh (Really! It’s awesome!) and want a job with a great, quickly growing company, drop me a line.
Contribute your artwork to the Blender SIGGRAPH 2012 Demoreel. Reynante M. Martinez writes: SIGGRAPH 2012 is fast approaching and it’s time to showcase our lovely Blender yet again, this time...
I’m very happy that our friends at xiph.org have agreed on hosting all of the files we’re producing now and in the next months. In total we expect to have 2 TB of material;
RAW files from the Sony F65 camera (4k)
Linear OpenEXR files in Rec709 gamut (4k, half float), converted from the Linear OpenEXR ACES gamut files as is output from the Sony F65 player/converter software (closed sw).
Cleaned OpenEXR files with alpha (4k)
Final renders in OpenEXR – before grading (HD 1920 x 800)
Final graded files, in OpenEXR, PNG, etc (HD 1920 x 800)
Here’s already the RAW and OpenEXR from two shots in the film (60 GB)! Everything will be released (entirely!) after the film went to premiere. The files then can also be used to complete the DVDs we’ll make for our sponsors; that way they can fully recreate the pipeline with originals!
By Andri Viyono. Andri writes: I’m trying to learn how to sculpt an human head in blender. It so hard for me because I don’t really know about the anatomy of the human head. Done in...
In most cases an architectural visualization project will require some objects carefully placed at the scene, to give a sense of scale to the image and to demonstrate how the scene will look like when the project becomes real. And to use furniture in architectural visualization you could simple take...
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Edellisestä kerrasta onkin jo aikaa. Keskustelupalstaan ja pääsivuun oli ehtinyt kertyä aikamoinen määrä bittipölyä ja -roskaa. Pienen siivoustuokion tuloksena meillä on taas puhtaat sivut ja hyvin pyörivä keskustelupalsta (1Gt roskapostia poistettu tietokannasta!).
Hello and welcome to this tutorial series on creating a realistic head in Blender 2.6!
This is a complete tutorial series explaining the creation of a realistic human portrait with Blender. The entire process will be covered from base mesh modeling, detail sculpting, texture painting, hair growing and styling, sub-surface scatter shading, and compositing. Some of the more time-consuming tasks will be time-lapses with commentary like modeling, sculpting, and texture painting; the other parts will be mostly real-time.
In part 03 we take you through the texturing process by image sourcing from various references. The texturing process is greatly simplified by using a projection technique with the help of the BProjection add-on by Krantz Geoffroy:
DISCLAIMER: We cannot redistribute the references used in this tutorial due to the license, but we can use them under Fair Use laws for educational purposes. They’re not available for commercial use, though.
Note: This series has been previously available on Kent’s Vimeo channel but he has kindly permitted us to repost them here in order to reach a greater audience. All parts will be available on Blender Cookie very soon, while part 05 will be available exclusively on Blender Cookie.
By LaCatedral Animation Studio. Juan Carlos Mostaza writes: Here it is another commercial made for Diario As to promote a cool O’Neill watch. The production company was LaCatedral Animation Studio located in Madrid (Spain). We used Blender 2.63 and Cycles … Continue reading →
Have you ever wondered why some features take a long time to be implemented? Nicholas Bishop shares some insight into his development process. Nicholas writes: It’s interesting to reflect on how long it takes some features to go from the … Continue reading →
Here’s some good news for Blender Game developers: a new book on game creation with Blender and Unity is now available for pre-order. Read on for more information and some content samples. Chris Totten writes: My name is Chris Totten, … Continue reading →
Supanova!! In short: it was a whole weekend of awesome. On Sunday, Anh and Sophia spent the whole day with me at the table, which was just… heartwarming. But enough of the soppy stuff. I’m here to talk shop.
So the crowds at Supanova broke all previous records nationwide: 28,400 through the door over 2 days. Most of them were dressed as Pikachu. This year, I shared a table with good friend, Daniel De Lafoix. He produced the first issue of his first ever title, Morlok, which he printed and perfect-bound himself. He is also a first-time dad, but somehow found the time to print and sell around 25 copies of his comic.
So last year, I gave a breakdown of costs for my first tabling experience. I had no idea how popular that information was, but you guys seemed to really respond to it. So this year, things were a little more complex, but I will give you the simple version.
First off: the Aussie dollar has pretty much held parity with the USD, so figuring out an exchange rate was hardly necessary. Next: I added the cost per print plus postage for the items, then averaged out the cost for the anthologies, and Pandeia issues. Here is a simple breakdown of number of copies ordered, and profit margins:
Book:
Average cost:
Number of copies ordered:
Total Cost:
Sale price:
Total profit:
Pandeia
$3.75
50
$187.50
$5.00
$62.50
Anthologies
$12.08
55
$664.40
$20
$435.60
TOTALS:
$851.90
$498.10
I could calculate the total cost needed in one weekend to break even, or I could figure out what I need to cover the cost of on the day. These prints can all be sold at a later time, and each time, they incur the cost of setting up a stand.
The cost of the table and insurance for the weekend was: $220 for the table + $110 insurance (for 3 months) /2 (I split the cost) = $165
Which means out of a potential profit of $498.10, I could stand to make $498.10-$165=$333.10 For 1 weekend’s work, or 16 hours of selling. That’s a little over $20 per hour and that’s just potential.
Here is the breakdown of sales for the weekend:
Book:
Number of copies sold:
Sale Price:
Profit per sale:
Total Profit:
Pandeia #1
12
$5.00
$1.25
$15
Pandeia #2
11
$5.00
$1.25
$13.75
Steampunk
8
$20.00
$7.92
$63.36
In Space
4
$20.00
$7.92
$31.68
Boo
4
$20.00
$7.92
$31.68
TOTAL:
$141.72
Assuming all I had to cover was the table cost, I’m short $165-$141.72=$22.28
I picked up a couple of commissions – one with a definite costing, and one that is yet to be determined, but it will definitely make up the shortfall. So you might say I broke even and then turned a small profit. (Don’t worry, I’m not getting rich, yet – It’ll be in the tens of dollars).
This means I made nothing on a per-hour basis, so I worked for free, so I was actually running at a loss. I can work out what that loss is once all the stock has been sold – be it at a future convention, online, or otherwise.
As you can see from the figures above, Pandeia sold the best – I picked up more new fans than I sold to repeat customers. Steampunk was next, and the two kid’s anthologies didn’t do too well at all.
It was the first year that I found pitching the story to people actually sold books – I don’t think I did this last year. Surprising, considering it’s such an obvious idea. What also helped was some healthy cross-promotion and support from people such as the Kapow! Staff, and some of the floor volunteers. Naturally I made a couple of sales with other tabling artists who liked what they saw, too.
There were one or two notable stories which I talk about in the podcast, but these were not the majority of sales. Most importantly, what i discovered from last year still held true: smile, make eye contact, and complement people in costume for what they were wearing – especially if they’re dressed in Steampunk! :)
There was definitely competition this year as far as other independent artists go. Less home-made ‘zines; more beautifully printed graphic novels. Overall, a great year in which I made some new contacts, new fans, and met some faces of people who listen to the process diary and read Pandeia, which was awesome!
Hi again and thanks for dropping by. This post is strictly Blender-related.
A few days back, there was this promo video of C4D that I watched and was awe-struck and inspired by the simplicity of message and a jaw-dropping demo overall. With too much excitement and envy, I posted on Twitter a call for a similar content for Blender (given it doesn't have a decent features demo yet, aside from
It's been a while, but this afternoon I had a bit of fun playing around with a little duet. The "recording" in the link is midi output of the score, and as such is a bit on the rough side (not to mention being unable to smoothly transition the tempo changes as I wanted).
By Kriss Berzkalns. Kriss writes: I am already 10 months into Blender, and its awesome! I made these animations in between other things mostly to take my mind off of bigger and more tedious Blender projects. I chose this theme because … Continue reading →
It’s time again to start thinking about articles, tutorials and images for Issue # 39 of Blenderart Magazine. The theme for this issue is “Spirit of Exploration” Sandra Gilbert writes: It’s time to blow out the cobwebs and let our … Continue reading →
If you ever had to apply textures to any object in Blender, you probably got yourself trying to place the textures on the right place. To take full control of texture placement we have to use UV Mapping. Do you know how to work with texture mapping? For those of...
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Finally I’ve got the video with my talk about Remake at LGM! Unfortunately the screen wasn’t recorded, so initially there was only my talking head there. But I’ve tried to reproduce everything what was happening at the screen during the presentation and combined with video. So I hope in this shape it makes sense now.
My English is pretty crappy, so here’s the presentation with all supporting text: lgm-remake-slides.pdf
How many times did you use the Blender Game Engine to produce interactive architectural visualizations? A lot of architects and artists using Blender doesn’t know that they can actually create high quality presentations for architecture, by using something like a 3d game, to allow their clients to interact and walk...
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Zero4mike shares this Transformers model. Zero4Mike writes: Made and Rendered in Blender 2.59 I tried recreating Bumblebee from the Transformers movie sequel. This by far the most complex scene I...
I’ve hardly seen any Python related tutorials for Blender, and since its whole interface is defined in Python, I think as an artist this something we should all know a little bit about, or at least try. After all, is pretty easy to change the software we love the most ♥
Since is not part of an actual DVD, today I start a series of quick & 1-thing-focused tutorials, I’m calling it “Venom’s Lab! Mini”.
This morning I made the #01, inspired by this tweet, about adding a mixed option to the mesh select modes menu (Ctrl+Tab in edit mode).
This is the result:
Hope you like it!, I’m finishing the details for Venom’s Lab! 2 DVD, will be sent to print on July 2nd.
Will keep you updated!
Hugs from the Blender Institute! (surrounded by Mango guys )
Caparezza is a rap star from Italy. Fernando Luceri directed his latest videoclip and used only Blender in the process. Fernando writes: I am proud to present the latest video of the Italian Rap Star...
We are getting ready to make an announcement about a sneak peak of a FINISHED Project London! If you want to be the first to hear about it, you gotta be on our email list. You know what to do.
So I'm testing out the paint tools in Blender, and more so also the "Paint Layers" addon. So far it all seems to go fairly well, except that my laptop is screaming a bit.... I really need to get a new computer. But no budget for that right now *sob*.
But it's still a lot fun! I love learning new tools, and I can't wait to get to use them properly in production.
Our weekend cube modeling challenge was a blast! Over 35 readers accepted the challenge (use only 10 non-overlapping cubes) and readers voted for the best ones. At the time of writing, Davide Nuzzi’s ‘Lovegift’ was the winner with a total … Continue reading →
EMERYVILLE, CA – (June 14th, 2012) Pixar Animation Studios today announced that effective immediately, RenderMan for Maya is to be combined with RenderMan Studio as a single premium software solution at the new price of $1,300 including a fully functional embedded renderer. This major product consolidation sets the stage for the impending release of RenderMan Studio 4.0, which will provide Maya artists and Technical Directors with the latest tools to setup scene data, lighting, and shader assets for film-quality final rendering.
RenderMan Studio 4.0 also introduces the latest rendering technology developed for the forthcoming RenderMan Pro Server 17.0, and showcases significant advancements in ray tracing for multi-bounce global illumination and ray-traced subsurface scattering, including a system of physically plausible shaders directly integrated into Maya and the Slim shader editor. With these new features, artists can maximize today's high performance multi-core architectures to create photorealistic images with minimal setup within the user interface of Maya. The process of shading and lighting setup has also been dramatically accelerated with new lighting tools, including the robust re-rendering technology used in "Cars 2" and "Brave" as well as progressive ray-traced re-rendering for rapid look development. With additional new capabilities such as Dynamic Shader Binding, expanded RIB archiving, and a new library of RenderMan materials for Maya, RenderMan Studio 4.0 is the result of the feedback from numerous VFX productions allowing Maya artists to easily create photorealistic images at the highest levels of cinematic quality in a comprehensive solution that can be configured to accommodate any VFX pipeline.
Upgrade Availability
RenderMan Studio 4.0 is compatible with Maya 2013 and earlier versions on Microsoft Windows, Linux, and Mac OS X. Upgrade pricing from RenderMan Studio 3.0 is available and existing RenderMan for Maya customers can upgrade to RenderMan Studio 4.0 for the same price as previous RenderMan for Maya upgrades. Student pricing is also available. Further details can be found on the new RenderMan website at https://renderman.pixar.com/. For direct assistance concerning sales, maintenance, operating system compatibility, evaluation licenses, or any other questions about Pixar’s RenderMan, please contact rendermansales@pixar.com.
About Pixar Animation Studios
Pixar Animation Studios, a wholly-owned subsidiary of The Walt Disney Company, is an Academy Award®-winning film studio with world-renowned technical, creative and production capabilities in the art of computer animation. Creator of some of the most successful and beloved animated films of all time, including "Toy Story," "Monsters, Inc.," "Finding Nemo," "The Incredibles," "Ratatouille," "WALL•E," "Up" and "Toy Story 3" the Northern California studio has won 29 Academy Awards and its 12 films have grossed more than $7.2 billion at the worldwide box office to date. Pixar's next adventure, "Brave" takes aim at theaters on June 22, 2012.
In this brief post I will illustrate an important part of our pipeline: the shot creation and development. The process described happens for every shot in the movie and appears slightly simplified (footage input and simulations are not taken into account). Here we have a picture of the process, plus a few notes about how production files are organized (on which layers objects should be placed on, and some naming conventions).
Everything starts with a blendfile where the shot is tracked and solved (the track file). This file is then duplicated and used as a starting point for keying and masking (masking file) and also for the main file, where layout, simulations, effects, light and compositing will be used. As soon as the main file is created, all the required libraries are linked in from environment and charachter files, so that the tracked camera can be placed in the right place in the scene. Once that the layout is approved it is possible to proceed with basic lighting and compositing, by creating the proper renderlayer setup. If simulation or effects like gun blasts, explosions or haze are needed, they are added to the same file, but in separate scenes. This system allows us even to use both blender internal render engine and cycles at the same time!
Given the size of our team it makes sense to keep workflow steps as compact as possible, since we can cohordinate on which shot everyone is working. A separate file for animation is created only when needed and it contains mostly liked libraries or objects, such as the camera, from the main file. At the same time, the main file links in masks and actions, so that they can be used in the compositor and on rig proxies.
This system allows a good degree of freedom and flexibily and its proving itself quite reliable.
Other posts about how we deal with footage, simulations and editing will come in the future:)
Hello and welcome to this tutorial series on creating a realistic head in Blender 2.6!
This is a complete tutorial series explaining the creation of a realistic human portrait with Blender. The entire process will be covered from base mesh modeling, detail sculpting, texture painting, hair growing and styling, sub-surface scatter shading, and compositing. Some of the more time-consuming tasks will be time-lapses with commentary like modeling, sculpting, and texture painting; the other parts will be mostly real-time.
Now that we have a base mesh retopologized from our foundational sculpt, we’re setup for maximum sculpting efficiency. In Part 2 we’ll be sculpting the high-frequency detail of the human face: Wrinkles, creases, and pores. This detail will be maintained throughout the series in a multi-resolution modifier and rendered in our final still.
DISCLAIMER: We cannot redistribute the references used in this tutorial due to the license, but we can use them under Fair Use laws for educational purposes. They’re not available for commercial use, though.
Note: This series has been previously available on Kent’s Vimeo channel but he has kindly permitted us to repost them here in order to reach a greater audience. Parts 3-4 will be available on Blender Cookie very soon, while part 05 will be available exclusively on Blender Cookie.
Art DDS shares a REALLY nice ‘making of’ of their latest production, Fruitmotiv 2. I was stunned to see the amount of CG that went into this production!
The Blender Conference 2012 has been announced. You can now submit your papers! Also, you’ll get a 10% discount if you purchase your ticket before september 1st.
graphicall: RT @venomgfx: Really handy tools for Texture Painting + a "Correct UV" that seems to work wonders despite he says it doesn't :)
http://t ...
Blender 2.64 is creeping closer, and there are updates on many interesting Blender projects. Ton Roosendaal writes: Hi all, Here are the notes from today’s developer meeting in irc.freenode.net #blendercoders 1) Blender 2.64 release The “BCon 3″ (stabilize, bug fix) … Continue reading →
It’s time again to start thinking about articles, tutorials and images for Issue # 39 of Blenderart Magazine.
The theme for this issue is “Spirit of Exploration”
It’s time to blow out the cobwebs and let our inner creative genius out to play. This time around we are issuing a challenge to all of you to create something extraordinary and exciting. Use any style or theme that works for you.
Creative exploration is an exciting and useful endeavor. It gives you a chance test your limits and improve your skills and techniques.
So get to work creating your next amazing masterpiece, then write all about and share it with us.
A few ideas to get the creative energy flowing:
landscapes/terrain
characters/clothing
vehicles
weapons
everyday objects re-imagined
Articles
Send in your articles to sandra
Subject: “Article submission Issue # 39 [your article name]“
Gallery Images
As usual you can also submit your best renders based on the theme of the issue. The theme of Articles this issue is “Spirit of Exploration”. Please note if the entry does not match with the theme it will not be published.
Send in your entries for gallery to gaurav
Subject: “Gallery submission Issue # 39″
Note: Image size should be of 1024x (width) at max.
It’s time again to start thinking about articles, tutorials and images for Issue # 39 of Blenderart Magazine. The theme for this issue is “Spirit of Exploration” It’s time to blow out the cobwebs and let our inner creative genius out to play. This time around we are issuing a challenge to all of you [...]
As I said, rain makes me productive. Been doing quick doodles for a while now, it's a good way of getting ideas out. I don't think that I will ever actually finish a drawing, I just don't have that patience. So here is a quick doodle also became a 3d doodle.
As we are back on track now, I’m going to continue tradition with the weekly reports (like we did during the previous phase). At least I will try. ^__^
Just like before, we made a special list to track our progress:
Tweening and Vectorization status (17.06.2012)
In this case there are a lot more sub-procedures in our workflow and thus the notation is a bit more complex. First, I’m preparing the shot by importing keyframes, compositing them and setting up stickmans. Sometimes, depending on the situation, I’m animating stickmans right before tracing. Also I’m setting some guides to avoid the deformations during the motion like headturns.
After the shot is fully prepared, I’m putting he blue circle mark on the shot element in production list – that means that Nikolay can start vectorization. Sometimes I’m doing vectorization too, but at the moment the most of this work is done by Nikolay. If the shot wasn’t animated by me, then Nikolay does the animation right after vectorization. When vectorization is done, the shot is marked with one red line – that means it’s pending for my review. At review stage I’m composing the shot elements all together and looking for the inconsistencies. If the shot passed the review then the second red line mark is put on the shot element in production list.
This is just a basic schema which have a lot of variations. Sometimes one of us does the basic vectorization, then other makes rough stickman animation, then again the first one takes it to close all seams between stickman’s parts, and finally there’s last pass when we add secondary movements (for hairs, cloth, etc.). So the shot can be bounced back and forth a few times before it gets accepted.
By Lucas Falcao. Lucas writes: This is an old model/work I started sometime ago, but only now I managed to finish it. And it was a challenge to me do this work, a lot of complex things, fur and grass, … Continue reading →
This tutorial series explains my method for creating a realistic human bust with Blender. Part 1 covers base mesh creation from a foundational sculpt followed by a retopology. The series is intended for intermediate to advanced Blender users. Hope it's enjoyable and helpful!
Hello and welcome to this Citizen Exclusive tutorial series on modeling a small hippo in Blender 2.6!
This Blender tutorial series for our Citizen Members, by Jonathan Williamson takes you through the process of creating a cute little hippo character from scratch. The model is based on an original concept art by Tim Von Rueden.
What you’ll learn:
Through this series for Blender 2.6 you will learn how to create a clean, optimized basemesh for sculpting and you will learn how to add in all the details with sculpting on the basemesh. You will learn how to retopologize the sculpted model to create a clean, animation-friendly model with good topology by making extensive use of the BSurfaces add-on. Finally, you will learn how to quickly unwrap the UVs for the retopologized model and how to bake out a normal map of all the high-resolution details on the sculpted model.
Here’s my random pick of this week’s weekly presentation. Good progress, we’re having our first shots final… but oh dear, so many details to solve yet! :)
By Damien Monteillard. Damien writes: I have modeled and rendered this sort of spider. Modeling/Rendering/Compositing : Blender internal 2.63 Texturing : Gimp 2.8 Link Damien’s website
What did you do this week? More of my time got eaten up this week than I had expected. As a result, I wasn’t able to get a large enough chunk of time to dig into the converter code. However, with what bits of time I did have, I continued to poke around in the [...]
Blender artist Olivier Boscournu compares the three most popular renderers for Blender. Olivier writes: Blender is a free 3D software package and is ideal for small studios or freelance CG artists who need to provide cost-effective and quality 3D renders. … Continue reading →
One of the most brilliant challenges in the Blender community ever was the Cube modeling challenge: take 10 (or less) cuboids and model something. Tonight (or the rest of the weekend), we’re going to re-do this one. Read the full … Continue reading →
Como nos pidieron por ahí un making Of de "Sculpey Dance" acá juntamos algunos materiales que teníamos del proceso. Este video nació por probar cosas que nunca habíamos hecho, como... animar algo bailando, después de ver referencias de baile y terminar el rigging, estaba animando y encontramos una bolsa con sculpey que tenía guardada hace años y se nos ocurrió jugar con nuestra cámara de fotos (canon t2i) hicimos un video y con unas fotos generamos el HDRI del ambiente, que finalmente no usamos y lo iluminamos a mano ya que era menos tiempo de render y un resultado muy similar.
Breakdown tiempos producción: "Sculpey Dance" Modelado: Lucas Marquez 1 día, Maya Sculpting: Jose Tomas 1 día, Mudbox Video Tracking: Luciano Muñoz 1 día, Blender Animación: Lucas Marquez 5 días, Maya Iluminación y Render: Estudio Pintamonos, 2 días, Maya Compositing: Luciano Muñoz 1 día, After Música: Por ahora está hecho en torno al tema Bangarang de Skrillex pero se está produciendo una pista de audio propia para la animación.
En total fueron 2 semanas de disfrutar mucho haciendo este proyecto por lo que estamos muy agradecidos de la recepción que tubo, ya estamos trabajando en nuevos proyectos y próximamente estaremos compartiéndolos.
This is an experimental project made in blender, the idea behind is was to give the impression of a city that would turn into Estudio Pintamonos's logo, one of the main targets of this was learning blender so all of it was done in blender but the text animation at the end.
It was really great to do it this way because once i had each scene created (in the same file) we edited them in the same file aswel, and then just hit render and the whole piece was outputted as one sequence wich saves a lot of hard drive space on renders and editing / compositing time.
Really a fun project, it took us about 3 days to complete from start to finish.
The “Lunatica” project offers some interesting internship positions for Blender artists. Terry Hancock writes: We are now actively looking for collaborators to work with us on model...
Yay! It's Friday again, and time for some entertainment...
Colin Levy (director of Sintel) has just released has latest film (titled "The Secret Number") online. Impressive work Colin, your work keeps getting better and better! Loved all aspects of this, in particular, the overall look and feel, and Jan Morgenstern's epic score.
It’s time for some updates on the awesome MakeHuman project! Costumes First of all apart from general cloth library you can now group them to make costumes. It is now possible to group clothes together into costumes that are loaded … Continue reading →
By wuka. wuka writes: Hi, this this my first serious project with Blender and Cycles. I got inspired by the watch from Tag Heuer (Calibre model). It took about a week to model. Link BlenderArtists Thread
On the eve of Supanova 2012, I’ve prepared posters, stickers, dvds with tutorials from this site (along with working files) and all my stuff has arrived. I’m ready to hit the ground running, and I’m pumped. I’ll be tabling with a friend of mine who’s helped me in the past with Greek spelling for Pandeia, and historical facts. He’s tabling his own first effort along side me this year. It’s called Morlokand it’s premise (which I can’t reveal) will appeal to folks who like historical dramas, but with murder, intrigue, supernatural elements, and sinister plots.
I’ve been working, which means that morning commutes have afforded me the time to do a little sketching. I’ve had a hard time over the past few weeks, but I’ve finally struck upon a couple of ideas which look promising. Here is a design for MasonCorp tower:
It’s art-deco inspired, but there are elements of Doug Chiang’s Coruscant city-scapes, some Cyan designs, and a whole heap of sparks of inspirations from shapes I’ve been messing about with.
Once my unbuntu box is back online, I’ll be taking the designs I’m producing, and modelling these new sets.
Marketing and distribution is something I’ve been concentrating on, and I’ve come across some really interesting avenues. Are you interested in getting your novel or book out to the Kindle, Apple iBooks and a bunch of other popular eStores? Check out Smashwords. You sign up for free; submit your formatted book, and let them distribute it for a 15% cut. When compared to Lulu, or createspace, this is perhaps the most affordable deal out there. The caveat is that you need to send them a .doc file. I’m seeking a way to get a fixed-layout, full-page comic to look good in this format, but apparently there is a way, because people are doing it.
Big shout-out to Sandra Gilbert for suggesting this platform.
Animation Mentor is hosting a seminar called ‘Breaking Down the Animated Shot: Live & Uncut’ on June 30th in Berkeley, California. It features animators from studios such as Pixar, DreamWorks, and Tippett, who will break down shots from their animated … Continue reading →
As an architect that works mostly with visualization of projects and who teaches, and started to get involved with computer graphics since the first year of college back on the mid 90’s, I must say that I have choose the right path. The architectural visualization industry is a big part...
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The popular rig from the 11 second club has been ported to Blender. thedaemon writes: Pascal, known as Kiopaa has ported the 11 second club rig to Blender. This is a amazing rig that has been mainly available to Maya … Continue reading →
With the release of B-Mesh with Blender 2.63 a lot of old Add-ons needed to be updated in order to work with new mesh system. Fortunately some really useful add-ons that are not updated on a regular basis still work with B-Mesh really well. One of my favorite add-ons for...
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By Magnush. Magnush writes: Well… Its a ball bearing. Not much to say except that I like them (but I don’t like replacing them) and now with Cycles I thought that I try to make one as photo real I … Continue reading →
Here’s a nice textures library, all open content. There’s a lot of game-related content there, but also some generic stuff. ctdabomb writes: OpenGameArt.org has recently added a textures section sort of like cgtextures.com, except these are freely licensed(cc, GPL, etc…) … Continue reading →
From time to time I go to re-visit some projects I keep track of. This week I resumed working in a BGE (Blender Game Engine) project and decided to test if the file would work online. How so? Burster is a webplugin for the BGE that allows you to embed (and even secure) your .blend files in a website.
Burster got some really good upgrades lately, and not it works as a plugin is expected to (it tells the user a new version is online, suggest it to update, …). So what you see next is a screencapture of the Nereus Program (the project I’m working on, aka my day job) website.
BGE embed in a webpage, cool
Where you see this Baltic Visualization box, it’s a BGE application running. Cool, right? Before someone ask if this is all realtime let me explain. This is a fancy videoplayer made in the BGE to play videos (also made with Blender, but not necessarily). It’s all about point-click, animate, sync videos, … Next you can see the same file running in the BGE with Physics debug on.
Physics Visualization on
In order to have this going I had to:
pack all the textures in the file
open all the external scripts (originally in //scripts/) in the Blender Text Editor
remove all the ‘from . import’ from my scripts (the modules were calling each other)
fix all the python module controllers:
import bpy for obj in bpy.data.objects: for cont in obj.game.controllers: if cont.type=='PYTHON'and cont.mode=='MODULE':
cont.module= cont.module.replace('script.','')
Note: not all modules/python functions are supported. Read the are Security page in the Burster plugin site.
And I did all my tests locally. Mainly because I had to hardcode the address of the videos in my harddrive. I believe it may be (or it will at some point) possible to load videos from the server. I’m yet to find the right solution for this.
For questions on Burster please refer to their website
I don't update this blog as much as I hoped I would do. But I guess it's natural when you have a lot of things to do.
So I though I'll give you all (those few random readers) a glimpse of what I'm doing at the moment.
I'm pretty deep into working with particles at the moment. And it's quite fun, though the comments from the clients can be a bit abstract, but then so is also the effect that I'm doing. I will try and do my best to show a bit of a breakdown when the project is finished and when we are allowed to show it. Softimage has been good to me, it would have been almost impossible to do all these shots in Maya. It could have been done, but not at the same speed as when I'm doing now. It's also thanks to Eric Mootz for his wonderful little RPC plugin. I've also used the emFluid plugin for some shots, but mostly I've built my own little particle compounds and use the render plugin.
But that's what I'm doing in my "day job". For those who know me you know that I really like Blender a lot. So I have been investing quite some time to learn the basics of the program in all aspects. The only thing I haven't dived into yet is scripting in Blender. I hope the can get Cycles (the new render engine) to me a bit more complete. It's still missing a few things, and a few shaders. But it looks like it's going to be a nice little engine. I'm quite impressed with how far they have come in such a short amount of time.
Included a little screen shot of a character that I'm use for practice.
I hope to have more and better updates in the future
Un ejercicio de animación e integración realizado en Estudio Pintamonos, aun quedan algunos retoques por hacer pero queríamos compartirlo. Música por Skrillex "Bangarang"
By Daniel Kreuter (Yep, it’s Daniel Kreuter Day today!) Daniel writes: Be careful! He might find you… and if he does he’ll kill you. Rendered in Cycles. To see more of my work click here. Link BlenderArtists Thread (Hi-res version … Continue reading →
Hello and welcome to this tutorial series on creating a realistic head in Blender 2.6!
This is a complete tutorial series explaining the creation of a realistic human portrait with Blender. The entire process will be covered from base mesh modeling, detail sculpting, texture painting, hair growing and styling, sub-surface scatter shading, and compositing. Some of the more time-consuming tasks will be time-lapses with commentary like modeling, sculpting, and texture painting; the other parts will be mostly real-time.
The first part of this Blender tutorial series explains a more artistic approach to generating a base mesh for the head instead of traditional box modeling techniques. This technique is a hybrid method incorporating both modeling and sculpting. We will start by sculpting the basic forms and volumes, then retopologizing a usable facial topology that will serve as an excellent base for sculpting our high-frequency detail.
DISCLAIMER: We cannot redistribute the references used in this tutorial due to the license, but we can use them under Fair Use laws for educational purposes. They’re not available for commercial use, though.
Note: This series has been previously available on Kent’s Vimeo channel but he has kindly permitted us to repost them here in order to reach a greater audience. Parts 2-4 will be available on Blender Cookie very soon, while part 05 will be available exclusively on Blender Cookie.
Yesterday I spent the afternoon seeing if i could get some facegrabbing done (as seen in the screengrab from yesterday).
It involved my first try at tracking for the hand which gave me a placement for the robohand and my first try at masking with parenting mask point to tracking markers (very useful for when he talks). Then with a nice backplate and alot of scrubbing, i hand animated the hand and fingers to match the hand and fingers of our lovely actress.
I let it render overnight but it didnt bring the background with it, so i set it to go locally this morning (with v.low samples so it would be quick) to get something to show.
Looking like i’ll need to animate the back finger, but overall its looking promising**!
**i did nothing for lights and comp work (save layering), its all about the movement!
Here’s another video by Daniel Kreuter, this time explaining the basics of UV Mapping in Blender. Daniel writes: This is the 8th part of the tutorial series about important tools and features in Blender. I hope you’ll enjoy it just … Continue reading →
A full-day workshop in Brussels, Belgium on July 9th. Stephane Huart writes: July 9th – 13th, a 30 hours Blender workshop will be housed by the Polytechnic School of Brussels, ULB. While the workshop is geared towards architects and students … Continue reading →
Another tutorial about how to create trees with Blender, but this time Blender is used only for the rendering part of the tutorial. In a really nice video an artist called Thomas Schlögl shows us how to use the free tool Arbaro to generate the 3d mesh for the tree....
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By Zagupi. Zagupi writes: Here’s an image I’ve been working for a couple of days. It’s done with the internal renderer. Lots and lots of transparent weed particles..result in many hours of render time :S Fog, color stuffs etc done in … Continue reading →
Just a short test animation we made in order to test our animation rig for the upcoming 'The Den'. However, due to the length of its production, we thought we'd make this one into something we can release, so its all worthwhile.
Blender’s smoke simulator currently uses a fixed ‘domain’ – the volume in which all smoke simulation takes place. You can often spot this when smoke seems to hit an invisible boundary. Miikah is currently working on replacing the fixed volume … Continue reading →
Last week we’ve captured for everyone in the studio for a whole week every minute a screenshot! That’s going to be a great video! Needs time to process, so it’ll be published later (or as DVD extra ;)
Just for fun, here’s the capture of today 18.00. From left to right, top to bottom: Sebastian, Jeremy, Campbell, Ian, Andy, Roman, Francesco and Kjartan.
By Masterxeon1001. Masterxeon1001 writes: This is a file of my first attempt at building unique assets them combining them to form a scene quickly and effectively. This is also part of an upcoming video about texture painting environments. Layer 2 … Continue reading →
Today I will demonstrate what we do when something goes wrong or has to be fixed inside a blendfile! Recently we changed the way the armguns file works in order to make it more efficient (long story short: there used to be multiple proxies referring to multiple armatures, which were automatically generated with a script, and now the armature is the same and it is shared by the proxies).
How do we tell Blender that all the armatures have to be renamed to match a single one? Simple, we open up any hex-editor (such as bless) and look for the text to replace – in our case any ARrig_armgun* will become ARrig_armgun. Some attention must be payed in order to keep the file length consistent so that the file is not corrupted. This can be done by inserting empty spaces in substitution of the erased chars.
Modeling, Texturing and Lighting: Julio Cezar Pires Animation and Post-Production: Lotus 3D Studio (Gustavo Fernandez) Watch in HD on Vimeo.com to see all the details.
Back in April all projects selected to be part of the Google Summer of Code 2012 were announced, and the Blender Foundation got sixteen projects approved! How many of those projects could directly change the way we work with architectural visualization? Well, my pick would be the projects dealing with...
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Inspired by the play 'Prometheus Unbound' by Percy Bysshe Shelley. This is our first attempt at applying digital facial performance capture in a full-length feature animation project. Our goal with this video was to try and capture human emotion as accurately as possible using only two webcams and MYCAP Studio 2012 Pro.
Motion Capture -------------------- Software: MYCAP Studio 2012 Pro Cameras: 2xLogitech Webcam Pro 9000 Markers: white stickers with center cross Lighting: sunlight
Rendering -------------- Software: Blender Cycles Hardware: Core i5 2500, 8GB, Geforce GTX560 Ti Total render time: 50 hours (CUDA)
On-line 3D model viewer Sketchfab has made it easier to upload Blender projects by providing a Blender add-on. With this add-on (by Bart Crouch) you can upload your file from within Blender. Sweet coding! Sketchfab writes: Big news for our … Continue reading →
Blender is now in BCon3 and a demo of Blender on Android is now available! Ton Roosendaal writes: Hi all, Here’s the notes of today’s meeting in irc.freenode.net, #blendercoders: 1) Blender 2.64 release Meeting decided to move to BCon3 (fixing-only … Continue reading →
During the last week, the mhx rig has undergone a radical change under the hood. The philosophy of deformations has changed.
Previously good deformation was achieved using bones to simulate muscles. This gave decent results, and had the great advantage that it works out of the box for characters of all sizes. Unfortunately, there is an inherent limit to the deformation quality that can be done with this method. In particular, I never managed to make the deltoid bone move the way I wanted.
Kali ini Neli membuat janji untuk bertemu sesorang lewat dunia maya, dan ternyata Neli menjadi korban kejahatan di dunia maya. Saksikan episode menarik lainnya haya di Super Neli. Subscribe youtubenya dan follow twitternya di @Super_Neli
By Jürgen and Martin Stern. Jürgen and Martin write: We wanted to do a video clip for a befriended band. Though we knew we wanted to create a 2D animation that resembles a shadow play, we had no clue...
After fighting with this for a few days over the weekend, I've finally restored Grease Pencil support for the Sequencer (to be specific, the image/preview region of the Sequencer).
While I was at it, I've also added back the eraser circle indicator, and hooked up some hotkeys (Numpad +/- and Scrollwheel Up/Down) to make it easier to use it. So, no more guesswork about what the eraser might erase (and/or what it won't).
We was so excited by our stickman merge tool, that we decided to integrate this feature directly into Synfig Studio. As result, we have made some trivial plugin system that allows to run python scripts for current document right from Synfig menu. Very simple, but hey! – it’s effective.
Here’s some explanation video:
People often write some scripts to make useful things on Synfig (sif) files. The most of these scripts are written in python. But for ordinary users running custom scripts from terminal is tricky. With plugins feature users can install scripts as easy as they copy files and transparently run them in the same way as they use standard Synfig Studio commands. Also, runing scripts from menu is much faster, than from terminal and it greatly improves the workflow for advanced users. Having this feature allows to easily add simple functions to Synfig Studio by writting scripts in python. Also, maybe the popular scripts could be used by developers as prototypes for functions to be implemented natively.
Synfig Studio builds with plugins support can be found our software page. For more information and source code please refer to this pull request page.
By Gaël Elégoët. Gaël writes: Until very recently unknown was this Luftwaffe ace, said to have scored even more kills than the famous Erich Hartmann. Kept secret because the Luftwaffe considered him like a kind « V-Waffe » wonder weapon … Continue reading →
Hello and welcome to this tutorial series on how to animate a book with flipping pages in Blender 2.6!
In this advanced tutorial by Stanislas Paillereau you will learn how to create a detailed animation of a book with turning pages. This tutorial uses simple methods that allow you to easily add as many pages as you would like, while also being easy to control and modify.
What you’ll learn :
Part 3 of this series covers modeling and rigging the mass of pages for the book. Using curved bones and drivers, the rig will allow us to give a realistic shape to the stack of pages and also to control its thickness on each side of the book.
Finally, we will learn how to apply bone shapes to the controllers for an easy manipulation of the rig.
Depuis quelques années, le monde du logiciel libre commence à sortir de son ghetto et accouche de véritables stars qui font références dans leur catégorie. Le monde de la 3D doit à présent compter sur Blender autant que sur ses homologues commerciaux, Open Office / Libre Office se présente comme une véritable alternative à Microsoft Office, Ardour s'impose de plus en plus à dans le monde de création musicale sur Linux, etc etc ...
Pour ce qui est de la création 2D, beaucoup de gens ont connaissance du logiciel The Gimp, qu'on présente souvent un peu vite comme une alternative à Photoshop. Même si la version 2.8 annonce l'arrivée de fonctions attendues depuis longtemps, les deux logiciels divergent dans leurs façons de fonctionner. Cela ne rends pas l'un moins puissant que l'autre, mais demande simplement à ce que l'utilisateur s'adapte à la philosophie de chacun de ces logiciels. Mais The Gimp n'est pas le seul logiciel à tirer son épingle du jeu, parmi la multitude de logiciels dédiés au dessin ou à la retouche photo dans le monde du libre.
Bien que l'ensemble de ces logiciels alternatifs viennent généralement du monde Gnu/Linux, leur portage sous Windows est un point primordiale dans leur adoption par le grand public. Car, que l'on soit pro Linux ou non, il faut bien reconnaître que pour l'instant 90% des machines du monde entier tournent sous Windows.
De part mon activité professionnelle, je travaille depuis maintenant plus de 15 ans sur Photoshop, mais ma curiosité et surtout l'envie de se dire qu'on peut toujours faire autrement me pousse de temps à autre à tester ces logiciels hors-norme de par leur mode de développement et dont les fonctionnalités ne cessent de m'impressionner.
Après avoir passé pas mal de temps sur MyPaint, disponible pour Linux, Windows et Mac, je suis parti à la conquête de Krita après avoir discuté de celui-ci avec David Revoy lors d'une conférence commune que nous avons donné à Toulouse en Novembre 2011. Ses critiques dithyrambiques concernant la version 2.4 alors en développement m'ont poussé à rapidement y jeter un œil ... c'est dire en descendant de l'avion. :o)
La grande nouvelle concernant cette version est qu'elle inaugure le portage sur Windows de Krita. Celle-ci est encore en version Alpha et souffre de quelques bugs de jeunesse qui seront à mon avis vite résolus. J'ai donc passé quelques heures à produire quelques dessins avec cette version, dont certains ornent cette article. Je tiens à préciser que je ne me défini clairement pas comme un dessinateur. Si vous voulez voir un vrai dessinateur qui utilise Krita et MyPaint, alors allez faire sur le site de David Revoy. Lui, il dessine ... moi je considère seulement que je gribouille. J'utilise simplement le dessin pour définir des concepts avant de me lancer dans leur modélisation, ce qui me permet de gagner du temps. Même si j'essaye de m'améliorer dans ce domaine en grattant de temps à autre ma Wacom Intuos 4 L, je suis encore loin derrière les vrais pros du genre comme David.
Parmi les bugs que j'ai pu rencontrer, on peut noter :
Quelques ralentissements de temps à autres, notamment lors des déplacements du canevas
Le réglage de la taille de la brush qui se bloque parfois via la pression de la touche Maj.
Le nom du calque actuellement sélectionné qui disparaît quand on clique dessus
A tout ceux qui aurait leur tablette graphique qui démange, je vous conseille donc de vous précipiter sur cette version dont le mode symétrique et multi-symétrique est un vrai bonheur, dont le nombre de brushes est vraiment appréciable et dont la communauté est vraiment dynamique. La version 2.5 est en cours de développement et David est fortement impliqué dans son évolution ... ce qui est de bonne augure !
Pour entrer dans le monde Krita par la grande porte et découvrir ce formidable logiciel, c'est par ici :
Today I tried out the super nice Sublime Text editor for writing Renderman shaders, and liked it enough to buy a license immediately. Looks like it’s made here in Sydney too!
To improve the workflow a bit, I made a little language pack for Renderman SL. It includes a syntax package for highlighting, which mostly inherits the C syntax, but adds a few extras for SL data types (eg. color, vector) and some global shader variables. It also contains a ‘build system’ for shaderdl, 3Delight’s shader compiler, which lets you compile a shader quickly with a hotkey. It should be very easy to copy that for other renderers/compilers too. It’s all pretty basic, but does enough for my needs.
This is a homage to all the 8Bit chiptunes out there The visuals are generated using blender the sounds have been generated using a C64-Emulator and a basic script
By Seliverstoff. Seliverstoff writes: Promotional video for the show helicopter “Helirussia 2012″. Clip created by studio Seliverstoff. Made in Blender and render Cycles. The environment was created with Vue 10 xStream.
CG Masters writes: “Ever wondered how to get the glowing edge effect for cartoon renders? It’s called falloff, and here’s how it works in Blender 2.6.” Link Falloff
The previous blog posts already show our weekly progress well, so here’s some additions to this – like an evidence we have a full shotlist now!
This weekly I spoiled the fun a bit by ringing the alarm bells; if we want 9 minutes of film to be done in 10 weeks, we need to start delivering finals now… and not only a few shots, but more like 10-15 shots per week, 50 seconds every week! The two main bottlenecks to overcome urgently;
- Mastering Cycles renders for big environments (too slow, needs optimizing or baking or just use more background mattes & compo trix)
- Cleaning footage (chroma key, mask out issues)
We’re already putting the brains of several developers together on better keying algorithms. If you like to check on the issue, get the footage from the post below, and check on the blurred stuff especially (like from hair of people in back). How to get this keyed best? Or is just good old handwork with feather maskes and painting skills?
Examples of – quite good already – results from Sergey you can find as the bottom two pictures in the gallery above. Sergey continues working on it, especially to explore ways to smoothen edges in keymattes with keeping good alpha-over properties. I think we need simply something like a “blur inside” node… we’ll see!
A video of the he European Extremely Large Telescope (“e-elt”) project by Marco Dima. Marco writes: Hi everyone, this is one of my first tests with Blender motion tracking… Actually i’m working at INAF-Padova (Italy) and i’m a member of … Continue reading →
By Paola. Paola writes: Demo Reel in wich i use blender with bsurfaces, the interesting thing inside this video is that the woman is my face, and is made it with the add on of blender bsurfaces. The main idea … Continue reading →
What did you do this week? Well, I did some bug fixing, but I didn’t get any of the animation ones solved this week. When doing some debugging I stumbled across some heap corruption issues due to SDNA issues with the Blenderplayer. That has now been fixed, but it took some time to track down. [...]
It’s been a while since our last Friday Hangout, so: how’ve you been? Did you finish another Blender project, do a tutorial, did some crazy coding? Me, I went to a Blender workshop in...
The biggest focus this week was trying to get the shootout scene in the scientist’s tunnel completed. As with everything, it was a crazy balancing act of figuring out the right ratios of feasible render times to sample rates to noise reduction.
Just figuring out how to light realistically in cycles has been one of the biggest challenges. Cycles is incredible for smaller stuff, but once you get up into massively complex environments, it starts to slow way down, and you have to start throwing more and more cheats in there to make things really work. We know what we’re going for, but sometimes it’s a bit like learning a new language to figure out how to make the tools do what we want.
That said, we must be learning or something, because everything is looking better and better.
The big unknown right now is trying to guess how much of the time we’re spending is due to learning/inventing the workflow, and how much of it is indicative of how long it actually takes to finish a shot (in which case, we’re doomed!) The scene we’re working on now is taking 2-3 times longer than we’d originally set aside for it- but it’s also one of the most complex scenes.
The scene is the one where the scientists have to take up arms and defend the bottleneck between the old church and the dome.
1.) The Arminator
(this is from 2-3 weeks ago, and not indicative of any of the recent stuff- but it’s all I got on hand!)
The scene starts with the scientists putting their arms into the ‘arminators’ (we never say this word in the film :P). The shot has been tracked, the arminator built and rigged, the animation matched to the scientist’s movement, the guns tracked onto them, and a dozen other things.
Roman has spent a couple days working on this shot alone, extracting a perfect key and working with the new masking tools.
Kjartan added some liquid nitrogen steamstuff coming out of the holes (man, it’s a sci-fi. you gotta have liquid nitrogen when people pull canisters out of canister holder devices).
2.) The “Horrors of War”
(as with everything else, still WIP. And oh my goodness yes we know there is sun on them and not on the tunnel)
The gratuitous slowmo shot. Dan pulls the gun out and stares at his hand as the gun unfolds from a compact bundle into the final expanded weapon as he nervously walks from the arminator to the makeshift barrier. This one is a doozy- Sebastian had to track both the background (which is barely visible/out of focus), and 3 unique guns. Even after it was tracked, Francesco had to go in and hand tweak all the different axis for the main gun, since the tracking device had some high-frequency wiggle (due to the lack of mass).
The main point of the shot is that the scientists are out of their element, having to put on these absurd weapons to face off against absurd robots, so making the gun as overbearing a presence in the shot as possible was important. It expands outwards over the course of the shot, and at the end he’s holding it right in front of the camera, almost blocking everything.
A few weeks ago I modeled a new scientist gun specifically to cover as many tracking markers as possible. The tracking devices all had balls that extended pretty far away from the actors hands, and obscured faces and such, and to avoid having to painstakingly paint out all the balls (a bit will still be necessary), this gun unfolds to have extended pieces that will occlude the trackers. Here it is unfolding (although probably 8 times faster than it will in the film).
Kjartan did some great shader work, and I went in and tweaked some of the colors and added decals. I think it’s a good looking gun! This is exactly the type of thing cycles is great at rendering.
Additional complications to the shot:
The white costumes! This means greenspill, though not as much as you might think, since the lighting folks were super great about avoiding it. The real problem is just the fact that the costumes are bright and clean and white, whereas the backgrounds are all dark and dirty, so no matter what we do the costumes have a tendency to look pasted on. I suspect once we start keying/compositing the other actors, with tonal ranges more similar to the background, we’ll find it a lot easier.
The tracking rigs! This is a handheld shallow DOF shot in front of a void of green- how do you track that? By putting lots of keying markers in there! Sebastian put several tracking stands and ladders in the background so we could get a good track, but now we gotta take em back out! These masking tools are gonna get a workout. Roman’s been doing super amazing cleaning up shots, but he’s going to need some serious help if we keep going at this rate.
The characters are walking into sunlight that doesn’t totally match what would actually happen in the tunnel, and it’s a bit tricky to reconcile. It’s also super yellow, which will work perfectly for the final grade, but in the meantime means we’re having to make pictures that feel a bit too yellow for their own good.
3.) Onward comes the horde!
Mmm. You can almost smell the hairspray. Obviously we’ll need to tweak some junk with compositing and all that (once we figure out colorspace and the like), but I totally dig this! Nice and kinetic.
We wanted to have the gun fire something that wasn’t a bullet, and wasn’t a laser. Kjartan put together a great proof of concept a week ago showing a cool compromise. This quick electrical cloud.
Unfortunately, when we put it into context in the scene, we realized it didn’t scale quite as well as we’d like when the distance was more than a few meters, both because it was so heavily simulation based, and because it just plain looked a bit weird (giant electro-cloud for a few frames = awesome. giant electro-cloud flying across a room = a bit wonky). We rethought it a bit and were able to keep all the same elements, but made it a bit smaller/faster, like an electric potato gun.
And what are the scientists shooting at? These guys! These are the robots made by Kjartan and Jeremy a few months ago- we’re finally putting them to use! Jeremy animated a half dozen of em approaching the scientists. I love it- it’s like a tower defense game. You can really feel how the robots are approaching faster than they can be shot down. Now we just have to make sure the timing of the robodeaths and the electropotatos match up nice.
And there’s another view. I set up a camera to render an alternate view of the scene for cut-away options. Once we have the lighting/texturing finalized, if we ever have a night where the render farm isn’t busy, I’ll throw it up to give us a few more options (stuff like these are freebies! A couple seconds setting up a camera, a night of rendering, and BAM! More robot action shots.
So all in all, things are going well. TONS of experimenting. Days can go by of just troubleshooting why things aren’t working the way they should. Everything is taking a bit longer than expected- but we’re still starting out, and for the first time I’m really starting to see stuff that show the promise of the final :D.
By Tom Walks. Tom writes: I had a recall of Nine Inch Nails – “Only” videoclip. I had to try that. Music : Jimmy Hendrix – Fire. All done in Blender. 2.63, internal render....
By Beau Dreier Gligoor. Beau writes: Hi everyone, This scene contains a Swatch watch, which I updated for Cycles, since it was made almost 2 years ago. After that I made an animation which was a fan...
A collection of techno/sci-fi mechanical parts by kuhn0362. kuhn0362 writes: A large collection of Mechanical / Electrical / Tech parts. I’ve been modeling Sci Fi vehicles for about a year now, and...
I recorded this the day before the transit of Venus. I am happy to say I got more than just a window in the clouds to shoot some photos.
Some highlights:
I’m also neck deep in trying to design this city and logo for MasonCorp which is proving a real task! Here are some of the logo designs so far:
As you can see, there’s a lot of variety. There are specific things I want it to say, such as:
Geothermal
Worldwide
Power
Mining
Prestige
The logo has to be imagined on a shirt label, a badge, a building, letterheads – that sort of thing. I’ve warmed to the art-deco idea, and I’m looking at a lot of images via google of arabic and art-deco buildings, designs, etc. Unfortunately, I have little time to request permission from all the image owners to post them here. As sketches get finished up, I’ll be posting to the pandeia facebook page.
Anyways, I really want to post this, so please listen, enjoy, and as always: feedback welcome!
A bit over one year ago, Cycles was announced and it changed a lot. Basically Cycles was the feature after the Blender 2.5x project itself, a feature a lot of people waited for. The Internal Engine showed it’s age and limitations, and although (I don’t deny that) the Internal is capable of creating amazing art, it’s code base made it very difficult to extend the engine with more recent technology. Today I want to take you on a tour through the history of Cycles.
Sportscar by Jonathan Williamson, rendered in Cycles
2010
Brecht van Lommel, the main developer and creator of Cycles began work on Cycles at the end of 2010. That’s what he said at the Blender conference and also on the web if I remember correct. While working on the Open Shading Language (OSL) backend the last couple of days I found some interesting mails on the OSL mailing list, which indicate that Brecht already made himself familiar with OSL in 2010. At the time he worked on the render25 branch for the Sintel project, he already had a look at OSL. Just search the mailing list and you will find some interesting infos: OSL mailing list.
2011
April 2011
Anyway, Cycles was made public on the 23rd April 2011 at the code.blender.org blog, and it started a wave of amazement in no time. A complete new render engine for Blender, fast, interactive, with Global Illumination and working on CPU or GPU. I have to say that sometimes it’s good not to know everything from the first line of code and rather see a working result, coming out of nowhere. This way the surprise is even bigger.
Even at that early stage, many people tried out the engine and posted tests and discussed it a lot. (Those two threads are still very alive, worth checking out)
May 2011
One of the reasons for this release date was to present Cycles at the FMX conference in Stuttgart, where the Blender Foundation had a booth. You can find information about that here on my blog. The feedback we got there also clearly showed the need for a new render engine and the excitement.
Ton, demoing the new Cycles Render engine
June-September 2011
The following months have been used to stabilize Cycles, improve the Render API of Blender, work on the Texture and Shading workflow in Blender and add new shader nodes and more features to the engine. If I would name all the changes…well it could take days! If you are curious check out the svn history of the Cycles branch.
October 2011
The 10th Blender conference was held in Amsterdam and Brecht did a great presentation about the Cycles engine there: Youtube
Brecht, talking about Cycles
November 2011
Time to say hello to Cycles in Blender trunk! Cycles was merged to trunk on the 8th of November. Congratulations!
December 2011
Blender 2.61 has been released on the 14th December 2011, the first official release which included the Cycles render engine!
2012
This is the year where things really became crazy, the amount of new features which are being integrated each release is amazing!
January 2012
Brecht released a Cycles roadmap so we got a plan what will be added over the next months.
For me it was also a interesting month, I had my first real contribution to Cycles, I added a Checker texture node.
February 2012
Blender 2.62 was released on the 16th February 2012 and came with a lot of new features, multi GPU rendering, Render layer & passes, multiple importance sampling, a bvh cache and more…
19 Billions of Polygons, by Agustin Benavidez, rendered in Cycles
April 2012
Blender 2.63 was released with another huge batch of new Cycles features…
May 2012
Brecht summed up the current status of Cycles again, and this time it’s really an impressive list!
June 2012
It will be interesting to see how Cycles will evolve, if I look at the (work in progress) list of features that are already in Trunk and will be in the official 2.64 release soon I am not sure where to start here as well.
The most exciting additions that are still to come? For me definitely performance improvements and volumetric rendering. Also OSL support will have a huge impact on Blender and Cycles!
The power of Open Source
At the end of this article I want to say thank you to all the Cycles developers, mainly Brecht van Lommel (Cycles main developer), Dalai Felinto (several Nodes, Fish eye camera) and Mike Farnsworth (Multiple Importance Sampling, Float texture support…). Also huge thanks to all patch submitters, you helped shaping Cycles as well!
What is YOUR opinion on that? Did I miss anything? Wat was important for you in Cycles development, where do you see Cycles heading? Comment below.
My first week was focused on getting familiar with the production pipeline and structure. I also worked on lighting the amazing dome environment. Starting out a bit slow at first, thanks to a few great additions to Cycles by Brecht things were picking up speed! Spot lights were added to Cycles: and thanks to border rendering in Camera View we can now quickly render portions of our viewport at a higher sample rate.
Further, I started working on the holographic bubble of science-ness:
it’s a fairly straight forward setup using animated materials and modifiers to distort a wireframe sphere. the final test render uses 3 render layers:
graphicall: RT @evilredpenguin: Haven't been using Blender for a while. Just got one of the latest builds from @graphicall. Last additions to the so ...
One of the easiest ways to get nice reflections on any surface, besides turning on the mirror/ray trace property of the material, is with the use an environment surrounding the object. This way we will actually have something to be reflected. For a studio scene this can be solved with...
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Here’s how you could be playing games in real time in the near future: using a Final Fantasy demo as a showcase, Square Enix has revealed at E3 its Luminous Engine, which it describes as being...
Hi all , long time, i have been watching these vids around about bmesh, but all focus on n-gons, and not much else
Yes n-gons are cool and definatly needed and provide alot, but thats not the point as i have said time and time again, well now im going to show you
In this latest vid i will show you whats so great about bmesh, about connectivity, data interpolation, python access and python operators, the mesh structure and real world advantages
Now instead of little vids i have made 1 large one ~48mins, i have done this because all of this needs to be taken in as a whole, not skip in and out saying i know that and thats boring, but to truly get bmesh you must swallow the whole pill
Create this scene with cloth and a wind force field. .Blend files are included. dimitrisc writes: We’ll use Blender’s cloth simulation and some (actually some pretty strong) wind force...
(click to enlarge)
"Some people come into our lives and quickly go. Some stay for a while, leave footprints on our hearts, and we are never, ever the same." – Flavia Weedn
My personal tribute to the summer season. It has been a scorching yet blasting experience!
Thank you so much to everyone who has been part of the stellar and breathtaking moments.
Made with: Blender 2.63 and GIMP
To render a scene modeled in Blender using advanced algorithms in the past like Path Tracing, would demand the installation of an external render engine. Today we have Cycles integrated as one of the render engines available by default with every version of Blender. But, it doesn`t mean that we...
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If you examine our sources, you may notice that when we work on character animation, we usually place every character in separate Synfig file. This approach have certain advantages. For example, it becomes possible to have several people working on the same shot at once. Also, when you have shot split into pieces, you have much faster rendering/redraw speed when working on single piece…
But to be honest, the true reason for this approach is dictated by some important restriction. This restriction comes from the fact that we are using stickman for character animation. And this restriction is: you can’t have more than one stickman in one file.
Yes, Synfig Studio does have feature to copy layers from one file into another, but stickman’s data is partially stored in the exported values and the copy operation doesn’t transfers them together with layers. I guess my explanations are quite messy, but believe me – the stickman’s structure is very complex and current functionality of Synfig Studio doesn’t allows to create its copies in traditional way. If you used stickman you most probably faced that limitation. Thus, you can’t have two stickmans in single file.
It wasn’t a problem before, but recently I started to prepare shots of the Demo for vectorization. Maybe you remember, we have dancing and fight scenes, where characters closely interact with each other – Ivan holding Morevna, that means that Morevna should be “between” Ivan’s layers; then they turning and that means that all parts for both stickmans should change order… It become obvious – for such shots it’s impossible to continue with one-character-per-file schema and we need to have files with two or even more stickmans.
So, we have written a quick python script which takes stickman file an merges it into any given synfig file. You can repeat this operation many times to get as many stickmans in single file as you like. And yes, it’s possible to merge stickmans which already have traced data inside.
BlenderGuru is hosting a new contest focused on, well, what do you think? ;-) Andrew Price writes: I’ve always wondered, “what is blender REALLY capable of?” So I’ve decided to create a competition that puts Blender to the test: Photo … Continue reading →
At some point we’re going to be switching between the live footage and some holographic representations of the scene.
So nice and quickly, using the footage as a background, I animated our old holo blockheads to match the acting as well as needed. As the actors didnt really move from the spot and and the camera was (mostly) static, it was nice and easy, and i didnt need any help from the tracking software.
(this isnt the camera angle we will be using, this was just to get the acting matched up)
And again without the backplate
A little later Andy will work his magic and make the characters look awesome and holographicy.
Michalis Gkiokas is back with a videotutorial on the brand spanking new masking feature. Michalis writes: Hello Again My Friends and welcome to another video tutorial. Today is a great day for me and...
Last of the snow pics from today (Wednesday). All hand-held and manually focused (though it was difficult to see/tell if things were in focus as it was so dark). As can be seen, the sky has cleared up. Soo pretty!
It pretty much snowed all day today, and only 0 deg celcius. It was intense... blizzard-like conditions for ages, and nice, fluffy, powdery snow all over the ground and trees. Even the modem+wireless, TV satellite, and heat pump (it went into sporadic defrosting phases, where it'd emit gurgling-liquid noises followed by a sighing puff of air) gave up at various points during the day.
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Alex Telford gives you a tour of some of the basics of texture creation in Blender. Alex writes: Hi Guys! my latest tutorial is on how to texture paint in blender! We go into using multiple...
I’ve been wanting to do a competition on this topic for a long time. Ever since I saw the very first Fake or Foto challenge from Autodesk 8 years ago, I wondered… ‘what is blender really capable of?’
Well now it’s time to find out. This competition pits blender user against blender user to find out who can create the most photo realistic scene.
So start your engines, it’s about to get real!
Theme
You may create anything, just make it photo realistic.
Choose a topic that you can create photo realistically but also complex enough that it requires a certain level of skill to pull off.
I chose Digital Lighting and Rendering as a prize because it’s a truly iconic book that every 3d artist should own, and if anyone can make proper use of it, it will be the winner of this competition And if you already own the book you may instead opt for any product from the Blender eShop instead.
Guidelines
Only one entry per person
It must be an image
It must be created with Blender
It must be rendered with either the Internal renderer or Cycles
Minor post processing in Gimp or Photoshop is allowed
Minimum image size is 1280 x 720, but the bigger the better (any aspect ratio is fine)
Your image must be a new creation, not an existing project
It must be your own work. No bought/borrowed or third party models allowed (including MakeHuman)
Photographic elements are allowed, but must not be a central part of the image (sky backgrounds are okay)
Your image must in some way relate to the theme
The winner will be asked to submit the .blend file for proof of its creation
Inspiration
Obviously what you do in this competition is up to you, but if you’re drawing a blank here’s a few photo realistic renders to get your brain firing…