The MudRoom things Mudbox: Tips, Tricks, Tutorials, Tech-previews, etc!Fri, 29 Apr 2016 15:54:09 UTC$10/MONTH &amp; Price Drop!Craig Barr<p><img style="vertical-align: middle;" src="/userdata/blogs/craig/Mudbox_10.jpg" alt="Mudbox for 10!" width="851" height="315" /></p> <p>Hey everyone,</p> <p><span style="font-size: 14px; line-height: 1.5em;">We recently announced that Mudbox is now available as a desktop subscription for <strong><em>$10 a month</em></strong>. &nbsp;We also announced that we have <strong><em>dropped the price for purchase to $495</em></strong>. &nbsp;This is excellent news for all users. &nbsp; I thought I would take a moment to discuss what this means for users and their daily creative pursuits. &nbsp;First of all, we dropped the price of Mudbox from $795 down to $495 and this certainly makes life easier for purchasing a license of Mudbox. &nbsp;Secondly, we have added Mudbox to the ever-growing portfolio of Autodesk Desktop Subscription offerings at the bargain price of $10 per month. &nbsp; The flexibility this offers to artists out there is fantastic. &nbsp;The ability to sculpt, paint and visualize all within one package for these price offerings is awesome. &nbsp;</span></p> <p><span style="font-size: 14px; line-height: 1.5em;">One of the areas that we really want to provide a great amount of this flexibility to is within the Indie Game market. &nbsp;We are seeing Indie Game developers wanting the ability to have access to Mudbox for short period of times, or on a per-project basis, without the commitment of a perpetual license. &nbsp;</span><span style="font-size: 14px; line-height: 1.5em;">Desktop Subscription gets you access to use Autodesk software for a specified period of time, with the option to renew.</span></p> <p><span style="font-size: 14px; line-height: 1.5em;">Desktop Subscription offers (during the period of Subscription) benefits similar to a perpetual license with Maintenance Subscription, including basic support and, for most products, access to select Autodesk 360 cloud services. Other benefits include:</span></p> <p style="text-align: left;">&bull;<span class="Apple-tab-span" style="white-space: pre;"> </span><em><strong>Scalable Licensing</strong> &mdash; Quickly scale up and down to manage a variety of temporary project and staffing needs.</em></p> <p style="text-align: left;"><em>&bull;<span class="Apple-tab-span" style="white-space: pre;"> </span><strong>Pay When You Need it</strong> &mdash; With Desktop Subscription, you pay for access to software only when you actually need it, giving you the flexibility to control costs without an up-front license investment or long-term commitment.</em></p> <p style="text-align: left;"><em>&bull;<span class="Apple-tab-span" style="white-space: pre;"> </span><strong>The Latest Software</strong> &mdash; Stay current with the latest releases and product enhancements.</em></p> <p style="text-align: left;"></p> <p style="text-align: left;">More information on your choices for purchasing and subscription for Mudbox can found below:</p> <p style="text-align: left;"><strong>Americas:</strong></p> <p class="MsoNormal"><a href=""></a></p> <p class="MsoNormal"><strong>Europe:</strong></p> <p class="MsoNormal"><a href="" target="_blank"></a></p> <p class="MsoNormal"><strong>Japan:</strong></p> <p class="MsoNormal"><a href="" target="_blank"></a></p> <p class="MsoNormal"><strong>Australia:</strong></p> <p class="MsoNormal"><a href="" target="_blank"></a></p> <p class="MsoNormal"></p> <p class="MsoNormal">More information about Autodesk Subscription plans, including an FAQ, can be found here:</p> <p class="MsoNormal"><a href=""></a></p> <p class="MsoNormal"></p> <p class="MsoNormal">Check out the <strong>Mudbox for beginners videos</strong> posted by Matthew and Paul here:</p> <p class="MsoNormal"><a href="" target="_blank"></a></p> <p class="MsoNormal"><a href="" target="_blank"></a></p> <p class="MsoNormal"></p> <p class="MsoNormal">For an in-depth look at Mudbox workflows, check out my Webinars here:</p> <p class="MsoNormal"><a href="/blogs/craig/creature-modeling-and-sculpting-webinar-december-17th" target="_blank">Creature Modeling and Sculpting</a></p> <p class="MsoNormal"><a href="" target="_blank">Ptex Painting in Mudbox</a></p> <p class="MsoNormal"></p> <p class="MsoNormal"><span style="font-size: 14px; line-height: 1.5em;">Don't forget to check out the <strong><em>Autodesk Mudbox YouTube Channel</em></strong> for videos, tutorials, tips and tricks, etc. here:</span></p> <p class="MsoNormal"><a href=""></a></p> <p class="MsoNormal">...And be sure to follow me on <strong><em><a href="" target="_blank">Twitter!</a></em></strong></p> <p class="MsoNormal"><a href="" target="_blank"><strong><em><img style="vertical-align: middle;" src="/userdata/blogs/craig/Mudbox_10.jpg" alt="Mudbox for 10!" width="851" height="315" /></em></strong></a></p>Fri, 23 May 2014 18:39:58 UTC Mudbox 2015Craig Barr<h1 class="MsoNormal">Announcing Mudbox 2015</h1> <p class="MsoNormal">It is that time of year again! &nbsp; Time to roll out the new features and benefits of our new releases.</p> <p class="MsoNormal">This year the <em><strong>Mudbox 2015</strong></em> release has focused extensively on <em>Enhanced Workflows</em> for: sculpting, painting, and production needs (morph targets/blend shapes for animation; camera matching for shot painting/sculpting; "live" paint updates with other packages and Mudbox)</p> <p class="MsoNormal"></p> <h2 class="MsoNormal">New features include:</h2> <p></p> <p class="MsoListParagraphCxSpFirst" style="margin-left: 18.0pt; mso-add-space: auto; text-indent: -18.0pt; mso-list: l0 level1 lfo1;"><!--[if !supportLists]--><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 11.0pt; font-family: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol;">&middot;<span style="font-size: 7pt; line-height: normal; font-family: 'Times New Roman';">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span><!--[endif]--><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 11.0pt; font-family: 'Arial','sans-serif';"><em>New symmetry options for retopology and for existing meshes</em> - this includes preserving asymmetry while producing topologically symmetrical meshes!<o:p></o:p></span></p> <p class="MsoListParagraphCxSpMiddle" style="margin-left: 18.0pt; mso-add-space: auto; text-indent: -18.0pt; mso-list: l0 level1 lfo1;"><!--[if !supportLists]--><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 11.0pt; font-family: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol;">&middot;<span style="font-size: 7pt; line-height: normal; font-family: 'Times New Roman';">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span><em><!--[endif]--></em><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 11.0pt; font-family: 'Arial','sans-serif';"><em>Sculpt Layer and Paint Layer groups</em> - organize your sculpt/paint layers and toggle layers without being dependent on subdivision level<o:p></o:p></span></p> <p class="MsoListParagraphCxSpMiddle" style="margin-left: 18.0pt; mso-add-space: auto; text-indent: -18.0pt; mso-list: l0 level1 lfo1;"><!--[if !supportLists]--><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 11.0pt; font-family: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol;">&middot;<span style="font-size: 7pt; line-height: normal; font-family: 'Times New Roman';">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span><!--[endif]--><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 11.0pt; font-family: 'Arial','sans-serif';"><em>Enhanced interoperability with Maya for Ptex and multi-tile textures - </em>enabling artists to use a "live" updating workflow with Maya for ptex and unlimited UV tiles<o:p></o:p></span></p> <p class="MsoListParagraphCxSpMiddle" style="margin-left: 18.0pt; mso-add-space: auto; text-indent: -18.0pt; mso-list: l0 level1 lfo1;"><!--[if !supportLists]--><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 11.0pt; font-family: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol;">&middot;<span style="font-size: 7pt; line-height: normal; font-family: 'Times New Roman';">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span><!--[endif]--><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 11.0pt; font-family: 'Arial','sans-serif';"><em>Enhanced Maya image plane matching - </em>many image plane parameters are retained to allow for an absolute lock for reference images for sculpting/painting or for a per-shot correction.<o:p></o:p></span></p> <p class="MsoListParagraphCxSpMiddle" style="margin-left: 18.0pt; mso-add-space: auto; text-indent: -18.0pt; mso-list: l0 level1 lfo1;"><!--[if !supportLists]--><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 11.0pt; font-family: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol;">&middot;<span style="font-size: 7pt; line-height: normal; font-family: 'Times New Roman';">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span><!--[endif]--><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 11.0pt; font-family: 'Arial','sans-serif';"><em>Enhanced Maya Blend Shape interoperability</em> - a very smooth and effective way to create blend shapes. &nbsp;The Sculpt Layer Group is respected as a Blend Shape node in Autodesk Maya!<o:p></o:p></span></p> <p class="MsoListParagraphCxSpMiddle" style="margin-left: 18.0pt; mso-add-space: auto; text-indent: -18.0pt; mso-list: l0 level1 lfo1;"><!--[if !supportLists]--><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 11.0pt; font-family: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol;">&middot;<span style="font-size: 7pt; line-height: normal; font-family: 'Times New Roman';">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span><!--[endif]--><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 11.0pt; font-family: 'Arial','sans-serif';"><em>Enhanced texture export and updating</em> - manage your project by specifying specific production paths for individual channels or layers, regardless of shader-type from other applications<o:p></o:p></span></p> <p class="MsoListParagraphCxSpLast" style="margin-left: 18.0pt; mso-add-space: auto; text-indent: -18.0pt; mso-list: l0 level1 lfo1;"><!--[if !supportLists]--><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 11.0pt; font-family: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol;">&middot;<span style="font-size: 7pt; line-height: normal; font-family: 'Times New Roman';">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </span></span><em><!--[endif]--></em><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 11.0pt; font-family: 'Arial','sans-serif';"><em>New Caliper tool - </em>ensure proportions, measure distance between points and match scale to other objects</span></p> <p class="MsoListParagraphCxSpLast" style="margin-left: 18.0pt; mso-add-space: auto; text-indent: -18.0pt; mso-list: l0 level1 lfo1;"><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 11.0pt; font-family: 'Arial','sans-serif';"><br /></span></p> <h3 class="MsoListParagraphCxSpLast" style="margin-left: 18.0pt; mso-add-space: auto; text-indent: -18.0pt; mso-list: l0 level1 lfo1;"><span face="Arial, sans-serif" size="2" style="font-family: Arial, sans-serif; font-size: small;">To find out more about the Mudbox 2015 release, please visit:</span></h3> <p class="MsoListParagraphCxSpLast" style="margin-left: 18.0pt; mso-add-space: auto; text-indent: -18.0pt; mso-list: l0 level1 lfo1;"><a href="" title="Autodesk Mudbox 2015" target="_blank"><span face="Arial, sans-serif" size="2" style="font-family: Arial, sans-serif; font-size: small;"></span></a></p> <p class="MsoNormal"><span lang="EN-US" style="font-size: 10.0pt; mso-bidi-font-size: 11.0pt; font-family: 'Arial','sans-serif';">&nbsp;</span></p>Tue, 18 Mar 2014 16:14:36 UTC AWARD FOR MUDBOX!Craig Barr<p>The <strong>Academy of Motion Picture Arts and Sciences</strong> have announced that 19 scientific and technical achievements represented by 52 individual award recipients will be honored at its annual Scientific and Technical Awards Presentation on Saturday, February 15, 2013 at The Beverly Hills Hotel. &nbsp; It is an absolute honour to see that the creators of Mudbox will receive such an award.</p> <p>The award goes to <em><strong>Andrew Camenisch</strong></em>, <strong><em>David Cardwell</em></strong> and <strong><em>Tibor Madjar</em></strong> for the concept and design, and to <strong><em>Csaba Kohegyi</em></strong> and <strong><em>Imre Major</em></strong> for the implementation of Mudbox.</p> <p><strong><em>Congratulations to the entire Mudbox Research and Development Team and to everyone at Autodesk. &nbsp;</em></strong>&nbsp;</p> <p>Full details here:</p> <p><a href="" target="_blank"></a></p> <p><span style="font-size: 14px; line-height: 1.5em;">A further congrats go to the </span><strong style="font-size: 14px; line-height: 1.5em;">MotionBuilder</strong><span style="font-size: 14px; line-height: 1.5em;"> team on also winning a Technical Achievement Award!</span></p> <p>To <em><strong>Andre Gauthier, Benoit Sevigny, Yves Boudreault</strong></em> and <strong><em>Robert Lanciault</em></strong> for the design and implementation of the FiLMBOX software application.&nbsp;</p> <p>FiLMBOX, the foundation of MotionBuilder, enables the real-time processing and control of devices and animation. For over two decades, its innovative architecture has been a basis for the development and evolution of new techniques in filmmaking, such as virtual production.</p> <p></p> <p>Congrats everyone!</p>Thu, 09 Jan 2014 20:19:37 UTC Modeling and Sculpting Webinar: December 17th!Craig Barr<p>Hello everyone - I am hosting a <strong><em>Creature Modeling and Sculpting Webinar on Tuesday December 17th</em></strong>. &nbsp; This is a somewhat lightened version of a couple of classes around the same subject that I have taught at past Autodesk Universities (the most recent being <a href="" title="Autodesk University" target="_blank">AU2013</a>). &nbsp; The class uses Maya with Mudbox, but everything that I am showing represents principles that apply to any 3D/modeling package (ie. Max, etc.). &nbsp;Hope you can join, the info to register is below. &nbsp; Timezones being offered are for Europe, Americas, Australia, New Zealand.</p> <p><a href=";siteID=452932">;siteID=452932</a></p> <p><img style="vertical-align: middle;" src="/userdata/blogs/craig/DG2433_CBarr_sml.png" alt="Craig Barr Creature Webinar" width="750" height="422" /></p> <p><span style="font-size: 14px; line-height: 1.5em;">Hope to see you there!</span></p> <p>Craig</p>Fri, 13 Dec 2013 18:33:51 UTC Cintiq Companion and Mudbox!Craig Barr<p><span style="font-size: 14px; line-height: 1.5em;">In an attempt to answer some questions around preferred hardware configurations and Autodesk software, I decided to put up a couple of posts discussing this subject. &nbsp;Recently, we took a look at the <a href="/blogs/craig/3d-workstation-brief--the-uber-workstation--boxx-4920-xtreme" title="The Uber-Workstation" target="_blank">BOXX 4920 Workstation</a> setup. &nbsp;Now, let's take a look at the opposite end of the spectrum: &nbsp;a portable tablet! &nbsp;Now, when I travel, I typically haul around a monstrous laptop, and my Intuos Tablet and that is fine and dandy but not the most convenient for tight spaces. &nbsp;</span><span style="font-size: 14px; line-height: 1.5em;">Check out the <a href=";language=en" title="Wacom Cintiq Companion" target="_blank">Wacom Cintiq Companion</a>. &nbsp;</span><span style="font-size: 14px; line-height: 1.5em;">Finally, the ability to take a fully functional PC, with the convenience of a tablet format, anywhere your travels (or creativity) may take you. &nbsp; The even cooler news is that with the release of the <a href="/blogs/craig/autodesk-mudbox-2014-extension-available-on-subscription" title="Autodesk Mudbox 2014 Extension" target="_blank">Mudbox 2014 Extension</a>, Mudbox supports Intel Graphics and is fully functional on this tablet! &nbsp;This is something I've been craving for a looooong time. &nbsp; Mudbox, Maya, SketchBook Pro, Photoshop, etc. on a tablet.........ANYWHERE! &nbsp;&nbsp;</span><span style="font-size: 14px; line-height: 1.5em;">&nbsp;The Cintiq Companion is available in 2 offerings: &nbsp;a Windows 8 version and the "<a href="" title="Wacom Android Hybrid" target="_blank">Hybrid</a>", which is a Cintiq that can then be unplugged and used on the go as an Android tablet. &nbsp; I have been using the Cintiq Companion (Windows 8 Pro version) for a few weeks now and it is really nice. &nbsp; Here's a rundown on the specs:</span></p> <p><span style="font-size: 14px; line-height: 1em;">Windows 8 Pro</span></p> <p><span style="font-size: 14px; line-height: 1.0em;">Intel CORE i-7 processor</span></p> <p><span style="font-size: 14px; line-height: 1.0em;">Intel HD Graphics 4000</span></p> <p><span style="font-size: 14px; line-height: 1.0em;">8 gb RAM</span></p> <p><span style="font-size: 14px; line-height: 1.0em;">512 gb SSD</span></p> <p><span style="font-size: 14px; line-height: 1.0em;">13.3" full HD 1920X1080 Cintiq display with 2048 levels of pen pressure, multi-touch</span></p> <p><span style="font-size: 14px; line-height: 1.0em;">2 USB 3.0 ports</span></p> <p>video-out mini DisplayPort</p> <p></p> <p>By no means is this going to replace your workstation, but for on-the-go, sculpting and light-painting work, this works just fine and is very comfortable to use.</p> <p>Also, the specs on the Wacom website mention that the battery life is 5 hours.....I just gave this tablet a good workout on a flight to <a href="" title="Autodesk University 2013" target="_blank">AU2013</a> and I had Maya, Mudbox, Photoshop, Word and Powerpoint open for nearly 3 1/2 hours and I still had PLENTY of battery life left. &nbsp; I tweeted a photo I snapped on the flight while working with Mudbox at 40,000 feet...</p> <p><img style="vertical-align: middle;" src="/userdata/blogs/craig/Wacom_Mudbox.jpg" alt="Mudbox at 40,000 feet" width="760" height="570" /></p> <p></p> <p>Finally, I have put together a little video review of the Wacom Cintiq Companion and working with Mudbox...</p> <p>;feature=share&amp;list=UUEcMz-5vOiLYs6GCZ3YKijg</p> <p></p> <p>Happy creating!</p> <p>Craig</p>Thu, 12 Dec 2013 18:22:07 UTC Workstation Brief: The Uber-Workstation: BOXX 4920 XtremeCraig Barr<p><strong>I am always asked about the ultimate hardware configuration for running Autodesk products and, inevitably, people are curious what I run.&nbsp;&nbsp; I get the opportunity to try many machines and devices out there in preparation for and while presenting demos at various tradeshows and other events.&nbsp; I thought I&rsquo;d put in a couple of blog posts that discuss running Autodesk Mudbox and other applications on some different hardware.&nbsp;&nbsp;First up: BOXX Workstations.</strong></p> <p>&nbsp;</p> <h3><strong>3D Workstation Brief:&nbsp; The Uber-Workstation:&nbsp; BOXX 4920 Xtreme</strong></h3> <p><br />It&rsquo;s been just over a year that I have worked with the <em>BOXX 4920 Xtreme</em> as my main workstation.&nbsp;&nbsp; In that time, I can assure you that I have pounded-on and pushed this workstation to the limits.&nbsp; Pushing huge models and textures around in Mudbox and other apps can give a machine a solid work-out.&nbsp; I pride myself in making machines whir and scream.&nbsp;&nbsp; However, the <em>BOXX 4920 Xtreme</em> makes punishing processors a challenge.&nbsp;&nbsp; The machine has an amazing liquid-cooling system built-in that keeps things running cool and smooth when pushed hard.&nbsp;&nbsp;&nbsp; This BOXX machine was built for high-end 3D work and it delivers.<br />Being a true hardware and software nerd (in the event that the statement above about pride and punishment didn&rsquo;t make that clear), it is very cool to pop open the side panel on a BOXX machine and easily access or change components.&nbsp; Sure, many companies boast &ldquo;tool-less&rdquo; machine cases but they don&rsquo;t compare to what BOXX delivers.&nbsp;&nbsp; Some very serious and very good considerations have gone into the design of BOXX cases.&nbsp;&nbsp; Everything is easily accessible and cleanly placed.&nbsp; The guys at BOXX have thought things through, and there is certainly no shortage of extra bays and slots for future expansion.&nbsp; Tough, well-designed, and very well-assembled are the basics of describing the machines that BOXX produces and, they are designed&nbsp;<em>AND</em> built at their Austin Texas headquarters.</p> <p><img width="600" height="533" src="/userdata/blogs/craig/IMG_0717.jpg" /></p> <p><img width="600" height="450" src="/userdata/blogs/craig/IMG_0715.jpg" /><br /><strong>BOXX builds machines specifically targeted to the 3D digital content creation industry (amongst others).</strong></p> <p><br />For some more images and in-depth dissecting of this machine:<br /><a href=""></a></p> <p>&nbsp;</p> <p><strong>The configuration that I have been working with is as follows:</strong><br /><br /><strong><em>BOXX 4920 Xtreme</em> </strong>Workstation with:</p> <p><br />Intel Core i7 3960X (&ldquo;Sandy Bridge-E&rdquo;) @3.3 GHz &ndash; [OVERCLOCKED to 4.5 GHz] &ndash; 6 cores, 12 threads<br />32 GB (8X4 slots) of DDR3-1647 Quad Channel RAM&nbsp;&nbsp; (expandable to 64 gb)<br />NVIDIA &ndash; &ldquo;Maximus Configuration&rdquo; - <em>Quadro 6000</em> 6gb (recently, I&rsquo;m trying out the <em>k6000</em>) and a <em>Tesla c2075</em><br />Intel 520 Series SSD drives (240 and 480 GB)</p> <p><br /><em><strong>Nvidia Maximus</strong></em> &ndash; this configuration is fully utilized when running simulations or performing real-time rendering (in iRay for example).&nbsp;&nbsp; The pairing works by optimizing, or off-loading certain functions.&nbsp; The Quadro handles the graphics while the Tesla crunches the computations.&nbsp;&nbsp; The results are truly felt when dealing with massive particle scenes, and nice-crisp high-res renders while tweaking the overall design on the fly.&nbsp; Think of a Tesla as a nitrous-oxide, turbo-boosted engine, bolted on to your GPU. <br />I mentioned above 2 Quadro GPUs:&nbsp; the 6000 and the k6000.&nbsp;&nbsp; In this machine, I have used the 6000 extensively over the last year and it is powerful.&nbsp;&nbsp; I&rsquo;m now giving the newest member of the Quadro family a go:&nbsp; the K6000 with a whopping 12GB (<strong>12GB, yep&hellip;TWELVE GIGABYTES</strong>) of GPU RAM.</p> <p><br />More info on the Maximus configuration can be found here:<br /><a href=""></a></p> <p><br />Maya and fluid sims and Maximus:<br /><a href=""></a></p> <p>3DS Max and Maximus:<br /><a href=""></a>&nbsp;</p> <h3>Sculpting and Texture Painting in Mudbox: RAM and Read/Write</h3> <p><br />For sculpting, modeling and painting, a big GPU is a blessing.&nbsp;&nbsp; Pushing millions of polygons and working with huge texture data requires good graphics power.&nbsp;&nbsp; Speaking of textures, the 32 GB of RAM helps push massive texture sets, big texture resolutions and numerous paint layers.&nbsp;&nbsp;&nbsp; My advice to anyone that wants to push poly and texture limits is always the same:&nbsp; GPU and RAM&hellip;.push it to what your budget will allow.&nbsp;&nbsp; There is another area that is a BIG help when texture painting:&nbsp; storage, or for that matter, <em>FAST</em> storage.&nbsp; I&rsquo;m running Intel Solid State Storage (SSD) (specifically the 480 GB 520 Series) and the read/write of Solid State Drives these days is fantastic.&nbsp;&nbsp; When working locally, texture painting in Mudbox greatly benefits from this.&nbsp;&nbsp; Reading and writing paint layers can get heavy on a machine and Solid State provides the benefit of fast read/write to and from Mudbox.</p> <p><br /><strong>Intel Solid State Drives:</strong><br /><a href=""></a></p> <p>If you want a workstation designed for 3D work with power, stability and expandability in mind, BOXX is the solution.&nbsp; The last thing worth mentioning is the <strong><em>support team</em> </strong>at BOXX.&nbsp;&nbsp; I had a few questions about some areas of the hardware that I was not familiar with and a simple email prompted a very quick and detailed response.&nbsp;&nbsp; The support is very knowledgeable and quick to help out.&nbsp; I actually know a few BOXX users that have the personal cell numbers of BOXX Tech Support.&nbsp;&nbsp; Impressive stuff.&nbsp;&nbsp;</p> <p><br />More info on BOXX and the <em>4900 Series</em> machines can be found here:<br /><a href=""></a></p> <p>BOXX has since released the <em>8900 Series</em> of machines that takes 3D content creation even further.<br /><a href=""></a></p> <p><br /><strong>Some videos of Mudbox in action on different BOXX configurations:</strong></p> <p></p> <p></p>Sun, 24 Nov 2013 14:54:54 UTC Mudbox 2014 Extension available on Subscription!Craig Barr<p>If you are on Subscription (info <a href="" target="_blank">here</a>), you can now grab the Extension release for Autodesk Mudbox 2014. &nbsp; There have been a number of improvements to retopology and working with existing meshes. &nbsp;&nbsp;</p> <p>Check out the video here:</p> <p>;list=PL_6ApchKwjN807t-T3u0awQjZErE8Lw8D&amp;index=5</p> <p></p> <p>The <strong>Extension for Autodesk&reg; Mudbox&reg; 2014</strong> software offers new support for real-world production workflows, helping streamline the mesh refinement process and increase productivity. You can now create topologically symmetrical meshes while retopologizing, or from an existing mesh&mdash;a requirement for many downstream tasks. In addition, a new Caliper tool helps you accurately measure the distance between two points in linear space, or along a curve, making it easier to match a required scale.</p> <p><img style="vertical-align: middle;" src="/userdata/blogs/craig/Rancher.jpg" alt="Rancher" width="640" height="400" /></p> <p></p> <p><em><strong>New Symmetry Options for Retopology and for Existing Meshes</strong></em></p> <p>It&rsquo;s now possible to enforce topologically symmetrical results when retopologizing meshes. Symmetry can be based on the source topology&mdash;enabling meshes to retain both topological symmetry and spatial asymmetry (for example, a face with a lop-sided grin)&mdash;or on a local or world axis, for completely symmetrical results; you can choose whether to copy painting and sculpting detail from one or both sides of the source. Existing meshes can also be quickly made symmetrical across one or more axes without retopologizing, with a new Make Symmetrical tool&mdash;this is particularly useful for models scanned from real-world objects, which often appear symmetrical but are not. Topologically symmetrical meshes are essential for sculpting and painting with tangent symmetry, and for many other processes throughout the production pipeline.</p> <p><img style="vertical-align: middle;" src="/userdata/blogs/craig/Symm.jpg" alt="Symm" width="640" height="400" /></p> <p></p> <p><em><strong>New Caliper Tool</strong></em></p> <p>A new Caliper tool enables you to measure the distance between two points on a model or along a curve. This is useful for helping to ensure that meshes match a desired real-world scale or fit with other objects or environments that may be created separately.</p> <p><img style="vertical-align: middle;" src="/userdata/blogs/craig/Caliper.jpg" alt="Caliper" width="640" height="400" /></p> <p></p> <p>Extension available as of September 19th.</p> <p><strong>Autodesk Mudbox Extension</strong></p>Mon, 23 Sep 2013 17:59:49 UTC Announcement - Create on the go!Craig Barr<p>Hey everyone &ndash; Some <strong>very cool news</strong> from the awesome folks over at <strong>Wacom</strong> today! &nbsp; Finally, after years and years of pestering&hellip;..a Wacom mobile device is here! &nbsp; Not just one&hellip;but TWO! &nbsp; Wacom has announced the <strong><em>Cintiq Companion</em></strong> and the <em><strong>Cintiq Companion Hybrid</strong></em>. &nbsp; Two flavours allowing artists to choose what works best for them. &nbsp; The <em>Cintiq Companion</em> is a Windows 8 device that packs a very powerful punch with solid state drive choices and 8 gb of RAM. &nbsp; Awesome stuff. &nbsp; Furthermore, the <em>Cintiq Companion Hybrid</em> is an Android tablet! &nbsp;The ability to sketch, model, and just overall CREATE on the go is really great. &nbsp;However, for me, the big excitement is the fact that it is <em>Wacom</em> bringing these devices out. &nbsp; These guys have been designing and refining the best devices for digital creativity for a long time. &nbsp;Having a fully integrated Cintiq, on a mobile tablet with all of the pressure sensitivity and multi-touch capabilities is pretty damn intriguing. &nbsp;&nbsp;</p> <p>Click the link below to learn more about their announcement and availability. &nbsp;Full product configurations/specifications are also available to view <a href="" target="_blank">here</a>&nbsp;(Windows 8) and <a href="" target="_blank">here</a> (Android).</p> <p><a href="" target="_blank"></a></p> <p></p> <p>Cintiq Companion Promo Video:</p> <p></p> <p></p> <p><img style="vertical-align: middle;" src="/userdata/blogs/craig/tab_pic.jpg" width="686" height="486" /></p>Tue, 20 Aug 2013 19:30:21 UTC Painting with Ptex Webinar!Craig Barr<p>Hello everyone,</p> <p>I wanted to let everyone know that I am hosting a Webinar this Tuesday June 25th on Ptex in Mudbox!</p> <p>Europe:&nbsp;&nbsp; Time: 13:00-14:00 GMT/14:00-15:00 CET</p> <p>Americas: Time: 1:00-2:00 PDT/4:00-5:00 EDT</p> <hr /> <p>Tuesday June 25th</p> <p><span class="when"><b>Join Craig Barr and celebrate as he eliminates the need for UV&rsquo;s with Ptex Painting in Autodesk&reg;Mudbox&reg; 2014. Ptex in Mudbox provides the freedom from UVs and allows for a clean, high-resolution texturing environment. </b></span></p> <p>Topics covered in this webinar include:</p> <ul> <li>Painting toolset,</li> <li>Ptex mesh preparation,</li> <li>Layer blending,</li> <li>Rendering in Mental Ray.</li> </ul> <p>Attend this webinar to find out how Mudbox (included in Autodesk Entertainment Creation Suites) can help animators spend more time being artists.</p> <p>Details and registration here -&gt; <a target="_blank" href=";siteID=452932&amp;mktvar004=539615">Registration Page</a></p> <hr /> <p>PLEASE NOTE:&nbsp; On June 26th - this webinar will be available in Australia and New Zealand as well! See Registration Page for details!</p>Sun, 23 Jun 2013 15:55:42 UTC 2014 Service Pack 1 available!Craig Barr<p>Autodesk Mudbox Service Pack 1 is now available.&nbsp;&nbsp; It is a very simple and quick download and install as it patches over your existing Mudbox 2014 installation.</p> <p>There are many fixes to issues with Retopology in this release, so be sure to grab it!</p> <p>Grab it here -&gt; <a target="_blank" href=";id=21910439&amp;linkID=11937426">Mudbox 2014 SP1</a></p> <hr /> <p><strong>Below is a summary of the fixes (with bug numbers) included in Service Pack 1:</strong></p> <p><strong><br />MDBX-3596</strong><br />Retopologize may produce bad results, or fail with meshes that have jagged boundary or feature curves. <br /><strong>MDBX-3747</strong> <br />Retopologize a mesh that has a curve on mesh and&nbsp;faces under the curve which have been deleted, may cause a crash.<br /><strong>MDBX-3864</strong> <br />Retopologize with transfer paint layers does not transfer the paint layer blending mode.<br /><strong>MDBX-3893</strong> <br />Retopologize may cause holes in regions with very high curvature.<br /><strong>MDBX-3922</strong> <br />When generating a map for multiple target meshes, using "%s" as part of Base File Name is being ignored and maps generated for each target all have the same name and overwrite the map output for the previous target.<br /><strong>MDBX-3944</strong> <br />Retopology constraint marking menu doesn't display for some curves.<br /><strong>MDBX-4302</strong><br />Retopologize: Using curves to control topology flow may fail or crash in certain cases.<br /><strong>MDBX-4208</strong><br />Topological symmetry is not preserved after executing Flip Mesh.<br /><strong>MDBX-3681</strong> <br />PTEX layer mask is ignored when flipping the mesh.<br /><strong>MDBX-3992</strong><br />Flip Mesh may crash with certain meshes that have curve loops.<br /><strong>MDBX-4040</strong><br />Opening a .mud file that contains an old curve from Mudbox 2012 will cause crash.<br /><strong>MDBX-4066</strong> <br />Erasing the hanging segment of the curve may cause crash.<br /><strong>MDBX-4071</strong> <br />Undo/redo curve on duplicated mesh may crash.<br /><strong>MDBX-4252</strong><br />Deleting or erasing parts of a curve which spans multiple surfaces may cause instability.<br /><strong>MDBX-3755</strong> <br />Extracting a displacement map with "Preview as Bump Layer" will display the bump as black.<br /><strong>MDBX-3955</strong><br />Masking a selected region of the mesh with the Marquee tool can cause sculpting artifacts.<br /><strong>MDBX-3991</strong> <br />Mac: Changing brush size/strength with Intuos 5 is sluggish. <br /><strong>MDBX-4044</strong> <br />Multi-Touch on Mac: When doing a 1-finger tumble on the trackpad, the gesture is interrupted when the cursor moves out of the 3d view <br /><strong>MDBX-3964</strong><br />Can't navigate scene with Multi-Touch on integrated displays (Cintiq) after activating tool tray with touch.<br /><strong>MDBX-4259</strong><br />Multi-Touch configuration file MTTH.txt is missing, causing palm exclusion to not work for Wacom Intuos 5 and Cintiq devices <br /><strong>MDBX-4033</strong> <br />"Send to 3ds Max..." does not start the 3ds Max application.&nbsp;3ds Max must already be running for "Send to 3ds Max..." to work.<br /><strong>MDBX-4260</strong><br />Opening certain files may cause file corruption.<br /><strong>MDBX-4271</strong><br />Wax brush behavior is not optimal and is different than in Mudbox 2013.<br /><strong>MDBX-4389</strong><br />Retopologize and transfer posing information, select the joint and the final mesh will disappear. <br /><br /></p>Fri, 21 Jun 2013 16:15:40 UTC 2014 Announced!Craig Barr<p><img style="vertical-align: baseline;" src="/userdata/blogs/craig/Mudbox_branding.jpg" alt="Mudbox 2014 Branding" height="680" width="680" />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </p> <p>Today we announced <em><strong>Autodesk Mudbox 2014</strong></em> at our Unfold Event!</p> <p>Tune in live at 6pm - March 27th for live demos:</p> <p><a target="_blank" title="Autodesk Unfold Event" href="/2014unfold/live/unfoldevent.html"></a></p> <p><br />The image at the top represents to new Mudbox 2014 branding.</p> <p>Following the "origami" theme, here is the new Mudbox icon:</p> <p><img style="vertical-align: baseline;" src="/userdata/blogs/craig/Mdbx_Icon.jpg" alt="Mudbox 2014 icon" height="267" width="300" /></p> <p></p> <p>Check out some new features below:</p> <p><strong>Advanced Retopology Tools:</strong></p> <p></p> <p></p> <p><strong>Extended Multi-touch:</strong></p> <p></p> <p></p> <p>You guys asked us to add/fix some "Small Annoying Things" and we listened!&nbsp; Fixes include:</p> <ul> <li>Much faster Grab brush performance</li> <li>Massive performance boost for loading and working with dense meshes like scan data</li> <li>Smaller file size</li> <li>New Erase Curve tool</li> <li>New Curve Loop tool</li> <li>New Border Curve tool</li> <li>Mesh reduction</li> <li>Multitouch - stencil manipulation</li> <li>Double-click to select poly island</li> <li>Create Mesh with curves</li> <li>Fairing</li> <li>Tightening</li> <li>Flood Paint Layer</li> <li>8k texture map support (previously only available through env variable)</li> <li>Isolate Selection works like a toggle</li> <li>Flatten as new Layer</li> <li>Duplicate Merged</li> <li>Export Channel Merged</li> <li>Clear a paint layer</li> <li>Duplicate selected faces</li> <li>Preserve UV Borders subdivision option</li> <li>Move a paint layer into a non-existent channel</li> <li>Drag and drop images from the image browser to the color picker</li> <li>Extract meshes at 16k and 32k</li> <li>Brush Ring color pref</li> <li>Cleaner stroke smoothing</li> <li>Wireframe-only model</li> <li>Increment and save</li> <li>Display Mesh errors</li> </ul>Tue, 26 Mar 2013 18:54:01 UTC Unfold Event and Mudbox 2014 Sneak PeekCraig Barr<p class="MsoNormal"><span class="GingerNoCheckStart"></span><span class="GingerNoCheckStart"></span><span class="GingerNoCheckStart"></span><span class="GingerNoCheckStart"></span><span class="GingerNoCheckStart"></span>We&rsquo;re rapidly coming up to our launch event for the 2014 releases! &nbsp; Be sure to register online or even set a reminder to watch the event. &nbsp; Click the banner to check for more info:</p> <p class="MsoNormal"><a href="/2014unfold" title="Unfold 2014" target="_blank"><img style="vertical-align: middle;" src="/userdata/blogs/craig/Unfold2014.jpg" alt="Unfold 2014" width="650" height="251" /></a></p> <p class="MsoNormal">This is a live event in Montreal. &nbsp;We will be unveiling our 2014 Product Releases as well as the new Autodesk brand. &nbsp; That's right, a new look for everything! &nbsp;If you can attend, be sure to say hello or, if you are across the globe, be sure to catch the live stream.&nbsp;&nbsp; This event is a little different for us this year.&nbsp;&nbsp; I&rsquo;ll be taking part in an &ldquo;<a href="/2014unfold#ExpertChallenge" title="Experts Challenge" target="_blank">Experts Challenge</a>&rdquo; where Andrew Camenisch and I will be answering your Mudbox questions with live demos (again from virtual or live attendees!).&nbsp;&nbsp;&nbsp; I&rsquo;ll also be part of the live Maya Expert&rsquo;s Challenge as well, flanked by <a href="/blogs/daryl" title="Daryl's blog" target="_blank">Daryl Obert</a> and <a href="/blogs/duncan" title="Duncan's blog" target="_blank">Duncan Brinsmead</a>.&nbsp; &nbsp;The bad news is that this event takes place the exact same time as GDC in San Francisco, so unfortunately I will not be there this year and I'll miss you GDC'ers! &nbsp;However, the GOOD news is that this event <em><strong>will have delicious, cold, fresh and frothy, free&nbsp;beer</strong></em>.&nbsp;&nbsp; All that talking and live demoing makes me thirsty, so don&rsquo;t be afraid to bring me a beer when I&rsquo;m up there.&nbsp; <o:p></o:p></p> <p class="MsoNormal">Speaking of our 2014 releases, check out some &ldquo;sneak peeks&rdquo; of all of the 2014 releases!<o:p></o:p></p> <p class="MsoNormal"><a href="/2014unfold#videos"></a><o:p></o:p></p> <p class="MsoNormal">And now, here&rsquo;s a Mudbox 2014 Sneak Peek!</p> <p class="MsoNormal"></p>Thu, 07 Mar 2013 16:40:09 UTC, Visualize and Create with Autodesk MudboxCraig Barr<p>Last year at <em><strong>AU2011 in Las Vegas</strong></em>, I gave 2 classes involving Mudbox. &nbsp; This post and the embedded videos are from the lecture <strong><em>"Design, Visualize and Create with Autodesk&reg;&nbsp;Mudbox&reg;"</em></strong> which examines the use of Mudbox in different realms. &nbsp; In Part 1, I give a brief history of the development of Mudbox, from its early days at <a href="" target="_blank">Weta</a> to where we are today. &nbsp;After the introduction, I had 3 areas of focus. &nbsp; Part 2 focuses on <strong>Mudbox in Architecture</strong>, Part 3 is a focus on <strong>Mudbox in the (traditional) clay concept design world in Automotive</strong>, and Part 4 looks at <strong>Mudbox as a Design and Presentation tool</strong>. &nbsp; The last video discusses some of the work that Lee Fraser and myself did for <a href="" target="_blank"><strong><em>Lady Gaga</em></strong></a> and her designers in creating one of her costumes. &nbsp;</p> <p>As an added bonus, I have included the document that was made available to all attendees at the time! &nbsp; It's a <a href="/userdata/blogs/craig/AV5314-P_Barr.pdf" mce_href="/userdata/blogs/craig/AV5314-P_Barr.pdf">14 page PDF document</a> with some interesting Mudbox Tips and Tricks that pertain to the content I discuss.</p> <p>Anyways, I hope you enjoy the videos. &nbsp;These are in a lecture format, but I do perform some live work in Mudbox throughout the talk. &nbsp;Apologies for the audio quality that makes me sound like I am orbiting in an Apollo capsule!</p> <p>If you are going to <a href="" target="_blank">Autodesk University</a> this year, please join me in my class: &nbsp;DG4220 - <a href="" target="_blank">Creature Modeling and Sculpting with Autodesk&reg; Maya&reg; and Autodesk&reg; Mudbox&reg;</a></p> <h3>Part 1:</h3> <p></p> <p></p> <h3>Part 2:</h3> <p></p> <p></p> <h3>Part 3:</h3> <p></p> <p></p> <h3>Part 4:</h3> <p></p> <p></p> <p>Follow me on Twitter! <a href="" target="_blank">@The_Mudroom</a>&nbsp;</p> <script type="text/javascript" src=";style=avatar"></script> <noscript>&lt;a href=""&gt;Craig Barr on Twitter Counter&lt;/a&gt;</noscript>Wed, 31 Oct 2012 09:23:44 UTC Hard-Surface Stamps Outside of MudboxCraig Barr<p>During Siggraph 2012, I showed some techniques for achieving smooth, hard-surfacing in your sculpting workflows in Mudbox. &nbsp;The main-stage Siggraph presentation for this is embedded in this post here:</p> <h1 style="margin-top: 10px; margin-left: 90px; padding-bottom: 0px; border: 0px; font: inherit; vertical-align: baseline; background-color: #0a1214;"><a href="/blogs/craig/siggraph-2012---los-angeles-mudbox-demo-and-notes" target="_blank">SIGGRAPH 2012 - Los Angeles: Mudbox Demo and Notes</a></h1> <p></p> <p>We actually had a second presentation area located at the side of the Autodesk booth that was not broadcast as it was for live attendees only! &nbsp; I talked a bit about the creation of custom vector displacement stamps for hard-surface sculpting. &nbsp; I have put together a little video (20 minutes in length) that highlights this process. &nbsp; It&rsquo;s quite simple and it utilizes any external polygonal modeler. &nbsp;In this case, I am using Maya, but the exact same thing can be achieved in Max, Soft, etc., so certainly feel free to use what you are most comfortable with. &nbsp; &nbsp;Watch the video to see these tips in action. &nbsp; I have also included 9 hard-surface VDM stamps that I used for sculpting up the cybersuit-armor. &nbsp; Feel free to use as you please! &nbsp; There is also a single-face poly plane attached here as well. &nbsp;</p> <p><a href="/userdata/blogs/craig/"></a></p> <p><a href="/userdata/blogs/craig/"></a></p> <p><strong><em>Basic shapes created in Maya to be made into VDM stamps:</em></strong></p> <p><img src="/userdata/blogs/craig/VDM_in_Maya.png" height="425" width="680" /></p> <h3><em><br /></em></h3> <h3><em>I will highlight the basic process here:</em></h3> <p>-<span class="Apple-tab-span" style="white-space: pre;"> </span>Start with a simple 1-face poly plane (attached to this blog!)</p> <p>-<span class="Apple-tab-span" style="white-space: pre;"> </span>Subdivide the plane up a few steps (to produce enough edges and verts to give you enough to model with&hellip;so think out your basic profile shape before you start)</p> <p>-<span class="Apple-tab-span" style="white-space: pre;"> </span>Select the plane and send to Maya, Max, Soft (or export as FBX/OBJ to use elsewhere)</p> <p>-<span class="Apple-tab-span" style="white-space: pre;"> </span>In Maya, be sure your cameras are framed in each viewport to allow you to see and select &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; all verts/edges</p> <p>-<span class="Apple-tab-span" style="white-space: pre;"> </span>Push, pull and adjust verts and edges while adhering to these rules:</p> <p>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; -<span class="Apple-tab-span" style="white-space: pre;"> </span>Don&rsquo;t adjust or affect the corners</p> <p>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; - Don&rsquo;t change the vertex count&nbsp;</p> <p>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; - Model with uniform edge flow to maintain edge flow when sculpting</p> <p>-<span class="Apple-tab-span" style="white-space: pre;"> </span>EXPORT the model as OBJ or FBX</p> <p>-<span class="Apple-tab-span" style="white-space: pre;"> </span>In Mudbox, and with your original plane selected, goto File&gt;Import as Layer. &nbsp; Use the defaults (by vertex count and Delta to base checked)</p> <p>-<span class="Apple-tab-span" style="white-space: pre;"> </span>Extract the VDM stamp via the Map Extraction menu using Relative Tangent</p> <p>- you can add stamps via the tray or access them in the Image Browser (see video)</p> <p></p> <p></p> <p>The video also outlines the proper settings for your Sculpt tool (ie. strength to 100) and how to store a custom-sculpt tool on the tray as well.</p> <p>Lastly, in the event you may have additional questions about Vector Displacement and map creation, here are some other videos I have created in the past that you may find useful!</p> <p></p> <p></p> <p>Follow all things Mudbox on Twitter! <a href="" target="_blank">@The_Mudroom</a></p> <script type="text/javascript" src=";style=avatar"></script> <noscript>&lt;a href=""&gt;Craig Barr on Twitter Counter&lt;/a&gt;</noscript>Fri, 26 Oct 2012 19:35:43 UTC Evolution/Film Revolution: A Q+A with Steve &quot;Spaz&quot; WilliamsCraig Barr<p>Steve Williams is presenting a very interesting talk at <a href="" target="_blank">AU 2012, entitled &ldquo;Staring into the Abyss: The Evolution of Computer Graphics in Entertainment&rdquo;</a>.&nbsp;&nbsp; If you are attending, be sure to register for his class by clicking on the link above.&nbsp; More information around Autodesk University can be found <a href="" target="_blank">here</a>.</p> <p><img style="vertical-align: middle;" alt="Spaz_Press1" src="/userdata/blogs/craig/Spaz_Press1.jpg" height="800" width="680" /><br />Simply put, <a target="_blank" href="">Steve &ldquo;Spaz&rdquo; Williams</a> is a legendary pioneer in the world of computer graphics in feature film production.&nbsp; Steve&rsquo;s career spans several landmark CG moments in film such as: the pseudopod in <em><strong>The Abyss</strong></em> (the first &ldquo;soft surface&rdquo; CG character), the liquid-metal T1000 in <strong><em>Terminator 2</em></strong> (the first CG main character), the infamous dinosaurs of <strong><em>Jurassic Park</em></strong> (first digital animals), and, the contortion of Jim Carrey&rsquo;s face in <strong><em>The Mask</em></strong>, amongst others.&nbsp; <em>The Abyss, Terminator 2</em> and <em>Jurassic Park</em> each took home the <strong><em>Oscar for Best Visual Effects</em></strong> in their respective years.&nbsp; Steve himself was nominated for an Oscar for <em>The Mask</em>.&nbsp; Furthermore, all are projects that represent important leaps in CG, in terms of developing the techniques and pushing the boundaries of what was thought possible by the all mighty pixel.&nbsp;&nbsp; Aside from Steve&rsquo;s work on these milestone movies, this is THE man that, on his own time, created an animation test that convinced Steven Spielberg and George Lucas that CG was the way to go for <em>Jurassic Park</em>.</p> <p>With his extensive feature film experience, Steve has since focused most of his attention on commercial direction.&nbsp; Prestigious honours include: being selected for the <strong><em>Saatchi &amp; Saatchi</em> <em>New Directors Showcase at Cannes</em></strong>, receiving multiple <em>Clio Awards</em> for <em>Electronic Arts</em>, as well as for the <strong><em>Blockbuster &ldquo;Carl and Ray&rdquo;</em></strong> campaign.<br />During his studies in Animation at Sheridan College, Steve spent his summers working at the University of Toronto&rsquo;s OISE Computer Lab.&nbsp; Upon graduation from the Classical Animation program at Sheridan (the days before there was a Computer Animation track), Steve went to work at <strong><em>Alias Research</em></strong>&nbsp;(yes, some Autodesk history there) in Toronto.&nbsp; It was here that Steve became proficient in <strong><em>Alias</em></strong>, a software package that would completely alter the landscape for design, graphics, animation and visual effects in feature film.&nbsp; In 1989, Steve joined the Computer Graphics Department at <strong><em>ILM</em></strong>.</p> <p>It was movies like <em>The Abyss, T2</em> and, certainly, <em>Jurassic Park</em> that got me into this field to begin with and it was a great pleasure to have a chat with him about how much, and how little, things have changed since those early days.</p> <p></p> <p></p> <p><img style="vertical-align: baseline;" src="/userdata/blogs/craig/Spaz_Car2.jpg" alt="Steve Williams_Car" height="455" width="680" /></p> <p></p> <h2><strong><em>What are you up to now?</em><strong></strong></strong></h2> <p>For the last few years I have been directing commercials all over the world.&nbsp;&nbsp; I have directed well over 300 commercials.&nbsp; I also teach a class on <em>Directing for Film and Animation</em> at the <a href="" target="_blank">Academy of Art in San Francisco</a>.&nbsp;&nbsp; I also teach a lot of science in that class too.&nbsp; Yeah, I know, not as &ldquo;glorious&rdquo; as the old days!&nbsp;&nbsp; I spend a lot of my free-time building in wood and metal. (you can check out some of Steve's work <a target="_blank" href="">here</a> and on Vimeo <a target="_blank" href="">here</a>).</p> <p></p> <h2><strong><em>Tell me about your days back at Alias</em><strong></strong></strong></h2> <p>I was at <em>Alias Research</em> back in 1987 doing demos and I became a bit of a hot-shot demo guy showing-off <em>Alias</em>.&nbsp;&nbsp; When I had started at Alias they had just introduced version 2.&nbsp;&nbsp; I remember I had to demo at NAB in Austin and the damn machine kept on crashing.&nbsp;&nbsp; We were on an SGI 3130 and the configuration was buggy and it was embarrassing as hell.&nbsp; You&rsquo;d be in the middle of a demo and the f!*#@*g machine would hang up!</p> <p></p> <h2><strong><em>I can assure you that still happens. Nothing has changed there.</em><strong></strong></strong></h2> <p>Yep, that&rsquo;s too funny.&nbsp; I know the pain.</p> <p></p> <p></p> <p><img style="vertical-align: middle;" src="/userdata/blogs/craig/ilm04_workstation.jpg" alt="ILM Pit" height="303" width="620" /></p> <h2><strong><em>Give us a brief history of your work at ILM in the early CG days</em><strong></strong></strong></h2> <p>I was the first Alias person at ILM in 1988.&nbsp; I remember very clearly that I was using Alias v2.1.&nbsp; We had a staff of about 7 in the department.&nbsp;&nbsp; I was the first animator and the first Canadian in the Computer Graphics Department.&nbsp; I was brought in to do the first demo of the pseudopod for <em>The Abyss</em> for James Cameron.&nbsp; Then they said, &ldquo;Oh, we&rsquo;re going to keep this guy&rdquo;. &nbsp;Mark Dipp&eacute; and myself built the pseudopod.&nbsp; That was 18 scenes&hellip;92 seconds&hellip; and that kinda really fell on the radar for CG.&nbsp; It also brought Cameron back to us for <em>Terminator 2</em>.&nbsp; I was Animation Supervisor on T2.&nbsp;&nbsp; Then we heard about this <em>Jurassic Park</em> idea.&nbsp; I became Chief Animator on JP and we took all the data and ported across to <em>Softimage</em> because of its Inverse Kinematics system.&nbsp; Those 3 films kinda laid down the tracks for the entire industry, AND&hellip;at the basic level, not much has changed.&nbsp; I was running Alias on an SGI GT60 and GT80&hellip;these were the first machines to run Alias at ILM.&nbsp; I can&rsquo;t remember what the cost of those machines were, but I know it was insane.</p> <p><strong><em><br /></em></strong></p> <h3><strong><em>Christopher Reeve and Spaz discussing The Abyss behind the scenes!</em></strong></h3> <p><a href="" target="_blank"></a></p> <p><strong><em><br /></em></strong></p> <h2><strong><em>How&nbsp;</em></strong><strong><em>did you animate for The Abyss in early versions of Alias?</em></strong><strong><em>&nbsp;</em></strong><strong><em>&nbsp;</em></strong></h2> <div><strong><em><br /></em></strong></div> <p>You had two options for animating in the early versions of Alias.&nbsp;&nbsp; You could animate an object with Translational, Rotational, Scalar (TRS) data, or you could animate control vertices.&nbsp;&nbsp; Alias was very good for animating fluid motion via B-Splines.&nbsp; You could easily visualize the behaviour in the viewport.&nbsp; The key was to be able to animate the spine through the Pseudopod.&nbsp; This spine that ran along the pseudopod, carried the basic animation, but then we had a series of control vertices, like slices, that we would further refine as we went.&nbsp; I would take a spline and animate the CVs along a path and make sure to maintain the exact distance between the CVs.&nbsp; Then I would animate separate slices or rings of CVs along the spline.&nbsp; These rings would be orthogonal, or flat.&nbsp;&nbsp; Then I could animate what they were doing, like they were undulating for example.&nbsp; Then we had a program and it would take each ring and lay them down along the corresponding CV at 90 degree normal, then high-res them, and then run them through <strong><em>SOCK</em></strong>&nbsp;(more on that later) and it would create one complete object.&nbsp;&nbsp; We had some control over the resolution of the surface and we would lay down individual sine waves distribution points along the entire thing that would create the rippling effect.&nbsp; We had a one-bounce ray trace in Renderman, which would create the optical disturbance in the background.</p> <p></p> <p>A documentary special highlighting Steve in 1992</p> <p></p> <p></p> <h2><strong><em>How many guys on The Abyss for CG?</em></strong></h2> <p>There were about 5 of us in the department in 1988. &nbsp;Mark Dipp&eacute; did the code for the pseudopod and I animated most of the shots.</p> <p></p> <h2><strong><em>When it came to the task of applying CG for The Abyss, is it fair to say that you guys were inventing as you went?</em></strong></h2> <p>Absolutely, back then we didn&rsquo;t even have all the pieces or the parts to do what we wanted.&nbsp; We essentially had to manufacture all the parts. <br />Cameron came to us with an idea that there was no solution for: a realistic, alien, pseudopod of water.&nbsp;&nbsp; Those solutions had to be built with early, off the shelf software.&nbsp; We had to build a lot of custom tools to help us accomplish what we needed. &nbsp;During <em>Terminator 2</em> we had another software problem that was solved by another guy from Alias, an Engineer named Angus Poon, who came down to ILM and wrote a program that we called &ldquo;<strong><em>SOCK</em></strong>&rdquo; that was responsible for maintaining C2 continuity across these 4-sided, B-Spline patches.&nbsp; My partner in crime then, Mark Dipp&eacute;, knew the higher level of math that was required and he wrote a lot of good tools.<br />The face data for the placement on the end of the pseudopod was a serious accomplishment.&nbsp; It&rsquo;s taken for granted today, but using facial scan data and stitching it on to the end of this living tube of water, with b-spline patches, was a real challenge.</p> <p><br /><br /><a target="_blank" href=""><img style="vertical-align: middle;" src="/userdata/blogs/craig/T2b.jpg" alt="T2" height="372" width="672" /></a><br /><strong><em></em></strong></p> <h2><strong><em><strong><em>What was the most important custom-tool for Terminator 2</em></strong>?</em></strong></h2> <p><br />I&rsquo;d have to say our ChanMath program.&nbsp; When you were animating multiple channels of control vertices, you ended up having multiple pivot points in space. This inhibited control when choosing to "group" vertices with existing animation data into a new hierarchy.&nbsp; ChanMath would collapse all the control vertices to 0,0,0.&nbsp; I personally would use this all the time when animating the "death sequence" (the end lava scene) in T2.</p> <p><br /><br /></p> <h2><strong><em><strong><em></em></strong></em></strong><strong><em><strong><em><strong><em>T-Rex muscle and tertiary animation: Challenges in Jurassic Park</em></strong></em></strong></em></strong></h2> <p><strong><em></em></strong><br />For the T-Rex muscle animation we used animated, low-res bladders in the legs and keyed the Y-axis bouncing up and down.&nbsp;&nbsp; Then the CVs on the high-res skin were instructed to listen to that bouncing bladder on a weighted scale from zero to 100%.<br />The dinos were all built with b-splines.&nbsp; They were put through our program SOCK to align and close the surfaces, and then we had these guys that were the &ldquo;Envelopers&rdquo;.&nbsp; It was very, very tedious and these guys would constantly type and run tests to check their enveloping on the skins.&nbsp;&nbsp; These were the guys that would blow out their hands and arms with Carpal Tunnel Syndrome!&nbsp; <br />I built the first bones for the Rex and, later on, the entire creature. &nbsp;Yet another Canadian, Eric Armstrong, built the Raptor. &nbsp;&nbsp;<br /><br /><a target="_blank" href=""><img style="vertical-align: middle;" src="/userdata/blogs/craig/JP_TRex.jpg" alt="JP_Spaz_TRex" height="418" width="600" /></a></p> <p>A still from Steve's T-Rex skeleton run-cycle that changed CG &amp; film forever.</p> <p></p> <p><img style="vertical-align: middle;" src="/userdata/blogs/craig/JP_TRex_schem1.jpg" alt="JP_TRex_Schem" height="523" width="680" /></p> <p>Figuring out the joint placement with Softimage units (scan courtesy of S. Williams)</p> <p></p> <h2><strong><em><strong><em><strong><em><strong><em>I suppose a &ldquo;Jack of All Trades&rdquo; was probably the most fitting title?</em></strong></em></strong></em></strong></em></strong></h2> <p><strong><em></em></strong><br />I was Chief Model Builder and Animator on <em>Abyss, T2, and JP</em> (T-Rex).&nbsp; I built, rigged and animated all of those things.&nbsp; During T2, we came up with a way of building teams to create shots that used a lot of the same techniques and data.<br /><br /><iframe src="" allowfullscreen="" frameborder="0" height="315" width="420"></iframe><br /><br /></p> <h2><strong><em><strong><em><strong><em><strong><em></em></strong></em></strong></em></strong><strong><em><strong><em><strong><em><strong><em><em><strong>What kind of challenges did you face during The Mask or Spawn?</strong></em></em></strong></em></strong></em></strong></em></strong></em></strong></h2> <p><br />Same platforms as the projects before hand (<em>The Abyss, T2, Jurassic Park, Jumanji, Eraser</em>, ..) &ndash; Alias on the front-end for modeling and Softimage for animation.&nbsp; The IK system in Softimage was superior.&nbsp;&nbsp; There was a little bit of blend-shaping going on for <em>The Mask</em>.&nbsp;&nbsp; For the most part we used a library of shapes that we would look through.&nbsp;&nbsp; Cary Phillips wrote a system called &ldquo;Caricature&rdquo; (&ldquo;Cari&rdquo; for short; won a Technical Achievement Award in 1998).&nbsp;&nbsp; This library allowed us to access all of the exaggerated shapes and extreme expressions for Jim Carrey's face.&nbsp; We also used a bit of spline-animation mixed with blend-shapes that followed those splines when the Mask would wrap around his head.&nbsp;&nbsp; One of the biggest challenges in Spawn was his cape.&nbsp; We had chains of bones driving the basic, overall structure and a fluid dynamics algorithm running over the fabric.<br /><br /></p> <h2><strong><em><strong><em><strong><em><strong><em><em><strong><strong><em>What about texturing? Did you use Photoshop to build the textures?</em></strong></strong></em></em></strong></em></strong></em></strong></em></strong></h2> <p><br />We were using a very early version of what became Photoshop as early as <em>The Abyss</em> with no ability to use anything like UV coordinates.&nbsp;&nbsp; For T2 we were using a version of UV mapping.&nbsp;&nbsp; We used coded and texture-based shaders for <em>Renderman</em>.&nbsp; Everything had to be scripted out into RIB files to go off to Renderman. <br /><br /></p> <h2><strong><em><strong><em><strong><em><strong><em><em><strong><strong><em><em><strong>Back then you had such limited tools compared to what is now available&hellip;A lot of what you are talking about is taken for granted today&hellip;.</strong></em></em></strong></strong></em></em></strong></em></strong></em></strong></em></strong></h2> <p><br />There was no rigging or anything like that.&nbsp; You had hierarchies of B-Spline patches on a rudimentary forward kinematic system.&nbsp; It was very crude but it did the job and it allowed me to figure out a way to build the T1000.&nbsp; We didn&rsquo;t have the ability to project a curve onto a surface, we were stuck in B-Splines.&nbsp; B-Splines allowed for an easier way to shape surface patches.&nbsp;&nbsp; We also had a version of Steven Coon&rsquo;s patching system.&nbsp; This was way before NURBS and Subdivision Surfaces wasn&rsquo;t even on the radar.&nbsp; We didn&rsquo;t have access to things like <strong><em>Mudbox</em></strong> or any of these tools to sculpt and bring up detail.&nbsp; We did have source code to Renderman because we had a good relationship with <strong><em>Pixar</em></strong>.&nbsp; But, you know what?&nbsp; I had animation under my belt, I was a good animator and I thought I&rsquo;m going to make this f@@@er stand on end.&nbsp; And I did.&nbsp; <br /><br /><br /></p> <h2><strong><em>What was that meeting like when it was decided to go CG for Jurassic Park???</em></strong></h2> <p>I was not invited to that meeting, unfortunately.&nbsp; I heard that, apparently, after my T-Rex bones test (I set up low-res bones in Softimage and animated and rendered out a test) that Lucas was quite emotional.&nbsp; He was so blown away but what he was seeing.&nbsp; <br /><br /></p> <h2><strong><em><strong><em>Considering what you worked with on The Abyss, JP, The Mask, T2, Spawn, etc. and how far modeling, animation and rendering tools have come in the last 25 years, are we all a bunch of whiners today?</em></strong></em></strong></h2> <p><br />No I don&rsquo;t think so at all.&nbsp;&nbsp; If anything I feel for the artists today.&nbsp; The problem is that Hollywood puts more pressure on the artists because the tools are always becoming better.&nbsp; Clients expect a Cadillac for the price of a Chevette.</p> <p><a href="" target="_blank"><img style="vertical-align: middle;" src="/userdata/blogs/craig/Gall3.jpg" alt="Carl&amp;Ray" height="511" width="680" /></a></p> <p>"Carl and Ray" - Blockbuster</p> <p></p> <h2><strong><em><strong><em><strong><em>How did you find the transition from creating some of Hollywood's most notorious creatures, to directing some of the coolest commercials?</em></strong></em></strong></em></strong></h2> <p><br />That transition was very fun.&nbsp; Directors usually go the opposite direction - namely, from commercials to movies.&nbsp; I love shooting live action comedy, though the work I get is as a reflection of the work I've done while at ILM, really.</p> <p><a target="_blank" href=""><img style="vertical-align: middle;" src="/userdata/blogs/craig/Capital1_Mailbox2.png" alt="Capital1_Spaz" height="375" width="680" /></a></p> <p><em>Capital One "Mailbox"</em></p> <p></p> <h2><strong><em><strong><em><strong><em><strong><em>You took a break from commercials and Directed Disney's The Wild, how was that experience</em></strong>?</em></strong></em></strong></em></strong></h2> <p><br />Great in many ways, horrible in others.&nbsp; I am not cut out to deal with certain types of individuals that run large Hollywood studios.&nbsp;&nbsp; I have checkered teeth, I smell like a Slim Jim and enjoy crushing nerdy executive hands.&nbsp; Not a good combination for getting your foot in the door in "Hollywood".&nbsp; Look what Hollywood has done to computer graphics .... turned her into a slutty sister!</p> <p><img style="vertical-align: middle;" src="/userdata/blogs/craig/thewildposter.jpg" alt="TheWild" height="450" width="304" /></p> <p></p> <h2><strong><em>You were an extra in Star Wars: A New cool was that?!?!?</em></strong></h2> <p>Lucas wanted extra people and activity going on in the background and asked me to take care of it. &nbsp;I actually got to Direct myself. &nbsp;I just set up a camera to shoot 50% live action and 50% background, with a green screen. &nbsp;The picture below shows myself and Paul Hunt walking through Mos Eisley.</p> <p></p> <p><img style="vertical-align: middle;" src="/userdata/blogs/craig/Paul_Spaz_SW.jpg" alt="Paul Hunt and Steve &quot;Spaz&quot; Williams on set for SW: New Hope" height="534" width="680" /></p> <p></p> <p></p> <h2><strong><em><strong><em><strong><em><strong><em></em></strong></em></strong></em></strong><strong><em><strong><em><strong><em><strong><em><strong><em>What was the best project that you have ever worked on and why?</em></strong></em></strong></em></strong></em></strong></em></strong></em></strong></h2> <p><br />Politics and internal debates aside, <em>Jurassic</em> was great.&nbsp; <em>The Abyss</em> was so under the radar, no one had a clue what we were up too and we were left alone.&nbsp; It wasn't until after the success of <em>The Abyss</em>, that this CG thing took off and all hell broke lose for <em>Terminator 2</em>.&nbsp; Everything suddenly became much bigger, even though it was still Mark Dipp&eacute; and I who set up all the teams and tech.</p> <p></p> <h2><strong><em><strong><em><strong><em><strong><em><strong><em><strong><em>As far as CG is concerned, what is the next big thing?</em></strong></em></strong></em></strong></em></strong></em></strong></em></strong></h2> <p><br />The resurrection of deceased actors, whether people like it or not.&nbsp; Here&rsquo;s a link to a paper I helped out with concerning the subject:&nbsp; <a href="" target="_blank"></a></p> <p></p> <h2><strong><em><strong><em><strong><em><strong><em><strong><em><strong><em><strong><em>The following didn&rsquo;t really happen&hellip;..did it?</em></strong></em></strong></em></strong></em></strong></em></strong></em></strong></em></strong></h2> <p><br /></p> <p></p> <p><img style="vertical-align: bottom;" src="/userdata/blogs/craig/Spaz_Press2.jpg" alt="Spaz_Press2" height="800" width="680" /></p> <p></p> <p><a href="" class="twitter-follow-button" data-show-count="false">Follow @The_Mudroom</a></p> <script type="text/javascript" src=";style=avatar"></script> <noscript>&lt;a href=""&gt;Craig Barr on Twitter Counter&lt;/a&gt;</noscript> <script type="text/javascript">// <![CDATA[ !function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0];if(!d.getElementById(id)){js=d.createElement(s);;js.src="//";fjs.parentNode.insertBefore(js,fjs);}}(document,"script","twitter-wjs"); // ]]></script> <p><br /><br /><br /></p>Mon, 15 Oct 2012 19:34:50 UTC Forums! VOTE for what drives you mad! Suggest your ideas!Craig Barr<h2>Mudbox:&nbsp; "Small Annoying Things" and "Ideas" sites!</h2> <p></p> <p>These forums are about 2 things:&nbsp;</p> <p><br />1) "<a target="_blank" href="">Small Anoying Things</a>" - all the little annoying quirks and problems in Mudbox that drive you nuts, and...<br />2) "<a target="_blank" href="">Ideas for Mudbox</a>" - For issues that are bigger that you think will improve things, as well as, for specific feature requests, then use this forum.<br /><br />The purpose of these forums are to understand which ideas and issues matter most to the people who use the software. For the <em>Small Annoying Things</em> forum, we particularly want to identify issues that bother you that we can fix more easily.&nbsp; However, Autodesk cannot commit to completing any ideas in this forum -- even those marked under review.&nbsp; We combine information from this forum with other factors like product strategy, market focus, planned areas of innovation, and input from leading-edge customers to determine product functionality.</p> <p><br />Add your vote to any idea if you also think this is an annoying behavior that needs to be fixed.</p> <p></p> <h5><em>HOW TO USE THE FORUMS:</em></h5> <p></p> <p>- Each user has 20 votes for each forum<br />- Each idea can have no more than 3 votes by a single user<br />- If you enter an idea, it will cost you 1 vote &ndash; therefore try to make sure the idea doesn&rsquo;t already exist<br />- The more precise and detailed a description you give, the more likely your idea will rise higher in the list<br />- When an idea is implemented, votes are returned to all the users that voted<br />- User can change their votes at any time<br />- Admins can move, edit and delete ideas as they see fit to better meet the goals of the forum<br />- We will flag ideas that are getting our attention as &ldquo;under review&rdquo;. Because of limits on what we can say publicly, that is as far as we can go with commenting on a particular idea. If it is &ldquo;under review&rdquo; it simply means we&rsquo;re studying it for possible implementation or gathering data, but there is no commitment to do it.<br />Please treat this as an experiment in working with the community. Even if Uservoice is not the final home for this, we&rsquo;ll do our best to export all the ideas to whatever future system might take its place. Your voice will persist.</p> <p></p> <h3><strong><em>GET VOTING!</em></strong></h3> <p></p> <p><strong><em>Note:</em></strong> It&rsquo;s important to realize that these lists are simply raising the quality of the feedback we get from the community. They are not a replacement for how we define the features for any given release. They are valuable input, but beta input, product strategy, focus, innovation and other factors are also important aspects we consider.</p> <p></p> <p><em><strong>BUGS</strong></em></p> <p><br />Please continue to report them here:<br /><a target="_blank" href=""></a></p> <p><br />Find more info via the <a target="_blank" href="">FAQ</a> <br /><br /><em>Of course, these forums also exist for other products!</em></p> <p><br /><strong><em>Maya:&nbsp;</em> </strong><br /><a target="_blank" title="Maya: Small Annoying Things" href=""></a></p> <p><a target="_blank" href="">Small Annoying Things</a></p> <p><a target="_blank" href="">Ideas for Maya</a><br /><br /><strong><em>Max:</em></strong></p> <p><a target="_blank" href="">Small Annoying Things</a><br /><br /><strong><em>Softimage:</em></strong><br />In progress, for updates/info, see Graham's blog here:<br /><a target="_blank" href=""></a></p> <p></p> <p><strong>FOLLOW The Mudroom on TWITTER!</strong> <a target="_blank" href="!/The_Mudroom">@The_Mudroom</a></p>Tue, 28 Aug 2012 05:46:40 UTC OpenSubdiv with Mudbox and MayaCraig Barr<h2>Pixar and the OpenSubdiv Project</h2> <p></p> <p><img style="vertical-align: baseline;" src="/userdata/blogs/craig/MK_osd_TK.jpg" alt="Pixar OpenSubdiv with Craig Barr's Toad King" width="360" height="350" /></p> <p>At the Autodesk booth at Siggraph 2012, the <strong><em>Pixar GPU Team</em></strong> comprised of Takahito Tejima, Dirk Van Gelder, Manuel Kraemer, and David Yu announced and demonstrated their recent work on an open-source project called OpenSubdiv.&nbsp;</p> <p>Their demo utilized Maya's Viewport 2.0 to demonstrate some stunning real-time results that included deformation of around 1.5 million vertices on a model (the <a href="" target="_blank">ToadKing</a> rides again!) with multiple channel maps displayed. &nbsp; Vector Displacment was extracted from the model (sculpted and painted in)&nbsp;<strong>Mudbox</strong>, along with all of the Diffuse, Specularity and Reflectivity and displayed with a simple rig that allowed full deformation IN REAL TIME! &nbsp;&nbsp;</p> <p><img style="vertical-align: baseline;" src="/userdata/blogs/craig/OSD_Maya_TK.jpg" alt="Pixar OpenSubdiv in Maya" width="803" height="450" /></p> <p></p> <h3>Why is this important?</h3> <p>Aside from being incredibly cool, there is a very important production reason for this. &nbsp;At render time, subdivision surfaces are most often used to achieve smooth and clean results that accurately and properly mimic the models in a scene. &nbsp;This is great at render time, but what about during animation, set layout, effects, or anything else that needs to interact with specific features of that model's surface? &nbsp;When working on a production animators, for example, are working with a more simplistic, low-res or even proxy version of the models in the scene. &nbsp;This is typically done for performance so that animators can preview the work in real-time. &nbsp;However, the historical problem with this process is that it makes it difficult to properly interact with objects. &nbsp; A scaley hand grasping a weapon or a shirt colliding with rippled skin, for example, require a more delicate approach during animation. &nbsp; Previewing the full-subdivided surface in real-time, at ALL times, solves a number of these issues. &nbsp; This code is being utilised in Pixar's pipeline in current productions right now and is changing how animators work by taking a huge chunk of guess work out of animation and interaction. &nbsp;This is resulting in a shortened time in the production process.</p> <p></p> <h3>Watch the Pixar OpenSubdiv presentation with Autodesk here:</h3> <p></p> <p></p> <p></p> <p>Find out more information about OpenSubdiv at the Pixar research web site here:&nbsp;<a href="" target="_blank"></a></p> <p>OpenSubdiv is covered by an opensource license, &nbsp;and is free to use for commercial or non-commercial use. &nbsp;The source code for OpenSubdiv is located at the link below and has entered open beta for SIGGRAPH 2012. &nbsp;Feel free to use it and let Pixar know what you think through the following site:</p> <p><a href="" target="_blank"></a></p> <p>(Platforms supported: Windows, Linux, limited OSX)</p> <p></p> <p><strong>FOLLOW ALL THINGS MUDBOX ON TWITTER!</strong>&nbsp;&nbsp;<a href="" target="_blank">@The_Mudroom</a></p>Wed, 15 Aug 2012 17:18:57 UTC 2012 - Los Angeles: Mudbox Demo and NotesCraig Barr<h3 class="Body1"><strong>SIGGRAPH 2012: Los Angeles</strong></h3> <p class="Body1"></p> <p class="Body1">Well, yet another <a href="" target="_blank">SIGGRAPH</a> has come and gone.&nbsp;&nbsp; Like every year, it was busy as hell, yet it was a good show!&nbsp; Mudbox absorbed most of my time in-and-around SIGGRAPH and I had the opportunity to work with the Wacom guys at their booth showing the <a href="" target="_blank">Mudbox Multi-Touch Tech Preview on their Cintiq Touch 24HD</a>.&nbsp; I was also at the <em>2012 HP and NVIDIA Production Advisory Council</em> working with more Multi-Touch Mudbox on some new technology with people from all over the industry.&nbsp;&nbsp; The "Infuse Your Own Tequila Bar" was a nice break!&nbsp;&nbsp; The Autodesk booth featured many customer stories and the use of Mudbox in their daily pipelines.&nbsp;&nbsp;&nbsp; Be sure to check out my blog post&nbsp;<a href="" target="_blank"><span color="#ffffff" style="color: #ffffff;"><span style="font: inherit;">PIXAR: OpenSubdiv with Mudbox and Maya</span></span></a><b>&nbsp;</b>on the very cool <a href="" target="_blank">OpenSubdiv</a> project by the guys at Pixar using Mudbox and previewing the high-res ToadKing model in Maya Viewport 2.0 with deformation!</p> <p class="Body1"></p> <p class="Body1"><em><strong>Pixar's Manuel Kraemer presenting the OpenSubdiv project:</strong></em></p> <p class="Body1"><img style="vertical-align: baseline;" src="/userdata/blogs/craig/Pixar.JPG" alt="Pixar's Manuel Kraemer presenting OpenSubdiv with Maya and Mudbox" height="508" width="680" /></p> <p class="Body1"></p> <p class="Body1"></p> <h3 class="Body1"><b>A Mudbox discussion with Daniel Simon</b></h3> <p><b><br /></b></p> <p class="Body1">While showing some Mudbox and Maya workflows at the <a href="" target="_blank">BOXX</a> booth on some insanely powerful hardware, I had the chance to meet <a href="" target="_blank">Daniel Simon</a>&nbsp;and discuss some of his design workflows.&nbsp;&nbsp; We had a very cool discussion about painting in Mudbox. &nbsp; I even had a sneak peak of some future stuff he has coming out soon.&nbsp;&nbsp; Mind blowing.&nbsp; I'm a huge fan of Daniel's work and it was very cool to have the chance to meet and talk with him.&nbsp;</p> <p class="Body1"><img style="vertical-align: baseline;" src="/userdata/blogs/craig/DSimon_CBarr2_sml.jpg" alt="Daniel Simon and Craig Barr" height="485" width="650" /></p> <p class="Body1"><o:p>&nbsp;</o:p></p> <p class="Body1"></p> <h3 class="Body1"><strong>Mudbox Hard Surfacing Demo</strong></h3> <p><strong><br /></strong></p> <p class="Body1">This year, I spent a little bit of time focusing on some Hard Surface workflows in Mudbox 2013.&nbsp;&nbsp; The topics covered include: building up initial forms and structure; refining with Flatten; plenty of simple back and forth polishing with Smooth and Flatten; and some tips and tricks that go along with achieving some tightened edges using: Orient to Surface, Pinch, Curves as sculpt guides; and Vector Displacement stamps as sculpt tools.&nbsp; The 30 minute stage demo wraps with some discussion of producing quick render previews directly out of Mudbox with images and turn-tables.&nbsp;&nbsp; At the side-stage of the Autodesk booth, in the <em>Autodesk University &amp; AREA Community Theatre</em>, I went into a little more in-depth discussion of sculpting in Mudbox and the creation of custom Vector Displacement stamps for sculpting workflows using Maya and Mudbox.&nbsp;&nbsp; I'll be posting a few videos discussing some more in-depth look at Hard Surface workflows, custom VDM creation, and using Ptex with Transferring Paint Layers, in the coming days.&nbsp; I'll also provide a link to grab some simple stamps I created for nice hard-edging techniques in Mudbox. <a href="" target="_blank">**UPDATE: you can find the VDM video/post and some VDM stamps here!**</a></p> <p class="Body1"><o:p>&nbsp;</o:p></p> <h4 class="Body1"><em>Here's the Main Stage Hard Surfacing demo in Mudbox for Siggraph 2012:</em></h4> <p class="Body1"><o:p>&nbsp;</o:p></p> <p></p> <p></p> <p><strong>FOLLOW ALL THINGS MUDBOX ON TWITTER!</strong> &nbsp;<a href="" target="_blank">@The_Mudroom</a></p> <script type="text/javascript" src=""></script><noscript><a href="">Craig Barr on Twitter Counter</a></noscript>Wed, 15 Aug 2012 15:05:45 UTC Connexion and MudboxCraig Barr<p></p> <p></p> <p>Support for 3D Connexion devices for Mudbox is a question that has always popped up here and there at various events and, Autodesk Mudbox 2013 finally has it!&nbsp; This video is a quick overview of the Space Pilot Pro in-use with Mudbox.&nbsp; Using a 3D mouse with Mudbox allows you to position your model with one hand while sculpting and painting with the other hand.&nbsp;&nbsp; In this case, I'm using the Space Pilot Pro in conjunction with a Wacom Intuos tablet.</p> <p>To access the preferences for 3D Connexion devices within Mudbox, click the small arrow icon underneath the Viewcube and select '3D Connexion Properties' (see screengrabs below).</p> <p></p> <p><img style="vertical-align: middle;" src="/userdata/blogs/craig/3DX_prefs.jpg" height="848" width="416" /></p> <p></p> <p>For help related to the set-up with Mudbox, click <a target="_blank" href=",topicNumber=d30e60024">here.</a></p> <p>NOTE: be sure to install the latest drivers for your device before using with Mudbox.</p> <p>For more information about 3D Connexion and their 3D mice, visit here:&nbsp; <a target="_blank" href=""></a></p> <p></p> <p>Be sure to follow all things Mudbox on Twitter <a target="_blank" href="">@The_Mudroom</a></p>Mon, 16 Jul 2012 17:16:57 UTC Preview: Multi-Touch Mudbox with the new Wacom Cintiq 24HD TouchCraig Barr<p><span style="line-height: 115%; font-family: 'Calibri','sans-serif'; font-size: 11pt; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;"><span style="color: #000001;" color="#000001"><span style="color: white; line-height: 115%; font-family: 'Calibri','sans-serif'; font-size: 11pt; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA; mso-themecolor: background1;">This video gives a &ldquo;glimpse&rdquo; into a preview of technology that Research and Development is playing around with here at Autodesk.<span style="mso-spacerun: yes;"> </span>First of all, I have to say that the new <strong>Wacom Cintiq 24HD</strong> (yes&hellip;up to 1920X1200!) with <strong>Multi-Touch</strong> is really, really, really nice.<span style="mso-spacerun: yes;"> </span>The screen allows the use of 10 digits, opening up a whole world of possibilities for touch-compatible software.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>The screen also offers 2048 levels of pressure sensitivity for the pen tip (and eraser) and is also capable of detecting pen tilt.<span style="mso-spacerun: yes;"> </span>In this video you see the interaction between my left hand on-screen, using gestures to manipulate the model, and my right hand using the pen for sculpting and painting.<span style="mso-spacerun: yes;"> </span>The gestures within the tech-preview build of the <strong>multi-touch capable Mudbox</strong>, are very fluid, quick and easy to use.<span style="mso-spacerun: yes;"> </span>I find the use of the display while creating in Mudbox feels very natural.<span style="mso-spacerun: yes;"> </span>It&rsquo;s quite nice to tumble, zoom, etc. around with one hand and sculpt and paint with the other.<span style="mso-spacerun: yes;"> </span>For more information about the Wacom Cintiq 24HD Touch&hellip;&hellip;click <a title="here" href="" target="_blank">here </a>.</span></span></span></p> <p><span style="line-height: 115%; font-family: 'Calibri','sans-serif'; font-size: 11pt; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;"><span style="color: #000001;" color="#000001"><span style="color: white; line-height: 115%; font-family: 'Calibri','sans-serif'; font-size: 11pt; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA; mso-themecolor: background1;"><br /></span></span></span></p> <p>;;a</p>Tue, 10 Jul 2012 15:27:57 UTC