CG Sambahttp://area.autodesk.com/MSc. in Computer Science // Media & Entertainment Technical Specialist at Autodesk with experience in Motion Graphics, Character Animation, Modeling, Games and Virtual Sets. Thu, 23 Oct 2014 06:35:42 UTCPopulate Animation into your own Biped CharactersRodrigo Assaf<p>Hi Guys,</p> <p>In this video I am about to show you how you can extract animation from Populate Characters and load it into your own biped characters. It is easy, fast and powerful considering that you may apply those animations into any biped character you want. I didn't tryed but I'm pretty sure you can even export the biped animation to Motionbuilder and retarget it on any character. Cool Stuff!&nbsp;</p> <p>Hope you like it! In the end of this page there are the links to download the scripts I used and special thanks to Louis Marcoux and Gary Davis for helping me with this post. Thanks guys!</p> <p>Cheers,</p> <p></p> <p><iframe src="http://player.vimeo.com/video/94215717" webkitallowfullscreen="" mozallowfullscreen="" allowfullscreen="" frameborder="0" height="312" width="500"></iframe></p> <p>My Script to Match Bone Names: <a href="https://dl.dropboxusercontent.com/u/12801159/Load%20Character.ms">https://dl.dropboxusercontent.com/u/12801159/Load%20Character.ms</a></p> <p>Populate Bake Characters (thanks to Louis Marcoux): <a href="https://dl.dropboxusercontent.com/u/12801159/PopulateBake.ms">https://dl.dropboxusercontent.com/u/12801159/PopulateBake.ms</a></p> <p>Bippy - <a href="http://www.scriptspot.com/3ds-max/scripts/bippy">http://www.scriptspot.com/3ds-max/scripts/bippy</a></p> <p></p> <p>Rodrigo!</p>Tue, 06 May 2014 18:16:41 UTChttp://area.autodesk.com/blogs/rodrigo/populate-animationSketchbook Pro Artist - Humberto CunhaRodrigo Assaf<p>Humberto Cunha - Portfolio: <a target="_blank" href="http://humbertoart.com">http://humbertoart.com</a></p> <p>Hi Everybody, I am happy to show you an interview I did with Humberto Cunha, a great Sketch Artist from Brazil. Although the audio is in Portuguese only you may watch and check out his tecniques using the tool Sketchbook Pro with Wacom Cintiq and Pen Stylus.<br /><br /></p> <p><iframe src="http://www.youtube.com/embed/JkO5doTxdRI" allowfullscreen="" frameborder="0" height="315" width="560"></iframe></p> <p>Here are some sketches Humberto published in his portfolio:</p> <p><img src="/userdata/blogs/rodrigo/humberto_cunha/Humberto_Cunha_Mawile.jpg" height="600" width="600" /></p> <p>Humberto Cunha - Portfolio: <a target="_blank" href="http://humbertoart.com">http://humbertoart.com</a></p> <p></p> <p><img src="/userdata/blogs/rodrigo/humberto_cunha/as_fairytales_go.jpg" height="413" width="772" /></p> <p>Humberto Cunha - Portfolio: <a target="_blank" href="http://humbertoart.com">http://humbertoart.com</a></p> <p></p> <p><img src="/userdata/blogs/rodrigo/humberto_cunha/baby_monster.jpg" height="850" width="782" /></p> <p>Humberto Cunha - Portfolio: <a target="_blank" href="http://humbertoart.com">http://humbertoart.com</a></p> <p></p> <p><img src="/userdata/blogs/rodrigo/humberto_cunha/bigbarbarian.jpg" height="765" width="765" /></p> <p>Humberto Cunha - Portfolio: <a target="_blank" href="http://humbertoart.com">http://humbertoart.com</a></p> <p></p> <p><img src="/userdata/blogs/rodrigo/humberto_cunha/finished_colors.jpg" height="911" width="790" /></p> <p>Humberto Cunha - Portfolio: <a target="_blank" href="http://humbertoart.com">http://humbertoart.com</a></p> <p></p> <p><img src="/userdata/blogs/rodrigo/humberto_cunha/girl_candy_final.jpg" height="563" width="797" /></p> <p>Humberto Cunha - Portfolio: <a target="_blank" href="http://humbertoart.com">http://humbertoart.com</a></p> <p></p> <p><img src="/userdata/blogs/rodrigo/humberto_cunha/grayscale-studies.jpg" height="623" width="801" /></p> <p>Humberto Cunha - Portfolio: <a target="_blank" href="http://humbertoart.com">http://humbertoart.com</a></p> <p></p> <p><img src="/userdata/blogs/rodrigo/humberto_cunha/m2.jpg" height="572" width="771" /></p> <p>Humberto Cunha - Portfolio: <a target="_blank" href="http://humbertoart.com">http://humbertoart.com</a></p> <p></p> <p><img src="/userdata/blogs/rodrigo/humberto_cunha/racoon.jpg" height="446" width="838" /></p> <p>Humberto Cunha - Portfolio: <a target="_blank" href="http://humbertoart.com">http://humbertoart.com</a></p> <p></p> <p><img src="/userdata/blogs/rodrigo/humberto_cunha/sketches.jpg" height="914" width="826" /></p> <p>Humberto Cunha - Portfolio: <a target="_blank" href="http://humbertoart.com">http://humbertoart.com</a></p>Thu, 17 Apr 2014 19:28:00 UTChttp://area.autodesk.com/blogs/rodrigo/humbertoLuciano Neves - CLAN VFXRodrigo Assaf<p class="font_8" style="line-height: 1.4em; text-align: justify;"><span style="line-height: 1.4em;">From London's Tower Bridge and Big Ben to the Basilique du Sacr&eacute; Coeur and Notre Dame Cathedral in Paris, VFX Director Luciano Neves has recreated some of the world's most distinctive edifices in 3D.</span><br /> <span style="line-height: 1.4em;">Autodesk Master Max and Master Award winner in the digital art book ELEMENTAL 1 and ELEMENTAL 2,&nbsp; Excellence Award winner in the EXPOS&Eacute; 3 Neves is a consummate specialist in highly-detailed, CG photo realistic and architectural recreations and Environments. Also published in 3ds max 7 and 3ds max 2008 and 2012 Bible - Wiley, and Essential CG Lighting Techniques with 3ds Max - Darren Brooker.</span></p> <p class="font_8" style="line-height: 1.4em; text-align: justify;"><span style="line-height: 1.4em;">Born in S&atilde;o Paulo, Brazil, currently as Co-Owner / VFX Director at Brazilian VFX company&nbsp; <span class="color_18"><strong>CLAN VFX</strong></span> ( <a target="_blank" href="http://clanvfx.com.br/">www.clanvfx.com.br</a><a target="_blank" href="http://clanvfx.com.br/"> </a>).</span></p> <p><span style="line-height: 1.4em;">Luciano Neves Website:</span><a target="_blank" title="Luciano Neves" href="http://www.lucianonevesvfx.com/"><br />http://www.lucianonevesvfx.com/</a></p> <p><iframe src="http://player.vimeo.com/video/75397567" webkitallowfullscreen="" mozallowfullscreen="" allowfullscreen="" frameborder="0" height="310" width="500"></iframe></p> <p></p> <div class="_38 direction_ltr"> <p><strong>1) Tell us about you and Clan VFX and how many artists are involved</strong></p> <p>I started my career 20 years ago as an inker and at that time I was using Nankin ink before knowing that these arts could be scanned and have the whole process optimized. I ended up doing data processing, to better understand how software and hardware work, then I took a course in web designer and when I finished it I&rsquo;ve noticed that the web business was going down and how much studies and effort I would have to do to achieve a great level. Having this in mind I began to study intensively Art and VFX and never stopped.</p> <p>I was working as a web designer but still studying and publishing my 3D works, and the consequence of these studies happened. I was hired to work in Europe, more specifically in Switzerland, in a great high-tech engineering company, specialized in Olympic venues projects. I worked there, in the CG department, for 2 years. In 2003 I returned to Brazil and still continued to publish my work, then a small company in S&atilde;o Paulo called Inutilia Truncat hired me. I worked there for a year.</p> <p>In 2005, Pixpost, a company focused on composition, called me to develop the 3D Department. I hired some 3D professionals and led this department of the company that was later renamed to Pixpost and Animation Studio. I worked there for two years with a wonderful team. When Pixpost managers decided to change their marketing strategies I decided to leave the company and look for new challenges.</p> <p>Coincidentally in the same period, a company called Tribbo Post, well known for having a very strong work in composition, called me to talk about the idea of strengthening an existing team and include a differential photo realistic work, which I had all the know-how.</p> <p>When I left Pixpost I spent few weeks thinking of if I would go back to Europe or look for a nice company for my team in Brazil.</p> <p>So, Tribbo Post offered me to make part of their team, but I was expecting to have the team that I led at my side and continue as VFX Director, because that was the way Pixpost gained the same importance in the market.</p> <p>I researched some details about how Tribbo Post before making a decision that would involve more people, and then we talked and decided to create a new 3D department within Tribbo Post. A new team for the company with a great differential in VFX and photorealism, thereby strengthening the company reputation and also acquiring new customers.</p> <p>I continued as a VFX Director and other 7 VFX artists decided to leave Pixpost and come to Tribbo Post, where we worked hard and helped to make one of the best and most famous VFX companies in South America during the period we were there.</p> <p>During the period of five years many people were hired, some left and returned to the team, but the way of work and pipeline has never changed but updated: focus on the quality of work, meet the deadline and a great customer service throughout the process.</p> <p>With all this differential and after many conversations and meetings, CLAN VFX idea came from the desire of 5 people to start an ideal business, not only considering the work environment but also the quality of work, the concern to offer technical solutions, structure and creative quality. For that we get involved among directors, producers and creative people, responsible for the entire process of the film production.</p> <p>All five members have over 15 years of experience in several areas of VFX, from the technical sectors that involves the company's infrastructure, through attendance, artistic direction and execution of all projects.</p> <p>With a robust production pipeline and experienced staff, CLAN VFX has more than 35 professionals in its team woking with the latest technology in VFX. Having two independent teams with 3D professionals and one composition team with diverse backgrounds, CLAN occupies a property of 400 m2 in the district of Vila Olimpia in S&atilde;o Paulo, Brazil. With the growth of the market and the urge need to include visual effects in movies, we operate since the budget stage when we help our clients to sell and support its ideas to their clients, to the delivery of the film. We believe that participation and careful monitoring of each phase of the process is vital to the success of a project. For this reason we no longer use the term post-production but VFX. It would not make sense to use the term post -production because we started working on pre-production, working from the beginning to the final stage.<br /><br /></p> <p><img src="/userdata/blogs/rodrigo/clanvfx/Capture.JPG" height="373" width="660" /><br />Destiny Art Work - Luciano Neves<br /><br /></p> <p><img src="/userdata/blogs/rodrigo/clanvfx/Capture4.JPG" height="503" width="756" /><br />Destiny Art Work - Luciano Neves<br /><br /></p> <p><strong>2) Considering your experience in the Brazilian CG market what the expectations and challenges CLAN VFX is facing?</strong></p> <p>The VFX market has undergone several transformations over the years, as the world economy. The result is a general adaptation between companies and professionals.</p> <p>Our biggest problems are not in the artistic or professional side but how to maintain an infrastructure of high technology. This is a disadvantage in countries like Brazil, where taxes and import fees are extremely high, and considering that we don&rsquo;t have much software and hardware technologies developed here we have to import. There is no way to charge, or even share this cost to customers, so, this is the first and biggest difficulty.</p> <p>The people who work for a VFX company have any training related to art, physics, mathematics, engineering, anatomy, management and many other areas that is required to compose a team as we have in CLAN. Maintain them trained and updated also requires a high cost. The tools also change continuously and update them is extremely necessary.</p> <p>Another difficulty is how our customers actually know and understand the processes, steps and values in VFX that eventually influences time and total cost of the projects and of course the final quality.</p> <p>We believe that everything is possible in 3D, and to include VFX in a commercial or movie need to be well planned, monitored and completed by professionals. As said the master Ridley Scott, regarding the VFX Making-of the film Gladiator, "Give us enough time and money and we can do everything in VFX.". But sometimes a perception that digital work or specifically visual effects has low or even no cost is often judged.</p> <p>Often the client does not know how their work is being developed because of a lack of monitoring and knowledge of the whole process. For this reason, we are involved in all creative and technical process and also have a method that demonstrate to our customers the design steps, a way to educate the market. This method should be a standard, but unfortunately does not occur in all VFX companies in Brazil.</p> <p>We know that machines alone do not solve all the workflow alone, there is no "do this or change that right now" button. Everything takes time and involves all the professionals knowledge and the whole company to work correctly. There is also the time production required for each project that certainly differs from each one to another. Regularly a large number of people or machines will not do the job faster.</p> <p>Today, between 75% to 95% of world TV adds is done with digital intervention, what happened a few years ago was just a small intervention with color correction, nowadays this has changed and interventions are often even structural, a simple color correction to the replacement or addition of a 3D scenario called set extension.</p> <p>As an example there have been cases that we had to replace up to 90% of a material previously filmed, a scene that unfortunately we didn&rsquo;t directed from the beginning. Considering cost issues we did not get the best result, although the quality has remained high.</p> <p>There is still a common mistake to think that to build or redo using digital techniques will decrease the final cost or will have absolutely no cost, and once again mistakenly believing that only machines will create the project. It is amazing that in 2013 we are still facing this challenge here in Brazil. We must think that all projects are not only technology but also hours of highly trained people. I believe these are our greatest difficulties in Brazilian market.<br /><br /></p> <p><img src="/userdata/blogs/rodrigo/clanvfx/Capture11.JPG" height="428" width="763" /><br /><span style="line-height: 1.4em;">Destiny Teaser - Image from Luciano Neves Website:</span><a target="_blank" title="Luciano Neves" href="http://www.lucianonevesvfx.com/"> http://www.lucianonevesvfx.com/</a><br /><br /></p> <p><img src="/userdata/blogs/rodrigo/clanvfx/Capture6.JPG" height="431" width="768" /><br /><span style="line-height: 1.4em;">Destiny Teaser - Image from Luciano Neves Website:</span><a target="_blank" title="Luciano Neves" href="http://www.lucianonevesvfx.com/"> http://www.lucianonevesvfx.com/</a></p> <p><strong><br />3) How do Autodesk Solutions help Clan VFX in the creation process?</strong></p> <p>Autodesk has the best tools in the market delivering solutions for the creation of concepts to finishing compositions. We use almost all software that Autodesk provides to the area of VFX.</p> <p>We start with the Concepts in Autodesk Sketchbook Designer, then we make the models in Autodesk 3DS Max or Autodesk Softimage, then, we use Autodesk Mudbox for painting textures and return to the animation, and rendering in Autodesk 3DS Max. Finally, we finish the shot with color correction in Autodesk Flame, Flint and Autodesk Smoke. We have a very effective pipeline and Autodesk tools enhance our workflow allowing us to respect deadlines and keep quality really high.<br /><br /></p> <p><img src="/userdata/blogs/rodrigo/clanvfx/Capture12.JPG" height="348" width="622" /><br /><span style="line-height: 1.4em;">Image from Luciano Neves Website:</span><a target="_blank" title="Luciano Neves" href="http://www.lucianonevesvfx.com/"> http://www.lucianonevesvfx.com/</a></p> <p><img src="/userdata/blogs/rodrigo/clanvfx/Capture13.JPG" height="417" width="743" /><br /><span style="line-height: 1.4em;">Image from Luciano Neves Website:</span><a target="_blank" title="Luciano Neves" href="http://www.lucianonevesvfx.com/"> http://www.lucianonevesvfx.com/</a></p> <p></p> <p><strong>4) What&rsquo;s the essential characteristic Clan VFX considers when hire a CGI artist?</strong></p> <p>We have specific departments in the company and each department requires its technical skills, but a basic principle that we demand in our hiring process is able to work in a team and &ldquo;wear the shirt&rdquo; of the company as we do for our team. We treat our employees as part of the same family.</p> <p>Be enthusiastic and collaborative is always a challenge. We believe that much of the success of a company is based on the commitment of people, so we try to provide all these tools so they can grow within the company and have the ability to take risks, and so we can filter or select people who are determined and want to achieve their professional and personal goals.</p> <p>We know that in the field of VFX we must provide and create a relaxed atmosphere, but to do this, it is necessary to have people committed to deadlines and quality. That requires responsibility.</p> <p>Also, for this reason, we promote a balanced life, respecting the human value.</p> <p>I believe that this management technique is also linked to the new generations who we hear so much about, because we must have an open mind to not manage Generation X or Y, but manage "any generation". That is what I keep in mind to lead my team, I believe that all CLAN, in their respective departments, use this same technique, perhaps in slightly different technical aspects but with the same base or structure.<br /><br /></p> <p><img src="/userdata/blogs/rodrigo/clanvfx/Capture5.JPG" height="395" width="704" /><br /><span style="line-height: 1.4em;">Destiny Teaser - Image from Luciano Neves Website:</span><a target="_blank" title="Luciano Neves" href="http://www.lucianonevesvfx.com/"> http://www.lucianonevesvfx.com/</a><br /><br /></p> <p><img src="/userdata/blogs/rodrigo/clanvfx/Capture9.JPG" height="201" width="999" /><br /><span style="line-height: 1.4em;">Image from Luciano Neves Website:</span><a target="_blank" title="Luciano Neves" href="http://www.lucianonevesvfx.com/"> http://www.lucianonevesvfx.com/</a><br /><br /></p> <p><strong>5) Why investing in Brazil? Are you aiming at international market?</strong></p> <p>Today everyone working in CLAN was born in Brazil, our families and roots are from here, so over the years we have acquired knowledge of Brazilian business and respect from our customers. Considering that and the fact it is not easy to create a company in abroad, we have many people involved in our company with big responsibilities, and we are still creating a strong foundation in the domestic market and planning to, in the near future, to target the international market. Although we are living in an unstable situation in the world economy I believe that in the future we will be able to develop some partnerships and projects outside Brazil.<br /><br /></p> <p><img src="/userdata/blogs/rodrigo/clanvfx/Capture14.JPG" height="576" width="931" /><br /><span style="line-height: 1.4em;">Image from Luciano Neves Website:</span><a target="_blank" title="Luciano Neves" href="http://www.lucianonevesvfx.com/"> http://www.lucianonevesvfx.com/</a> - CLAN VFX<br /><br /></p> <p><img src="/userdata/blogs/rodrigo/clanvfx/Capture15.JPG" height="581" width="931" /><br /><span style="line-height: 1.4em;">Destiny Teaser - Image from Luciano Neves Website:</span><a target="_blank" title="Luciano Neves" href="http://www.lucianonevesvfx.com/"> http://www.lucianonevesvfx.com/</a> - CLAN VFX<br /><br /></p> <p><img src="/userdata/blogs/rodrigo/clanvfx/Capture7.JPG" height="785" width="685" /><br /><span style="line-height: 1.4em;">Destiny Teaser - Image from Luciano Neves Website:</span><a target="_blank" title="Luciano Neves" href="http://www.lucianonevesvfx.com/"> http://www.lucianonevesvfx.com/</a></p> <p></p> </div>Thu, 07 Nov 2013 14:50:00 UTChttp://area.autodesk.com/blogs/rodrigo/clanvfxTV Band - Motion Graphics with 3DS MaxRodrigo Assaf<p><img style="float: left;" src="/userdata/blogs/rodrigo/tvband/band.gif" height="61" width="100" /></p> <p>TV Bandeirantes (a.k.a BAND), is a brazilian broadcast channel located in S&atilde;o Paulo. This interview is intended to show how a talented team from TV Band is facing new challengings everyday using Autodesk 3DS Max in order to achieve best results. The main project I am going to talk with them is a recent work from a popular sport show called "Jogo Aberto". Enjoy!</p> <p></p> <p style="text-align: center;"><iframe src="http://player.vimeo.com/video/65046682" webkitallowfullscreen="" mozallowfullscreen="" allowfullscreen="" frameborder="0" height="281" width="500"></iframe></p> <p></p> <p><strong>1. Could you say some words of TV Band Computer Graphics Dept. (a.k.a. Videography)?</strong> <br />BAND is a Brazilian Broadcast Channel. It's an in-house Motion Graphic department, Videography, has 24 employees, and covers the whole creative process, from Concept, Creation, Animation to day-to-day tasks. We are responsible for the Branding, Real Time Graphics, Virtual and Real Set Design, and also News Infographics and Simulations.</p> <p>&nbsp;<br /><strong>2. First of all Congratulations for this amazing work. What is the main workflow to achieve this?</strong><br />Thank you! We were seeking an unconventional, modern and fresh look for this show ("Jogo Aberto"). The first inspiration was an image of a ball made of lines and triangles, like a Network or a big connection; then came the idea of mixing it up with the expanded soccer ball, also used in our Soccer transmission language &ndash; however, we wanted something a little more desconstructed and vigorous.<br />In this case, Set Design and Motion Graphics were developed in the same department at the same time and under the same Creative Direction, which resulted in a great synergy and consistent look in all graphic application, like Set, Opening, Lower Thirds and On Air Graphics.<br />In short, for the opening, we first made some still concepts using 3ds Max renders composed in Adobe Photoshop, then the storyboard, and last the animation using 3ds Max and Adobe After Effects.</p> <p><img src="/userdata/blogs/rodrigo/tvband/tela01.jpg" height="259" width="461" /><img src="/userdata/blogs/rodrigo/tvband/tela02.jpg" height="308" width="549" /></p> <p>Motion Graphics produced by TV Band.</p> <p><img src="/userdata/blogs/rodrigo/tvband/tela03.jpg" height="269" width="480" /><img src="/userdata/blogs/rodrigo/tvband/tela04.jpg" height="301" width="537" /></p> <p>Motion Graphics produced by TV Band.</p> <p><img src="/userdata/blogs/rodrigo/tvband/tela11.jpg" height="273" width="486" /><img src="/userdata/blogs/rodrigo/tvband/tela09.jpg" height="347" width="618" /></p> <p>Motion Graphics produced by TV Band.</p> <p></p> <p>All three-dimensional structures were assembled in 3ds Max, such as the introduction, the ball transformed into other balls and 3 different animations for the same logo. At this stage, we were focused on the ball animation in 3d. Then, the 3d animation was imported to After Effects - 5 different passes in total - where the cut and mask adjustments took place, and where the moving ball animation was composed on top of the others ball animations. Finally, we made the color adjustments and the secondary animations in After Effects.<br />The Set was entirely created in 3ds Max, then exported to Autocad in order to build the real set, using the final render as a reference. The final result was impressively similar to the 3d render.</p> <p></p> <p>&nbsp;<img src="/userdata/blogs/rodrigo/tvband/testeCenarioJogoAberto2012_01.jpg" height="241" width="416" />&nbsp;&nbsp; <img src="/userdata/blogs/rodrigo/tvband/testeCenarioJogoAberto2012_02.jpg" height="321" width="556" /></p> <p>Set Created by TV Band using 3DS Max. Exported to Autocad.</p> <p><img src="/userdata/blogs/rodrigo/tvband/testeCenarioJogoAberto2012_08.jpg" height="331" width="578" />&nbsp; <img src="/userdata/blogs/rodrigo/tvband/testeCenarioJogoAberto2012_05.jpg" height="233" width="400" /></p> <p>Set Created by TV Band using 3DS Max. Exported to Autocad.</p> <p><br /><strong>3. How 3DS Max was important for creating motion graphics?</strong><br />3ds Max is a powerful and versatile tool that allows us to develop sophisticated animations. It enables us to create nearly anything we can imagine, with a good render. Thanks to the users community, several compatible tools are readily available in the market - like renderers, plug-ins and scripts that ease our tasks and can be used to achieve faster and better results.<br />&nbsp;<br />&nbsp;<br /><strong>4. How long did you take to deliver the final animation and what were the challenges?</strong><br />The whole process took about 2 months.<br />The main challenges were:<br />- Meeting the deadline;<br />- Achieving a dynamic pace in the video edit;<br />- Modeling and animating the elements;<br />- Setting up a high-quality output with a short rendering time;<br />- Controlling and animate the specular reflection in the logo.<br />&nbsp;<br />&nbsp; <br /><strong>5. Credits for this Project</strong> <br />Creative Direction: Luciano Cury<br />Direction: Omar Sabbag<br />3D Modeling &amp; Texturing: Andressa Hell, Edgar Yagui<br />3D Lighting &amp; Rendering: Andressa Hell, Edgar Yagui<br />Animation: Andressa Hell, Edgar Yagui<br />Edit and Compositing: Edgar Yagui<br />Set Design: Paulo Ferrari<br />On Air Graphics: Edgar Yagui, Nathalie Leonello</p>Thu, 19 Sep 2013 14:58:27 UTChttp://area.autodesk.com/blogs/rodrigo/tv-bandMeet the Artist 1.0 - Bruno CamaraRodrigo Assaf<p><img style="float: left;" src="/userdata/blogs/rodrigo/Interview_Bruno/Bruno_avatar.jpg" height="94" width="74" /></p> <p>&nbsp; <strong>MEET THE ARTIST - V1.0&nbsp;</strong> <br />&nbsp; <strong>Name: Bruno C&acirc;mara<br />&nbsp; Website: <a target="_self" title="Bruno Camara" href="http://www.brunocamara.com">www.brunocamara.com</a><br />&nbsp; From: Brazil<br /></strong></p> <p>Bruno was born in Bel&eacute;m, Brazil, in 1982 and when he was 7 years old he saw a friend drawing the Green Lantern perfectly in a piece of paper and got amazed with that. Since then he never stopped drawing.</p> <p>His background in traditional art and passion for creatures and VFX were crucial for his 3D career. He could never miss blockbusters of that time like Jurassic Park, Terminator 2, Predator, etc.<br /><br />In 2001 he started a degree in Bachelor of Computer Science and after graduate in 2005 did a full time 3D training (Autodesk ATC) in S&atilde;o Paulo, Brazil.<br />After 6 months he was teaching 3DS Max in the same ATC and started a new animation company with other artists. This was his first job as a 3D artist. Three years later he moved to another animation studio focused on Ads for TV to work as a Lead Modeler and stood there from 2008 to 2011. <br />Currently he&rsquo;s living in S&atilde;o Paulo and working as a Freelance Character Artist specialized in organic and hard surface modeling characters for TV Ads, Cinematic and Games, Sculpts for 3D printing, Concept Art, Texturing and Animation.</p> <p></p> <p><img src="/userdata/blogs/rodrigo/Interview_Bruno/Celtic_04_smaller.jpg" height="842" width="861" /></p> <p></p> <p><br /><strong>1.: What made you work with CGI?</strong><br />I was in the last year of university (BSc. in Computer Science) at that time I realized I didn&rsquo;t like programming but love drawing characters, playing games and watching VFX movies, so that&rsquo;s when I decided to get into the CGI world. The main event that made me study and go for CGI was a CG Challenge (Machine Flesh) sponsored by CGTalk that happened that year. I was so amazed with the artists work, especially one from the artist Kris Costa (Brazilian artist, a.k.a., Antropus). That&rsquo;s the specific point where I decided to pursue this fantastic area (CGI) and after that I moved from Bel&eacute;m to S&atilde;o Paulo for 3D trainings.</p> <p><img src="/userdata/blogs/rodrigo/Interview_Bruno/The_Fallout_angles_15k.jpg" height="698" width="1049" /></p> <p></p> <p></p> <p><br /><strong>2.: Which artists and games influenced your work?</strong> <br />Many artists, including 2D artists, 3D artists, sculptors, painters, etc. I am a big fan of Adrian Smith, Carlos Huante, Carlo Arellano, Kekai Kotaki and Laurel Austin. I love the fantasy art from Boris Vallejo, Julie Bell, Frank Frazetta, Jim Murray, Simon Bisley and Paul Bonner. 3D artists like Alessandro Baldasseroni, Kris Costa (Antropus), Gio Napkil, Kolby Jukes, Rafael Grassetti and Cedric Seaut. Sculptors like Aris Kolokontes, Mark Newman, Spider Zero and many others.<br />Considering the games, Blizzard games are the ones that influenced me and the most addictive too (lol).</p> <p></p> <p><img src="/userdata/blogs/rodrigo/Interview_Bruno/Front_Low.jpg" height="806" width="745" /></p> <p><br /><strong>3.: Which skills or tips would you highlight to be a great 3D Modeler? And an animator?</strong> <br />To be a good modeler I would say that passion and teamwork are the most important qualities. Skills like traditional art, drawing, painting and sculpture are really helpful and an advantage when you want to get a job.<br />To be a good animator I&rsquo;d say the same qualities mentioned but also take a nice animation course and acting (theater). Both demands a lot of study and dedication for the rest of your life because knowledge is everything and infinite.</p> <p></p> <p><img src="/userdata/blogs/rodrigo/Interview_Bruno/Realtime_Char_Process.jpg" height="484" width="945" /></p> <p><br /><strong>4.: Which Autodesk solutions do you use? Could you describe your workflow?</strong><br />From Autodesk I work with Autodesk 3DS Max and Autodesk Mudbox.<br /><br />Considering a character development for &ldquo;cinematic&rdquo; purposes my workflow would be:<br /><br />4.1 &ndash; Sketching<br />4.2 &ndash; Modeling/Retopology <br />4.3 &ndash; UV&rsquo;s <br />4.4 &ndash; Highres Sculpting <br />4.5 &ndash; Textures <br /><br />4.1 &ndash; Sketching:<br />I Sketch the character to define its proportion, posture and the scale between the body and its accessories. I create an organic high-resolution modeling to be exported to 3DS Max.<br /><br />4.2 &ndash; Modeling/Retopology: <br />At this stage I model the character final version in 3DS Max. I keep in mind all the edge loops needed for animation and rig.<br />I use the 3DS Max Graphite Modeling Tools that help me to create the final mesh on the high-resolution model. I also use box-modeling techniques.<br />&nbsp;&nbsp; &nbsp;<br />4.3 &ndash; UV&rsquo;s: <br />I create the character UV mapping in 3DS Max, and split it in many UV shell&rsquo;s needed. Usually I create a UV Shell for the head, Torso, Arms and Legs. It depends on each character.<br /><br />4.4 &ndash; High-res Sculpting: <br />Here is where I put some more specific and micro details I want for the character, like: scratches, rust and prints on the metal, stitches and wear on the cloths or leather, veins and wrinkles for skin, etc.<br />There are some details I prefer doing later while texturing like, for example: torn using opacity maps, small leather wrinkles using bump maps, cloth bumps, etc. After sculpting the high-res details, I export the normal maps.<br /><br />4.5 &ndash; Textures and Shading: <br />Finally at this last stage I begin texturing the character with Mudbox and Photoshop.<br />I gather the most references I can related to the character. Images from realistic materials help to check how they react to light improving my results. <br />Mudbox is perfect for texturing character&rsquo;s specific areas without losing quality allowing export maps to Photoshop.</p> <p></p> <p><img src="/userdata/blogs/rodrigo/Interview_Bruno/Retopo2_21.jpg" height="491" width="923" /></p> <p><br /><strong>6.: Which work from your career was the most challenging? What are you planning for the future? &nbsp;</strong><br />I consider my actual work the most challenging of all because I am creating characters for the next games generation (PS4 and XBOX720). I may highlight the high-quality result that is expected for these characters considering the new powerful hardware from that consoles.<br />About my future planning, I intend to invest my time to study more in order to achieve the highest quality that is demanded on actual games. I also intend to be part of a talented team where I can contribute and learn more and more.&nbsp; &nbsp;<br /><br /></p>Thu, 07 Mar 2013 14:49:06 UTChttp://area.autodesk.com/blogs/rodrigo/meet-the-artist-v1-bruno123D Creature - 3DS MaxRodrigo Assaf<p>Hey Guys, in this post I would like to show one possible workflow between the new App for iPAD 123D Creature and 3DS Max.</p> <p>1) The first step is to create a monster using your fingers and paint it on 123D Creature for iPAD. I did my horrible :-) creature in a few minutes!! This app you can paint texture, use modeling brushes like 123D Sculpt and create the creature's anatomy based on a skeleton (with symmetry that you can't disable :-( or animate).&nbsp;</p> <p></p> <p>&nbsp;<img src="/userdata/blogs/rodrigo/123D_Creature/IMG_9465.png" height="712" width="535" /></p> <p>Just click on Export Mesh and the App converts it to OBJ file with your texture and send to your email.</p> <p></p> <p>2) Import the file on 3DS Max and you will notice that the mesh is really subdivided!</p> <p><img src="/userdata/blogs/rodrigo/123D_Creature/MESH.JPG" height="401" width="668" /></p> <p></p> <p>And the Texture is already Unwrapped:</p> <p><img src="/userdata/blogs/rodrigo/123D_Creature/SculptShape.png" height="512" width="512" /></p> <p></p> <p>3) For animation purposes I did retopology using some Conforming tools on a low poly base mesh. This process should demand some work if you need to have a precise result from the target model. (not my case ;-) )</p> <p></p> <p><img src="/userdata/blogs/rodrigo/123D_Creature/CONFORM.JPG" height="404" width="672" /></p> <p></p> <p>In order to have the same texture as the original model first I had to Unwrap the model:</p> <p><img src="/userdata/blogs/rodrigo/123D_Creature/UNWRAP.JPG" height="406" width="675" /></p> <p></p> <p>4) To Project the texture from the Original texture to this new Unwrap mapping I used Render To Texture with a projection modifier. I left all the 3D models (the all quad one and the original) in the same position and clicked on render to texture.</p> <p><img src="/userdata/blogs/rodrigo/123D_Creature/Projection.JPG" height="414" width="688" /></p> <p></p> <p>In the Render to Texture Panel, I choose the Projection Mapping and click on Pick button and select the original Mesh from iPad. After that just add an output map with a 1024pixels resolution and Render! The same texture will be project on my new Unwrap mapping like the picture above. Beware with wrong projection identified as red color. If this happen, try to improve your projection modifier so the software can calculate a better solution.</p> <p><img src="/userdata/blogs/rodrigo/123D_Creature/Render_to_Texture.JPG" height="414" width="690" /></p> <p></p> <p>This is the result. The texture is now projected onto the all quad and lowpoly model.</p> <p><img src="/userdata/blogs/rodrigo/123D_Creature/ALL_QUAD.JPG" height="405" width="675" /></p> <p></p> <p>5) Now, just add a CAT Rig (Dragon) really fast and do some Skinning!</p> <p><img src="/userdata/blogs/rodrigo/123D_Creature/CAT.JPG" height="406" width="675" /></p> <p></p> <p>That's it... now you've got a 3D Model rigged and ready for animation.</p>Fri, 15 Feb 2013 21:01:53 UTChttp://area.autodesk.com/blogs/rodrigo/123dcreatureSmoke 2013 - The Wait is OverRodrigo Assaf<p><img src="/userdata/blogs/rodrigo/smoke2013_2.jpg" height="312" width="838" /></p> <p><a href="/smoke2013">Check out the Webpage in AREA about the new Smoke 2013</a></p> <p></p> <h5>Key Features in Smoke 2013 include:</h5> <ul> <li><strong>Editing and Effects. </strong>Connected Like Never Before: <ul> <li>Familiar track-based video editing environment combined with essential tools for color correction, motion graphics, and visual effects</li> <li>New timeline workflow designed for video editors</li> <li>Conform timelines from Apple&reg; Final Cut Pro&reg; and Avid&reg; Media Composer&reg; video editing software</li> </ul> </li> </ul> <table style="width: 100%;" border="0"> <tbody> <tr> <td align="center"></td> </tr> </tbody> </table> <ul> <li><strong>ConnectFX</strong>: Node-Based Compositing Without Leaving Your Timeline: <ul> <li>Move quickly from your timeline to a full node-based compositing workflow. Tell your story and work fast with essential video editing and effects tools where you need them.</li> <li>Easily experiment and make changes to complex effects. Results are automatically fed back into your edit.</li> <li>Eliminate the need for plug-ins, workarounds, or managing metadata from multiple applications.</li> </ul> </li> </ul> <table style="width: 100%;" border="0"> <tbody> <tr> <td align="center"></td> </tr> </tbody> </table> <ul> <li><strong>Powerful 3D Visual Effects:</strong> <ul> <li>Go beyond 2D layer-based compositing with the Action compositing environment.</li> <li>Use true 3D visual effects tools for 3D text, titles, animated motion graphics, 3D logos, and total control over lighting.</li> <li>Create stereoscopic 3D (S3D) effects with tools for conforming, editing, and compositing.</li> </ul> </li> </ul>Mon, 17 Dec 2012 17:10:01 UTChttp://area.autodesk.com/blogs/rodrigo/smoke-2013---the-wait-is-overAU Brasil 2012Rodrigo Assaf<p><a href="http://www.autodesk.com.br/adsk/servlet/index?id=17432142&amp;siteID=1003425">AU Brasil 2012 - Media &amp; Entertainment Track</a></p> <p>See you there! October 9th WTC S&atilde;o Paulo - Brazil</p> <p><img src="/userdata/blogs/rodrigo/au_me.jpg" height="916" width="647" /></p>Fri, 24 Aug 2012 21:22:36 UTChttp://area.autodesk.com/blogs/rodrigo/au-brasil-20123DBOXX &amp; renderPRO: Autodesk DemoRodrigo Assaf<p><!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:HyphenationZone>21</w:HyphenationZone> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>PT-BR</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> 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table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman","serif";} </style> <![endif]--></p> <p class="MsoNormal" style="line-height: 13.5pt;"><strong><span style="font-family: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'; color: #45555f;">3DBOXX &amp; renderPRO:</span></strong><strong><span style="font-size: 16.0pt; font-family: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'; color: #45555f;"> The One-Two Punch!</span></strong><em><b><span style="font-size: 16.0pt; font-family: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'; color: #45555f;">&nbsp;</span></b></em><span style="font-size: 9.0pt; font-family: 'Tahoma','sans-serif'; mso-fareast-font-family: 'Times New Roman'; color: #45555f;"></span></p> <p></p> <p class="MsoNormal" style="line-height: 13.5pt;"><span style="font-size: 9.0pt; font-family: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'; color: #45555f;">Filmed live at SIGGRAPH 2012, this demo, conducted by Gary Davis,Autodesk M&amp;E Technical Specialist, showcases the dedicated rendering power of renderPRO, as well as the GPU-accelerated rendering performance of the 3DBOXX 4050 XTREMEworkstation featuring NVIDIA Maximus technology. </span><span style="font-size: 9.0pt; font-family: 'Tahoma','sans-serif'; mso-fareast-font-family: 'Times New Roman'; color: #45555f;"></span></p> <p></p> <p class="MsoNormal" style="line-height: 13.5pt;"><em><b><span style="font-size: 9.0pt; font-family: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'; color: #45555f;">&nbsp;</span></b></em><span style="font-size: 9.0pt; font-family: 'Tahoma','sans-serif'; mso-fareast-font-family: 'Times New Roman'; color: #45555f;"></span></p> <p></p> <p><iframe src="http://www.youtube.com/embed/uUdBUQZ7Rjg" allowfullscreen="" frameborder="0" height="315" width="560"></iframe></p>Wed, 22 Aug 2012 16:41:36 UTChttp://area.autodesk.com/blogs/rodrigo/3dboxx-amp-renderpro-autodesk-demoProject GeppettoRodrigo Assaf<p>Download the New Version of Project Geppetto for 3DS Max / 3DS Max Design 2013<br /><br /><a href="http://labs.autodesk.com/utilities/geppetto/">http://labs.autodesk.com/utilities/geppetto/</a></p> <p></p> <p>Project Geppetto is a research project that explores making it easy, fast and fun to add crowds to 3ds Max scenes. Project Geppetto is a data-driven animation system that offers high level control of plausible human animation. The free<sup>*</sup> technology preview of Project Geppetto now includes the Evolver character generation technology.</p> <p>Architects, engineers, and designers can use Project Geppetto to enrich the context of their presentations with realistic human activity. Project Geppetto comes with a set of animations and characters for use in common public settings like sidewalks, hallways, lobbies and plazas. Project Geppetto is the first crowd technology to offer both ease of use and high quality results.</p> <p>Project Geppetto assembles all the components you'd need to create, manage and control large crowds of characters. Our research goal is to solve three big problems:</p> <ol> <li>Creating believable motion easily</li> <li>Creating the look of any kind of human population or demographic and allowing for cultural influences</li> <li>Creating an efficient framework for interacting with tens of thousands of such characters</li> </ol>Fri, 13 Jul 2012 20:31:13 UTChttp://area.autodesk.com/blogs/rodrigo/project-geppettoFMX 2012Rodrigo Assaf<p>The Area covered the FMX 2012 event</p> <p>Check it out here: <a href="/fmx2012">http://area.autodesk.com/fmx2012</a></p>Mon, 11 Jun 2012 13:49:36 UTChttp://area.autodesk.com/blogs/rodrigo/fmx-2012Ptex to UVRodrigo Assaf<p></p> <p>Hi,</p> <p>Using PTex can boost your workflow! You dont need to wait for the UV Mapping to begin the painting task. Now it is possible to do both at the same time!<br /><br />But why do we still need UV mapping if PTex made it easier? Well, not all renders or game engines deal with Ptex mapping. Thats why we still need to work with UVs.<br /><br />Curiosity: Vray Render works fine with PTex (Does Anyone know another one?)</p> <p>For this example, I chose a 3D Model from the 3DS Max demo folder.</p> <p><img src="/userdata/blogs/rodrigo/PTex/01.JPG" width="943" height="565" /></p> <p>1) Lets consider this 3D Character model, just created by an artist, without UVs.</p> <p></p> <p></p> <p><img src="/userdata/blogs/rodrigo/PTex/02.JPG" width="944" height="568" /></p> <p>2) Just to prove that there is no UVs, here is the messy UV Unwrap of the character. At this stage of production it is necessary to generate the UVW but also we can begin the painting/texturing process using PTex in Mudbox.</p> <p></p> <p></p> <p><img src="/userdata/blogs/rodrigo/PTex/ScreenHunter_01_May._31_09.58.jpg" width="942" height="567" /></p> <p>3) I will send to Mudbox this 3D Model. In the Entertainment Creation Suite we have the SEND TO Options.</p> <p></p> <p></p> <p><img src="/userdata/blogs/rodrigo/PTex/03.JPG" width="945" height="568" /></p> <p>4) The 3D Model is sent to Mudbox.</p> <p></p> <p></p> <p><img src="/userdata/blogs/rodrigo/PTex/ScreenHunter_02_May._31_10.02.jpg" width="946" height="569" /></p> <p>5) Select the Mesh and lets get it ready for Ptex Mapping. Go to Mesh -&gt; PTex Setup...</p> <p></p> <p></p> <p><img src="/userdata/blogs/rodrigo/PTex/04.JPG" width="945" height="568" /></p> <p>6) You need to set the Mapping Resolution to be used on your Mesh. Higher resoltuion means bigger file sizes and memory usage.<br />In this low resolution it is possible to notice the lack of definition in the texture.</p> <p></p> <p></p> <p><img src="/userdata/blogs/rodrigo/PTex/05.JPG" width="945" height="567" /></p> <p>7) I just increased the resolution into a level of detail I need. Press Done to begin the Painting!</p> <p></p> <p></p> <p><img src="/userdata/blogs/rodrigo/PTex/06.JPG" width="945" height="568" /></p> <p>8) To paint, create a Paint Layer. I created a diffuse channel Ptex 16bits Integer.</p> <p></p> <p></p> <p><img src="/userdata/blogs/rodrigo/PTex/07.JPG" width="952" height="572" /></p> <p>9) Ready! Your 3D Model is ready to be painted. We can use all painting tools in Mudbox. Please do not consider my painting skills here...As you can see my painting is terrible (just to be an example :-)!!!<br /><br /></p> <p></p> <p><img src="/userdata/blogs/rodrigo/PTex/08.JPG" width="961" height="577" /></p> <p>10) Meanwhile, in 3DS Max, Maya or Softimage the 3D Model could be UV Mapped. With both processes (UV Map and PTex Paint) ready, we can now project the PTEx on an UV Map. I will export this model with the correct UV Map to MudBox.<br /><br /></p> <p></p> <p><img src="/userdata/blogs/rodrigo/PTex/ScreenHunter_15_May._31_15.38.jpg" width="958" height="577" /></p> <p>11) Just click on SEND TO MudBox and choose ADD to Current Scene.</p> <p></p> <p></p> <p><img src="/userdata/blogs/rodrigo/PTex/ScreenHunter_03_May._31_11.00.jpg" width="956" height="575" /></p> <p>12) I just selected the PTex model and moved to get a better visualization from both meshes.</p> <p></p> <p></p> <p><img src="/userdata/blogs/rodrigo/PTex/ScreenHunter_12_May._31_15.33.jpg" width="956" height="576" /></p> <p>13) To project from Ptex to UV, I moved the UV Mesh to be in the same position of the Ptex Mesh, in order to help the projection. Just click on Maps -&gt; Extract Texture maps -&gt; New Operation</p> <p></p> <p></p> <p><img src="/userdata/blogs/rodrigo/PTex/ScreenHunter_04_May._31_11.01.jpg" width="374" height="349" /></p> <p>14) Transfer Paint Layers</p> <p></p> <p></p> <p><img src="/userdata/blogs/rodrigo/PTex/ScreenHunter_11_May._31_15.31.jpg" width="371" height="934" /></p> <p>15) In Target Model, choose the Mesh with the correct UV Mapping. <br />In Source Model, choose the PTex Mesh.<br />I Used Ray Casting as a Projection Method. Click on Extract</p> <p></p> <p></p> <p><img src="/userdata/blogs/rodrigo/PTex/ScreenHunter_13_May._31_15.35.jpg" width="942" height="568" /></p> <p>16) Ready!! The projection works fine! My UV Mapping has the texture I did in PTex. Now I just need to export this texture mapped on the UV Mapping to use in 3DS Max, Maya or XSI.</p> <p></p> <p></p> <p><img src="/userdata/blogs/rodrigo/PTex/ScreenHunter_09_May._31_11.07.jpg" width="293" height="596" /></p> <p>17) To export the texture, go to the paint layer from the UV Mesh, right click with mouse. Select export channel to PSD, or Export Selected... to choose other formats.<br /><br /></p> <p></p> <p><img src="/userdata/blogs/rodrigo/PTex/ScreenHunter_16_May._31_15.40.jpg" width="957" height="575" /></p> <p>18) Now just load the bitmap file in your material diffuse channel!</p> <p></p> <p>Cheers!</p>Thu, 31 May 2012 18:48:14 UTChttp://area.autodesk.com/blogs/rodrigo/ptex-to-uvSiggraph 2012Rodrigo Assaf<p><iframe src="http://www.youtube.com/embed/cKrng7ztpog" allowfullscreen="" frameborder="0" height="315" width="560"></iframe></p> <p></p> <p>Preview from Technical Papers of Siggraph 2012.</p>Tue, 22 May 2012 15:41:37 UTChttp://area.autodesk.com/blogs/rodrigo/siggraph-2012123D Catch Photo TipsRodrigo Assaf<p><img src="/userdata/blogs/rodrigo/123d.JPG" height="255" width="297" /></p> <p>Here are some important tips to get better photographs for 123D Catch!</p> <p>You can download it at: <a title="123D Catch" href="http://www.123dapp.com/catch">http://www.123dapp.com/catch</a></p> <p>1)&nbsp;&nbsp;&nbsp; Avoid Symmetry or ambiguous features in photos<br />2)&nbsp;&nbsp;&nbsp; Accessibility &ndash; Is there enough space around the subject to make the shoots? Start from the center and take photos on every 5 or 10 degrees. <br />3)&nbsp;&nbsp;&nbsp; Avoid Occlusions, if it is not possible take more photos<br />4)&nbsp;&nbsp;&nbsp; Photographs need features (They can&rsquo;t be transparent, &ldquo;super&rdquo; glossy or reflective)<br />5)&nbsp;&nbsp;&nbsp; Subjects cannot move<br />6)&nbsp;&nbsp;&nbsp; The software will use the maximum of 70 photos and it is recommended to shoot at least 50<br />7)&nbsp;&nbsp;&nbsp; You need a consistent lighting (not underexposed or overexposed) &ndash; Overcast day has a nice lighting consistence. <br />8)&nbsp;&nbsp;&nbsp; Do not use Flash<br />9)&nbsp;&nbsp;&nbsp; Focus your target model (never blur it) and if you use depth of field to blur the background do it in all your photos<br />10)&nbsp;&nbsp;&nbsp; Photos resolution don&rsquo;t need to be ultra-high because 3 Mega Pixels is the highest resolution the software will accept, otherwise 123DCatch will resize them.<br />11)&nbsp;&nbsp;&nbsp; Consistent Orientation (portrait photos or landscape)<br />12)&nbsp;&nbsp;&nbsp; Do not crop or edit the photos</p> <p></p> <p>Cheers!</p> <p>Rodrigo</p> <p></p> <p></p> <p>----------------------------------------------------------------------------------------------------------------------------------------------</p> <p>Portuguese Version:</p> <p>Aqui v&atilde;o algumas dicas que resumi para ajudar no processo de modelagem a partir de fotos usando o 123D Catch da Autodesk.</p> <p>Este software, que agora est&aacute; dispon&iacute;vel tamb&eacute;m na AppStore (americana) para Ipad e Windows, faz modelos 3D a partir de uma sequencia de fotos tiradas de um modelo parado. Estas fotos s&atilde;o enviadas para a nuvem da Autodesk, que realizar&aacute; os c&aacute;lculos necess&aacute;rios para gerar o modelo 3D.</p> <p>Site do 123D Catch: <a title="123D Catch" href="http://www.123dapp.com/catch">http://www.123dapp.com/catch</a></p> <p></p> <p>Dicas:</p> <p>1)&nbsp;&nbsp;&nbsp; Evitar caracter&iacute;sticas sim&eacute;tricas ou amb&iacute;guas nas fotos.<br />2)&nbsp;&nbsp;&nbsp; Acessibilidade. Existe espa&ccedil;o suficiente para tirar as fotos? Comece do contro e tire fotos a cada 5 ou 10 graus.<br />3)&nbsp;&nbsp;&nbsp; Evite oclus&otilde;es, ou seja, partes escondidas. Se n&atilde;o for poss&iacute;vel, tire mais fotos.<br />4)&nbsp;&nbsp;&nbsp; As fotos precisam de elementos consistentes, ou seja, o modelo n&atilde;o pode ser transparente, extremamente brilhante ou reflexivo. <br />5)&nbsp;&nbsp;&nbsp; O alvo fotografado n&atilde;o pode mover.<br />6)&nbsp;&nbsp;&nbsp; O Software ir&aacute; usar at&eacute; 70 fotos e o m&iacute;nimo recomendado s&atilde;o de 50 fotos.<br />7)&nbsp;&nbsp;&nbsp; Precoupe-se em ter uma luz consistente. Evite a super-exposi&ccedil;&atilde;o ou a sub-exposi&ccedil;&atilde;o.&nbsp; Dias nublados possuem boa consist&ecirc;ncia.<br />8)&nbsp;&nbsp;&nbsp; N&atilde;o use Flash.<br />9)&nbsp;&nbsp;&nbsp; Foque no modelo para n&atilde;o borr&aacute;-lo. Se for desfocar o fundo, fa&ccedil;a isso em todas as fotos.<br />10)&nbsp;&nbsp;&nbsp; A resolu&ccedil;&atilde;o das fotos n&atilde;o precisam ser grandes pois o software aceita at&eacute; 3 Mega Pixels, caso contr&aacute;rio o 123Dcatch reduzir&aacute; as imagens.<br />11)&nbsp;&nbsp;&nbsp; Mantenha consist&ecirc;ncia na orienta&ccedil;&atilde;o das fotos (Vertical ou Horizontal).<br />12)&nbsp;&nbsp;&nbsp; N&atilde;o fa&ccedil;a Crop ou Edite as fotos.</p> <p></p> <p>Segue um teste que fiz ano passado usando as ferramentas da Entertainment Suite da Autodesk. Vou tentar postar aqui depois o workflow detalhado.</p> <p></p> <p><iframe src="http://www.youtube.com/embed/oEtVpoGZp9U" allowfullscreen="" frameborder="0" height="315" width="560"></iframe></p> <p></p> <p>Abs,</p> <p>Rodrigo Assaf</p>Fri, 18 May 2012 18:17:21 UTChttp://area.autodesk.com/blogs/rodrigo/fotos-para-123d-catchBrazuca na AREARodrigo Assaf<p>Hello World! This blog will discuss technical questions about Media &amp; Entertainment from Autodesk and topics about Computer Graphics. My first idea was to write it in portuguese considering the brazilian community but I've received lots of emails asking for english translation... so I have changed my plans.</p> <p>Lets all check this website of Flame. It is celebrating its 20th anniversary! <a title="Flame 20 Years" href="/flame20">http://area.autodesk.com/flame20</a></p> <p><img src="/userdata/blogs/rodrigo/flame.jpg" height="216" width="654" /><br /><br />Cheers,</p> <p>Rodrigo Assaf</p>Thu, 17 May 2012 13:32:03 UTChttp://area.autodesk.com/blogs/rodrigo/brazuca-na-area