Concerning what not to do.

After rendering for more than Twenty Two hours my VRAY renderer quits when I launched Firefox. No image.

I restart.

Twelve hours into the render, my laptop goes into standby mode and VRAY quits. No image.

I restart.

Been rendering since nine this morning and I have another nineteen hours to go before anyone can see what I have been up to.

So I guess you folks just have to wait.

And oh did I mention it’s only a single frame.

It’s finally here. My online order has arrived via FedEx. If you been a regular reader, you would realize that not too long ago I ordered 3 Maya 7 foundations books from Alias online store for 180 USD. These are the official Alias training guides that are written for Maya users.

I have got to admit I was actually surprised to see the package in my room because the online invoice stated that I would be receiving my package on Tuesday rather than today. Anyway I proceeded to open the package like a child who has just gotten his Christmas gift. Come to think of it, I never got any presents for Christmas. Oh well…

After opening the package, I took out the 3 thick books. I meant thick because each book has approximately 650 pages. The books are in full colour and also come with DVDs. I haven’t had the chance to look at the contents of the DVDs and I have just glanced through the books. From my observation so far, I am glad that I made the right choice in buying these books.

I don’t remember myself for being so enthusiastic about books before, for games yes but never for books. But seeing these books I feel that I am on the right path.

Let us hope the fire that fuels my passion doesn’t burn out and I would be disciplined enough to finish all the lessons in the books.

I took a day off from the Army on Tuesday because I wanted to attend the launch ceremony of Maya 7 in Singapore. Not many I guess would do such a thing. Then again I am the same person who took urgent leave from army just to Watch Star Wars Episode III: Revenge of the Sith.

My day began with a visit to Latifa’s home. She had asked me a day before to troubleshoot her personal computer. So being nice, I met her and managed to fix her pc. I even threw in a few softwares that I thought would be beneficial to her. She thanked me numerous times and even bought me a Burger King Meal as a treat.

Well I have got to admit, I was rather talkative that day. After our chat we parted ways and I went to MPH bookstore at City Hall interchange.

My intentions for going there were clear. I went there to buy a Paulo Coelho book. I actually ended up buying not one but two of his books, ‘The Devil and Miss Prym’ and ‘Veronika Decides to Die.’ I also bought a book for my brother, The Legacy of Blood based on the popular PC game Diablo.

After which I made my way to the launch of Maya 7 in Singapore. The launch was a pretty standard affair but Maya 7 was anything but standard. Maya is going from strength to strength and it’s great that the software has been more streamlined.

Version 7 builds upon the architecture and performance developments from version 6.5. No doubt in the hands of a competent user, Maya will be able to deliver on all ends. It’s just too bad Singapore only has a handful of real Maya enthusiasts but it was nice to see people sacrificing their time to be there.

I didn’t stay long at the launch as I wanted to return home and read my newly bought books. So I took the MRT back home and while on the MRT, I promised myself that I would finish reading ‘Veronika Decides to Die’ by this weekend.

Upon reaching home, I did my daily routine of checking emails and surfing net. I visited the Alias site because I thought they had some coverage on the launch event in Singapore. But I was sourly disappointed. But my disappointment quickly vanished when I saw an irresistible offer; Alias was offering 3 Maya 7 foundations books for $150 USD. On its own each of this books cost $70 USD. This offer had a 29% discount and a ton of goodies.

So I thought about it for 2 seconds and decided it was about time I took the next step in my passion for 3D. I paid $180 USD (including shipping) for books by my MasterCard.

Now all I have to do is wait till the end of September to receive my books.

It’s only been a year and already 3D companies are bringing new versions of their flagship products. Well although that’s good news, the thing that excites me most is that these new versions are more accessible and are also more affordable to enthusiasts.

With so many choices to choose from, one might be overwhelmed to pick the right one. My advice is to try these new programs before buying them. Although some of these softwares have yet to be released it is possible in some cases to download the trial version of the previous incarnations and try them out. And some companies even offer non commercial versions or personal learning editions to the general public.

Many of the companies chose SIGGRAPH 2005 which an international conference for computer graphics and interactive techniques to unveil their new version of their products. All these new products have new tools that set industry benchmarks for performance and creative flexibility. Here is the list of the latest software releases.

New Software Releases
• Alias – Maya 7.0
• Autodesk – 3ds max 8
• NewTek – LightWave 3D v9.0.
• Avid Technology – Softimage|XSI 3D 5.0
• MAXON – CINEMA 4D 9.5 & BodyPaint 3D 2.5

NaturalMotion Ltd., the developers of breakthrough 3D animation technology based on Dynamic Motion Synthesis (DMS), announced the immediate availability of the company’s free endorphin Learning Edition (eLE).

Based on the award-winning 3D character animation software endorphin 2.0, the eLE has no time restrictions, includes all relevant product documentation, and offers a comprehensive support network via the company’s endorphin forum. The software is fully functional; however, it is motion file export disabled and is not to be used for commercial production.

The eLE is available now through NaturalMotion’s Web site at www.naturalmotion.com.

endorphin is the only character animation software to utilize DMS, a technology based on artificial intelligence controllers that imitate the human nervous system. Unlike conventional animation techniques such as keyframing or motion capture, endorphin’s DMS technology uses the CPU to simulate the brain and body of 3D characters, which allows animators to synthesize human movements in real time.

This approach produces directed and fully-interactive 3D characters that essentially animate themselves with real-life movements that are unique every time; thus dramatically reducing animation asset production time.

The full version of endorphin 2.0 retails at USD $12,795. eLE users also have the option to rent the software on a monthly basis for USD $1,595.

modo is one of the most advanced polygonal and subdivision surface modeling tools ever created.

modo was engineered to meet the challenges of the increasing demands of film, gaming, television, print and many other markets. modo combines a highly advanced real-time subdivision surface engine, fast, flexible and extensible modeling tools, and one of the most innovative and flexible user interfaces ever created. Due to the flexible nature of the modo toolset and interface, modo is excellent for creating models of any type. From organics to hard surfaces, from high-resolution film models to low-resolution real-time meshes, modo has the tools.

modo was created to fill a void in the production world. Today’s 3D modelers require a much more robust set of modeling tools, within a real-time environment, designed specifically for manipulating subdivision surfaces. modo delivers this toolset in an architecture that is designed with expansion in mind. This allows artists to create more detailed models, in an interactive environment, in a shorter timeline. modo’s customizable nature allows these advanced artists to sculpt the toolset to their production requirements so that productivity can jump to new levels once the artist is fully established in the modo environment.

So you really wanna be a 3D Artist?

Does Drawing Help?
Ask this question on a public forum if you want to start a war. The fact is that nothing learned is a waste. Learning to draw properly helps you to understand form and proportions, which can help you a lot in modeling. So yes, I do strongly believe that drawing can help a lot.

I am crap at drawing. Does this mean I’ll never be a good CG artist?
Despite what I have said about drawing being beneficial, there is no real reason why you cannot be a good CG artist if you cannot draw. Even I cannot draw as well as I wished. However, people who are very good at drawing and do so regularly are likely to find the process of modeling a bit easier, as they are trained to deal with proportions, space and shapes. If you wish to improve your skills, just start drawing.

How difficult is it to get a job?
To be blatantly honest, the industry is heavily saturated. This doesn’t mean that you cannot get a job, but what it does mean is that you have to be very good if you want a job. You cannot expect to start applying for work just because you have modeled your first head and a few axes and now think you’re going to make a great addition to the team at Blizzard. You have to be realistic about these things. Since there aren’t many avenues in Singapore, try to look elsewhere to land your dream jobs.

Take a look at the quality of work in films and games at the moment. If you honestly feel that your work matches up to it, then go ahead and start sending out some show reels. Don’t be disheartened if you do not hit the jackpot straight away. If your work is great, you will eventually get a job. So keep practising real hard, slowly but surely you eventually become better.

Why do Studios Always Want Experienced Artists?
Having experience is a lot more than simply having been doing 3D for a long time. An artist who has actually worked in a studio before has had to adjust to specific pipelines, crazy deadlines, working in teams and various other things that an artist simply working from home has not necessarily experienced. This is why experience is a major plus factor, even if some of the work that an artist has done in a studio is not exactly the best. The fact is that they nevertheless have gained certain experience in doing so.

Does it help to know people in the industry?
Many people have said that if you are looking for a job, then it comes down to who you know and not what you know. This can definitely be true in many circumstances. Networking and making good contacts and building up a good reputation as an artist can do half the work of landing yourself a job.

How much money will I make?
Frankly though, if you want to be stinking rich, then CG is not really the ideal career for you. Sure, you can earn a great living, and if you can get together the capital to start your own studio that then becomes very successful, then of course you stand to make a lot of money, but generally working as an artist on the pipeline you cannot expect to one day own a mansion.

What is a good file format for rendering to?
This depends on what you are going to do with the render. If you are going to be uploading it onto the web for other people to see, then you will need to save it as an .avi (Windows Media) or .mov (Quicktime) file. These file formats are for clips, as opposed to single images.

When you need to render to a single image, one of the best file formats is Targa. A 32-bit Targa file also includes an alpha channel that ignores the background of your render, so you can then put the model onto a different background in a 2D program like Adobe Photoshop. From Photoshop, you can then compress the image and save it as a JPEG file if you wish to upload it to the web. When working on an actual production, you generally render animated sequences to images as well.

What is the best method of modeling?
Again, this is something that varies from person to person. While there are certainly guidelines as to ensuring good polygon flow in your model, there is really no “best” method of modelling anything. You must use whatever method you feel most comfortable with.

Some people like to box model, some people like to model poly-by-poly, others like to model with splines. There are so many ways to do any one particular thing that as long as the end result looks good and can move (if necessary) without problems, then the method you used to get there really doesn’t matter at all.

What are NURBS, polygons and sub-d’s?
(The following explanation is taken from the 3D buzz website)
While box modelling and spline modelling are defined as modelling techniques, you can think of NURBS (Non-Uniform Rational B-Splines), polygons and sub-d’s (subdivision surfaces) as building materials. They are like the bricks that make up a wall. Polygons are basically the three- or four-sided (sometimes more, then called N-gons) shapes that make up models. NURBS and sub-d’s are similar to polygons in that they also generally have three or four sides, but unlike polygons, they can curve – a polygon becomes non-planar when you try to bend its shape, while NURBS and sub-d’s can bend easily.

Think of a polygon as a piece of metal – if you lift one corner of it, at least one other corner will lift as well. While NURBS and sub-d’s can be equated to something like fabric, that can bend as you wish. Polygon modeling is the most universal modeling type, while sub-d’s and NURBS are suited more for organic and technical models, respectively.

How should I begin with modeling?
Start with simple things, such as household items. Chairs, tables, etc are a great starting point, especially since you have plenty of reference right at hand. Once you are more comfortable with your tools, it is important to challenge yourself with more complex modeling, or else your skills will stagnate. Move onto organic shapes, and perhaps even simple characters, once you have successfully managed to create basic to intermediate items.

So You Wanna be a 3D Artist?

The first overwhelming conundrum facing any beginner is that eternal question – what program should I begin with? The answer to this is pretty tricky. This is because every person is different, and has different ways of approaching things. While one artist may totally swear that the program they are using is the best, it might not necessarily be the ideal package for another artist.

Of course all programs have their advantages and disadvantages, but when it comes to the most popular of the mid-to high-end packages (I hate using the term “high end” but I guess people know what I mean by it), most of them are pretty much capable of the same things, which means that at the end of the day it really comes down to the individual artists themselves.

Someone who has no skills will not be able to produce anything of any worth, no matter how “good” the program they are using is.

Once you have grasped the basic fundamentals of 3D, you can always move to another package since the basic principles apply across the board.

Learning too many programs simultaneously when starting out will probably end up confusing you and will most likely end up with you taking far longer to get anywhere than if you choose to focus on a single piece of software to learn the fundamentals.

“This Program was used on that Film”
This is a very commonly-said thing on the internet and around school campuses, but it really is one of the worst things that anyone can use as a basis of deciding which software they should begin learning on.

The people who insist of using this bit of “logic” often tend to forget:

• that it takes a massive team of highly skilled and experienced artists to take the software and create anything seen in a blockbuster film like Lord of the Rings ;
• that the software used in films has (more often than not) been altered with many proprietary codes;
• And lastly, that many different software companies boast that their software was used on the same films (and often is – many large VFX houses use a number of packages to get their work done).

So basically this line of thinking is not really worth wasting time on if you were thinking of taking it into account when deciding what package to settle on. Just because someone on the web tells you that you should learn Maya because it was used on blah blah blah film, doesn’t mean that you’ll be able to take the program and make exactly the same kind of stuff.

If you like 3Dmax stick with it. If you don’t try out other softwares and pick the one that suits you. There are more than enough choices for any beginner to choose from today than there has been 10 years ago. That brings me to my next point. Demos.

Trying out Demos
The best way, in my opinion, to figure out which program is best suited to you, is to try them out. Makes sense, doesn’t it? These days, most of the popular packages have very cool demo versions available that allow you to explore every aspect that each package has to offer.

Since 3D programs are generally quite expensive, this also ensures that you won’t spend an obscene amount of money on some program just because somebody recommended it to you, only to find out that you hate it.

Generally it is wise to always give things a whirl before handing over your cash. Try out all the programs that seem interesting to you, and see if any of them suit your style and workflow. Most demo versions come with tutorials (or links to tutorials) that you can use to explore the capabilities and toolset of the program.

Try out as many programs as you like – it never hurts to keep your horizons broad. Here are some of the most popular 3D packages professionals use.

• Softimage|XSI Experience
• Discreet 3D Studio MAX
• Alias Maya Personal Learning Edition
• Maxon Cinema 4D Demo
• Side Effects Houdini Apprentice
• Lightwave

I strongly do not recommend Side Effects Houdini Apprentice for absolute beginners. Although it’s the premier industry software, it requires the user to have an in depth knowledge of 3D.

Some of these demos have certain restrictions or limitations (often they watermark your renders (Maya PLC has watermarks.), which means that a small to medium-sized logo of the application will appear on all rendered images), but this is a small price to pay for the free use of the program, in my opinion.

All of these programs have great toolsets and any of them that you choose will be worth taking the time to learn if you are keen to develop some basic skills. And since they are all advanced packages, you’re not likely to find yourself feeling frustrated after you have gone past the basic stage.

Which Program is the Easiest?
There is no absolutely cut-and-dry thing is “the easiest” program to learn because everyone has a totally different definition of what is easy and what is difficult. Different programs generally require different mindsets, and each one offers a slightly different toolset, some of which make certain tasks a little more efficient by providing you with more control, or by automating certain tasks for you.

Some programs may seem a little more complex at first than others. Maya, for example, has a lot more menus and things to click on than Max. It doesn’t necessarily make the program harder as such, but it may make it seem a lot more intimidating at first. But in the end, there is no easy way to learn 3D. No matter which package you choose, you have a hard road of learning ahead of you.

Where can I find tutorials and learn the program I have chosen?
Start off with your software manual. Most programs come with manuals that are suitable for beginners – don’t be afraid to read them. Many people are put off reading manuals because they feel that they are boring or might be too technical. Hogwash. Your manual was included in your software for a reason, so use it.

Lots of packages also come stocked with a horde of tutorials and other learning materials. Go through them! Tutorials are a great way to learn programs, especially if they explain why things work the way they do. Check your software documentation and discs to see if any learning material was included.

The internet offers a vast wealth of learning materials for software packages. Google is a great place to start. Using a search engine can yield great results that should keep you occupied for hours on end. Participate in online communities. These Sites are fantastic for getting help and for learning from the techniques and advice of others.

There are many other forums on the net that offer loads of information for all artists, both beginner and veteran alike. Don’t be shy to register with some forums and ask questions, even if they seem a bit silly.

Many experienced and professional artists hang out on forums and are happy to share advice and help you with your learning process. The most popular one is CGTAlk. And For tutorials or VTMs (refer to previous post) head on over to 3DBuzz.com.

Take Some Initiative
It is very important to have initiative and tenacity if you wish to succeed in this field. If you encounter a problem, try a few things to solve it or read your manual to see if you can find the answer. Don’t give up on something the moment it becomes difficult, or you will never get anywhere. If you never learn to take the initiative of working through problems, you will buckle under the stress.

Should I study for a Degree in CG?
Another hotly-contested and debated subject is that of education. Some people are really in favour of it, while others are deadset against it. In my opinion, nothing learned is ever a waste, and thus I am in favour of education myself. If you can afford to go to school, then go for it. The advantages to going to school far outweigh the disadvantages that some people claim.

Sure there are many people who are self-taught; who are fantastic artists, but not everybody has the discipline to push themselves at home to work hard at developing and improving their skills. A good school, on the other hand, will keep you challenged with constant assignments.

It is also very IMPORTANT to receive criticism for your work, and your instructors at school can provide insightful and constructive feedback to ensure that your work constantly improves.

Another good reason to go to school is that education can be an issue if you move to another country. The VFX and animation industry is one that is growing rapidly all over the globe, and many artists like to travel to other countries to go work in studios there.

Immigration officials are much more inclined to issue work permits to people who have formal education (this is a fact). In light of this, a qualification in the field could be essential in some cases.

However, in terms of actual studios, not many of them require a formal education. In most cases, experience and skill are the most important. As in Singapore your choices for CG School are very limited, if you are serious them you have to look abroad to get that education.

I would like to stress that a self-taught artist is in no way inferior to a schooled artist. My point here is that education can occasionally be an issue, and that if artists have the opportunity to study, it is something that they should definitely consider. Many artists will continue to learn on their own upon completion of their studies anyway.

How Long Does it Take to Get Good?
This is entirely up to you. Some people take a few years, some a few months. People learn and develop skills at different rates. Don’t feel bad if you have been working at it for two years but aren’t as good as some other people who has been working at it for the same time.

Everyone is different. While it is important to challenge yourself, remember not to jump in at the deep end too soon, as it will most likely only end in disappointment. Practice makes perfect.

What Defines Good Work?
An artist who takes pride in their work, is able to accept criticism, works hard at their skills and strives to constantly better themselves, generally produce good work. Watch some films with great VFX or play a game that has spectacular graphics, and compare your work to that.

Set yourself goals to achieve. Develop an attention to detail, and push yourself to create great looking stuff.

Independent Production Studio.

First off, I must apologize for not updating my blog. I was pretty busy these past few days. Mainly because my grandmother was in hospital and I had to visit her everyday with my mother. Well she’s been discharged today and is resting well in her room. Bless all the souls who have shown concern for her.

I have also been busy researching and writing an article based on low budget visual effects. Most of my research materials are taken from CG networks and from various VFX forums. These articles have given me a fresh new perspective on the crucial ingredients needed to become a successful independent production company.

Let me share a little fantasy of mine. Ever since I saw tall corporate buildings, I have always wanted to have a company of my own. Back then it had to be a software company, but today I want to start up my own independent production studio. My love for visual effects has grown into an obsession. I am even starting to sound like a cultist when I go on and on about the wonders Maya can perform.

Another reason was also the fact that I never liked to work for people especially stupid people. The sad fact is some bosses in Singapore are so business minded they seem to lack the vital quality that defines our humanity. That is why I have always been vocal towards anyone who disrespects me and sometimes act like an arrogant fool.

Back to the topic at hand, today’s directors need to harness visual effect in order to thrive among the world best. So what better way then to start off then having your own low budget independent production studio.

Here are some tips I gathered that I wish to share with anyone who is interested in setting up their own independent production studio.

Building a better network
A crucial part of succeeding on low-budget productions is strong relations with those you’ll work with. This means building a strong network with customers and third-party investors, which in turn helps to build the industry.

Working with customers
Personalized treatment and communication with customers during the production will establish a pipeline more suitable for smaller productions as well as independent productions.

Pipeline specifics
A pipeline based around low-budget filmmaking relies on years of experience and specific techniques developed by working on other low-budget productions. In this type of competitive environment, we have to adapt ourselves and find backdoors to keep the quality up and the cost down. Flexible workforce distribution and precise scheduling are two of the main factors in a successful low-budget pipeline.

Equipment specifics
Equipment requirements differ tremendously from those used by big-budget films. This happens because of the cheaper price range. Second, in low-budget filmmaking there is a lesser fear of new technologies or unproven techniques. The way we have set up our pipeline is to keep production digital from the beginning until release. There is also no more guesswork after doing film prints.

The source and end material is digital at all stages of production and kept in uncompressed linear format until the print of the movie. This alone saves more then 50% of VFX budget. Quality-wise, there won’t be any difference in the ‘look’ of a film. By developing knowledge in working with an all digital production, we have come up with techniques to make ‘digital’ look like film.

Problem-solving
Preproduction is worked out in a problem-solving manner. This eliminates expensive production paths, and reinforces the ideology of low-budget filmmaking. R&D assets that have been developed over a number of years include some proprietary techniques as well as automated scheduling and budgeting programs. These factors also reduce the cost of preproduction.

Final product
The final product does not differ in quality from what we are used to seeing on the big screen. Generally, it is even better. The paths that independent filmmakers take are new, fresh and have not been walked upon. For creating new ideas and new looks, this type of filmmaking is by far the most flexible model, which works.

Low-budget ideology
The ideology behind low-budget film making, which is similar to the way industry works in Europe and Asia, is to have multi-skilled professionals adjusting to the current workflow needs of a specific production timeframe.

This ideology of adjusting for directors and producers on lower budget productions creates totally different possibilities. The way customers are treated in this model also creates greater trust for potential investors and producers.

As more low-budget filmmakers become aware of the possibilities provided by advanced imagery and digital technologies, the industry will grow and provide more opportunities for interesting low-budget VFX work. This will be different, but surely a better model with more creative freedom and enormous potential.