Ciao Ragazzi qui delle “chicche”, qui i video degli interventi che ci sono stati a Siggraph 2018!
Siggraph 2018 Rewind – Aaron Sorensen: VFX & Compositing with Redshift & C4D
Aaron is the founder of and an instructor on vfxcentral.net. He has created products and training for the VFX artist. He is also a full-time senior VFX artist and compositor for THE VOID. He has had to opportunity to work with ILM, Lucas Film and Disney. You can see some of his work at the VOID centers (a location based VR experience) across the world, including Downtown Disney and Disney Springs.
In this presentation, Aaron gives you a taste of his VFX Crash Course on VFX Central, taking you step-by-step through his process of creating a photo-realistic 3D environment and cinematic matte painting for a live-action SciFi film shot. He shares some great tracking tips and techniques, shows you how to add a “taking camera” for a cinematic perspective, paint and add a complete 3D environment, add lighting, and finally shares his tips for rendering and setting up multi-passes with RedShift to finalize your composition.
00:17 Demo Reel
02:01 The Void
05:35 Workflow Overview
08:44 Tracking in Cinema 4D
19:12 Using the Tracked Footage to Create the Cinematic Camera
28:07 Using ProjectionMan to add a 3D Environment
Siggraph 2018 Rewind – David Koss and Matt Milstead: Projection Mapping in Cinema 4D
Matt Millstead and Dave Koss of Nexus Motion and brograph.com demonstrate aspects of two separate projection projects completed with Cinema 4D. Matt first shows how they designed an animation used by Deadmau5 in his New Year’s Eve countdown. The animation project features the characters from Rick and Morty, and was animated in Virtual Reality with the help of VRChat. Dave talks about the process they used in creating a projection for Busch Gardens Williamsburg. You’ll learn how they were able to derive a model of the building using a Mavic Pro and Agisoft Photoscan, and how they achieved a number of the gags in the animation using various plugins including X-Particles and Greyscalegorilla’s Signal. Finally Matt and Dave announce a new upcoming community resource, mograph.com.
02:11 Deadmau5 NYE Countdown
06:47 NYE: Modeling the Box
09:07 NYE: Wires
12:18 NYE: Countown Timer
17:10 NYE: Lipsync Mouth Animation via Sound Effector
21:12 NYE: VRChat
24:17 Busch Gardens Projection Mapping
25:48 Photogrammetry with Mavic and Agisoft Photoscan
27:50 Spotlight Effect
31:59 XP Comet / Star Trails
37:13 GSG Signal BPM
44:02 Simulating Projections with Camera Mapping
Siggraph 2018 Rewind – Al Heck and Jon Weinberger: How to Create Game Art for Unity using C4D
Al Heck and Jon Weinberger from GameDevHQ show how to create game art assets in Cinema 4D, and use those assets in Unity to create a playable game. Al demonstrates key skills for game asset development, including UV unwrapping and texture painting in BodyPaint 3D. You’ll also see how to use C4D’s Sculpting system to add details to the model and bake the sculpted detail into normal maps for use in a game asset. Al also talks about how Mixamo can be used to rig and animate a character, and how you can apply various Mixamo animations via the Retarget tag. After Al brings the asset into Unity, Jon shows how to define various animation states and use the assets in a playable game demo.
04:16 UV Unwrapping
13:57 Projecting Concept Art and Painting with BodyPaint 3D
18:09 Painting Multi-Channel Textures
24:52 Baking Sculpt Normals
27:56 Character Rigging and Animation with Mixamo / Retarget Tag
30:37 Importing C4D Game Assets into Unity
34:13 Voronoi Fracture – Breaking Crate
35:37 Setting up Animations in Unity
39:11 Setting up Crate Dynamics in Unity
Siggraph 2018 Rewind – David Brodeur: Creating Rocks and Terrain in C4D
David Brodeur (Locked and Loading) demonstrates his techniques for creating ground terrain and rocks in Cinema 4D. Through his presentation David will briefly show how this can be done in the Physical Render engine with no additional tools. After he will go more in depth using Octane Render with this technique. David will show a combination of techniques inside Cinema 4D utilizing Displacement, Clones, Displacer Deformer. You’ll also see how David uses C4D’s Sculpting tools to model rocks and scatter the rocks around a landscape.
04:09 Creating Landscapes with Displacement
09:28 Building Textures for Physical Render
15:54 Sculpting Rocks
24:32 Texturing Landscape in Octane
35:31 Cloning Rocks onto the Landscape / Octane Scatter
Siggraph 2018 Rewind – Brett Morris: Managing the Carnage of Carmageddon
Brett is Creative Director and founding partner of the motion design studio – Ranger & Fox based in Los Angeles. In this presentation, Brett takes a technical director approach to the creation of “Carmageddon” – a motion graphics project created by and for the studio. His approach to the project illustrates how you can create a project file that provides a lot of parametric control for creative freedom and workflow efficiency.
Brett assembles a freeway rig with simple splines, CV-Chamfer and Xpresso to create a complex freeway rig which can be controlled by a few simple sliders. He adds low-poly elements as a basis for the freeway structure. He then shows how to replace these proxy elements at render time with high density, detailed models using instances.
The end of the Carmageedon short features a tangled web of freeway, undualting upon itself. Brett walks you through his process of creating this cluster of turbulent splines which were generated in Houdini and exported as an Alembic model. He then uses MoSpline to simplify this source spline, while maintaining the point level animation of the Alembic file. Lastly, Brett uses Redshift Proxies to create a variety of colors on cloned cars.
00:49 Demo Reel
03:51 Carmageddon – Studio Project
04:25 The Creative Process Behind Carmageddon
05:59 Creating the Freeway Rig
19:15 Using Instances for the High Density Elements
21:02 Variations on the Instances
27:34 Cluster Spline
37:01 Creating Redshift Proxies to Render Cars of Varying Colors
Siggraph 2018 Rewind – Bhakti Patel: A Three Year Journey in C4D
Bhakti Patel is a 3D Animator and Motion Designer. Her work includes the Emmy-nominated main titles for Vinyl, UI design, and animation for Black Panther, the main-on-end titles for Thor Ragnarok, the Opening Ceremony for the UEFA Champions League Finals and over a dozen commercials and titles. She also happens to be addicted to Netflix, bookstores, and nachos.
During her presentation Bhakti breaks down a teaser she created for American Horror Story, an ad for El Silencio Mezcal and one of her “everyday” projects. Bhakti quickly and easily animates a snake using SplineWrap and Displacement, and uses Depth of Field to add a bit of drama. For one of her “everyday” pieces she goes step-by-step through the creation of using primitives, deformations, MoGraph cloner, GI, Booleans and more.
01:27 Demo Reel
02:24 Creating an American Horror Story Teaser
04:29 Animating a Snake
08:45 Creating the Texture for the Snake
17:15 Creating Drama with Depth of Field
22:37 El Silencio Mezcal Commercial
24:19 Modeling the Mezcal Bottle
29:37 Overview of Bhakti’s “Everydays” Work
30:57 Step by Step Creative Process of a Bhakti
Siggraph 2018 Rewind – Dean Giffin: Tactile Design with C4D
Dean Giffin explores visual communication through a hybrid of mediums. His unique sense of style and experience attempts to unify design, technology, and tangible experience. He is both the Director at Swivet Studio while also freelancing to various design and motion studios around the world.
Dean’s presentation covers tactile design and simulating fabric in a promo he created for the Nike Zoom Airbag. Dean models the the plastic shell of the heel and sole of Nike shoes with splines and the Loft generator. He then uses spilnes, spline dynamics and constraints in conjunction with the hair system to create a springy fabric effect. The effect is incredibly real and flexible. He finishes the presentation with an overview of the materials and lighting, done with Illustrator, CV-ArtSmart and Octane.
00:42 Demo Reel
03:02 Nike Zoom Airbag Promo
03:28 Creating the Nike Plastic Shell Sole Element
21:04 Creating the Springy Fabric Effect
34:14 Adding the Springy Fabric Elements to the Plastic Framework
40:18 Setting up Materials using Illustrator, CV-ArtSmart and Octane
Siggraph 2018 Rewind – Matthew Encina: Designing Cinematic Scenes
Blind Creative Director and contributor to the Futur, Matthew Encina offers insight into the fundamentals for creating dynamic narrative sequences. You’ll learn basic lighting techniques, camera lens choices, and how to frame and find a shot. You’ll also see Matthew’s technique for assembling a shot sequence using Adobe Bridge.
21:38 Exercise 1 – Western Shootout
33:56 Assembling a Shot Sequence in Adobe Bridge
38:25 Exercise 2 – The Exchange
Siggraph 2018 Rewind – Sekani Solomon: Creating the Short ‘Hidden’ Using Cinema 4D
Sekani Solomon discusses the creation of his short film “Hidden” and explains how he achieved several of the shots within the film. He explains how to animate shattered crystals with Cinema 4D’s Voronoi Fracture and MoGraph tools. He also shows how the Time Offset feature of MoGraph effectors can be used to animate growing flowers along a path, and how he used PoseMorph to wrap chains around a figure. Sekani discusses his use of Redshift Proxy to optimize rendering, and some of the techniques he used to render realistic skin in Redshift. He also talks about creating cloth effects in Marvelous Designer.
10:06 Style Frames
12:38 Crystal Voronoi Fracture
19:03 Flowers – Cloner, Time Offset, Redshift Proxy
25:19 Chains – PoseMorph
30:52 Face – Skin Shading, Displacement and Compositng
35:51 Cloth – Marvelous Designer
Siggraph 2018 Rewind – Brandon Parvini: Character Development and Animation Workflows in C4D
Brandon Parvini demonstrates character animation and rendering techniques and workflows employed on the upcoming season of Adult Swim’s Dream Corp LLC. You’ll learn how Brandon and his team achieved a non-photorealistic rendering (NPR) or cartoon look using basic shaders and C4D’s standard render engine – primarily through the use of Oren-Nayer shading and specular lighting. You’ll also see techniques they use when animating characters for the show, including use of Xrefs and the Surface Deformer. They also utilize iPi Soft to generate quick motion capture, and a Character Object template which allows them to easily tweak and animate on top of the mocap animation.
08:33 NPR-style Shading Techniques
12:57 Trash Monster
17:59 Surface Deformer
20:05 Displace Deformer
28:52 Cloning Trash on the Character
38:59 Animating the Ogre with iPi Soft
54:43 Animating on top of MoCap