Tales from the Cellar

The latest Lightwave newsletter mentions a plugin that allows the import of Blender fluids. Blender’s simulator is very cool, and Blender is completely free, of course. Once in Lightwave, you can texture using Lightwave’s awesome surfacing system and render engine. I haven’t tried it yet, but it looks great.

You can find the plugin and tutorial here.

trueSpace was one of the first 3D applications I tried, way back in 2000. It was version 4 back then, and while its interface was a little different and it didn’t have all of the state-of-the-art features, it was quite capable and got me through a few projects.

Now on version 7.6, trueSpace has quite a lot to offer, based on the features page. And to make that deal sweeter, it’s completely free! Seems Microsoft purchased Caligari, the creators of trueSpace. I guess they want to compete with other free 3D apps, particularly Google SketchUp. Gee, I wonder why?

There’s only a PC version, so Mac users are SOL in terms of trueSpace.

I read a post on Blendernation, a cornerstone of the Blender 3D community, that I felt bared repeating–for two reasons.

First, Colin Levy (Peerless Productions), created a 30 second public service announcement (PSA) as an entry for PSAId, a contest sponsored by the Center for International Disaster Information (CIDI). It’s very impressive and has a strong message; no wonder it was a finalist. You can view his entry here.

Second, because he uploaded a video on how he used Blender 3D for camera mapping in order to create the proper setting for the scene. He also has a full camera mapping tutorial on his Web site.

I started a section for showcasing the projects I’ve worked on. Projects from the Cellar will have stills galleries of FX and videos, with some behind the scenes commentary, and how-tos.

I’ve already added sections for Amateur Short Films, a Stakes FX gallery, a Monster Planet FX gallery, and a video on how to create a quick and dirty vampire death. Stay tuned for more.

Blender, the open-source 3D application, has come a long way. According to a 2007 comparison of 3D applications published on the TDT 3D (The Dream Team) Web site, Blender performed well against Maya, Softimage XSI, Cinema 4d, and Lightwave. And considering each of the others costs at least $500, Blender should be especially appealing to a low-budget filmmaker.

As the comparison chart shows, Blender scored Good or Very Good in animation, rendering, particles, and dynamics. In fact, it outscored Cinema 4D in character animation, and Lightwave and XSI in UV tools. It was also listed as the only package with built-in compositing; though, XSI’s higher-end versions (the entry-level version was used for the comparison) do have compositing as well.

Blender does need work in some areas. It scored poorly in NURB and curves modeling, and low in 3D painting. Plus, it’s still doesn’t have an industry-standard interface. But the developers are constantly working on updates, and there is a tremendous 3rd party community adding plug-ins and scripts all the time.

Blender’s growth can mean a lot for those who need to use CG for their movies but can’t afford a $500+ price tag. Do you need matte paintings, pyrotechnics, space ships, dinosaurs? Try Blender. It’s free!

Last week my friend Rakesh (back center of the picture), a fellow FX artist and Goju karate instructor left for the west coast. Even with free long distance, e-mail, and occasional visits, I’ll still miss him.

We met through a Lightwave user group several years ago, and became fast friends. The group sort of fizzled out, but we had so much in common, we continued working on and discussing CGI on our own. In fact, I recruited him to work on Timewarp’s CGI-heavy feature Crawler. Work has been slow-going, but he’s made progress–and he insists he wants to keep working in spite of the distance. I’m holding you to that, bud.

One day about 4 years ago, we discovered that we were both long-time martial artists, and he was an instructor. The timing couldn’t have been better for me, because I was in between schools and looking for a place to train. His school, a Kodokan flavor of Goju Ryu located in D.C., was run out of a small activity room in an apartment complex. It was a little bit of a trek from Rockville, but worth it. At that time, there were only 3 regulars, including the two of us, so the small space suited us. And it was great training again.

I actually came from a completely different style, Shorinji-Ryu, a Japanese style (Goju is Okinawan.) Boy did I have a lot to learn… or, rather, unlearn. But Rakesh was up to the challenge of dealing with an old warhorse that was a little set in his ways. And with the help of the other instructors, Josh (bottom right), Jay (back, second from the left) and Vu (back, second from the right), I was able to make the transition.

Thursdays became a night-long ritual of training for 2 hours, then dinner (where we’d talk about movies, computer geekery, and Goju, of course), and then more chatting by one of our cars. There were several nights that I didn’t get home until 1 or 2AM. That made for an unproductive Friday at work.

It’s about 4 years since I joined, and our school has really grown. Among the regulars are Sampak (bottom, second from the left), Johann (back left), John-Joseph (back right), and James (bottom left). We also have several part-time students and two more black belts. And we added two more weekly classes on Tuesdays and Saturdays. Sometimes we train outside on Saturdays if the weather is nice.

Of course, the activity room has started to show its size, or lack thereof. As I said, it’s small and we share the room with 2 couches, a treadmill, and 3 tables. It’s not so bad when we’re all doing the same thing, but we often get in each other’s way when we branch off. And don’t get me started on the parking. But that doesn’t stop us. After all, we’re Samurai. Inconvenience matters, not.

But the absence of a friend does matter. I’m sure we’ll feel the effect, at least for a while. It’s certainly the greatest challenge to our Samurai persistence. But I think I speak for all of us in wishing Rakesh Sensei well, and we look forward to his occasional return for a class.

The future of digital art is about to take a quantum leap forward.

Pixolator has posted an announcement on the Zbrush central forum that on May 17th, Pixologic will release the latest version of ZBrush, their digital sculpting and painting tool. The announcement has a downloadable Quicktime that demonstrates ZB3’s capabilities.

If you create digital imagery of any form (stills, animated films, visual effects, etc.) and need detailed characters or other organic models, I recommend taking a look at it.

And take a peek at the Pixologic gallery to see some amazing art, all created with ZBrush.

Featured in this shot are actors Darla Albornoz and Justin Timpaine.

Only two more scenes to go. Yipee!!

Last week I finished what I called the “pivotal” scene. It’s pivotal for two reasons. First, the good guys face off against the creature for the first time. Second, it was the most challenging scene to complete. Ironically, though, the shot I expected to be the most difficult of the whole film, a shot that required a major on-screen alteration to the creature, lots of tiny particles flying around, and direct interaction between an actor and the Crawler, only took a day to complete.

While working on the scene, an issue that came up a couple of times, including the shot shown above, was dealing with continuity problems. It’s hard enough dealing with them when editing, but when you add into the mix the placement of CG elements after the fact, it opens up a whole other can of worms, or Crawlers in this case. Since we didn’t initially plan to use CG for the Crawler, we hadn’t planned the shots to the level of detail needed for adding CG. We basically winged it. Luckily, however, we decided to film with traditional editing in mind, as opposed to the style adopted by many newer Hollywood directors, the long, motion-filled shots with no cuts. The traditional way uses frequent cuts from various angles: wide, mid, closeup, etc., while maintaining proper stage direction. Thus, a lot was fixed in editing before we even got the CG elements. But, as you can see in the above shot, while Darla and Justin should be looking directly at the creature’s eyes, it appears that Justin is looking at the creatures throat (if it actually has one); they have two different lines of sight.

Oops.

I dealt with this by making a choice: I set to Darla’s line of sight. Since she’s holding a shiny canister, she draws the eye more than Justin. Well, okay, she’d draw the eye more anyway.

Most of the continuity problems we faced were minor, and for some I did my due diligence as a post-production artist and “fixed them in post”. The rest we’ll live with as all filmmakers do.

After a brief diversion working on Dead Hunt, I’m now back to finishing up Crawler. I’m actually on a pivotal scene, a major confrontation between the good guys and the monster. This one has some serious FX stuff in it; I get to do neat things to the Crawler itself, but since it deals with the plot, I can’t give details. Suffice it to say, I get to pay homage to Terminator 2 :)

As I continue to crank out more final FX clips, I thought I’d post a couple of stills. These shots, courtesy of Timewarp, show the creature in both an outdoor, nighttime setting, which is very dark, and an indoor setting that is lighter–though not by much. These renders, which I call “final” use a feature in XSI called Final Gathering to augment the base lighting with a global illumination. For my purposes, it serves to subtly fill in some light, and accentuate the creature’s surface details. The base lighting still dictates the key and rim areas on the creature, but Final Gathering augments the fill lighting, providing more depth.The actor in the second image is George Stover, who plays the sheriff. Hey, George.

Click on the thumbnail for a larger image.