This is one of many tutorials on the web showing 3D logo animation. BUT! We will not waste our time with modeling, texturing, lighting the scene... we will focus on exporting the animation into a RPF format which allows us to import a Max camera right into the After Effects and even to create a depth map which is needed for creating nice depth of field - as you can see on the picture.
Software: 3DS Max, After Effects
Plugins: Frischluft DOF, Trapcode Particular, Optical Flares
Run time: 33 min
01. Avengers : Age of Ultron Magic Spell Thrust
02. Avengers : Age of Ultron Magic Beam
03. Avengers : Age of Ultron Magic Ball Summoning
04. The Walk Establishing Shot Moving Clouds
05. The Walk Clouds Disperse
06. The Walk Looking down WTC Clouds
07. The Walk NYC Clouds Build-Up
08. The Walk High Altitude Clouds over NYC
10. The Beauty and the Beast Leaves, Twigs and Rose Petals from the Giant
11. The Beauty and the Beast Fireflies
12. The Beauty and the Beast Rose Petals Falling from the Tree
13. The Beauty and the Beast Petals, Leaves and Twigs falling from the Tree
14. The Beauty and the Beast Grassy Open Fields
15. John Carter : Mars Deep Space Sequence High-Altitude Martian Clouds
16. John Carter : Helium City Sequence Draping Flags(Cloth) BG
17. John Carter : Jump Sequence Cloth and Hair Sim
18. John Carter : Jump Sequence Cloth Tech Fix
19. John Carter : Jump Sequence Cloth, Hair and Fur Sim
20. John Carter : Flying Sequence Cloth and Hair Sim
21. LOTG : Valley Sequence Low Lying Mist / Clouds
22. LOTG : Battle of the Ice Claws Feather Reveal
23. LOTG : Battle Sequence Claw Sparks
24 . LOTG : Impact Feathers
25. Sucker Punch : Dragon Scene Arrow Embers
26. Underworld III ROTL : End fight Sequence Smoke
27. City of Ember : Cave Flood Sequence Water, Splashes, Foam(Library) and Mist
28. City of Ember : Break Sequence Procedural Dust and Debris
29. HPIH : House Collapse Sequence Procedural Dust and Debris
30. The Penguins of Madagascar : Energy Orb Procedural FX Rig Development / R&D
31. Kung-Fu Panda LOA : Fireworks Procedural FX Rig Development / R&D
I am a Lead FX Artist / Technical Director who has studied, lived and worked in California, United States for several years in San Francisco Bay Area and Greater Los Angeles Area. I also have work experience in Sydney(Australia) and London, (United Kingdom). I am hoping to gain some production experience in Singapore, New Zealand as well as in Europe.
I have worked on Live-Action, Animated Feature, Commercials and TV Series.
Currently I am working in Canada as a Lead FX Technical Director.
Lead FX TD : Volta (Quebec City, Canada)
FX TD : Method Studios (Vancouver, Canada)
Sr. FX TD : Atomic Fiction (Montreal, Canada)
Effects Artist : (Toronto, Ontario, Canada)
SFX Artist : (Montreal, Quebec, Canada)
Senior FX Artist : Freelance (Boston, MA, United States)
FX Artist : Freelance(Oslo, Norway)
FX TD : Cinesite(London, United Kingdom)
FX Artist : Freelance(Milan, Italy)
FX TD : Animal Logic(Sydney, Australia)
FX Artist : Nickelodeon Animation Studios(Burbank, United States)
FX TD : Motion Theory(Venice, California)
Fluid FX Animator / Generalist : elementFX(San Rafael, California)
Contributing Author : Professional MEL Solutions for Production(San Francisco, California)
Fluid FX Animator : Luma Pictures(Venice, California)
• Procedural Particle Simulation & Fluid Dynamics with Maya, Houdini and Realflow
• nCloth, Hair and Fur Simulation
• FX Rig development and implementation of the same
• Documentation, support, Icon and integration of FX rigs into the FX pipeline
• Mental Ray Rendering Engine
• Procedural Texturing and Shader Dev with Slim, PRman and Renderman for Maya
• Node-based Compositing with Shake, Nuke and Fusion
• Computer based and Practical Lighting
• Scripting in MEL and Python
• Basic Programming experience with C++ and OpenGL
A technical demonstration of our lighting workflow for the German movie "Das kleine Gespenst" (The Little Ghost) inside Softimage.
The idea was to combine HDR images and high-res pointcloud scans from set, to assist in the lighting process in various ways. We used the resulting geometry to cast proper diffuse lighting and reflections on to our main character. But the geometry also worked as a shadow and reflection catcher. Furthermore we used the data to automatically recreate light sources that were present on set as arnold lights and texture them with proper HDR sections to get correct intensities and falloffs.
The process was automated as much as possible through Python and ICE. This way I was able to create all location setups for the movie (more than 50) alone in about 1.5 months.
The workflow consists of three steps. Part 01 was developed by Christian Schnellhammer, the rest by myself.
Some detailed description:
Step01: By placing matching markers onto the HDR Image and on the 3D pointcloud we can calculate the position of where the image was taken in relation to the scan. From this we can calculate UV's to project the image on to the scan. We repeat this for every HDR/scan pair and export a new pointcloud with UV data.
Step02: We import all the scans and HDR's we created in step 01. During this process all materials, custom properties and pointclouds we need are created. The UV information from step01 is used to automatically texture all meshes we import. Additionally everything is sorted into the correct hierarchies,partitions, etc. so we don't have to worry about anything when we start lighting. Next we have to delete overlapping and unnecessary parts of the geometry with the help of cubes and a custom "delete by volume" command. Finally we import some pre-build proxy geometry and automatically texture it with one or more HDR's of our choice.
Step03: Spherical representations of our HDR's try to identify light sources based on brightness. This data feeds into a pointcloud which projects these lights into our scene at approximately the right position and size. We can then interactively paint on the spheres to add, remove or merge lights. All of this is done through various ICE trees which were created in step 02.
When we are done tweaking we run a custom command to convert each point of the pointcloud into a custom arnold lightrig. Usually it's necessary to fine tune the lights transformation. During this process the light texture will interactively update by analyzing the closest geometry. Again this is done via ICE.
The custom lightrig can automatically switch between arnold spot- and quadlights and embeds custom manipulators to control the light size, cone and barndoor filters.
These setups were then used as a starting point to light all shots of the movie. 3 to 4 lighting TD's (including myself) worked for about 5 month to complete all 240 shots of the little ghost. Rendering was done with Arnold.
Watch another nice demonstration by Elefant Studios on their work for the film here: vimeo.com/80552458