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W
henever I talk to people about Blender, I often hear the same things: “It’s confusing”, “The UI is hard to get used to” and “Is free software actually any good?” The list goes on. These are all valid comments – it can seem daunting at first glance, the standard UI is far from ideal and the idea that a free tool is as capable as other premium packages worth thousands of pounds often defies popular belief.As creative people, we’re pretty good at refusing to take things at face value, but based on feedback I’ve had it certainly seems like a large proportion of artists
have turned their backs on Blender before really getting into the nitty gritty – both in terms of the software itself, and also the community. Take it from me: the Blender community is fun, collaborative and friendly. As for the software, there are loads of ways for you to tailor it to your own specific needs.
This is something we’ve investigated in our cover feature. We’re talking hotkeys, scripting, UI tweaks and plenty of other tricks that will get you steaming ahead in Blender, whether you’re a seasoned veteran or a complete beginner. If you’ve never tried Blender, just remember that there’s rarely a right or wrong way to create art – trying new things is absolutely essential.
Steve Holmes, Editor
Imagine Publishing Ltd
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65 Pro Hacks for Blender
Page 36
Sign up, share your art and chat to other artists at www.3dartistonline.com
This issue’s team of pro artists
adamnordgren.se
Adam joins us for the fi rst time this month to show off his considerable modelling and materials chops in Blender. Jet fi ghters look amazing when they’re done as well as this.
3DArtist username adamnordgren
SANTIAGO MENGHINI
santiagomenghini.com
More and more fi lm-makers are relying on VFX for blood and gore nowadays, rather than pestering the makeup department. Santiago shows you how to accomplish this in Fusion on p64.
3DArtist username SantiagoM
TOR FRICK
torfrick.com
Tor is art director at MachineGames, the awesome developer behind Wolfenstein:
The New Order. On p82 he takes MODO
10 for a spin to try out the new game-centric features from The Foundry.
3DArtist username Snefer
HAN LAMPEL
jonathanlampel.com
Jonathan has taken time out of his busy schedule at CGCookie.com to show you how to use Blender to model and pose a dynamic sci-fi character. His tutorial is over on p54.
3DArtist username JonathanL
MIKE CENTKOWSKI
3dpromike.com
This month, Mike joins us from the Digital Media Arts College in Florida, USA. On p68 he uses a combination of ZBrush and iClone to speed sculpt a character and prepare it for animation.
3DArtist username n/a
PAUL CHAMPION
linkedin.com/in/pchampion
Compositing expert Paul has cast a critical eye over NUKEX 10 over on p80 and asks whether the new features are worth the upgrade. Also, he’s written some news!
3DArtist username Rocker
PAUL HATTON
cadesignservices.co.uk
As you know, 3ds Max 2017 was recently launched, bringing with it a wealth of new workfl ow features. Modelling has had a bit of a revival, and Paul shows off some of the new tools on p60.
3DArtist username Phatton
JARROD HASENJAGER
artstation.com/artist/hasenjager
There are plenty of ways to achieve believable materials, but Jarrod is on hand to take you through his expert approach in Houdini. Be sure to check out his fantastic video tutorial on FileSilo, too.
3 Artist userna e Hasenjager
There a e so many professional GPUs out there now that you should be listening to people like Orestis before investing. He’s put the new PNY NVIDIA Quadro M2000 to the test on p78.
Incredible Creative Tools
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Fusion’s GPU acceleration gives instant feedback while you work, so you spend more time being creative and less time waiting! Fusion 8 Studio also includes optical flow and stereoscopic 3D tools, along with unlimited free network rendering and tools to manage multi user workflows, track assets, assign tasks, review and approve shots, and more!
For over 25 years Fusion has been used to create visual effects on thousands of blockbuster films, TV shows and commercials. Fusion features an easy to use and powerful node based interface, a massive tool set, true 3D workspace and GPU accelerated performance all in a single application! Now with Fusion 8 you can use the same powerful software to create your own blockbuster effects!
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Work Faster with Nodes
Fusion uses nodes to represent effects and filters that can be connected together to easily build up larger and more sophisticated visual effects! Nodes are organized like a flow chart so you can easily visualize complex scenes. Clicking on a node lets you quickly make
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News, reviews
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12
The Gallery
A hand-picked collection of incredible artwork to inspire you
22
7 Ways to Create the
Perfect Showreel
Framestore, Envy and MPC reveal what you can do to impress recruiters
30
Building Underwater Worlds:
The Art of Finding Dory
We chat with Pixar's John Halstead about the technical demands of the new movie
36
65 Pro Hacks for Blender
Discover the best ways to speed up your workfl ow and customise the software
74
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76
Technique
Focus:
Light House
Kless Gyzen talks about how he produces stunning art in Blender
78 Review:
NVIDIA Quadro M2000
PNY's latest professional graphics card is put through its paces
80
Review:
NUKEX 10
We get stuck into The Fo top-of-the-line composit
82 Review:
MODO 10
Tor Frick from MachineG the new game-centric re
85 Technique Focus:
The
Gumball Machine
Paul H Paulino explores
8 Technique Focus:
Ori
i hlights his ap ki
I like to spend
more time on
sculpting and less
time on setting the
scene up
Yanal Sosak reveals his
secrets for a faster Blender
NVIDIA
Quadro
M2000
Model and pose
a dynamic
character
Photoreal modelling
& materials in Blender
PAGES OF
22
The Pipeline
46 Step by step:
Photoreal
modelling & materials in Blender
Work from references to model, texture and render a jet aircraft
54 Step by step:
Model and pose
a dynamic character
CGCookie’s Jonathan Lampel builds an action-focused scene
60 Pipeline techniques:
Master
3ds Max’s new modelling tools
Get started with some of the marquee additions to Max 2017, including fast-form hard surfaces
64 Pipeline techniques:
Create a
customisable pool of blood
Utilise Fusion to master a useful effect for film projects
68 Pipeline techniques:
Create a
custom character for animation
Combine ZBrush with iClone to speed up your character pipeline
70 Pipeline techniques:
Build
bronze materials and shaders
Harness the power of Houdini and achieve your best-ever metals with Jarrod Hasenjager
The Hub
88
Community news
The BFX Competition gets underway for 2016 and Krita gets itself Kickstarted
90
Industry news
Autodesk reveals its Industry Collections – handy bundles of your favourite 3D apps
92 Project Focus:
Mirror's
Edge Catalyst
We speak to EA DICE and Geomerics about the challenges that real-time lighting presents
96
Readers’ gallery
The very best images of the month from www.3dartistonline.com
7 Ways to Create the
Perfect Showreel
John Halstead on how Pixar
built underwater environments
for Finding Dory Page 33
The aesthetic for the
movie is a caricature of
reality: it’s based in nature
but it’s cleaned up a bit
Visit the 3D Artist online shop at
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Master 3ds Max's new
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68
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Work in progress…
Jordan Soler &
Felix Ferrand
artstation.com/artist/lartichau
Software ZBrush, Arnold Felix and Jordan work together. They found a perfect balance and complete each other
This time we wanted
something different – a new
challenge. Creating an animal
was so much fun to do but also
very challenging! It was such a
good way to learn more about
sculpting and grooming
Jordan Soler & Felix Ferrand,
Sleepy Bear, 2016
This was born from
the desire to explore my
low-poly style and push
it further. I was thinking
about exploring low poly
on the edge of toy/
product design for a
long time now, and it
has finally happened
Mateusz Szulik,
The PolyWood: Deer, 2016
Work in progress…
Software 3ds Max, V-Ray Mat is an art director, illustrator and 3D artist living with his family in Poland
Mateusz Szulik
I was inspired by the
movie Salem’s Lot. The
two front fangs of the
vampire in this movie
caught my eyes as they are
distinct from other vampire
movies. Therefore, I
decided to do a new
version of a vampire and
add in my own fantasies to
give the vampire a
different image
Chen Binqi,
Vampire Pirate, 2016
15
Work in progress…
Software Maya, ZBrush Binqi is an art lead in Singapore. He was previously character lead at Ubisoft Shanghai
Chen Binqi
Work in progress…
Khiew Jit Chun
bit.ly/1jyFXUe
Software Maya, ZBrush, V-Ray, Photoshop
A modeller and digital sculptor, Khiew Jit Chun works on VFX features and animations
This is my entry for
THU Reborn. I wanted to
portray a scene where,
after the war, the THU
world is in peace. This old
warrior doesn’t have to go
to war anymore, instead
he spends time with his
grandchild – protecting
and guiding them towards
a better future
Khiew Jit Chun,
I was always interested in
sci-fi and art environments.
This image started as a
lighting study, but after a
while it became something
bigger. All of a sudden, a sort
of story started to emerge
Tamas Medve,
Infestant, 2016
17
Work in progress…
Software 3ds Max, Photoshop An architectectural illustrator, Tamas has worked on some notable architectural projects
Tamas Medve
In depth
This is a model that I
designed, created, textured,
rigged and animated over the
course of various projects while
attending Ringling College of Art
and Design. My goal was to
create a robotic character
designed to have interesting
mechanical movement
Dylan Collins, Eggsterman-8R, 2016
Dylan Collins
bit.ly/1VfnXBd
Software Maya, Substance Painter, Substance Designer
Work in progress…
Dylan loves designing and building game worlds to excite players’ curiosity
PLANNING
ABOVE I started by drawing out plans for the chicken robot and gathering relevant references. I
created a model sheet with back, front and side views as well as diagrams of how the legs would extend to give me an idea of the form and function of the model. I also created a painted three quarter view to get an idea of the different materials on the model. I created an isometric drawing of the environment the chicken would be in. These drawings gave me a plan for when I was ready to start making it in 3D.
Upon creating the model, I
decided to explore bringing it
through the full process by
setting up a rig, creating
animations and getting it into a
game engine. Currently, I’m
working on building out a
scene for this character to
navigate, and I’m interested in
one day developing it into a
fully playable game
Dylan Collins, Eggsterman-8R, 2016
MODELLING
ABOVE The upper half of the image shows the general process of modelling. First, I started blocking out the proportions and broad first
read details with simple geometry. From there, I started refining the forms to define functionality better. I increased the size of the fork to make it seem like it could support the weight of the chicken better. Finally, I added smaller third read details. I added a rim and spout to make the lower body read more as a measuring cup, as well as some dents to suggest battle damage.
MATERIALS
ABOVE For me, an essential part of creating materials is defining
what different large sections of the model are made of. For instance, I knew I wanted the head to be made of plastic, but I wanted the white part to be smooth and reflective, while the red, painted parts would be a little more rough. I also mixed a variety of different metal types on the model, such as a brushed aluminium on the measuring cup and steel, nickel and copper on the spoons and forks. I tried to pay a lot of attention to the roughness map while working. I gave different overall values to the separate pieces of the mesh to build interesting contrasts in reflectivity.
LIGHTING
RIGHT A key aspect of
integrating the model into the kitchen environment is the lighting and composition of the shot. I wanted to accentuate the silhouette of the chicken and make it the focal point. The upper middle image shows a simplified depiction of the pattern of light and dark. I wanted the chicken to have a dark shape punctuated by the bright light behind. To achieve this, I added some shafts of light behind the chicken. The shafts are made with a simple plane that adjusts its position based on viewing angle through the spline thicken material function. There’s a good example of how to use this in the Unreal Engine blueprint examples level. To get variation in the light shafts, I combined different grey masks. The light shape mask is applied to the plane, and ensures that the light fades and softens towards the edges. The light ray mask is multiplied on top to cut shafts of light into the overall shape.
Discover how to help kickstart your career in 3D by
putting together a strong showreel with your finest work
T
he showreel or portfolio is the fi rst thing that employers will look at and is “most certainly someone’s calling card when it comes to getting a job,” says Amy Smith, global head of recruitment at Framestore (framestore. com). That doesn’t mean that CVs, work experience and recommendations aren’t important, but as Smith notes, “We always appreciate recommendations from our existing team but we don’t give recommendations any kind of preferential access to roles: we always come back to who has the best showreel at the end of the day.”At Envy (envypost.co.uk) most of the junior artists taken on are “home-grown from our runner contingent of 40 plus,” explains head of client services Tom Morgan. “Runners intending to pursue a career in 3D/VFX build relationships with members of staff they wish to train with (via our internal academy). These runners clock up training hours and eventually move into a junior
position [at] our VFX MCR or Media Logistics department, where they continue training but at a more advanced level. When a 3D junior artist position arises we therefore recruit for this internally not externally.” Showreels are valuable at both stages of selection, and artists continue to produce them even as their career develops.
“The showreel is essentially an artist’s shop window,” explains Omar Morsy, global head of talent acquisition at MPC (moving-picture.com). “It determines whether or not we will engage further so, on that basis, it is fair to say that it is the most important aspect of an initial
application.” Morsy notes that MPC does consider the “education of junior artists and we
are cognisant of the course content from most of the major schools within Europe and North America. We can often benchmark students based on the schools they have attended but we always approach a reel with an open mind, regardless of its origin.”
23
WAYS TO CREATE
THE PERFECT
7 WAYS TO CREATE THE PERFECT SHOWREEL
1
If there’s one thing that everyone agrees on, it’s that showreels should be kept pretty short. For Smith, “A showreel shouldn’t be more than two minutes long but can be shorter if necessary. There have been cases where we have hired people who have only had one piece of work on their reel (it has to be really good if that’s the case!) but most reels will have three to four strong pieces at a junior level.”
Morgan agrees, explaining: “I like showreels to be one to two minutes in duration that use the time effectively, showing me what you can do. I am not that concerned with the number of projects included but at the same time I don’t want to be bombarded with a series of disjointed fast cuts. Keep it simple, do it well.”
And despite industry-wide agreement that short and sweet is better, Morgan says he still comes across reels that are too long: “If it’s more than two minutes I don’t watch until the end (maybe missing the crescendo of a reel). The showreel is not dissimilar to a TV ad… you have a short space of time to sell yourself. Be succinct but creative with the time.”
For Morsy, though, even the two-minute window seems to be too big a number. His first rule of creating a showreel is simple: “No longer than 90 seconds”.
KEEP IT
SHORT
2
It’s entirely likely that the pieces you want to include in your reel are projects you’ve worked on with other people, and that’s absolutely fine as long as you make it 100 per cent clear what your input was, with whatever captions, credits and breakdowns you need to do that.
Emeric Renard, who is currently working with the MPC Academy Lighting Team in Montreal, explains that the reel he brought to his Skype interview for his position “was made of sequences from my graduation short called ‘Reminiscence’, and a few other projects I’ve been working on through my training. I only selected the few I thought worthy of being shown… As I decided to make a lighting, shading and compositing reel, I paid particular attention to these aspects in my projects, and stated which software I used and my contribution to [every] single project.”
“We do want to see what you have done in a shot,” Morsy explains further, “so captions highlighting [these aspects] are essential within the shot.”
And of course, as your career progresses, your showreel is likely to start featuring examples of professional work, and then it becomes even more important for you to say – and be honest about – what your involvement was with each shot. “Obviously taking credit for someone else’s work is a big ‘no no’,” continues Morsy. “Please be aware that your reels may be viewed by
supervisors and heads of department who worked on the same movies and shots, so honesty is the best policy. It’s always best to make it clear what your work is on each shot if created by multiple artists.”
EXPLAIN YOUR
CONTRIBUTION
John’s reel consisted of two pieces. This is TRON: Recreated, “inspired by Tron: Legacy”
25
The people who will be watching your showreel are always very busy, so Morsy is clear in that you should put “Best work first – engage from the start”. He also advises that you should “Keep it relevant. If you’re applying for an animator role don’t throw in a load of FX shots just because you have them [and] omit the work you’re not totally happy with. Three or four shots would be an average amount of shots to include, but there is no hard and fast rule for this. Often one or two expertly-crafted shots will be enough to showcase a candidate’s ability.”
Morgan is quick to advise graduates to make sure their reel includes more than just “module-based work. Include work you have created in your own time… we want to see more than just academic-related work.”
Smith also suggests applicants skip work they’re not sure of. “This sounds very cynical,” she admits, “but we will always work on the
assumption that the least strong piece of work on your reel is indicative of your ability rather than the strongest piece.”
Envy’s Eric Pronk suggests you “end on a strong shot as well,” because essentially you’re making a film, and while the first moments set the tone, it’s the last moments that the audience goes away talking about.
3
PUT THE BEST
WORK FIRST
Though there are other video hosting platforms out there, it’s essentially a slugging match between YouTube and Vimeo. Katie German, an FX artist at the MPC Academy, says: “I shared my reel through Vimeo. An effective system to monitor views and lack of advertisements influenced the decision.”
When Caspian Graca Da Silva – who has now been at Envy for two years – was sending out his showreel, he uploaded it to YouTube and “also created my own website portfolio to house all the tests and look development work that I did during my course”.
Smith explains that she has to “share showreels with our hiring managers, many of whom are working on Linux. So having a streamable (rather than downloadable) reel that works across platforms is hugely important.” So, either Vimeo or YouTube is fine, though the former can come across as being more professional as it has privacy settings and freedom from ads.
YOUTUBE VS VIMEO
Which video platform is the better option for uploading your all-important reel?
4
Given that the big companies get so many applicants, the challenge is certainly to stand out from the crowd. But don’t be too wacky. There are times, explains Smith where “music choice can detract from the work or even be potentially off ensive in some cases, so a simple reel that highlights the work and has an email address at the end is by far our preference.”
“For entry-level artists,” says Morsy, “one of the biggest mistakes is attempting to showcase all their work without the thought of who they are showing it to. At MPC we have department-specifi c artists so when applying for roles, it helps to have a focus toward a specifi c area.”
Kumar Abhinaw John, who is now at MPC Academy Matchmove, explains, “As I was applying for the matchmove department I made sure I included shots that showed a wide range of my matchmove skills, including tracking a camera with really shaky footage, working on a heavily distorted plate with motion blur and so on. I made sure they were not just the same type of shots or easy ones.”
Chris Bending is a lead crowd TD at MPC London now, but when he was a student, he put together a showreel that demonstrated this approach: “I created a crowd sim tool for Maya so my reel was mostly showing how the tool worked.” An artistic reel might have been an obvious approach, but Bending’s showed MPC how his career might develop. And so it has.
BRAND
YOURSELF
7 WAYS TO CREATE THE PERFECT SHOWREEL
“The showreel that I presented to MPC was for FX,” explains German. “Created mainly in Houdini, it features a viscous FLIP fluid simulation of hot caramel being poured over a cold chocolate ball and melting”
REEL TO REEL
FX artist Katie German talks us through the showreel that got her a place at the MPC Academy in Montreal“A showreel’s goal is mostly to advertise how you think as an artist and problem solver,” says German, as well as “how much attention to detail is given.” Here, she set herself the problem of melting chocolate, and solved it
As well as showing your work, you also need to show what work you’ve done, so break that down into plates, show your wireframes or whatever you need to do. Here German “also shows each layer of effects created by themselves”
For pieces for the reel “Buddy up with friends who work on complementary tasks you don’t do,” says Renard
27
5
What your showreel needs to do is convince prospective employers that you are up to the challenge, which means producing something professional. Danny Bodell is a VFX MCR assistant at Envy, and when he put together the reel that got him the job his focus was something that “had a commercial feel to it”. It was a mix of 2D/3D animation, compositing and motion graphics, and he “wanted to make it clear I knew basic and advanced techniques in certain applications, that I understood good composition and the competitive standard of work needed to make it as a digital artist.”
So, assuming your work itself looks good, and the credits or captions explain what you’ve done, the big questions is… to soundtrack, or not to soundtrack? For Morgan, “The best showreels always have a great soundtrack… even on a subconscious level music is extremely eff ective when used well.” But for Morsy, “My team sit in an open plan offi ce so we don’t listen to the music – it’s the visuals we are concerned with. I would advise to spend your time tightening up a shot as opposed to working on fi nding that perfect piece of music.”
So, do what feels right to you musically, and remember that professional doesn’t have to be fancy. “The production value really doesn’t matter to us,” says Smith. “A fancy name card or clever music choices won’t make any diff erence if the quality of the work isn’t there.”
PRODUCTION
VALUE
German’s was an appealingly short-and-to-the-point reel, running to 42 seconds. The second asset was “a pyro simulation for fire and smoke: a small transformer explosion, composited over footage”
German explains that it’s very easy to find assets and work through tutorials for your reel work, but you need to go further and do more. “Not doing so will only hinder professionals from assessing your true skillset,” she adds
“Usually,” German notes, “demo reels include disclaimers in case any part of the work features was not created by the artist in question. However, as I created all the parts of mine, I did not include such a [disclaimer] in the credits”
Renard also advises to “work on as many personal projects as possible” to create more choice for the reel
7 WAYS TO CREATE THE PERFECT SHOWREEL
6
So, how can you make sure that your showreel stands out from all the others out there? The answer is not to depend solely on your showreel – the whole package has to shine. Smith notes that “a CV that demonstrates a real commitment to and passion for the industry can really support an application.” Morgan goes further, saying “I select candidates who not only have great showreels but also have experience in a client-facing
environment. Working in a pub, restaurant or retail environment whilst paying the bills for uni/ higher education goes down very well in my book and is something I actively look for on a CV. It’s all about showing you are a well-rounded candidate.” He says Envy is looking for “individuals with a rare balance of technical ability and ‘soft skills’ (communication, initiative, decision-making ability and so forth).”
Morsy explains that he spends a lot of time visiting universities and he looks for “engaging artists who are passionate about what they do, who are prepared to go the extra mile to perfect their work. We will give feedback on the work and look for artists that can take that advice on board and come back to us with improvements and showcase their development.” He also notes that if you’re prepared to move, that’s a big plus, adding that MPC is currently looking for artists to join the team in Montreal, and that talent@ moving-picture.com is the email address for interested applicants.
STAND OUT
7
Once your showreel is complete, the next challenge is to get it onto the screens of the people that hire people.
“DVDs and USB delivery of showreels is outdated,” says Morgan. “I think I’ve received one DVD so far this year. It’s all about eff ective communication; how easy can you make it for me to view your showreel? One click via a link in an email to a Vimeo or YouTube account is always preferable over USB/DVD.” Smith is more hardline, saying “Defi nitely don’t send us a hard-copy reel please!”
For John, the best strategy for sharing his work was YouTube, where he uploaded his VFX and 3D generalist showreels. He also put them both on a website he’d created for himself.
“The biggest mistake people make is to assume that they only need one showreel that will suit every application,” says Smith. “Someone might be applying to multiple companies at the same time, particularly when just starting. But every company is diff erent and every company takes on slightly diff erent styles or kinds of work… At Framestore we do a huge amount of VFX work – CG integrated into live action plates – as a result we are looking for photoreal, real-world examples on reels where possible.” So when you come round to sharing your reel, make sure you’re off ering what people are looking for.
SHARING
Keep it short – aim for 60-90 seconds
---Put your best work up front
---Save your second best (or your most complicated) for last
---Caption images to explain what you did
---Use wireframes/cutaways/different angles to explain the work
---Put in – but don’t rely on – music and fancy production values
---Send it wide, but hone it accordingly
---Share it on Vimeo or YouTube
---Make sure your CV is as polished and shiny as your showreel
Find a way to demonstrate your ‘soft skills’
THE ULTIMATE
SHOWREEL
CHECKLIST
Renard says it’s important to highlight which parts are your work if you work on projects with others
John thinks his reel was helped by “knowledge in every department for [a smooth] pipeline” Caspian Graca Da Silva’s next showreel may show off
some of the work he did for Channel 4’s Dispatches Danny Bodell’s 60-second reel was on Vimeo as “it’s simple and it looks more professional than YouTube”
THE ART OF FINDING DORY
Over 103,000 storyboards and 1,300 shots were made during production of Finding Dory
W
hen Pixar released Finding Nemo in 2003 it found itself with an instant classic on its hands and the movie has proved to be one of the most popular of the studio’s feature fi lms to date. Finding Dory, directed by Andrew Stanton and co-directed byAngus MacLane, has already proved hugely successful, having enjoyed a terrifi c
opening weekend in North America. The new movie tells the story of Nemo’s sidekick, the memory-challenged Dory, as she sets out on a journey to seek a way home.
The fi lm marks yet another instalment in Pixar’s evolution of its application of digital toolkits. 3D Artist recently spoke with Pixar about what it took to dive back into a sea of creative possibilities, revisiting characters, creating a gang of new ones and building environments that seem so very real.
“I was really excited. My fi rst duties were to sit down and anticipate some of the technical issues,” explains John Halstead, supervising technical director on the fi lm, adding that part of his excitement was on account of coming full circle: “My fi rst fi lm at Pixar was Finding Nemo and, so, I was hired onto Finding Dory.”
3D Artist talks to Pixar’s John Halstead to fi nd out
what it took to fi nd Dory and chart a course
through territory both familiar and new
31
Pixar has captured the beauty of light passing through water worlds using RIS technology Katana was crucial to the speed of rendering and realism of the aquatic environments
The scale of the water was a challenge. John says that “RenderMan figured out how to render it all”
33
An adventure movie through and through, and one that’s woven through with humour and sentiment, Finding Dory elegantly combines both high stakes and jeopardy with quieter, more lyrical interludes. For the team at Pixar a key, overriding aesthetic touchstone in shaping the storytelling was the trade-off between a sense of realism and something more heightened in the creation of the environments that Dory adventures through: the reef, the open ocean and an aquarium.
Halstead sets the scene for the work that he and his team embarked on. “I’ve been on Finding Dory for about three and a half years,” he begins. I started in November 2012 and the entire production’s been going four years. My job was advocating for resources and working with our fantastic studio tools department.” Halstead also defi nes the key parameter that he and his team worked to, noting that “We really tried to adhere to the fi rst fi lm as closely as possible: any time we diverged from that we’d pull it back.”
For its work in the production’s pipeline, Halstead’s team deployed RenderMan RIS, Presto, Katana and USD. The value of Katana on Finding
Dory was that it off ered virtually real-time
feedback that gave the crew the opportunity to quickly review the rendering of any given frame during production. Further refi ning the work of Halstead’s crew was the integration of USD (Universal Scene Description), which provided them with a scalable system for authoring, reading and streaming time samples.
RenderMan has been iterated many times since the late Eighties and its latest version now lets the studio spend less time doing the heavy lifting of creating invisible light sources and, instead, more time fi nessing the artistry of its work. RenderMan’s
department that handled the humans and the school of fi sh. There’s the simulation department and they handled the clothing, and there’s our eff ects department and lighting and, fi nally, rendering. There were 1,300 shots in the fi lm.” He adds that, “Early on we made a ton of shots and probably 100 shots got cut.”
Every animated movie presents technical challenges in how best to capture reality and Halstead discusses the specifi c, technical challenge that the aquarium settings meant for the production, “The scale and complexity of the aquarium – rendering all of the glass and water in the fi lm – was a challenge.”
Subtleties are a vital characteristic of the visual palette in Finding Dory and Halstead goes on to talk through how his team achieved an authenticity in the creation of water ripples, splashes and bubbles: “The aesthetic for the movie is a caricature of reality: it’s based in nature but it’s cleaned up a bit. You can look at the reef and you’ll see the same form and colour palette that’s familiar from the first movie, but we did add some new elements and then, when we get into the aquarium, there is a little added sophistication and intensity in the rendering.” Halstead also cites a particular aspect of the production on the fi lm, “There are some specifi c challenges to the scale of the water that we’re rendering for Dory.”
Finding Dory off ered Halstead and his team the
opportunity to work with both established and new tools in their part of the pipeline. In doing so, it let the team build yet further on all of the production work that the studio has worked on over the past three decades.
Halstead off ers an insight into the toolkit: “We have a number of fl agship techniques in the
John Halstead, supervising TD
We added three new
technologies to our
pipeline: two of those
were built in-house
RIS technology now takes care of the creation of both direct and indirect light (light refl ected off a given surface).
Halstead breaks down the work on positioning that the technical team were focused on for the production. “In terms of the team that I was responsible for, [it] spanned departments starting in layout, that [helped with] camera and staging, and character (for building the puppets that our animators use),” he says. “We have a crowds
pipeline and on Dory we added three new technologies to our pipeline: two of those were built in-house and the other is Universal Scene Description, and this is something that allows better interoperability between in-house and non in-house.” Halsted also notes that “The third new thing we added was Katana. Katana is our shading and lighting tool and allows for live rendering, updating and feedback in seconds rather than in minutes. In comparing Finding Dory to Inside Out, we now have a pipeline run with USD.” Digging deeper into the USD it’s worth nothing that it supports just a small number of combine operators, in terms of layering, for scene data. USD helps composed scenes remain understandable. It’s a less is more kind of philosophy.
Finding Dory is notable, too, for being the fi rst
Pixar production to completely implement RIS technology, and Halstead is keen to address how it benefi ted the production. “Our pipeline revolved around the fact that our water was small and so… some of the techniques that we’d use on large scale water eff ects don’t apply as much,” he explains. “On a smaller scale, the splashy parts have a glassy, silvery quality to them and the transition between splashes and non-splashing parts of the water is very smooth. To render that we used RenderMan RIS, which provided more accurate rendering of how light behaves in the real world: there’s a ton of refl ection and refraction. We started being able to treat bubbles as a more physical eff ect. The renderer would throw rays at it and [we’d] build up light within the splash.”
For Halstead, there’s a benefi t off ered by the RenderMan iteration that other tools just do not provide and he describes how “New RenderMan really played a big role in the rendering of the aquarium, for compositing small water with larger water. Computers like to work with hard and fast
rules… We’re spending less time on technical heavy lifting. In order for artists to work more quickly, artists can just grab small simulation domains. Compositing simulation domains as an implicit fi eld gives our artists fl exibility.”
The marine life in the fi lm showcases a really diverse array of materials, and Halstead explains the longstanding tradition at Pixar of referring to reality to create an animated version of it that might just play with that reality a little. This fi delity to the essence of real landscapes and creatures proved an interesting challenge for Hank the Octopus. Halstead explains further: “Hank was a
Developed by Pixar, USD enriches data communication between applications
character that Andrew Stanton wanted in the fi lm from the start,” he tells us. “One of the things that’s amazing about octopuses is how fl exible they are. Hank was certainly the most challenging character: how do you make an octopus that’s appealing and can deliver a performance? We spent a lot of time doing research and looking to nature for inspiration. Octopuses are so complex that it’s daunting just to break down what you see.” Halstead talks a little more about Hank’s arm rig that was built for the performance, describing it as a “sophistication that we needed to achieve and there was a huge challenge in terms of how to best use the rig. The Hank shots typically took three times as long to animate as other characters. When the artists were initially blocking out a shot they’d turn off Hank’s arm and just draw it in and this got them to get a buy off [on a shot].”
With Finding Dory, John Halstead and his crew had the opportunity to meet the challenge of a sequel to a phenomenal success: being both familiar and new in the right combination and, like last year’s Inside Out, this latest movie gives Pixar the chance to continue refi ning nuances and subtleties in its work.
Pixar movies are precision-built creative endeavours and this distinctive storytelling is present in every part of the frame, from character design to animation through to the environments and the way light moves. How timely, then, that 2016 marks the 30th anniversary of Pixar’s fi rst short fi lm, ‘Luxo Jr’.
With Finding Dory, Pixar has clearly made a rich return to familiar waters whilst also managing to steer an exciting new course to someplace new. With evident satisfaction, Halstead sums up the creative journey by suggesting that, “I think a refi nement [of Finding Nemo’s aesthetic] is a good way to describe it”.
BUILDING UNDERWATER WORLDS
John Halstead, supervising TD
RenderMan really
played a big role… We’re
spending less time on
technical heavy lifting
35
FINDING DORY IN NUMBERS
The key statistics behind the prod
PEOPLE IN TECHN
ROLES WORKING A
OF A PRODUCTION
CREW ACROSS
VARIOUS DISCIPLINES
TOTAL OF
SHOTS IN THE FILM
THE LATEST VERSION
OF RENDERMAN
RS OPENING WEEKEND
ILLION
MILLION
PAGES OF
22
65 PRO HACKS FOR BLENDER
02
LEARN YOUR HOTKEYS
Left-hand keyboard effi ciency is key to working fast, especially in Blender.
Brennan Letkeman
03
STARTING UP
Go to File>User Preferences>Input>and check Emulate 3 Button Mouse and Numpad. Go to System and change dpi to 65, which gives you more space, and tweak the Solid OpenGL lights to make the shadows in the viewport more
prominent. Then activate plugins like F2, Node Wrangler, LoopTools and Extra Objects, and download sculpt plugins such as Bevel Curve Tools Master and Blender Sculpt Tools Master.
Yanal Sosak
04
COLOUR BALANCE
The colour management tab is a quick and great tool for both colour balancing and grading. Use the built-in scopes to get a better idea of the actual colour balance of the image.
Daniel Vesterbæk Jensen
05
QUICK PREVIEW
Enable the Node Wrangler add-on, then on the Node Editor, press Cmd/Ctrl+Shift+left-click on any node to attach a viewer node for a quick node preview while a real-time render is enabled in the viewport.
Reynante Martinez
06
INTERIOR LIGHTING
For interior rendering, ambient occlusion is the most important setting that you absolutely need to understand correctly in order to get better ambient illumination.
Joan Savalli
07
DEFAULT ADD-ONS
Make use of the many add-ons included in Blender by default. You can activate them in File>User Preferences>Addons. My favourite ones are Node Wrangler by Greg Zaal, Bartek Skorupa and Sebastian Koenig; and Pie Menus by Sean Olson, Patrick Moore and Dan Eicher.
Rico Cilliers
08
LAYER MANAGEMENT ADD-ON
A great add-on for organising your scene is Layer Management. It not only gives you the option of customised layer names but it also lets you select items by layer. This is great if you have a very dense scene scatter across many layers.
Wing Wai Sze
09
OUTPUT AT 100 PER CENT
Most of us forget that the default value of Blender output is set to 90 per cent, which might degrade the quality of your output render.
Mrityunjay Bhardwaj
10
EDIT MODE BOOLEAN
This tool can be accessed via the Faces menu while in Edit Mode, or with Cmd/Ctrl+F to quickly go to the menu, and selecting Intersect (Boolean). It basically lets you use the Boolean modifi er’s Diff erence mode in the edit; it can save lots of time without going through the modifi er.
Wing Wai Sze
11
BREAK COMPLEX THINGS DOWN
Isolating individual components of the main scene into separate scene(s) will enable you to treat each piece as independent work. It is also a good idea to learn how to reuse assets by linking, kitbashing or using plugins such as AssetManager.
Jüri Unt
12
MANUAL MATCHMOVING
Don’t be afraid to matchmove an object by hand. This is something I do all the time at work. An actor will be holding an object that we need to add VFX to, so I quickly model the object and line it up with the plate, not worrying about lenses, perspectives or anything.
Sean Kennedy
13
SET KEYS FOR MATCHMOVE
Once it’s lined up, I set keys for position, scale and rotation, then go through the shot manually animating it to match as best I can. I know some of you are cringing, but you’d be surprised at how well this works. I’ve used it on everything from a supervillain’s weapon to the entire interior of a vehicle.
Sean Kennedy
14
POLYS AND PERFORMANCE
When working on a large project with extremely high-poly models, performance becomes an issue. One simple hack to improve performance is to disable Outline Selected in the N panel in the 3D view.
Rico Cilliers
15
FREE RENDERING
Use Sheep It to render. Sheep It is a free distributed render farm for Blender that means you can render anything for free.
Mrityunjay Bhardwaj
01
USE RANDOM COLOUR
SCRIPT TO CREATE ID MASK
Although Blender has its own ID Mask
method you can’t use it in other image
editing software (like Photoshop or GIMP),
but you can make use of this amazing
script by EugeneKiver. It creates proper
ID maps for you (blendswap.com/
blends/view/66370).
39
GETTING THE MOST OUT OF BLENDER –
FROM BEGINNER TO EXPERT
If you’re just starting in Blender, what do you think is a good way to learn more?
Tutorials are great, of course, but I’ve always approached tutorials as a small stepping stone for a bigger project. I’ve always had something in my head that I wanted to achieve, and then pieced together diff erent tutorials on how to achieve individual details and components rather than just following “Oh, today we’re going to learn about this thing you probably don’t care about” blindly.
And then once you’re more experienced?
You’ll pick up hotkeys, you’ll pick up
methodologies as you go (and realistically, just make up your own) and they’ll become increasingly comfortable and effi cient with time.
Whether you’re just starting in Blender or are already a power user, industrial designer Brennan Letkeman outlines helpful ways of getting the most out of the software
Blender usually has fi ve ways to do basically any single task, so you’ll arrive at the ones you prefer and link up nicely with each other.
What are the core parts of Blender you think an experienced artist should master?
Learn lighting, texturing and rendering. If you ever watch VFX breakdown videos – the ones about how they made your favourite big-budget Hollywood movies – you’ll notice that the models and geometry are actually really basic. Around 80 per cent of what makes a movie animation cool and realistic is lighting, materials, particles, getting depth of fi eld and physical camera eff ects right. A bad model with great rendering is better than a great model with terrible rendering.
McLaren MP4
by Daniel Jensen
Wing Wai Sze
used Cycles’ material node system for the armour finish
65 PRO HACKS FOR BLENDER
BLENDER HOTKEYS
Rotate view along the y axis (relative to the current view)
In Object Mode this selects and renders the desired area only.
Fill a hole with a custom mesh.
Convert a triangulated mesh to quads.
Triangulate a mesh.
In Edit Mode, a brush tool to select vertices, edges or faces. In Object mode a way to select one or more objects with a brush tool.
Shortcut for adding a level of subdivision surface (modifi er) to a selected object.
Join the selected objects to the active object.
HOLD CTRL WHILE MOVING, ROTATING AND SCALING
Enables you to use the snap tool easily without having to toggle the button in the viewport.
Starship Adamant
by Daniel Brown
Starship corridor
by Daniel Brown
Reynante Martinez utilised The Cycles Material Vault’s Concrete02 material on
41
16
EDITOR SHORTCUTS
For quick access to Blender’s various editors, without the need to press the header icons, use the following keyboard shortcuts: ěũ'($3śĉũ$.1ũ .%(!ũ"(3.1 ěũ'($3śĊũ$.1ũ."#ũ"(3.1 ěũ'($3śČũ$.1ũ83'.-ũ.-2.+# ěũ'($3śĎũ$.1ũĊũ(#6ũ"(3.1 ěũ'($3śďũ$.1ũ1 /'ũ"(3.1 ěũ'($3śĐũ$.1ũ1./#13(#2ũ"(3.1 ěũ'($3śđũ$.1ũ("#.ũ#04#-!#ũ"(3.1 ěũ'($3śĒũ$.1ũ43+(-#1 ěũ'($3śĈćũ$.1ũĵ , %#ũ"(3.1 ěũ'($3śĈĈũ$.1ũ#73ũ"(3.1 ěũ'($3śĈĉũ$.1ũ./#ũ'##3 Reynante Martinez
ĈĐ
FIND ADD-ONS
You can learn to write your own, of course, but for most modellers you’ll fi nd a huge library of things people have written to solve specifi c challenges they faced. From automating rote tasks to creating cool new features, add-ons can improve basically anything.
Brennan Letkeman
Ĉđ
USE SHIFT+G TO SELECT SIMILAR
This could be a huge timesaver for you as you can select regions with a similar nature (like material, perimeter, normal and so on) rather than selecting each of them individually.
Mrityunjay Bhardwaj
ĈĒ
TWEAK AUTOSAVE INTERVALS
You can easily set Blender’s autosave intervals and save versions (BLEND1, BLEND2 and so on) by going to File>User Preferences and clicking on the File tab. I have my own autosave interval permanently set to two minutes, and my save versions set to three.
Rico Cilliers
ĉĈ
NOISY RENDERS
Sometimes Cycles just can’t clean up noise. I like to create a patch for compositing. I choose a frame where there is noise and let it render with unlimited samples. Then I save as an EXR. On an empty layer, create a small plane, subdivide and shrinkwrap it to the object so it covers where the render noise is happening. Project the clean frame rendered, make the shader an emission set to 1.0 and render with an alpha channel.
Sean Kennedy
ĉĉ
MAKE THE MOST OF MODIFIERS
Be more fl exible, work faster and smarter by utilising modifi ers. Explore each of the available modifi ers to better understand how they can benefi t you in your daily workfl ow.
Jüri Unt
ĉĊ
KEEP IT CLEAN
Complex meshes almost always need some cleaning at the end. Everyone should know about Blender’s clean-up tools. These can be found in Edit Mode at the bottom of the 3D View: Mesh>Clean up.
Daniel Brown
ĉČ
G0 STRAIGHT INTO SCULPTING
Sculpting characters regularly, I like to spend more time on sculpting and less time on setting the scene up, and creating light and materials. For a quick lighting setup, I open up a new Blender scene and I create the lighting on three layers: a layer for the main lights, a layer for the key lights and a layer for the rim lights.
Yanal Sosak
ĉĎ
TEST LIGHTS
I use a default sculpt for testing the lights. The size of the sculpt is important – you will have to use that size for the rest of your sculpts in order to tweak the lights less.
Yanal Sosak
ĉď
NODE WRANGLER
When working with nodes use Node Wrangler to optimise your workfl ow. A hotkey list can be found in Add-ons in User Preferences.
Daniel Vesterbæk Jensen
ĉĐ
USE VERTEX GROUP TO SAVE
YOUR SELECTIONS
Sometimes you may want to use some regions of your mesh more often and you don’t want to select them every time, so you can use vertex group to save selected regions.
Mrityunjay Bhardwaj
ĉđ
EXPAND AREAS
Shift+Space with your cursor in any given area will fullscreen it (and Shift+Space will enable you to go back). It is super useful if you need a lot of working space in either the 3D view for modelling or the node area for setting up nodes. I like keeping things as clean as possible, so I use this refl exively. This feature is also very handy for viewing renders.
Brennan Letkeman
ĉć
ADAPT THE UI
I have favourite tools that I fi nd are
indispensable. I’m a hard-surface modeller,
so for UI setup, I use Snap To Grid in the 3D
window, and always use MatCap shaders
and screen space ambient occlusion to
make geometric details pop so I can see
where my details are good and
where more work is needed.
Daniel Brown
'#ũ31 -04(+(38ũ.$ũ'4, -ũ- 341#ũ 8ũ 1(384-) 8ũ' 1"6 )
