marsjamiehardy

[marsjamiehardy]

I used Cinema 4D to make my Sci-fi chair. I only used squares,cylinders and a sphere to create my chair. I used the squares to give the chair a blocky look as I wanted to feel like an old Star Trek chair. I used multiple different views to get the shapes accurate and in the right position as I didn't want everything to be un even. I used the cylinders for the bottom of the chair and do the buttons. To give the buttons a more sci-fi look, I made the buttons have a glow. I did this by creating materials with a glow attached onto it, and then just adding it onto the object. I also created a joystick on the other side of the chair. I did this because I wanted to make an kinda classic arcade style gaming chair as I enjoy classic arcade games a lot.

[marsjamiehardy]

Cinema 4D has been a key production tool for the past five years at the design-driven production company Sarofsky. For Doctor Strange, the studio used Cinema 4D’s MoGraph and XRefs to deliver a fully rendered 2D and stereoscopic main-on-end title sequence. The Sarofsky team, headed by Erin Sarofsky, lead creative; Steven Anderson, executive producer; Sam Clark, producer; John Filipkowski CG supervisor, and others, designed a series of animated mandalas to look like gemstones and weathered gold that connected to the film’s rich symbolism and themes of repetition and symmetry. Marvel uses Cinema 4D a lot, as they use is for all their holograms and their heads up displays, such as in Iron man, Avengers and many more.

[marsjamiehardy]

Blade Runner 2049 uses Cinema 4D for any heads up displays or any hollow grams. During the six month production cycle on Blade Runner 2049, Territory tapped the software, to meet intensive modeling, rendering, lighting, shading and particle simulations challenges essential in delivering over 100 very original screens across 15 sets on key narrative sequences. Screen graphics elements included the creation of footage, optical effects and projections and included concepts to production, many of which were shot with actors on set and others that were distributed to other VFX vendors working on the film. Final rendering was done with the native Cinema 4D render engine along with Vray and Arnold. The Insydium X-Particles plug-in for Cinema 4D was also a key tool for particle simulation creation.

[marsjamiehardy]

James Taylor, Right now works in the game industry as an art director. He also used to teach 3D art creation at the university level. He has been creating digital art since the 90s. He has been a web designer, an animator, a 3D artist, a professor, and an art director. He has created characters, environments, special effects, lighting, compositing, visual effects, user interfaces, and more.

[marsjamiehardy]

Roger Borelli has many years in the Motion Picture Industry. He was a Special Effects Makeup Artist for many Movies and TV Shows. Two films that he worked on, "The Nutty Professor" and "Men in Black", both won Academy Awards for Best Makeup. He went into the CG World and has worked at studios like Disney Feature Animation, DreamWorks Animation, Digital Domain, Warner Bros Animation and Microsoft Game Studios. He now teaches Modelling & Digital Sculpting at The Digital Animation & Visual Effects School while still doing freelance work.

[marsjamiehardy]

Sergio Mengual has more than 13 years experience as a 3D modeler, animator with 3DS MAX, Autodesk Mudbox. He has other self-leraning skills included are Adobe Potoshop,2D Drwings Skills for conceptualisation. His main professional experience come working as a freelance artist, in the Character modeling and conceptualization, via 2D drawing/sketching and 3D sketching. His first working area is in the 3D sculpture area for 3D printing, commsioned sculptures. Specially characters, and human figure sculpture.

[marsjamiehardy]

Jesse Sandifer is the lead character artists of respawn entertainment. He created the character “Two Face” for the game batman Arkham knight. He is currently employed as a Lead Character Artist at Respawn Entertainment in LA. He was a former Lead Character Artist for Blur Studio. He is a self-taught, award-winning digital artist with a burning passion to birth new, inventive concepts and characters and breathe life into everything that he creates. His work has been featured in film, games, cinematics, television, collectible figures, toys, trade shows, and a spread of CG art books and magazines across the globe. His clients and projects vary widely in an array of markets and include Blur Studio, Hasbro Toys, PCS Collectibles, Prime1 Studio, NVIDIA, Axis Animation, Project Triforce, Fox, Warner Brothers, Zynga, Autodesk, Daz3D, Visual Creatures, ReelFX, NBA Dallas Mavericks, Ryan Kingslien’s ZBrush Workshops, among others. He has been in the industry for 18 years. 

[marsjamiehardy]

Justin thrives as a lead modeling author at Pluralsight. Growing up, Justin found a deep interest for the computer graphics industry after watching movies like Jurassic Park, Toy Story, and The Abyss. His ambition would lead him to work at Sony Imageworks in Los Angeles on movies like Monster House and Surf's Up. Justin has also had numerous articles, tutorials, and images published in 3D World and 3D Artist. As an author, Justin enjoys collaborating with fellow authors, especially on projects like the Unity Mobile Game Development Series. Justin has helped shape the careers of many digital artists and has even earned the title of "Master Justin" by those he has helped.

[marsjamiehardy]

Mudbox digital painting and sculpting software provides 3D artists with an intuitive and tactile toolset for creating highly detailed 3D geometry and textures for beautiful characters and environments. A lot of high end and new artists use this software for making game characters or juts to make their own character. Companies such as Oats Studios and many more have used this for their monsters, aliens and more in their short movies.

[marsjamiehardy]

The kerbal space programme game allows players to create and manage their own space program, by building and flying spacecraft, and trying to help the beloved Kerbals fulfill their ultimate mission of conquering space. The game uses proper physics within the game so it feels more like a simulator, however you do not need know or learn about physics or astrophysics. The game allows you to build any ship you want to try to get into space, also you have tools that can help you out on missions. In the kerbal space programme the community can create mods for the game, which gives them an input on the game which give them a sense of being involved in the game.

[marsjamiehardy]

Escape from Tarkov’s large levels and locations allow players to gain tactical advantages over one another and also provide different aesthetics for each battleground.

The game “Escape from Tarkov” is exceptionally good with adding detail into its game, as most first person shooters now days don't have much detail into it and it is still an early access game. The last image shows the detail of how the enemy moves and what they are gonna do at certain points. Battlestate turned to 3D terrain generator World Machine to procedurally create the perfect environment on which to stage compelling gameplay. Once the base was generated, the result was split into 35 sub-terrains and given a custom LOD system and dynamic terrain output preforms. To handle the huge amount of detail, Battlestate used custom scripts to offload resources outside the field of view. 

The complexity of animation states extends beyond standard movements as well. Characters have to interact with weapons in detailed ways and with different potential attachments, many of which also affect the animation tree. The result is a massive state machine web showing how far Battlestate is pushing the animated detail, enough that they extended Mecanim with a custom Events system to account for all the potential interactions. And that effort will pay off for players looking for a realistic hardcore shooter experience when Escape from Tarkov leaves closed beta in 2018.

[marsjamiehardy]

Hearthstone is a collectible card game that revolves around turn-based, online matches between two opponents; players earn a set of basic cards, and can eventually obtain more advanced “Expert” cards by purchasing card packs with gold earned in-game, or with real money. Players can also “disenchant” unwanted cards, destroying them in exchange for arcane dust.

The choice to develop the game using Unity came fairly early on, and helped ease the challenge of bringing it to multiple platforms. The creators made the decision that Unity was the right tech base, the right engine for them to bring the PC version of Hearthstone out to the world.

[marsjamiehardy]

You can paint Trees onto a Terrain in a way that is similar to painting heightmaps and textures. However, Trees are solid 3D objects that grow from the surface. Unity uses optimizations like billboarding for distant Trees to maintain good rendering performance. This means that you can have dense forests with thousands of trees, and still keep an acceptable frame rate. To make grass as well you can just add a grass texture to the paint brush tool, however that slows the frame rate a lot as the computer is trying to load the individual pieces of the grass. To get around this I used the tree tool and took away the stump so I just had leaves and then added a grass texture which means the grass is now grouped as one, which effects the frame rate a lot less than the option.

[marsjamiehardy]

The coding part of the game was ok, as I have done coding before however at the end my code didn't work so I had to copy and paste it again for it to work. the code allowed my character to teleport from one plane to another by stepping on a platform. There was a few problems at first with the Coe as I said earlier, however there was a few more later on as when I finished the code, it still didn't teleport my character, so to solve this we found out that it was because of the invisible cube at was being used for the teleport wasn't the right size. After this everything was fine and it worked.

[marsjamiehardy]

The terrain was easy to form as to start making one you insert a plane and then there is a setting that works like a paint brush, all you need to do is know how the settings of it work which are easy enough to figure out as you only need two which is is for raising and lowering parts of the terrain. The setting uses a height map which uses a scheme of white for high and black for low. You cannot make holes with height maps

[marsjamiehardy]

The finished drawings turned out ok as I had all the drawing I needed and they look decent. I made the layout kinda comic book style which kinda put it all together. I designed the title to look kinda like the NASA logo. 

The story of my ship is that it is a colony ship, and they are heading to a goldilocks planet called “Eden 57″ because the earth is dying and they need to send the most prioritised people of to the next goldilocks planet so the human race can live on. the people on the ship consists the earths smartest scientist and the most powerful government leaders from earth. It also has the best builders, farmers, electricians and many more. The ship also contains Earths most rarest metals and materials, and elects also tons of building materials, all needed to build cities and power plants for the new coloney. The ship is protected by a shield that is almost impregnable to anything as it is made from the worlds strongest metals, so it can withstand any incoming solar storms and can even ram through asteroid belts. This was needed to protect the colony and everything in it and it makes the ship able to not take any detours because of broken parts.

[marsjamiehardy]

Ralph Macquarie is a kitbasher that worked on the first movies of star wars. He was the guy who made the millennium falcon, he made it out of old tank parts such as the engine and panels of the tanks. The first designs of the ship looked more like a standard rocket ship with the long tube-shape and with a cockpit in front. Each further design would step away from that. To give the ship more a feeling of a racecar, eleven very big engine exhaust ports were added to the back of the ship. With this design locked as final, ILM began creating a detailed model of this ship. However when the ship began to look too much like the Eagle from Space: 1999, the design was modified with a new hammerhead cockpit and became the Tantive IV instead. Lucas liked the round cockpit and kept it for the Falcon, which was redesigned in less than a week’s time. Lucas wanted the Falcon to have its own personality, and was thinking about the shape of a hamburger with a bite out of it to make it look different than the standard round UFO shape that everybody was familiar with.