December 30, 2010

Cerebus 3D Film - Wizard's Palace Progress

My work for Cerebus 3D Film continues. Here's more progress on Wizard's Palace. Only bridges and some other minor details left. Then I'll detail and texture it on Zbrush and Bodypaint. I started it on Maya, but continued it on Modo because Maya is just a total crap when it comes to modeling. Rendered in Modo - rendering was only for preview purposes so not the best rendering out there.

Here's the wireframe view:

Here is the reference drawing I've got from the talented Cerebus 3D team. It has to look like this one.

Do not copy or use any images above. All copyrighted by What Comics Entertainment, Dave Sim, Oliver Simonsen and Cerebus 3D Team.

Learn more about Cerebus here and visit Facebook Page here and also visit the production blog here

December 28, 2010

My 3D Models On Turbosquid

Minirobo With Jetpack

Calantha - Vue Fantasy Environment

Room 12 - Vue Sci-Fi Environment

December 25, 2010

The Kopik

Fujifilm S6500. Super Macro + P Mode. 100 ISO. CCD-RAW with Finepix Color.

Tamamen Kişisel Fotoğraf Makinesi Karşılaştırması

Fotoğraf makinesi konusu teknik ve detaylı olduğu için sadece ilk adımda benim için önemli olan iki özelliği; sensör boyutu ve çözünürlüğü baz alarak bütçeme uygun olduğunu düşündüğüm dijital fotoğraf makineleri arasında karşılaştırma yapayım dedim.

Listede super-zoom kompaktlar da var. Burda olmalarının sebebi yine o makinelere olan kişisel ilgim ve dSLR'lar ile sensör boyutlarını karşılaştırmak istemiş olmam.

Bunlardan daha iyi makineler olduğunu, olayın sadece sensör ya da megapikselden ibaret olmadığını, lenslerin önemli olduğunu v.b. konulardan haberdarım. Dediğim gibi bu karşılaştırmanın 1. adımı. Sadece sensör boyutu ve çözünürlük. Sonraki adım da büyük olasılıkla gövdelerinle AF motoru olup olmaması gibi detaylar olacaktır.

Şimdi huzurlarınızda pek güzel makinelerimiz:

Canon 450D dSLR:
12.2 million efektif pixel
22.2 x 14.8 mm CMOS sensor
4272 x 2848 Max. Çözünürlük

RAW (.CR2 14-bit *)
RAW (.CR2 14-bit *) + JPEG Large/Fine
JPEG (EXIF 2.21) - Fine, Normal

Nikon D5000 dSLR:
12.3 million efektif pixel
23.6 x 15.8 mm CMOS sensor
4,288 x 2,848 Max. Çözünürlük

NEF (compressed [sıkıştırılmış] RAW)
JPEG: Fine (approx. 1:4), normal (approx. 1:8), or basic (approx. 1:16) compression
NEF (RAW) + JPEG (any size)

Pentax KX dSLR:
12.9 million effective pixels
23.6 x 15.8 mm CMOS sensor
4288 x 2848 pixels max. çöz.

JPEG (Conforms to Exif 2.21), (Best, Better, Good)
Compressed RAW ( PEF )
Non-compressed RAW ( DNG )

Fujifilm S200EXR Compact:
1/1.6 " Super CCD EXR Sensor - 1/1.6 " = (7.78 x 5.83 mm, 0.45 cm²)
12.0 million effective pixels
4000 x 3000 pixels max. çöz.

JPEG (Exif Ver. 2.2 )
Uncompressed CCD-RAW (RAF format)
Movie : AVI (Motion JPEG ) with sound
Audio: WAVE format, Monaural sound

Panasonic Lumix FZ100 Compact:
1/2.33" Type MOS Sensor (6.13 x 4.60 mm, 0.28 cm²)
14.1 million effective pixels
4320 x 3240 pixels max. çöz.

Still Image: JPEG(DCF/Exif2.21), RAW
Motion picture: AVCHD, AVCHD Lite, QuickTime Motion JPEG

Sonuç: Şu an Fujifilm S6500 kullanıyorum ve pek memnunum. Ama şu ana kadar topladığım verilerden yola çıkarak (buraya yazdıklarımdan çok daha fazla) bir sonraki adımım kısmetse giriş seviyesi dSLR olacaktır umarım.

December 24, 2010

Merry Christmas And Happy New Year

That was one of my first renders with Maya 6. I know it looks crappy now but wanted to upload anyway. Merry Christmas and Happy New Year everyone.

Maya 6 ile yaptigim ilk calismalardan. Simdi dandik duruyor ama yine de yukleyeyim dedim. Herkese iyi seneler...

December 22, 2010

Modo Subdiv Issue

Actually it's a personal issue I'm having while following CGtuts+ tutorial for modeling a cool speaker for the design of my musician friend's web site. I posted the problem I'm having to modo forum on cgtalk and got some cool response

Mentor is not subdividing the mesh on the tutorial. But when I tried I had that problem because of the n-gon surfaces I think.

"If you still want to subdivide it and do it properly to get those nice edges you should add more geometry (edges) which will "hold" the circular shapes." - Nino

And here is how we should split the geometry to hold the circular shapes.

And here's the subdivision result.

Hope it will be useful for the people who having the same issues. And here's Glen Southern's Sub Division Modeling web site

December 18, 2010

My Beloved Grandmother

My beloved grandmother passed away at December 18 02:40am. She was the biggest part of my (our) life and she's an angel now.

Cok sevgili anneannemi 18 Aralik sabah 02:40'da kaybettik. Hayatimizin buyuk bir parcasiydi ve o simdi bir melek.

December 14, 2010

Texturing And Lighting In A Real World Project

Texturing And Lighting In A Real World Project: David Arkenstone’s Myths and Legends DVD Video

After we had an agreement to work together on that project, David informed me about Myths & Legends which is also one of the biggest projects he attempt. Myths and Legends album will contain an audio CD, an ambient CD which is for playing simultaneously with audio CD, and a DVD which will contain individual videos for each song.

When the time we started to correspond about the El Dorado video - I was actually working on some personal images created with the inspiration of his music already. First thing I've done is sending those previews to him and he enjoyed them and sent me his marvelous musical piece El Dorado to me also helped me out to find more information about that legendary city of gold. As an Atlantis inquisitive I was mesmerized by the legend of El Dorado. I scratched the things come to my mind and it was very crappy drawing - but worked fine to clear things up. After I started to work on 3D environment for El Dorado, David Arkenstone asked some elements for other videos. A Palace for Song of Sheherazade, a temple, statues, and a female character for Temple Of Isis.

After we cleaned up everything necessary for the videos I'll work on - I started to model the necessary elements. It was challenging part to me but I also enjoyed it a lot. I learned a ton of new things also used my imagination to make conceptual modeling which an area I was dying to work on. Most pleasuring part of the entire project visually there was nothing but ideas and it was great to see some of those ideas shaped in 3D.

During the work, rendering animations became a serious problem because of the hardware I was using. I was using an AMD Athlon 64 3000+ with 2 gigs of ram and Nvidia 6600 video served as my design machine and my old Intel Pentium4 2.40 with 1 gigs of ram and Nvidia 5200 served as a render slave. My rig was fine to work on illustrations but when it came to animation they weren’t powerful enough.

Gladly David has a friend named Johnny Wilson and David put me in communication with him. I wasn’t heard his name before but when I went to his web site I saw some amazing credits which exposing he is actually working on Hollywood! It was another wonderful moment because working on Hollywood was my greatest dream (still is). And having collaboration with someone from there was very exciting.

Johnny Wilson kindly took the responsibility of the motion graphics and also animating my stills besides his other responsibilities such as actual set building and directing.

And here on this article I'll explain the texturing and lighting process on a real world project - which is in this case Temple Of Isis video.

Temple Of Isis

Temple Of Isis is my favorite song on the album. It was really fired me up when first time I listened to it and next thing I know I was modeling a temple! The song was really boosted my imagination.

Of course before starting to work on it I examined all kind of Ancient Egyptian architecture on my Art History books. They also helped me to prepare necessary textures. I used Planar Mapping tool of Maya mostly – it is a great tool which lets you do manipulate textures on the surfaces as you desired. I’ve got rid of the unnecessary stretching and distortions with that method. Also I worked faster that way; I didn’t have much time to use UV mapping methods at the moment. Paint Effects also helped me to create the fire on the torches. Also fire rendered separately to help the compositor to animate them.

Besides the temple itself I also rendered sunlight for the opening of the video which was very easy to create with the optical effects of Maya. Also a hall of statues for the end of the video. I used similar techniques with the temple itself on modeling and texturing.

For the Isis character I used Poser. Modeled her crown simply on Maya and imported to Poser and placed to the top of her head. There’s also a lot of Photoshop post work and painting on her hair and cloth.

Static images are created for this video wasn’t on small sizes. They were over 4920 pixels wide and let the compositor pan and zoom in to them. Also they were able to animate the separate layers which made scenes look richer.

Because the need of the large images at the end; Global Illumination wasn’t an option for lighting the Temple scene. Instead of that I preferred to add a couple of lights with different intensities and colors. It will be a night scene and the main light of the temple must be coming from the torches.

First I placed three pieces of point lights to the top of the temple with intensity of 0.050 with a pale blue color. And then added four point lights to the areas near the walls where torches placed and near the walls behind with warm orange color and intensity of 0.050. Note that all of those lights casting Depth Map Shadows with 1024 of resolution and filter size of 3. Before, on a personal scene like that – I used ray trace shadows but on the Temple Of Isis I was planning to render the scene out with Software Renderer of Maya so it was easy to me to handle and manipulate the Depth Map Shadows.

For the back of the temple I placed two point lights in far corners with very dark grey color and intensity of 0.050 to create sort of rich light ambiance. Also those grey lights are casting soft Depth Map Shadows. The idea here is creating a night atmosphere with lightened only with torches and I had to create a bouncing light feeling and an ambience for the mood of the scene.

Torches were the most important part for me – I had to make them look realistic. I created the flames with Paint Effects and placed point lights in them. Those point lights have quadratic decay rate and a high intensity like 100 with warm orange color. The reason was imitating the real world behavior of the torch light and also paint effects are not able to cast lights by their selves. Their light must hit the areas where flames are close and fall off suddenly on the far areas from the flames, so quadratic decay rate worked well on my scene. I used depth map shadows on those torch lights too with 1024 of resolution and filter size of 3.

I preferred to use Blinn type shaders to create most of my materials for the scene. With a bit of reflectivity, Blinn shaders were interacted well with low intensity lights and created a feeling of light bouncing on the dark areas. That was exactly what I needed. And that’s because I didn’t used any decay rate on my fill lights. I wanted them to interact and bounce between Blinn shaders and with each other. It was more like painting the mood of the scene with lights. I prepared all necessary file textures and bump maps by myself with using Photoshop.

Entire scene rendered with Maya Software Render on Production and Highest Edge Anti Aliasing Quality. Ray Tracing was set to on with quality setting of 10 on Reflections, Refractions and Shadows.

3D Concepts

Modeling: Modeling is the essential part of 3D. You'll always need to create geometry for your scenes. Even if you are re-using or purchasing a model you might need to make changes on that model to adapt to your scene. The following methods I'm going to explain based on polygonal modeling. Some 3D applications using a mixture of creation methods such as NURBS. NURBS = Non-Uniform Rational B-Splines and uses curves instead of polygons to define surfaces. NURBS can be used to create soft organic surfaces. But lately the CG world moved to polygonal and sub-division modeling rather than NURBS to create organic models such as characters and creatures. Here I only mention about the methods I've experienced with.

- Subdivision Modeling: Sub-D (in short) is all about creating a polygonal cage around a smoothed poly surface in order to manipulate that high resolution geometry. When you convert your object from poly to sub-d you'll have this process automatically done then you can switch to poly editing mode to use poly tools on a sub-d object (Maya). Or you can put your poly object into a Hypernurbs modifier and make it editable to start using polygonal modeling tools on it (Cinema 4D) or hit tab to switch to sub-d modeling mode (Modo). The tools and names changes, workflows are different from software to software but the techniques are the same. When you learn the logic, reason and idea behind a modeling method you can do the same things in many different software.

- Box Method: With utilizing sub-d you can start with a simple box and add details later increasing the sub-d level and transform the polygons to bring out the shape you want from the box. The point is; that you start with a simple box and make it more complex as you go along. Also the base shape doesn't have to be a box, could be a sphere or cylinder. When you get more experience on modeling you'll understand at a glance which primitive base object you need to start with.

UV Mapping: Second step after modeling an object is creating the coordinates to apply texture maps to it.

The process of UV Mapping transforms the texture map onto the 3D object. In contrast to "X", "Y" and "Z" Cartesian Coordinates, which are the coordinates for the original 3D object in the modeling space, another set of coordinates is required to describe the surface of the mesh, so the letters "U" and "V" are used.

UV texturing permits polygons that make up a 3D object to be painted with color from an image. The image is called a UV texture map, but it's just an ordinary image. The UV mapping process involves assigning pixels in the image to surface mappings on the polygon, usually done by "programmatically" copying a triangle shaped piece of the image map and pasting it onto a triangle on the object. UV is the alternative to XY, it only maps into a texture space than into the geometric space of the object. But the rendering computation uses the UV texture coordinates to determine how to paint the three dimensional surface.

- Resource: Wikipedia

Till the days of powerful alternative UV tools such as Headus UV Layout, UV mapping was a tedious and long process. All the 3D artists know that it can be a nightmare. Especially on complex surfaces or scenes with LOTS of objects. Most of the programmers, MEL Script experts (Maya's scripting language) and software houses like Maxon and Luxology (makers of Bodypaint and Modo) worked hard to make that process easy. Now it is. You don't have to think about how you'll handle the UVs. On Cinema 4D or 3ds Max you can use the uv map modifiers to define the coordinates of the surfaces for simple geometries like boxes or tubes/cables.

A plugin named UV Master for Zbrush (a free plugin) designed and created by Pixologic is able to create usable UVs for organic objects almost instantly. One of the greatest UV solution out there. My other personal favorites are of course, Headus UV, Bodypaint UV Editor and Modo's UV Tools.

Remember that all those software teams working to make things more easy to let you focus on your art instead of technical details. Which is great. 3D is not like as it is used to be. On late 80s it was just a dream to make an entire short movie or game all by yourself. Now it is getting more easy and fun everyday.

An Alternative Modeling Method: 3D Sculpting

Sculpting tools nearly removed the border between 3D and traditional art, which is in this case sculpting. If you have a powerful system - you can work with billions of polygons and sculpt your character or environment with using many great sculpting tools in the market. Zbrush, Mudbox, Sculptris (free), Blender's sculpting tools (free), Modo'd vector and poly sculpting tools are the most famous ones.

Next On Project Educate: Texture Mapping, Lighting And Rendering.
This article was for the Project Educate on deviantart

December 13, 2010

Turbosquid Products

I have a store on Turbosquid which the 3D models, textures and stock images I've created are for sale. Here you can have a visit

Here are some of the products:

Hope you enjoy and my models will be useful for your projects.

December 5, 2010

3D Art Direct Interview | 3D Art Direct Röportaj

Interviewed by 3D Art Direct for their issue 5. That's a paid online magazine with a great content. You can subscribe to that premium magazine here

3D Art Direct tarafından röportaja tabi tutuldum. Ödemeli bir online dergidir, okumak için maalesef üye olmanız gerekiyor ama bizde bu tip kültürel değeri olan şeylere kesinlikle para verilmez o yüzden hiç birinizin üye olup okuyacağınızı sanmam ki zaten ingilizce. Allah korusun bizi yabancı dil öğrenip okuyup anlamaktan.


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