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.

November 30, 2010

Cerebus 3D Film

For a while I'm working on the Cerebus movie. And like all other movie projects it is full of fun. Here some progress shots from the Palace. You can see the Facebook page of the Cerebus 3D Movie and here's the production blog. Enjoy!

Bir süredir Cerebus 3D film projesinde görev yapmaktayım (görev kelimesi çok eğlencesiz - aslında o eğlenceli bir iş). Ve saray modeli üzerinde çalışmaktayım. Filmin resmi Facebook sayfasını buradan, prodüksiyon blogunu da buradan görebilirsiniz.

November 25, 2010

Zbrush ile ilk kez Hellboy'u modellemeye yeltendim. Hatalarımın farkındayım ve tekniğimi geliştirmeye devam edeceğim.

November 17, 2010

Cornucopia3D'den Yeni Bir Ödül web sitesi son çalışmamı ön sayfalarına ve özel galerilerine layık gördüler. Beğeni ve destekleri için kendilerine teşekkür ediyorum.

November 11, 2010

Blacklisted Clients

Blacklisted Clients
For the sake of the new-coming artists and designers out there I feel that I should let you know about two shameless clients who let you work and never pay at all. Also if they had chance to use your work without any payment they also never miss it.

1. A rap musician named XV. Contacted me with e-mail address and his real name was Donavan Johnson also known as Vizzy. My greatest fault and stupidity was trusting his word and sending final work without watermark and pixel size at 1000. I thought it will be printed out but it was an online sale album and he never mentioned that. He used the cover on his Planet Squaria album and never paid. Strongly recommend to stay away from that person.

2. Syed Usman. You can find him on dA also under the name hummingdog Using syedsyedusman @ as contact address. I've worked 7/24 for almost 3+ weeks for a job he took from Kingdom Of Dreams. After the hard work he told me that company didn't liked the image and used a crappy 2D version of the same design instead of my work. BEFORE that he was asked for 120dpi version of the image with layers opened to show the client the vertical version of the design. . . Unfortunately I trusted his word and send 120dpi image without watermark... You can figure out the rest.

Here is his linkedin profile:
And here's their company website:

Simply reject any freelance job offering and inquiries from them for your sake.

Don't do the mistakes I did. First, if it's an individual asking you to do a design let him/her know that you are working for companies with contract not for some random person on the internet. And if he/she really wants to hire you ask for an advance payment like %20-30 of the deal. NEVER send any final work. NEVER send anything larger than 800-900 pixels. ALWAYS send with watermark and make sure watermarks covering the entire image.

November 3, 2010

CG Society's ''High Standards''

As usual when I finalized my recent work Solara, I sent it to the CG Society Forum 3D Showcase Gallery. And received a declined message mentioning about some standards. I was about to delete their e-mail and forget the whole thing but I believe my labor of love have much more valuable than their judgement.

''Your submission has been declined for the following reason(s):* We're very sorry to let you know that this work does not yet meet our standards as a completed piece for the Showcase Gallery. We'd like to encourage you to post your work in the WIP forum to develop it further before submitting it again.

This is my work they declined -

Not fitting your ''standards'' of your 3D ''showcase'' gallery. How about the very simple renders I saw there already? That is hypocrisy or prejudice - or maybe both. They are suggesting me to send my final work to their WIP forum and continue develop it.

And here some samples accepted to the same gallery. They accepted these and these ones needed to be developed also - a lot. But they are on showcase gallery... Still can't believe that these are accepted and my work declined. Let's take a look to CG Society's high standards;

Meeting their ''standards'' - completed showcase gallery artworks:

A bathroom (again) made with basic shapes, simple materials, pointless composition and bad lighting;;=929983

That's my favorite - definitely fits CG Society's ''high standards'' ;;=929940

Another simple figure work, looks like done after following some tutorials. This one is also accepted their Artist Showcase Gallery;;=929807

A realistic plane WITHOUT any atmosphere - lack of any artistic point of view;;=930902

Extruded cubes rendered realistically with Mental Ray - I think those ''standards'' require using certain software :);=930843

A very ''creative'' character, actually recreation of some other artist's design with GI render you can see anywhere;;=930607

Angelina Jolie (again) with a made-in-Poser looking render;;=929661

I contacted them because of this. Sent e-mail asked why they declined my work while most simple ones are already accepted - and NO response so far. Actually thanks for letting me understand CG Society's ''high standards'' and I understand why some 3D enthusiasts NOT posting to their forum and definitely I'll do the same and also will stay away from their events. Got a good life lesson from this :)

I know I'll be crucified to saying all these. But no matter how fast those daggers come :) ... I have respect to my self and putting A LOT effort to my work and not deserving that kind of false step.

November 2, 2010

Mödöröbö Devam

Minimödöröbö'ye devam ediyorum. Komposizyonun sağlığı açısından robotun jet pack takması gerektiğine karar verdim, böylece peşinde olduğu melek hatuna daha kolay ulaşabilecek. Ama nedense böyle hayvani bir jet pack modelledim, umarım uçarken bir yerini kırmaz.

November 1, 2010

Mödöröbö Yapım Aşaması

Yeni robotumun yapımı sürmekte. Sanırım komposizyok gereği Jetpack'e de ihtiyacı olacak. Yazılım: Modo 401 x64

October 31, 2010

Solara - Cornucopia3D'den Ödül

Bir süredir üzerinde çalışmakta olduğum uzay aracım (space speedster) sonunda tamamlandı. Sıfırdan, herhangi bir hazır model kullanmadan - ayrıca max/maya/xsi gibi popüler oyuncaklar yerine Cinema 4D, Headus UV ve Photoshop kullanarak yaptım (Photoshop kaplamaların hazırlanması, ve post production aşamasında kullanıldı). Daha önceden derslerine başvurduğum sitesinde gördüğüm Sand Speedsterdan yoğun ölçüde esinlendim - ama dersi HİÇ izlemedim. Sadece konsepti kendi yöntemlerimi geliştirerek uyguladım.

Arkaplandaki gezegen ortamını çok sevdiğim ve 4. versionundan beri kullandığım Vue Infinite ile oluşturdum. Ayrı olarak render edip Cinema 4D'nin background ve floor objelerini compositing taglerli ekleyerek Cinema içerisinde kompositledim. Ama yine de multipass (çoklu geçiş) render alarak geminin olduğu ön planı arkaplandan ayırdım ve son birleştirme (kompozit) işlemini Photoshopda yaptım - bu daha fazla kontrol sağladı.

Zor olan Vue Infinite'deki ışıklandırma ve atmosferik yansımaları Cinema 4D'de aynen simule edip gemi sanki o ortamdaymış gibi göstermekti. Sağ alttaki küçük robot ise Poser'dan alınma. Komposizyonun biraz daha ilgi çekici olması için ekledim. Yapım aşamalarını bu bloga zaten postalamıştım. Merak ederseniz bakabilirsiniz.

Solara,'da ön sayfaya seçilmiş ve özel çalışmaların kabul edildiği Cream Of The Crop Galerisine alınmıştır.

October 22, 2010

October 15, 2010


M.S.T.W. = My Stupid Texturing Workflow

A fast UV solution with headus UV for texturing the body of the engine compartment. I'm so proud that I've created most ugly uv layout out there LOL
Bolca ekstrüzyon (extrude komutu) uygulanarak modellenmiş objeler için bulduğum hızlı ve biçimsiz çözümlerden biri. Kendimi fazlaca ciddiye almadığım ve önemli olanın bu işten keyif almak olduğuna inandığım için kasmadım ve en iyi çözümü sunan en kolay yolu seçtim (bilince kolay tabi :P)

October 5, 2010

The First Creature

My first a bit decent work with Zbrush I guess. Sculpted and poly-painted. No UVs for now, I'll hande it with UV Master and will try to export this dude for Maya. I also need to get my head around Mental Ray SSS and Area Lights to get a nice render for a better presentation.

Creature WIP

First most decent design I've come up with Zbrush. Subdiv Level is 3. Pretty lower even for my standards, so it means that I can keep adding detail...

The Last Train [Photography]

I caught the last train on the station. When it goes nobody knows... There's a smile on the face of the old man there. In his hands I see his home.

Some try to tell me this isn't heaven. As the smoke begins to fade. One day you will light up the sky with your diamonds. Let it go... We will find a way.

Taken with a small Nikon L20.
Nikon L20 cep makinem ile çektim.

September 28, 2010

Lift - Supergirl

Metropolis, Luthor Corp., and fill blocks modeled and textured by me on Cinema 4D Other buildings are from Dystopia - some of them re-textured. I used Poser for girl. V4 stuff. Can't remember the creator of the outfit but entirely re-textured by me. I have to mention about this because I don't want to be hunted by the so called vendors who wants credit. Everything imported to Vue and rendered within there. Postwork done in Photoshop. Luthor Corp. concept design by talented crew of Superhero Unofficial Team. Modeled and textured by me on Cinema 4D.

I was listening Lift from Poets Of The Fall this time.

Note: Previous Supergirl with black hair and suit was supervillain. Really bad bad girl. This one is blue and blond and good one.

Metropolis, Luthor Corp ve arkaplan blokları kendi modellerim. Diger binalar Dystopia modelleri. Modelleme kaplama: Cinema 4D. Kızı Poser Pro'da yaptım (hazır model), lakin kaplamaları ve giysisi bana ait (bacakları ve saçları da bana ait). Sonra herşeyi Vue Infinite'e "aktarıp" ışıklandırıp render ettim. Orijinal çözünürlüğü 3000x4000 (render uzun sürdü). Luthor Corp. binasının yaratıcı 2D tasarımı yetenekli Superman Web Dizisi ekibine ait -

Poets Of The Fall'dan Lift'i dinliyordum yaparken.

Not: Diğer Superkız -> <- siyah saçları ve kıyafeti ile kötü kahramandı. Cidden kötü biriydi. Bu ise sarışın, mavili ve iyi kalpli olanı.

September 26, 2010

Cerebus Palace WIP

Working on Palace for Cerebus3D Movie. Visit official web site here and the production blog here.

Cerebus3D Filmi için bir saray modeli üzerinde çalışmaktayım. Resmi sitelerini buradan ve de prodüksiyon blogunu buradan görebilirsiniz.

Spacespeedster Texturing #1

Started texturing the Spacespeedster with it's hull. I'll fix the repeating areas on the texture soon...

Spacespeedster'ı gövde bölümünden kaplamaya başladım. Tekstürde tekrar etmekte olan yerleri düzelteceğimdir.

September 24, 2010

Space Speedster Continues

My personal project goes on with finalizing the modeling of the Space Speedster. Next phase is texturing that thing...

Kişisel bir projem için yapmakta olduğum Space Speedster'ın modelleme evresi bitti. Sırada kaplamaları var.

September 21, 2010

Showreel 2010

Kerem - Showreel 2010 from Kerem Gogus on Vimeo.

My showreel. My aim wasn't creating fully 3D animations - which is nearly impossible on my current computers. These are based on moving cards, 2D images with layers and effects. Just to show my work in some sort of harmony in 2.5D form. Software Used: Cinema 4D - Vue Infinite - Modo and After Effects.

Wonderful music from Excalibur - The Celtic Rock Opera. Used with written permission of Mr. Alan Simon.

For more info about the great music and its composer Alan Simon please visit:

Shot breakdown:
Opening Title
The Wishing Tree - Personal Work
Through The Forest - For David Arkenstone's El Dorado Video
World Inside My Heart - Personal Work
The Gathering - Personal Work
Worlds Apart - Personal Work
Child Of The Moon - Personal Work
Peacemaker - Personal Work
Closing Title

Showreel 2010, sonunda tamamlayabildim. Amacım tamamı 3D animasyonlardan olmuşmuş bir çalışma yapmak değildi - zaten bu ağır sahneleri şu anki makilelerimde render etmem neredeyse imkansızdı. Bunlar 2 boyutlu hareket eden resimler ve efektler. Amacım 2.5 boyutlu formatta çalışmalarımı müzikle uyum içinde sunmaktı. Yazılımlar: Cinema 4D - Vue Infinite - Modo ve After Effects.

Harika müzik ise Excalibur Keltik Rock Operadan. Bay Alan Simon'ın yazılı izniyle kullandım.

Daha fazla bilgi için:

Sahne indexi:
* Opening Title *
- The Wishing Tree - Kişisel Çalışma
- Through The Forest - David Arkenstone'un El Dorado Videosu için
- World Inside My Heart - Kişisel Çalışma
- The Gathering - Kişisel Çalışma
- Worlds Apart - Kişisel Çalışma
- Child Of The Moon - Kişisel Çalışma
- Peacemaker - Kişisel Çalışma
* Closing Title *

September 15, 2010

Terminator [Fotoğraf]

Fotoğrafını çekmeme izin verdiği için şanslıyım. Bu makineleri hep sevmişimdir. Nikon L20 ile çektim.

September 3, 2010

Cornucopia3D - Haftalık Haberler - 2010-09-03

Cornucopia3D web sitesi bugün gelen haftalık elektronik haber mektubunda benim Ironheart çalışmama yer vermiş, portfoliomu tanıtmak amacıyla. Kedinlerine teşekkür ediyorum, gerçekten moral verici oldu.


Kişisel bir projem için Modo'da modellemekte olduğum robot. Sanırım ufak ve sevimli birşey olacak ve bu henüz sadece kafası, görüldüğü üzere.


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