3D TOOLS dot INFO http://3dtools.info webshop for 3d artists Mon, 09 Jan 2017 14:13:05 +0000 en-US hourly 1 http://wordpress.org/?v=4.1.1 Bruger Studio Italy http://3dtools.info/bruger-studio-italy/ http://3dtools.info/bruger-studio-italy/#comments Mon, 14 Nov 2016 16:03:23 +0000 http://3dtools.info/?p=6773 This week The Render Guy meets Bruger Studio from Italy a creative studio which work has been widely published. They are VRAYforC4D user.

Bruger Studio are long time friends of the d2 Conference in Vienna and I had the chance to talk to them in person many times.

I hope you enjoy this interview  as much as I did.



sofa

1. Hi guys, thanks for taking the time; tell us please who you are and what you do.

Hi! I am Marco Brunato and together with Davide Gerlin we run Bruger, a creative studio for design and architecture based in Castelfranco Veneto, Italy.
Beside architectural projects and interior and product design we work a lot with visualization, making renders for furniture and kitchen companies.

White_Glass_Spessart_Oak_GEN

2. How did you get in the field of Archviz/Visualization?

We have different backgrounds, i am a designer and always worked with 3d modeling and rendering while Davide is an architect. We met in a studio where we worked together making mainly visualization and after a couple of years we decided to start our own company. We luckily live in an area (north east of Italy) which is full of furniture companies and making catalogs totally with renders became an increasing trend in the last years, as companies could cut out expensive photo-shoot costs. So getting into archiviz was an easy choice since there were a lot of requests.

k01

3.Can you tell us a bit more about your work, how do you approach it, what do you try to achieve, what do you like about it and when do your consider a project ready?

As i mention before our images are made for product catalogs so we have a totally different approach to visualization and we always try to achieve the best photo-realism.
The approach is much more close to a standard photographic shoot than classic archiviz as it became popular these last years.
There is a part of “styling” in our work which involves designing the interiors and choosing all the objects that will populate and decorate your scene (sometimes called “digital art-buyer”) and the classic part of 3d modeling and rendering. Material setup is also challenging because they have to match exactly the real ones, and clients focuses heavily on this aspect.
We send lower resolution preview images to clients throughout the process and when HE/SHE  decides everything is ok, we go for the high resolution images. As you can imagine a catalog features a lot of images so post production process should be as small as possible, it is unthinkable to have a 2 hours of post production for an image if the whole work features 60 images or more.
We are anyway trying to focus a lot over the styling and emotional part of the job because that can give you an identity as a studio, though not leaving out the technical aspects that rendering involves, but photo-realism and rendering in general is getting easier everyday so you have to distinct yourself and compete on different aspects in order to succeed.

dec_s_2
3. Who is your biggest influence when it comes to finding inspiration?

Well this is hard to say! I think inspiration comes unconsciously from every thing that surrounds you. Let say that in our job we look a lot at big furniture companies that still make photo-shoots for their advertising campaign like Minotti, Poliform, Molteni as well as at interior magazines and online blogs.
Pinterest is also good to find very interesting images, we sometimes setup “mood boards” with different images we found around to define the style a project will have.

DEC_CLASS_VERT_alta

4. You guys are obviously VRAYforC4D users, what pushed you towards this software?

Speed. Absolutely. When we started working in another studio they were using Maxwell render and render times were dramatic, very frustrating.
In V-Ray you can save your own different render settings, so now in our workflow we can switch from a super fast preview render setting to a production one
in just one click. We can make 5k or 6k images in a few hours using just one workstation, and this is perfect for our workflow.
There is a big hype nowadays about GPU renders but they won’t fit our workflow, we have too many polygons and high resolution texture that GPU couldn’t handle.
Also Cinema 4D  is a software we were already using and we don’t have much modeling tasks in our workflow (in which cinema lacks a bit), it is more focused on scene management and organization and for this cinema’s scene manager is great.

BAGNO_MICROTOP

BAGNO_01

5. Can you tell us one of the funniest things that happened during your career as a 3d artist?

Sometimes a client can ask you for a render but they don’t have any idea of what they are talking about, so it happened that once an art director asked us if we could give her our renders in Illustrator paths so she could move the furniture around the scene. That was awesome.

01

6. How do you think the industry will change in the near future?

Everybody is looking at VR and probably there will be more requests in the future, but not in the short-term in my opinion. I am much more interested in the growing 3d scans trend, it will lead to greater realism with almost no modeling or shading time and this, for a lazy ass like me, sounds great! I hope for a future where visualizers will concentrate only on the artistic part of the job discarding the tedious technical approach.

TERRAZZO

7. If you were to mentor someone about this career, what would you suggest or recommend? Or if you could go back in time to 10 years ago, what would you say to your younger self?

The only advice i can give is: learn photography. I don’t mean taking pictures, like everybody do nowadays with those damn phones, i mean real photography: exposure, time, stops, lenses, framing and composition. It will help you a lot if you are serious about this job.

AL01_GEN_alta

8.Now on the geek side, what is you do to give your image that final magic touch?

I studied a lot of photography post production techniques and tutorials, one trick that i often use in my images is using Photoshop dodge and burn tools on a 50% grey level in Overlay mode above the image, it allows to add nice light and shadows details and depth to images. Recently we have been experimenting a lot also with LUTs, which are great for realistic photographic look.

_vert_PROMO_ALTA

 

9. Thanks a lot for doing this for us, if people wanted to contact you where can they find you?

Thank You Render Guy for giving us this opportunity! We have our website www.brugerstudio.com as well as most of the social networks: facebook, twitter, instagram and linkedin Just look us up @BrugerStudio.AL_02_GEN_ALTA

To learn more about Vrayforc4d get our Masterclass online and start learning now!

masterclass

 

]]>
http://3dtools.info/bruger-studio-italy/feed/ 0
Jost Hauer Germany http://3dtools.info/jost-hauer-germany/ http://3dtools.info/jost-hauer-germany/#comments Mon, 07 Nov 2016 10:52:48 +0000 http://3dtools.info/?p=6742 This week The Render Guy meets Jost Hauer of loomn in Germany an Arch-viz artist I have been following for a while now since he also is a VRAYforC4D user.

I have met Jost in Vienna many times during the d2 Conference and he also uses  Cinema 4d and Vray, let’s see what he has to say.

I hope you enjoy this interview  as much as I did.

 

1. Hi Jost, thanks for taking the time; tell us please who you are and what you do.

Hi Render Guy, thank you very much for the opportunity to share my thoughts. My name is Jost and I am running a studio called loomn based in Gütersloh, Germany. Like many others I studied architecture in college and realized pretty soon that I was interested in portraying and communicating concepts rather than in establishing a building in reality. I have always been passionate about architecture, technology, CG, VFX, concept art and photography. I consider myself pretty lucky that I found a way to combine all these interests.

150325-loomn-3d-visualisierung

2. How did you get in the field of Archviz?

Since playing with legos as a little boy I have known that architecture is the field for me. It was it fascinating to draw something out of the blue that might become reality in the end. The first time I encountered perspective drawing in art classes at school, got me addicted. Eventually I realized that you could construct complete universes in computer games instead of just playing these games, it opened up a whole new world to me. Well, this was in the 90’s and the games looked rather lousy compared to those of today, but they allowed for creating space that you could experience and this was very rewarding to me. So I enrolled at university and got my degree in architecture. I luckily ended up as a project manager for an archviz company in Zürich. That was the moment when I realized this is the way I want to set out on.

150811-loomn-3d-visualisierung

3.Can you tell us a bit more about your work, how do you approach it, what do you try to achieve, what do you like about it and when do your consider a project ready?

At loomn we mostly do images for competitions. As we are all architects here, we are always very curious about new designs, new ideas and a wide range of different tasks. The setting is quite beneficial for us. The challenge to distill the very essence of a project into just one image drives us forward. There is so much more to a project than just the CAD drawings. You have to consider the purpose of a project, the location, your client‘s perception and focus, the audience that is addressed to.
Our main goal is to provide our client with an image that exactly reflects the intention of the design, he/she may be aware of it or not. Sometimes we have to read between the lines to get a sense of what is necessary. After a first rough composition in wireframe our clients give us total freedom to show the building in the best possible light and mood. But we also get a lot of useful criticism on our images and we try to take that into account as we work on the next draft. These images are always teamwork between our clients and us.
Each of us at loomn has a unique way of looking at an image; there is no right or wrong. And it is great if your own vision of a building is overlapping with your client’s imagination or even goes beyond it.
The project is done when our client needs to print it. This inevitable deadline is what I really like about competitions. You are forced to structure, plan ahead and think about necessities. However we do have an economic responsibility for our client and for ourselves. The effort you put in and the output you generate have to be in the right proportion. Otherwise you are tweaking a project beyond its purpose.

160218-loomn-3d-visualisierung

4. who is your biggest influence when it comes to finding inspiration?

Reality! Well, you can learn a lot from other artists. You can study their work and use it to refresh your own eyes. But in the end it all comes down to your own experience. Go outside, study the real world, try to get a sense of a situation, take photos and make drawings.
It is all there, right before your doorstep, you just have to open your eyes.

5. You are obviously a VRAYforC4D user, what pushed you towards this software?

Cinema was the first 3d software I ever installed, about 20 years ago. Until now it never let me down. And it is just fun to work with V-Ray. It gives you great freedom to achieve what you have in mind as an artist.
Ultimately, these are only tools and as artists we have to remind ourselves that it all comes down to our own imagination; no matter whether you use high-end rendering engines or draw by hand. If someone is good at photography or drawing, he will find a way to realize his vision in any software. If someone applies for a job at loomn, I do not ask them how they did their images, I rather ask the why.

140123-loomn-3d-visualisierung

6. Can you tell us one of the funniest things that happened during your career as a 3d artist?

We have a lot of fun at the office. Actually I do not think we could do a good job without any fun at all. An image will never be good if you have to do it under too much pressure or without being relaxed when doing it. I can’t point out a single situation to you, but a day without laughter actually is a wasted day!

140724-loomn-3d-visualisierung

7. How do you think the industry will change in the near future?

That’s a tough one. But actually I do not think it will change that much. Our tools will change that’s for sure. I see ourselves as photographers in a virtual reality. There will always be some kind of camera and and some kind of subject, no matter whether you work on paper or on a holodesk.

140824-loomn-3d-visualisierung

8. If you were to mentor someone about this career, what would you suggest or recommend? Or if you could go back in time to 10 years ago, what would you say to your younger self?

I do not want to mess with the space-time continuum (LOL), I have watched too many episodes on TV where this went terribly wrong.
Also it is hard to give any advice because everything I could possibly say is based on my own personal experience. And that’s what it all boils down to: Just trust your personal experience. If you love what you are doing, you are doing it right.

141006-loomn-3d-visualisierung

9.Now on the geek side, what is you do to give your image that final magic touch?

If I wasn’t afraid to be sued by Eric and Trond, I would say lens flares, blur and fog. But even more important from my point of view is the initial touch, I would say. If you have a good composition, it is very hard to mess it up big time.

141210-loomn-3d-visualisierung

10. Thanks a lot for doing this Jost! If people wanted to contact you where can they find you?

Thank you Render Guy, you can for sure find us on our website: www.loomn.de and on Facebook: https://www.facebook.com/loomn.visualisierung/

141211-loomn-3d-visualisierung

To learn more about Vrayforc4d get our Masterclass online and start learning now!

masterclass

]]> http://3dtools.info/jost-hauer-germany/feed/ 0 Diffusion 4 http://3dtools.info/diffusion-4/ http://3dtools.info/diffusion-4/#comments Tue, 04 Oct 2016 11:50:37 +0000 http://3dtools.info/?p=6595

We’re proud to present the new age in CG materials – Diffusion 4.

D4-R18-V33-3CU_mini

Stunning 4k materials just in time

Diffusion is a collection of high-quality, seamless textures for VRayforC4D. These image-based materials will elevate every render, no matter the project. A staggering 6K resolution (6144 x 6144px) for every material as well as a wide range of architectural surfaces, this collection is a must have for any studio.

d2_web

Built for your workflow

Everything has been designed with the user in mind. From the custom installation packages to the crafted views in your Content Browser, your experience with diffusion will be seamless and you’ll be able to integrate it into any workflow easily.

d1_web

Made for D.R.

We know how precious your time is and that’s why every one of the 40 shaders have been crafted for use with Distributed Rendering in Vray for Cinema 4D. Allowing you to focus more on being creative and less on watching buckets fill up.

model_raw_steirereck_Stefan_08only_mograph

Requirements

DIFFUSION will run on both MAC and PC. You can install it on Cinema 4D R12 and up. A minimum requirement of VRayforC4D 1.8 is required and Hair shaders will require the Studio version of Cinema 4D. Textures compatible with any 3D software and render engine.

Some more examples of DIFFUSION can be seen below

You can download all 40 materials for 55,00 € and start making incredible renders in minutes.

Diffusion4_Product-200x200
full_gallery
]]>
http://3dtools.info/diffusion-4/feed/ 0
Diffusion 3 Shaders http://3dtools.info/diffusion-3-shaders/ http://3dtools.info/diffusion-3-shaders/#comments Thu, 09 Jun 2016 10:25:22 +0000 http://3dtools.info/?p=6174

40 Premium VRayforC4D materials

6_pack

Stunning 4k materials just in time

Diffusion is a collection of high-quality, seamless textures for VRayforC4D. The highest attention to detail has been taken into account and these seamless, 4k (4096 X 4096px) shaders are sure to bring all your renders to life.

Oak0002

Built for your workflow

Everything has been designed with the user in mind. From the custom installation packages to the crafted views in your Content Browser, your experience with diffusion will be seamless and you’ll be able to integrate it into any workflow easily.

vudumotion_12

Made for D.R.

We know how precious your time is and that’s why every one of the 40 shaders have been crafted for use with Distributed Rendering in Vray for Cinema 4D. Allowing you to focus more on being creative and less on watching buckets fill up.

shot01-cam02

What’s in the pack?

We’ve designed 160 premium shaders covering a wide variety of categories, including: Architecture, Fabric, Food, Metal, Stone and Wood to name a few. Be sure to check out the full gallery and get a closer look at these shaders.

DIFF_002_Production_ready

Requirements

DIFFUSION will run on both MAC and PC. You can install it on Cinema 4D R12 and up. A minimum requirement of VRayforC4D 1.8 is required and Hair shaders will require the Studio version of Cinema 4D.

Wall_0002-1024x405

Some more examples of DIFFUSION can be seen below

1
]]>
http://3dtools.info/diffusion-3-shaders/feed/ 0
Nuno Silva Portugal http://3dtools.info/nuno-silva-portugal/ http://3dtools.info/nuno-silva-portugal/#comments Tue, 10 May 2016 11:36:01 +0000 http://3dtools.info/?p=6091 This week The Render Guy meets Nuno Silva of nu.ma in Portugalan Arch-viz artist I have been following for a while now since he also is a VRAYforC4D user.

Being myself also a Cinema 4d and Vray user I was very interested in having a small conversation with him that I could share with you guys.

I hope you enjoy it as much as I did.

1. The Render Guy: Hi Nuno, thanks for taking the time; tell us please who you are and what you do.

Nuno Silva: Hi render guy, first of all let me thank you for this opportunity. About me, i’m a Portuguese architect and a 3D artist. I’m the CEO of nu.ma since 2010. nu.ma is a small office that is committed to deliver high quality 3D visualization images.

We target architects, designers, real-estate investors, the furniture industry and so on. Our experience in architecture and in the construction field, gave us a full understanding of the relationship between Architecture, Design and the 3D digital production.

01

2. TRG: how did you get in the field of Archviz?

NS: Very early, as an architect, I saw the huge advantage of using this powerful technique to convince clients and selling them architectural projects. With the advantage of being an architect, I decided to conjugate my skills with 3D art, and become better in the modeling and rendering of 3D images. By putting together these two arts (architecture and 3D) it’s our capital gain, because we know and understand what architects like and want, and we can help them to sell their projects, in a better way.

I01 (2)

3.TRG: Can you tell us a bit more about your work, how do you approach it, what do you try to achieve,what do you like about it and when do your consider a project ready?

NS: Well, the projects always start with a conversation with the client, so to understand what the main goal of the images is, what are these images going to be used for, which elements will be provided to us by the designer and which elements will need to be worked and designed by us instead. After that, we start with the research of some influences and inspirations, and only then we start going through the project. Every project has a different approach, meaning they don’t follow always the same line, however we try to develop a specific working method for each work. Also We always keep in mind that it is worth to loose some time thinking about the project before starting, than taking a lot more time doing and re-doing modifications to the same project many many times. The Italian Architect Achille Castiglioni used to say “I spend one year laying on the couch thinking… then and only then I pick up in my pencil…” .

I03-VF

In a general way, the work starts always with some sketches trying to imagine our final 3D image. With those sketches we try to show our clients the potentials of the project from our point of
view. It is obvious that the client always has some influence as well, after all they know clearly how the project should look like (at least in their mind) ;). After we agree on the general idea, we star the modeling of the project according to the provided elements (CAD existing 3d models and so on). The composition and balance on the image is performed already at this stage. The composition is very important when we look at a picture. If it doesn’t show an harmonious balance, it wont captures our attention. When the model is ready, the next step is the lighting tests. These tests are always performed in a neutral white base to clearly understand which and what kind of light we need. These tests are always performed though an hierarchy method: main light; secondary light; backup light. The principles of this method were acquired through the 5SRW course (which is a very good course and it is also available for c4d users).
After the light is set we will start applying materials. If the materials are not well constructed this could destroy the image. Finding out and understanding materials imperfections at this stage is very important. We work hard to make the materials we use, as real as possible. In the real world nothing is perfect, and for that reason, some imperfections must be added to the materials, to achieve realism. VRAYforC4D has some tools that are very useful and can be an important help you in this step. Then we finally get to the image optimisation and post-production, which I confess, is the part that I like less because of how unflexible it is when it comes to changes. That’s why I try to implement as much as possible in 3D, in order to minimize the post-production work.

IMG02

4.TRG: Who is your biggest influence when it comes to finding inspiration?

NS: I have some strong inspiration sources for what concerns 3D. My biggest influences and inspirations come from photography. It is funny, that in photography, photographs try to “clean” the imperfections of the image whilst in 3D, we the 3D artists, try to introduce several imperfections into the image. One of the photographers that inspire me is Ferreira Alves, from Portugal. He was able to capture architecture in its true essence and pure beauty. The details in his work are very important. I also like the Fernando Guerra’s work (another Portuguese photographer). He turns the architecture into a spectacule. Not in the way he captures it, but in the why he transforms it. It is the artistic look that he gives to the buildings that is interesting to me.
These are two reference points that I try to get in my 3D.

I02-i

5. TRG: You are obviously a VRAYforC4D user, what pushed you towards this software?

NS: The bases of my modeling work (for architecture and 3D) is done in ArchiCad. At the beginning I worked with 3DMax, but the conversion from archicad, made the process too difficult. That’s way I started using Cinema 4D. At the time there was no VRAYforC4D. When I discover that Laublab was working on a version of VRAY for Cinema 4D, I got very excited, I was one of the pioneers buying the very first version of the software. The render engine is very powerful and flexible, and can adapt to all the different situations. It is important that this render engine continues to evolve, because as the users increases so do their needs.

I02

6.TRG: Can you tell us one of the funniest things that happened during your career as a 3d artist?

NS: Hum… there are not too many funny things, at least when they happen, ;) but it is very common that the clients think that we are working with something like a photographic camera, and that all we do is pressing a button and just like this the image appears. Sometimes it happens that after the final image is prepared (with post-production and everything), the client says “please move the sofa just a little bit to the right”… and I think… really?

I02 (2)

7.TRG: How do you think the industry will change in the near future?

NS: the 3D industry is moving very very quickly. Many things are happening. The render engines are increasingly more effective, faster and they allow a quicker feedback speeding up the whole workflow. However there are some things that will never change. For example the way that the images are created. This process cannot be fully automated. We will always need a person behind the computer making renders. Render engines as tools, can be compared to numbers that are processed. However the artist that might operate those machines will do in a different way from another artist, for that reason, the final images always will have a different human touch.

I01_Vf (2)

8. TRG: If you were to mentor someone about this career, what would you suggest or recommend? Or if you could go back in time to 10 years ago, what would you say to your younger self?

NS: I don’t like to impose any philosophy on each one’s career, because each one should follow his/her own taste and make things that make them feel good. I do think that one should always give their best, and not feel sorry about what you should have done or would have done at the end of a project. No regrets, try hard, improve your skills, be a step forward of everyone else, and respect your client.

MG_STROM02-V-i01

9. TRG: Now on the geek side, what is it you do to give your image that final magic touch?

For me, the “final magic touch” is when I press the send button and the client response is “fantastic, we are very pleased with the final work”! I don’t think that there is a “final magic touch”. Sometimes we are few seconds away from sending the final images, and we go back to fix a bit the contrast, or take some saturation away… it is very relative.

I05

10. TRG: Thanks a lot for doing this for us, if people wanted to contact you where can they find you?

Oh please, thank you for the opportunity. For all of those who wish to get in touch you can find us here www.numa.pt and obviously on Facebook at www.facebook.com/nu.ma.arq

To learn more about Vrayforc4d get our Masterclass online and start learning now!

masterclass

]]>
http://3dtools.info/nuno-silva-portugal/feed/ 0
Visualforensic – Paris http://3dtools.info/visualforensic-paris/ http://3dtools.info/visualforensic-paris/#comments Thu, 24 Mar 2016 09:41:35 +0000 http://3dtools.info/?p=5932 This week the render guy meets Paris based artist Philippe Froesch.

facedetail1

The Render guy: Dear Philippe, Thank you so much for finding the time to answer my questions, let us get straight into it. Please tell us a bit more about yourself.

Philippe Froesch: Hi I am Philippe, I am 50 years old, French, digital sculptor specialized in facial reconstructions, director of Visualforensic which is a company I created 7 years ago when I was living in Barcelona. I am working in Paris now, collaborating with a forensic research team from the University Versailles UFR.

Henri4
TRG: I have come across your work and it is fantastic, absolutely stunning! Still I struggle understanding what you do precisely, can you tell us a bit more about your job, what do you do in the specific?

PF: My job consist in giving back faces to skulls, something formally known as Forensic Facial Approximation/Reconstruction. Scientist teams  give me skulls data and I use forensic techniques combined with art techniques to recreate the most probable face of dead people. I work almost only for museums or tv producers.

headGEO1


 

HAIRdetail

TRG: What is it that pushed you to take your current path? What was your formal training?

PF: Life pushed me, I have a bachelor degrees in Art and I’m in the 3D world since the end of the 80’s, and after a tremendous burn out where I decided “never again to do 3D” ( xD) I met with a friend that i didn’t see since years and she told me “why don’t we try something with a skull I have?” . She was and still is an anthropologist from Barcelona’s Autonomous University. That’s how it all begun over 10 years ago. Between those two moments I was teaching character design in a school from the suburbs of Barcelona.

woman


 

facemale

TRG: What is the most interesting part of your job?

PF: The scientific part is like an investigation, you need to calculate the nose shape with equations and look for details on the skull to understand the muscles location, or look at the bite/teeth to understand how the lips would have looked, etc. This part requires one to be meticulous. The artistic part has to do with the non-objective elements like the expression, hair shape, lightning, focus etc. I find this combination of art and science really cool.

maleBeardMuscles

TRG: Obviously you are a VRAYforC4D user, why did you make that choice?

PF: years ago I was looking for a render that could produce realistic SSS/skin and that could fit in C4D. VrayforC4D choice was logical. I love the quality of the skin rendering, and it is for me quite instinctive now. in the beginning I had good headaches to understand how I could simulate what I was looking for. Now years later all seems so easy with VRAYforC4D. It’s my best decision to date. Another important element is that it can render the hairs from Cinema4D, and when you begin to understand the Hair module you can do very interesting things.

HairC4D_2


 

HairC4D

TRG: Which other tools do you use in your daily pipeline and how?

PF: Osirix, which is a Dicom viewer, for importing the tomography/scanners data bases, and Zbrush for sculpting/texturing.

zb1

TRG: I am sure many will find this article very inspiring, any suggestions you can give to those who are thinking to take the same road as you?

PF: Simple things: study art, anatomy, photography,anthropology, forensic techniques, meet scientists, work (even for free) on simple cases to have the opportunity to create a book of your 3D works, and look at faces, every day (don’t be creepy about it though), try to understand how to draw them, sculpt them. Faces must become almost an obsession, and after that, you will realize that faces are very complicated things to simulate in 3D. Complicated in stills. And if you talk about animated faces the difficulty grows exponentially, because very small details will make your creation look natural or totally weird.

FacesBW

TRG: Looking at yourself as an artist, if you could go back in time, is there something that you would change or do better to improve yourself?

PF: Do more anatomy studies…. I hated that in school, I didn’t want to draw heads or faces. Then what do you know…life has a weird sense of humor.

SkinVrayforC4D

TRG: Thank you for taking the time to talk to me, Where can people find you to see more of your work?

PF: Thank you for giving me this chance render guy ;) You can find me on the web at www.visualforensic.com or on Facebook at www.facebook.com/VISUALFORENSIC


 

You can get your VRAYforC4D licence here

Additionally you can learn all the secrets of VRAYforC4D studying our Masterclass.

masterclass

]]> http://3dtools.info/visualforensic-paris/feed/ 0 UV SPLINE MAPPER http://3dtools.info/uv-spline-mapper/ http://3dtools.info/uv-spline-mapper/#comments Tue, 22 Mar 2016 10:28:41 +0000 http://3dtools.info/?p=5862 The UV Spline Mapper is a powerful revolutionary plugin

that allows MAXON CINEMA 4D users to control and modify the UV-mapping of an object just by using a spline as guide.

05.09


 

With the Spline UV-Mapping plugin for MAXON CINEMA 4D you can create UV-coordinates for any mesh simple and fast. This will allow you to use UV-mapping on meshes that were created with 3D-scanners, metaballs or similar techniques. The U-coordinates are placed along a spline object you define; the V-coordinates can be set by spherical or planar projection.

bent

Simply right click on the object you want to edit and select the “Spline UV-Mapping” tag from the context menu. Create a spline object that follows the shape of your object and drag & drop this spline object into the plugin tag. UV-coordinates will be created based on the shape of this spline and it’s rotation.

The created UV-coordinates are stored in an UVW-tag. After you have created the UVs you can simply delete the plugin tag and hand your mesh over to the texturing, animation or rendering pipeline. When the Spline UV-Mapping plugin is applied all texture tags of your edited object will automatically switch their projection mode to “UVW Mapping”.

round_elements

Create quickly architectural elements by simply texturing them right and avoiding heavy redundant geometries in your model. All you have to do is select the edges that you want to use, convert them to a spline a drop them in the UV Spline Mapper tag. This workflow will be so fast to pick up and you will wonder why you did not buy the plugin sooner.

twist_all

You can use the plugin also to modify the correct UV layout that you have applied to your model, just like in the example above where we have used a simple stripy shader and twisted it using the UV Spline Mapper advanced knot controllers.

twist_03

All the functionalities of this powerful plugin can be yours for only € 89.00 Improve the way your models look like now!


 

Buy the UV Spline Mapper here

Spline-UV-mapper2

]]>
http://3dtools.info/uv-spline-mapper/feed/ 0
BuddyRender for vrayforc4d http://3dtools.info/buddyrender-for-vrayforc4d/ http://3dtools.info/buddyrender-for-vrayforc4d/#comments Mon, 21 Mar 2016 16:45:03 +0000 http://3dtools.info/?p=5834 BuddyRender is not a traditional render farm manager.

It is a set of tools which allows you to build a private render farm in a modern way.

splash_page

 

You can access it from anywhere and even share with anyone you decide.

BuddyRender works with c4d cmd line and vrayforc4d, as well as with other 3rd party engines for c4d which support c4d cmdline.

 

WHY CHOOSING US?

  • Set up instantly

  • Bring your farm online

  • Connect from everywhere

  • Create custom jobs

  • Secured

  • Free full version for small teams

SCALE UP QUICKLY

MODERN DESIGN

modern_design

SIMPLE AND POWERFUL

simple and powerful

MANAGE FROM EVERYWHERE

  • Map your server folders

  • Access them from anywhere

  • Start jobs from Remote File Explorer

MONITOR AND AGGREGATE

monitor and aggregate

PRICING

BuddyRender works with c4d cmd line and vrayforc4d, as well as with other 3rd party engines for c4d which support c4d cmdline.


 See how to Install or how to set it up

Find us on Facebook!


]]>
http://3dtools.info/buddyrender-for-vrayforc4d/feed/ 0
Studiohometown Germany http://3dtools.info/grischa-fischer-studiohometown-germany/ http://3dtools.info/grischa-fischer-studiohometown-germany/#comments Thu, 03 Mar 2016 14:02:54 +0000 http://3dtools.info/?p=5734 This week The Render Guy meets Grischa Fischer an Arch-viz artist I had the pleasure to get to know in 2013 at an event in Vienna.

We have been spoken regularly ever since. From that time his rendering production has become absolutely beautiful. Being myself also a Cinema 4d and Vray user I was very interested in having a small conversation with him that I could share with you guys. I hope you enjoy it as much as I did.

 

1.The Rendering Guy: Hi Grischa, thanks for taking the time; tell us please who you are and what you do.

Grischa Fischer: Hi my name is Grischa Fischer and I’m running a small studio for architectural visualization called studiohometown located in the south of Germany.

01_HenningLarsenArchitects_ParkView_credits_and_copyright_www.studiohometown.de

2. TRG: how did you get in the field of Archviz?

GF: It’s been quite a journey. Like many others I have an architectural background. I studied architecture & design at the State Academy of Art and Design in Stuttgart (Germany).
Very early in my studies I came in contact with 3D software and have been excited about it ever since. Although back then I was more interested in computer generated design and form generation.
Probably I spend most of my time during studies figuring out how things work as there haven’t been many tutorials around and we worked in Maya which isn’t the easiest piece of software.
I’ve always enjoyed the end of the project the visual representation of it the most.

I did some images for diploma projects of my friends without taking it very serious. I already had some thoughts in the direction of architectural visualisation but it should take six more years to finally figure out that this is what I like to do most.
To some extend because it was frowned upon among colleagues and professors to do renderings, but also because architecture is a long and intense study and I just could not let go right after I finished.
So after I graduated I got a good job offer and started working for LAVA (Laboratory for Visionary Architecture) doing mostly parametric design studies, competitions and some in house images.
During that time I got to know the work of MIR and Luxigon and was fascinated by it but still not sure which way to go.
Back then I started to feel the passion for images but I had no clue I would end up making a living off of it.

So before I went more into the technical direction got a bit into coding and freelanced for DesignToProduction a company for digital fabrication.
In 2011 I started to work for Holzer Kobler Architekturen an architectural office in Zürich. My position was titled “3D Specialist” which I thought would be the right thing for me. A bit of everything.
Besides Modelling, parametric Design and competitions I started to do more and more in house visualizations and got more and more interested in it.
Then finally after 6 years in the architectural business I said good bye to architectural design and moved on to the field of architectural visualization.
That was in 2013 where a couple of things happened; I attended my first architectural visualization conference which was the SympIn Vienna (which has now become the  famous d2 Conference) where I was really mind blown and knew that this was the right direction to go. At that same time I was working on a competition and I somehow convinced my bosses to do the visualizations with MIR. I was very excited about it and it’s been an experience of great value.
It ended up that I had to do two additional images which had to be on the panels next to the MIR ones. So I tried my best not to suck to much. And as I had no one to really judge the images on a professional level I decided to send them over to MIR and asked for
their opinion. They have been really helpful. One of the images turned out quite good and made it onto the panels. I also pushed my technical skills and attended the VrayForC4D Training again in Vienna with Stefan Laubto get some deeper understanding of VrayForC4D.
At around the same time me and my family decided to move back to Germany to my hometown (that’s where the office name is coming from) and I started the office at the end of 2014.

 

02_HenningLarsenArchitects_CloseUp_credits_and_copyright_www.studiohometown.de

 

3.TRG: Can you tell us a bit more about your work, how do you approach it, what do you try to achieve, what do you like about it and when do your consider a project ready?

GF: At the beginning of a project we try to gather as many information as possible. About the project in general, the design ideas, location and context, what the images are needed for as well as the expectations of the client.
We also start looking for references and inspiration which can be anything at this point.
From there on we don’t really have a straight workflow because it can be quite different from project to project.
Sometimes the views are quite obvious and we try to show a specific mood with a first sketch. On other projects finding a good view might be quite a challenge and it takes more time and testing.
We like to work with very simple Models in the beginning. That way we can quickly test a couple of options. Also regarding 3d vs 2d we are quite flexible. We have some full CGI projects and others were we rely heavily on photoshop.
Once we have the views we narrow down the references decide on the direction of the image fine tune lighting and materials as well as the context and start finalizing it. Sometimes we start very early to work on the post-production to see if everything is working the way we want or to test some different moods.

First of all we like to help the architects or whatever client we have to stage their project in the best possible way. We consider us and the client as a team with the same goal. Of course the architects are usually into their design and want to show everything they did.
We try to step back and look more for photographic potentials of the project and find an image that contributes to their idea or which is just strong in itself. If we can compliment the idea with a visual that tells a story and evokes emotions we did our job.

It’s hard to tell when an image is done. To me it’s not about details could be quite sketchy. Of course it shoould not look empty. But that is more often a problem of too clean cgi images and sometimes a few brushstrokes can make a big difference.
I think if there is nothing that distracts the eye and the image has a good balance and flow you can consider it done. I would say if it has all the essential elements composed in a pleasing way ;-)

I really like the mixture of technical and artistic challenges.
If I want to dive in deep into technical stuff the door is open on the other hand there is a lot to learn on the artistic side.
I also like that although it’s a very competitive industry people are vey nice and open minded. I learned a lot through the community and hopefully at some point I’ll be able to give something back.

06_studiohometown_WhiteHouse_credits_and_copyright_www.studiohometown.de

 

4. TRG: who is your biggest influence when it comes to finding inspiration?

GF: The first book I bought before I started to study architecture is from Erich Mendelsohn. I love the way he captures his buildings with a few lines.
This always reminds me that things don’t need to be complicated but focused.
In the beginning it was mostly other 3D artists or studios from within the Industry. Which is good to some extend but stops you from thinking to do something else.
And I do like the quote from Edgar Degas “I’m glad to say I haven’t found my style yet. I’d be bored to death.” Same is true for me. I like to test things and do new stuff.
Recently I started to look more into other disciplines like matte painting, cinematography, traditional art, concept art and of course photography.
There is so much to learn from those people it’s never ending and hopefully I can do something with it.
These days the problem I think is not so much to find inspiration as it is accessible everywhere from everywhere but to take it serious, focus on it, really study it and make something new.

5. TRG: You are obviously a VRAYforC4D user, what pushed you towards this software?

GF: As an architect I used to work in Rhino and Vray (for Rhino) and I still use Rhino quite a bit for modelling as it is really powerful in that sense.
But I never really liked working with Vray for Rhino so I started to look for alternative options.
I wanted a solution with a good solid exchange to Rhino and Cinema4D in conjunction with Rhino.IO is very fluent in that sense.
Also Rhino is a very stable software and so is Cineme 4D. If you are used to a stable software everything else is a nightmare.
As I already knew Vray continuing with VrayForC4D was a no brainer.

In my opinion Cinema4D is really an underestimated software in the ArchViz industry. Although lately it got more attention at least from my point of view.
Many good artists are pushing it forward. So keep going!

05_studiohometown_WhiteHouse_credits_and_copyright_www.studiohometown.de

 

6. TRG: Can you tell us one of the funniest things that happened during your career as a 3d artist?

GF: Nothing funny about it. You know I’m German and I take my job very serious. ;-)

7. TRG: How do you think the industry will change in the near future?

GF: Ok I really don’t know! I think the easier the usability of tools and software become the more we can focus on other more fundamental things of the image making process. Like for instance story telling, composition, color and light which would be a good thing. The industry will probably grow and new tools will attract a lot of people but I don’t think the still image will be obsolete in the (near) future. People in general start realizing that our world is getting too fast so what’s more relaxing than looking at a well done image?

8. TRG: If you were to mentor someone about this career, what would you suggest or recommend? Even better… if you could back in time to 10 years ago, what would you say to your younger self?

GF: Be passionate about what you do and believe in what you like doing. People will start to know you for what you are doing and at that point you should better like it.
Ask questions, don’t give up and find the right people you like working with and have some fun. At least that’s my thought about it.
Besides respect your body and mind and get away from the computer from time to time. The real world has a lot to offer as well ;-)

To my younger self I would tell the same don’t listen to other people and follow your intuition, ideas and passion. But then again that is
easy to say… I have only now realized what it is I want to do. I wish I had started to do images much earlier on the other hand I needed to make all the experiences to end up where I’m now.
Which I enjoy a lot. Enough of that I like it more to look into the future otherwise I would have become an archaeologist not an architect nor a 3D artist.

 

09_HolzerKoblerArchitekturen_Roetelberg_credits_and_copyright_www.studiohometown.de

 

9.TRG: Now on the geek side, what is it you do to give your image that final magic touch?

GF: How the heck did they do that? When I started to do architectural visualizations on a more professional level that kind of question was one of the driving factors for my work. And it still is to some extend, as I always like to test new things.
In the meantime I figured out that the magic button is still missing from all software package. What I have learned is that “the why” and “when” to do something is even more important than the how. So to answer the question it totally depends on the image. Sometimes a single adjustment layer is enough and sometimes I spend 80% of the time in Photoshop to get things right.
What ever works I would say. But a lot comes from experimenting. There really is nothing scientific about it and as I said it’s different for each and every image.
Otherwise there would have been some sorts of “MakeTheMagicTouch” script to download somewhere since a long time.
But as you can push and pull the image in a lot of directions the most important thing is to have a clear idea of where you want to go with the image since the beginning of the process.

10. TRG: Thanks a lot for doing this for us, if people wanted to contact you where can they find you?

GF: Thanks guys, my pleasure ;) check out my work  at the links below:

www.studiohometown.de
www.facebook.com/studiohometown
www.behance.net/studiohometown

To learn more about Vrayforc4d get our Masterclass online and start learning now!

masterclass

]]>
http://3dtools.info/grischa-fischer-studiohometown-germany/feed/ 0
Learnvray – The 5SRW Method http://3dtools.info/learning-vray-with-the-5srw-method/ http://3dtools.info/learning-vray-with-the-5srw-method/#comments Wed, 02 Mar 2016 10:20:10 +0000 http://3dtools.info/?p=5657 The 5SRW is a highly regarded online course designed by the acclaimed V-Ray Official Instructor Ciro Sannino for both beginners and advanced artists.

3d Tools is an official reseller for ‘5SRW Method for V-Ray’most easy


The course covers all topics from basics to advanced, giving all users the benefit of improving specific elements of their rendering production.

The teaching system consist in applying photographic methods to the creation of renderings. It explains in plain and simple ways the use of light, framing, composition and management of materials and colors.

The focus of this course is not about the technical aspects of rendering, since the essence of making good images has nothing to do with settings. It is about the artistic aspects of light, camera framing, materials and colors. This is what this course is about. Vray works like a digital SLR camera, in this way the user can focus only on the artistic aspect of creating wonderful images.

The teaching is very fluent and it breaks down complex concepts into easy to follow steps. Each video is max 15′ long.

bullet_points

You don’t have to have any rendering knowledge to start with, in fact the language used in these videos is simple and straight to the point.

It does not matter if you are an expert or a beginner, if you want your pictures to look better this is the course you want.

If you are just starting out, you will be able to create straight away really good images. If you are an expert, your work will significantly improve.

So what are you waiting for? Join the program now and start learning from the best.

Download the Brochure to find out more about this course

certification

Download the Brochure to find out more about this course

50

Learn how to create stunning pictures by following these 5 easy steps

  • Adjust framing and creating great photographic compositions
  • Fix the light balance with Vray lights
  • Create realistic materials using a photographic approach
  • Produce the final rendering
  • Improve the quality of your image with advanced post-production techniques in Photoshop.

The videos are produced using 3ds max as base, despite that c4d users have been following the course also finding it incredibly useful. This is the reason why they have recommended it to others as well. The basic concepts of V-Ray as well as all the other photographic notions taught in the course can apply easily to c4d with minimum effort. The study material is available in c4d making it easy for the students to follow.

[dear users, please note  this buy button will lead you to the official 5SRW buying page, buy there going through the steps will lead you to the course with the C4D files format. Please be so kind and use only this buy link for buying the course – otherwise we get nothing for the reselling;)-thanks!]

3d Tools is an official reseller for ‘5SRW Method for V-Ray’


 

In case you are still in doubt please check out some of the works created by our students with this course using VRAYforC4D

 

Antonio Saccomanno – Italy

Antoine le Sac


Nuno Silva – Portugal

Nuno-street

MAIN-Nuno


create

We understand that you use C4D and you are aware our course is based on V-Ray for 3ds Max. But we would like to clarify that our course is basically a course of photography applied to Render, and we use V-Ray for 3ds Max to “implement” concepts… but CONCEPTS are universal, and they are the main part of our training.

V-Ray is always V-Ray
In any version you have always the same parameters, same concepts, same photograhic approach. Our lessons have been created using V-Ray for 3ds max anyway the approach is exactly the same. For this we also provide downloadable files for C4D.

ADAPTATION
Implementing requires a little adaptation for you, but I can garantee that you will learn all universal concepts that never “expire” because are about PHOTOGRAPHY :-)

As we said before we have all scenes in C4D version with V-Ray settings, to reach the same result using 5SRW, so you can check how the method is implemented in your software.

3d Tools is an official reseller for ‘5SRW Method for V-Ray’

For a more technical related course please refer to the VRAYforC4D MASTERCLASS

]]>
http://3dtools.info/learning-vray-with-the-5srw-method/feed/ 0