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Visit scenes from the Demoreel in 360Ëš Virtual Tour

Visit my models section on Turbosquid.com to view examples of models used in this Demoreel

WELCOME TO MY 3D ARTWORK PRESENTATION PAGE

TO MAKE A LONG STORY SHORT

        When I was a teenager fascinated by special effects and fantasy worlds revealed to me on films like Star-Trek and STAR-WARS I found myself wondering how do filmmakers create this magic and whether or not someday I would be able to make these stories myself

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In the mid 90s, when CGI became more popular and more manageable and could be created by my simple home PC, I began learning how to use 3D software to create my very own 3D art

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Ever since I've been refinning my methods and perfecting my skills and striving to create the most reaslistic and compelling 3D elements possible in an effort to turn imagination into realirty...

 

Welcome

MY WORKSTATION

FOUR SCREENS - ONE PURPOSE

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Main Working Station:

This is a 40 inch large 4K screen connected to the main work horse computer. It is used to do the bulk of the work including modelling, editing and post processing. This way I don't have to strain my eyes when working on the smallest of details and also have a very delicate and sensitive mouse control for all the small things.

I also view the project from all through its various stages on the big 4K screen allowing me to visualize how it would look up in the end so I know it looks great even when on the big screen without having to wait till it is finished.

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Rendering Station:

This 30 inch monitor is connected to an identical twin of the main work station computer and it is used to enable me to start rendering the project while I am still working. This way the working station and the rendering station are on a separate PCs and do not share computing resources. I also get a view of the rendering process on the screen while I work to be able to detect problem and glitches on the go saving me the hassle of viewing the final results and then finding out something went wrong in the rendering process.

In difficult scenes where more computing power is needed I am able to use distributed render and use the combined force of this station, the main station and the reference station in a sort of mini rendering farm constellation.

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Reference Station:

Using Microsoft Surface Book 2 (with the top hardware available) I created a small fully functional working station in a small package allowing me to do everything from modelling and rendering to editing and post processing on this small tablet sized laptop. While I work at home it is used as a reference station to download and display in front of me all the reference materials needed while utilizing its touch screen and stylus pen to quickly zoom in and out and pan the different images. While when I go out to work some place else I can still continue working with full efficiency and carry all the software and materials needed with me to wherever I go, whether it is a business meeting where I have to showcase my work and progress or simply to work on the go when I travel.

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Sculpting & Painting Station:

This 16 inch Wacom Intous tablet allows me to paint and sculpt with its very accurate and sensitive stylus. Because it is not a separated PC and is connected and work under the resources of the main station it is a very capable little tablet screen. Thus allowing me to work freehanded on even the most heavy and complicated models and scenes.

 

 

MY WORKSTATION
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STEP 1.

SKETCHING

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I first start by drawing my initial ideas on a piece of engineering paper - this helps me keep the proportions right without sacrificing freehand drawing.

I then move the hand-drawn sketch to my Wacom pad and start elaborating the sketch with finer details and colors until I'm satisfied with the results.

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WORKFLOW

STEP 2.

3D MODELING USING REFERENCES

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I gather lots of online references for my model and display them on my side touch screen so I can scroll between them and zoom in on the finer details in the images for accurate representation of the objects I am modelling.

I use Autodesk 3ds max for my main modelling software and I combine it with Autodesk Mudbox for higher details and organic sculpting.

When sculpting I use the Wacom with its stylus pen for better accuracy and freehand motions and strokes.

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STEP 3.

TEXTURING AND LIGHTING

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To texture the model I paint my textures using Adobe Photoshop. Then, to create the bump and normal maps in order to enhance depth on the model, I use substance painter and sometimes I even sculpt the details on Mudbox and then export the depth map as a normal map. I try to use real-world accurate material settings so that light would reflect best on them creating the illusion of something that is real.

When creating the scene's lighting I use very high-res HDRI maps that reflect and bounce light of the textures as close to the real world as possible. Their high dynamic range allows for a more true to life color schemes and lights variety. To finish the process I add light emitting materials to any object in the scene that emits light - contrary to placing light objects inside the light source, creating light emitting textures ensures that the light source shape will accurately follow the shape of the object emitting that same light thus creating a more realistic representation of that light and surrounding objects.

STEP 4.

CREATING A STORYBOARD AND ANIMATING

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I draw a very rudimentary comics-like scenes with the main action described either by the drawing itself or explained by words. The idea is just to communicate the feel of the scenes and the oriented action involved. Then I go to animate each scene separately using rigging and keyframe techniques. In the process I also observe real life footage of similar actions to best imitate them in my animations.

To keep track of all the separate processes taking place simultaneously, I organize all different tasks and stages of the project on a black board dedicated to keep track of all of the project's essets.

 

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STEP 5.

RENDERING

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To render my scenes I usually use Corona Renderer because it creates a very realistic recreation of reality without being very complicated and cumbersome like vRay. I usually only have to tweak some very basic settings and I get beautiful results in a rather short periods of time. I use a separate PC for rendering only so I can continue my work while rendering without sacrificing resources or prolonging rendering times.

If needed, when a scene is very heavy or complicated for just one machine to render, I use distributed rendering utilizing my 3 workstations to create a mini rendering-farm and thus enabling a faster render.

I also cool my machines with many large fans and combine that with intensive air conditioning to 

 

STEP 6.

POST-PROCESSING

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After completing all the scenes, I take the renders to Adobe After Effects and start working on color corrections, special effects (smokes, mists, fires, lens flares, particles, etc...).

I also correct some glitches and problems created during render that I didn't notice until rendering had been completed.

In post I make sure all the scenes match each other and "talk" in the same design language.

 

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STEP 7.

VIDEO & SOUND EDITING

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The last stage is to take all the individual scenes and combine them together to a full length reel in Adobe Premiere.

I make sure all the transitions between the scenes are perfect and match camera movements and fluid motion. I play with the timing so everything moves at the rate best merging with the notion of the video.

I also edit the sound effects and music using Adobe Audition and mix them with the video trying the integrate the audio perfectly with the video and use the sound effects to make a more impacting and dramatic feel to the raw video.

As a final stage, I export the whole project to a single file using Adobe Encoder and then publish it in the desired format.

 

WORKFLOW
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CONTACT ME

ADDRESS

Don't Shoot

donshootnir@gmail.com​

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