Environment Creation in 3ds Max 2015

Environment Creation in 3ds Max 2015

This tutorial introduces you to a free script designed to help you set your scene environment. It simplifies creating Daylight Systems, setting backgrounds and adjusting exposure values among others, all from a simplified and unified User Interface.

Making of Hyundai World

Making of Hyundai World by Big Block.

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Making of Fossil Creadit

Making of Fossil Creadit by Riff Studio. RiFF Animation Studio is a studio with strong emphasis on 3D character animation. Our animators are dedicated professional backed up by full production team. Our service covers full production pipeline: from concept design to post-production. Our works include animation shorts, animation series, animation featured films and commercials.

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Creating a body of Water Simulation using Bifrost – Peaceful Coastal Ocean

Coastal Ocean

This video shows you how to use Bifrost to create a basic water simulation.

Realtime UK Fluids Reel 2015

We have been developing and improving our Fluids pipeline over the past few years, including integrating Houdini into our pipeline.
Houdini is used in many Blockbuster feature films, and open source formats such as Alembic have allowed to to integrate it into our 3Ds-Max and Vray pipeline.
We have successfully completed projects containing very heavy water simulations, and this reel shows clips from some of our projects and also internal RnD.
Our average fluid simulations contain 20 – 30 million particles and can reach up to and over 100 million.
We chose Houdini as it can handle these massive simulations with amazing speed, giving us the ability to create stunning feature film quality effects.

AMOR Liquid Simulations Vfx Breakdown

AMOR Liquid Simulations Vfx Breakdown by Jesús Velazco.
Production: MATTE CG
Direction: Andrés Aguilar
Modeling: Marco Mendoza
Animation: Johanna Salazar
Render: Jose Alcívar
Compositing: Lisette Aldaz
Sims: Jesús Velazco

The Taking Of Tiger Mountain Vfx Breakdown

Vfx Breakdown from “The Taking Of Tiger Mountain” by the talented team at Dexter Studio.

Motul Commercial Vfx Breakdown

Resight has prepared the breakdown video of full cg scenes for Motul Commercial.
Production studio: Resight
Client: Motul
CG Supervisor: Andrey Voytishin
Modeling: Andrey Voytishin, Ilya Filin
Animation, Vfx, Lightning, Texturing, Rendering, Compositing: Andrey Voytishin
Concept: Andrey Voytishin
Sound design: Jacob Thomas Czech

Reflection Matte in 3ds Max

In this 3dsmax tutorial I show you how to do a reflection matte using the Corona renderer. Corona renderer has an awesome shadow catcher material that makes things really easy!

IQ Option - Commercial

Jogurt Vfx Breakdown by Mirankevic

This project was created for a pitch, Miran K did a while back. What was unique with this Jogurt is that it had twice as much proteins and had almost no fat. This was so unique and amazing that we created a story based on Greek philosophers who laid the fundementals for our western system and truly creating something wonderfull, out of respect we tried to do the same both with the jogurt and this commercial.
Director: Miran Kevic
Concept: Miran Kevic & Azer K
Simulation: Miran K, Mo
3d Modeling: Azer K, Miran K

FX Demo Reel by Slava Azarov

Slava Azarov made all pyrotechnics and he used Houdini.

Baahubali

Making of FIAT Godzilla by MPC

MPC Created ‘Godzilla’ Spot for Fiat. MPC Creative was enlisted by The Richards Group to direct and produce the all-new FIAT campaign, featuring the King of the Monsters: Godzilla. The spot utilizes the unique film asset of the CG Godzilla crafted by MPC Film for the epic action adventure motion picture from Warner Bros. Pictures and Legendary Pictures. In-house directors Dan Marsh and Jake Montgomery captured an abundance of the action in-camera to integrate seamlessly.
Harnessing the full power of MPC’s core strengths: top in-house talent, integrated solutions and cutting-edge technologies all in one, this epic spot challenges consumers to re-evaluate their notion of FIAT as a producer of exclusively compact cars.
Agency The Richards Group, Production Company MPC Creative, Directors Dan Marsh & Jake Montgomery.

FIAT Godzilla

https://youtu.be/pCIhOzA63D4

https://youtu.be/mwdOQscl9is

New Balance – The Storm VFX Breakdown by MPC

In close collaboration with the director and Arnold’s creative team, MPC’s artists, led by VFX supervisors Rob Walker and Vicky Osborn, took the creative reins to explore and enrich the storm sequences.
With a two-pronged approach to create the storm – the exterior and the interior – Rob comments on the process: “The starting point for the interior of the storm came from a cloud tank element shoot in Miami, which provided most of the dramatic backgrounds. We shot some pretty amazing footage, and lots of it, at up to 100 frames-per-second with 5K resolution that allowed us to zoom into a part of the plate without compromising quality. In the end, we whittled down roughly 10 hours into 12 minutes of beautiful footage that formed the basis for the inside of the storm. We combined this with a simulated CG storm.”
In parallel, Houdini artists began R&D on the exterior of the storm, exploring its movement and developing its look. A key part of the agency brief was to have the storm mirror the structure of a wave, which proved to be challenging as the Houdini simulations were based on real world physics and scale. The rendered simulation would often produce quite random results, each one being totally unique.
“Our next stage was to simulate the interior storm,” Rob continues. “Johnny’s boards had interesting sketches where you feel the storm chasing the athletes and partly swallowing them in it. This was something we found interesting and wanted to develop. A key part of our creative decisions in designing the storm was the need to recognize the athletes rather than having them obscured or lost within it.”
The team designed a ‘kit of parts’ rendered in Houdini, offering flexibility and control in compositing the athletes’ prominence on-screen. This technique enabled the team to choreograph all manner of motion and intensity, and play with varying scale in the same shots.
The result is flawless cohesion across the film, ensuring the “Always in Beta” state of mind remained center stage in the dynamic yet ethereal New Balance storm.
Agency: Arnold Worldwide; Production Company: RESET; Director: Johnny Hardstaff;