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Author Topic: 3D disain, logod, animatsioon, video editing, rotoscoping jms  (Read 3159 times)

Cocliosttro

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Tere,

Pakun 3D teenust.
 * 3D logod
 * Animatsioon (3D computer animation, Motion graphics,)
 * Retopology
 * 3D Scann data fix
 * Video editing
 * Modeling
 * Digital Sculpting
 * Texturing (Base color maps, Epidermal Color maps, Subdermal maps, Mid scatter maps, Specular map primary and secondary, Displacement maps, normal maps, AO maps etc)
 * Rendering
 * Rotoscoping
 * Green screen
 * Compositing
 * Green screen editing
Mingil määral ka simulatsioon ja muud VFX
Varsti lisandumas ka kinnisvara visualiseerimine.

Minu portfolio:
https://tanel.artstation.com/
Hind sõltub töö mahust ja keerukusest
Ja all mõned näidised tehtud töödest. (ps! osa töid baseerub kellegi teise conceptil osa töid enda väljamõeldis):
!











[url=http://www.youtube.com/watch?time_continue=2&v=73rVCGovs2s#]http://www.youtube.com/watch?time_continue=2&v=73rVCGovs2s#







































« Last Edit: December 10, 2017, 16:34:47 by Cocliosttro »
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troll123

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Re: 3D disain, logod, animatsioon, video editing, rotoscoping jms
« Reply #1 on: December 10, 2017, 11:40:00 »

Kurwa Tann on tagasi....


Raha veel millegi eest kyll kysida pole, tasuta praktika kohti v6iksid otsida .  nukufilm.ee
« Last Edit: December 11, 2017, 13:25:07 by troll123 »
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Cocliosttro

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Re: 3D disain, logod, animatsioon, video editing, rotoscoping jms
« Reply #3 on: December 12, 2017, 13:00:06 »

Infot neile kes räägivad asjadest millest nad mitte midagi ei tea.
See muidugi ei takista neil rääkimast.

Pre-production stage:

Concept artist — creates the concept art work for everything, from character design, mood, environments, props, buildings and other assets. Effectively, the modelling team has everything they need to know exactly what they are building. Good drawing skills are a must, ZBrush and physical sculpting is a bonus. Usually, works directly with the Producer and Director.

Storyboard artist — creates the key frames for animation, framing, environment, including the mood, the camera lens and the rough edit. Essentially the basic creative direction for the previzualisation team, animation team, lighting and compositing team.

Previzualisation (previz) artist — depending on the studio size, the length (in minutes) and the budget for the project, the team will either create a simple animated storyboard, a basic 3D layout of the entire film with basic animation, or a full blown low quality replica of the entire film / project / advert. Despite the somewhat “low quality” look of the show reels of most previzualisation artists, this is rarely an entry level job. Working directly with the director, producer, CG supervisor and sometimes the production company funding the entire project.

Artist roles:

Modelling artist — sometimes divided into “hard surface modelling” and “organic modelling”. Self explained job, it’s the modelling of all the assets. Sometimes character modelling is called “organic modelling” or “character modelling”, and that usually implies that the role requires ZBrush skills. There is a special note here for “character designer” roles: this can either be a 2D role (a concept artist specialised in characters) or a 3D modeling job (where you won’t be getting any concept art support).

Texturing artist — in some studios the texturing job either falls under the “modelling” or the “lighting and rendering” jobs. But there still are some studios hiring people purely for texturing assets. A lot of times the artist hired to do matte painting end up doing other “asset based digital drawing” tasks such as texturing, so it’s better to build a portfolio for Matte Painting.

Animator — sometimes divided into “character animators”, “creature animators” and “technical animators”. Anything that has to do with characters, conveying emotions, delivering believable performances and narrative, is done by animators. If the studio has animals that are behaving purely like animals (dogs, birds, cats) you might find “creature animation” job roles. If the film / project has a lot of non-character based animated elements you might find a “technical animator” job role.

Matte painting artist — all the backgrounds, all the sky, all the landscapes and background elements fall under Matte Painting. This job requires amazing drawing skills but also (sometimes) 3D skills to help build simple backgrounds geometry to draw on top.

Lighting artist / Lighting TD / Lighting and rendering — some studios don’t have any “lighting artist” roles but only “lighting TD”. It’s the same job, but some studios add TD in the title to emphasise that this is a technical role, not just artist. Some studios merge the “lighting TD” role with the materials and shading role, calling it “lighting and rendering” (with or without TD at the end). Regardless, this is always the final person to touch the 3D files before the Render button is pressed. This role requires a great understanding of lighting, camera and rendering, but also a great understanding of the software used and the studio pipeline. The lighting person usually puts the scene together as well, bringing in all the elements from all the other departments to build the scenes.

Technical roles:

Rigging TD — one of the most technical roles in the pipeline. Transforming a model into a ready to animate file is the job of the rigger, and every project, regardless of size needs a rigger. Some studios might just hire everyone who is not an Animator, Modeler, Lighting or Compositiong as “Technical Directors” (TD) to do a mix of Rigging, Fx, Cloth, and everything else that is less defined. It obviously requires a great understanding of both the software and the studio pipeline. An understanding of anatomy is a must, but also basic programming / coding skills might be required. Some of the best riggers also know quite a bit of animation, though, not required in the portfolio.

Fx TD — water, splashes, smoke, particles, explosions, all of these fall under FX TD. Most of the time, the tasks for this are accomplished outside the main pipeline, using a lot of 3rd party specialised software, such as Houdini, Fume Fx, Real Flow, to name a few. It’s a very tough job that forces you to always have to learn new software or risk your skills to quickly become obsolete.

Shading TD — do not confuse this with a texturing or rendering job. This is a programming job, for developing new proprietary shaders. Most people in this role are CS graduates or people working in Games, where custom shaders are an essential element.

RnD / Pipeline TD — usually, only the top of the top studios have these roles, let alone a department. Essentially, anything that has to do with developing new tools and automated processes end up in this department. Requires programming skills, CG coding, an understanding of Linux, and of course Max / Maya / Nuke.

Notes on the “TD” vs “Artist” job titles:

This can get a bit confusing.

In general, at big studios, every title on this list might have the acronym TD or the word Artist at the end. Most of the time, this doesn’t mean anything special — some studios will call you a Modeler, others Modelling TD or a Modelling Artist, but at the end of the day it’s the same job.

The acronym TD stands for “Technical Director”.

In some places, the role is an actual director position. There is just one person with this title, and he or she is in charge of everything that is technical. Especially on very small teams (3-10 people).
In other places, there might be a single TD for each department. Acting as the head of the department, overseeing the entire technical aspect of the project. Especially on mid size projects (10-50 people)

On big projects, there might be multiple TDs and Artists doing the same job. If that is the case, the difference is obvious: Lighting TD is a technical job (arranging passes, shaders, references) and Lighting Artist is a more creative job (the actual lighting arrangement, colours, composition). This can be valid both on small and big projects, regardless of the team size.

Some studios divide all the job titles in 2 groups, similar to how I grouped all the more technical titles under the TD umbrella. So every job that requires very technical skills will have TD at the end. Everything else (modelling, animation and drawing roles) will have artist at the end. This naming convention can be valid both on small and big projects, regardless of the team size.

Post production roles and video processing:

Compositor — for all intended purposes, this is the last person to touch the shot. Once the director approves a shot, that is exactly how the shot will look in the final film. Requires Nuke and / or After Effects (but most big places only use Nuke). You need to have a great understanding of cinematography: colours, lights, framing, camera angles, and everything in between. Most compositors are filmmakers themselves, filming and making their own short films in between projects.

Editor — a role as important as the director, usually carried out by a single person for the entire film. Works closely with the Director and Producer to put together the final edit of the entire project.

Colourist — the person responsible for putting the finishing polish on the animation or film. The main responsibility is to ensure the look is consistent across multiple shots and adjust things such as as colour, white balance, grading and overall contrast. The role is needed both at a preproduction stage (when the raw footage is received) and in postproduction. In postproduction, the bulk of these tasks are usually accomplished by the Compositor(s) and Editor(s).

Clean up and prep artist / junior compositor — this is a VFX for film role. A lot of times the job title is Junior Compositor. It’s a step up from doing tracking and rotoscoping, and as a junior compositor you might even have your own shots to work on, as opposed to just preparing shots for more senior compositors. The job requires Photoshop, Nuke or After Effects skills. The task is very different depending on the film, but in general, it’s mostly about removing cables, extending the background, removing unwanted elements from the shot… the sort of things you would do in Photoshop to “clean up a photo” or just to mess with it.

Managing and supervising job titles:

Producers — despite being a business orientated role, most producers have a background in filmmaking or CG arts. Their role is to ensure everything runs smoothly, and to keep track of everyone’s work. At medium-size and big studios, they also act as an intermediary between departments and between artists. So for example when a Modeler finishes an asset they won’t lose time bothering other members of the team with thing such as “hey, so I finished the model, what should I work on next?”. Producers are very important, and the job roles and job titles can be very different from project to project. You might be hired to work as a producer with the artists, or as a producer to talk to clients. You might be hired just as an assistant producer for someone else. The job title can mean many things.

CG supervisor — the person overseeing the entire CG / 3D development process for the entire film. Extremely senior position, requiring both an expertise as a 3D artist, and business plus management skills. The highest position in the animation industry. Sometimes the CG supervisor job might be listed as a VFX supervisor role (the job titles are usually interchangeable), and they both require a very good understanding of both 3D and 2D roles.

VFX supervisor — in the film industry, this role is the same as the CG Supervisor, but usually, it denotes that this person knows his way around a filming crew. If there is both a VFX supervisor and a CG supervisor job tiles, they act as co-supervisors. Meaning the VFX supervisor is only in charge of the on-set supervising (support for the Director and the filming crew) and maybe the post processing stage (compositing and 2D work), while the CG supervisor is in charge of the artists in the studio. But the line is very blurry as to where the VFX supervisor role ends and the CG Supervisor begins.

A quick note on senior job titles:

Specifically, on the difference between job titles in animation that start with “manager of”, “head of”, “senior”, “supervisor”, “lead of”:

Lead — is almost always a project based status. For example, if you have a film with 20 animators, you might have one or more Leads to ensure the quality of the work is consistent. In other words, everyone needs to hit the same quality as the lead(s).

Senior — is an experience based status. A senior animator is someone who has 5+ years experience in the industry or someone who has been working with the studio for a long time.

Manager of and Head of — usually mean the same thing. It depends on the structure of the studio and how they decide to give these roles. It’s a studio based role, meaning they keep their status across multiple projects. Sometimes, a studio might give “head of” status to someone who doesn’t have any people to manage, but rather a specific task / contract (a one-person-department, such as “head of motion capture” for the person overseeing the work performed by the company the studio hired to do all the motion capture work). However, “manager of” almost always implies that they are managing multiple people, as part of a department or more departments.

Supervisor roles — can either be project based titles (in charge for only one project, maybe even freelance / contract based) or full-time studio status (overseeing multiple projects and multiple teams).

Other specialised roles:

Crowd TD — in charge of “populating” the background with characters. Sometimes, the job ends up being made by an FX TD.

Cloth TD — in charge of everything that has to do with simulating cloth and similar dynamics. Sometimes, the job ends up being made by an FX TD or Rigging TD. Other times, all the cloth work might be the job of a Technical Animator.

Motion capture (various job titles) — a mixed team with mixed skills set. Usually, this entire job is outsourced to a company / studio that only does motion capture.

Sound Effects (various job titles) — same as with the motion capture team, this is usually outsourced. But some studios also have one or two people in-house.

Entry level roles:

Rotoscope Artist — more of a “VFX for film” job. The entry level job titles for a career into Compositing or 2D animation. You need to know Nuke / After Effects to do it, and you need a good showreel.

Tracking — usually more of a “VFX for film” job title. The equivalent to Rotoscope, but for 3D, meaning that you need to know Max / Maya.
Match moving — the best entry job to a career as an Animator, however, this is a VFX for film job. You need to animate a character or digital double actor exactly as you see it in the original take. The 3D geometry can then be used in a variety of ways, such as for casting shadows onto digital objects in the scene.

Render Wrangler — the person looking after the render farm. Most of this is automated at most places, but they might still ask a runner to oversee it.

Runner — usually, recently graduated 3D artists or artists with no experience or very beginner level experience get this job title. They rarely work directly on any projects. They are usually hired just to act as a mixed of personal assistants, receptionist, preparing meeting rooms, “running” to the local art shop to buy things, or simply there to make coffee, call a cab or buy food for the staff. It’s not a glorious job, however, if you already know a bit of 3D but no one is hiring you, it might be the best way to get your foot in the door.

Sadly, even if you know a lot about 3D Animation and Filmmaking, unless you have “Hollywood quality work” in your showreel, a runner position might be the only job a big studio will offer you. However, a running position at a big studio means that the studio will give you mentorship and teach you how things are done in the industry. With the prospect of hiring you on a proper job after a few months. Sometimes, runners might be asked to do some Matchmoving, Rotoscoping, Tracking or Render Wrangling. There is an entire topic on this, so I won’t be able to cover it here. But let me know in the comments section below if you want to find out more.

I think these are all of them, or at least the bulk of it. If I forgot anything, leave me a comment and I will be sure to add it to the list with a brief description.

Ntx animaatoreid ka mitut tyypi.
Animatsiooni tyype:

Traditional animation
2D Vector based animation
3D computer animation
Motion graphics
Stop motion

ja tihti on need erialad eraldi.

Ma pole concept artist ja kõik mu tööd ei ole enda väljamõeldis. Selleks on concept artist. Ma võtan pildi 2D või 3D ja teen sellest 3D sculpti / mudeli
3D artist saab erinevaid ylesandeid. Ka seda kui antakse kätte 3D pilt millest on vaja samasugune uus 3D mudel luua kuna vana fail on corrupted või kadunud ja backuppi pole.

Vaadates siin nö usinaid kommentaatoreid olen 100% kindel et mitte 1 ei suuda võtta 2D pilti ja seal olevast elemendist teha 3D mudel.
Ja ma ei räägi lauast või toolist vaid ikka keerukamast elemendist.

Rääkimatta asja textuurimisest, shaderi ehitamisest, renderdamisest ja animatsioonist ja kõigest muust.
Ja see kui sina troll oled harjunud tasuta tööd tegema on see sinu deela good luck with that one. Mina tasuta tööd ei tee.
Ja mis praktika kohtadest sa räägid?
Eestis on mõni üksik stuudio kes teeb heal tasemel 3D-d (Frost FX, Tolm Stuudio ja paar veel).
Ülejäänud kes "teevad" on lihtsalt vahendajad kelledel tihti endal 3D tegijaid polegi vaid võetakse freelance vormina sisse mujalt riikidest.
Ja omaette teema on see mis tasemel.
Ja tean faktina, et cräppi ma ei tooda ja teen asja hingega.
Eestis 3D tegijaid on vähe aga nõudlus kasvab.
Reklaamid, kinnisvara visualiseerimine VFX effektid jms
Näidis VFX effektist reklaamis:
! No longer available

(autor oli Frost FX)
Kas tõesti arvate et kui TV-st näete jogurti reklaami et see mis seal voolab klaasi on jogurt? :P
 








Võtab yhendust see kellel on huvi reklaam klipp effektid vms aga eks heiter laksutab ikka oma lõugu olenematta kas teed hästi või halvasti.
Minu oskustest ja tasemest räägib minu aastaga saavutatud tulem (õpitud omal käel ja nullist)
mitte aga isik kes teemast mitte midagi ei adu (troll jms) aga pritsib tatti ikka, või tuled nyd väitma et sinu arvamus on pädevam kui ligi 20 aastat 3Dga tegelenud maailma tasemel eksperdi  feedback ja arvamus? (lol)






« Last Edit: December 12, 2017, 17:27:02 by Cocliosttro »
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nzmo123

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Re: 3D disain, logod, animatsioon, video editing, rotoscoping jms
« Reply #4 on: December 12, 2017, 13:47:10 »

Huvi pärast küsiks, et kas reaalselt tellimustööd oled kellegile teisele valmis teinud ?
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Cocliosttro

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Re: 3D disain, logod, animatsioon, video editing, rotoscoping jms
« Reply #5 on: December 12, 2017, 13:57:24 »

3 tellimustööd tehtud.
2 props tööd
1 oli seoses rotoscopinguga
Aga üldiselt on nii, et 1 isik ei tee kõike vaid teeb teatud asju. Ja sis saadetakse projekt järgmisele spetsialistile.
Ala 1 sculptib
teine teeb retopo ja uv-d
kolmas teeb textuurid neljas animeerib viies ehitab VFX effekti peale jne jne.
On väheseid kes suudavad kogu production pipeline katta ja seda yksinda ja kui suudab sis yldiselt mitte eriti hea tasemega.
On erinevus kas sa animeerid kasti liikuma  punktist a punkti B või see kui sa näo ilmeid animeerid.
1 asi on teha sellist cräppi:
! No longer available

teine asi on teha midagi sellist
! No longer available

Ja see ei ole vaid nende noolekeste liigutamine ennem seda et see sellisesse faasi saada on vaja teha väga hea retopo (polyflow) riging jne.
Aga mõlemi kohta saab öelda animatsioon.
Nii võib troll ka seda kasti punktist a punkti b liigutada ja öelda et teeb animatsiooni aga seda teist ta teha ei oska ega suuda.
Mitte et ma väidan et ma sellel tasemel olen kuid kindlasti kõrgemal kui miski kasti animeerimine.



Samuti käivad läbirääkimised sellele projektile 3D elementide tegemine (see mis hakkaks asendama seda rohelist tausta).
Rotoscoping kuna välja mappida lihtsalt ei saanud. Naise riietel on rohelist liialt ehk siis välja mappimisel rikub videot liialt.
« Last Edit: December 12, 2017, 22:51:31 by Cocliosttro »
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C

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Re: 3D disain, logod, animatsioon, video editing, rotoscoping jms
« Reply #6 on: December 13, 2017, 03:00:01 »

Iga lits ikka kiidab oma vi***u.

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metsakaja

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Re: 3D disain, logod, animatsioon, video editing, rotoscoping jms
« Reply #7 on: December 18, 2017, 17:16:32 »

Anna aga minna! Kui igakord peale halvustavat kommentaari lõpetaks tegevuse, siis oleks vist Me kõik kaikad käes ja endiselt koopas (:
Fck the haters. GEETTTT ITTT!
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Cocliosttro

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Re: 3D disain, logod, animatsioon, video editing, rotoscoping jms
« Reply #8 on: December 31, 2017, 23:41:21 »





« Last Edit: January 01, 2018, 23:47:41 by Cocliosttro »
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troll123

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Re: 3D disain, logod, animatsioon, video editing, rotoscoping jms
« Reply #9 on: January 02, 2018, 22:05:28 »

Kas  Berube pani   laigi  ka sellele  k2kerdisele ?
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Cocliosttro

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Re: 3D disain, logod, animatsioon, video editing, rotoscoping jms
« Reply #10 on: August 19, 2018, 06:43:31 »

http://xenocreatives.com/wisdom-gained-art-mr-tanel-vaik/

https://www.artstation.com/artwork/RvGdm

! No longer available

https://i.imgur.com/4erJgus.jpg













« Last Edit: August 19, 2018, 06:52:43 by Cocliosttro »
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