Nowadays, it seems that videogames and movies are becoming more and more similar in some aspects. Movies are getting more interactive, with all these 3D effects and other inventions that were done lately. And videogames are getting more and more theatrical, with better stories, better graphics and outstanding trailers. Being a huge video games addict, I though a post about game trailers would be an awesome idea, so I collected some recent (and not so recent) game trailers that just blew my head off, I hope you guys agree with this collection and comment what you think is the best game trailer. Bioshock 2 God of War 3 Grand Theft Auto 4: The Ballad of Gay Tony Halo 3: ODST Resident Evil 5 Dead Space 2 Dead Rising 2 Gears of War 3 Crysis 2 Call of Duty: Modern Warfare 2 Batman Arkham City Mass Effect 3 Uncharted 2: Among Thieves Just Cause 2 World of Warcraft: Cataclysm Final Fantasy 13
Last year I went to a design lecture where I got in touch with Diego Maia's amazing work, he showed a lot of sketches and proccess of his projects. He uses basically just softwares like 3D Max, Z Brush and Photoshop and achieves stunning results as the pictures bellow. Diego nowadays live at São Paulo and works as Illustrator, Concept Designer and 3D Artist. Unfortunately, I could not found many web references about him, besides his Blog, Flickr and CG Society profile. I tried to get together his best 3D pieces and also some sketches and creative proccess for you guys, enjoy it. Captain America - Angel - Dominance War VI Dr. Octopus - Comicon Challenge 2 Orc bust Stealth Vulgrim - Darksiders character
Evgeny Skidanov is a 3D Illustrator from Moscow, Russia. I came across some of his works while I was checking out the popular entries on Dribbble. Some of his works are done purely in Photoshop like the beautiful Bs-O-Meter, but some are done using 3DS Max with V-Ray and post production in Photoshop. For more information about Evgeny I highly recommend that you check out his Web site at http://cargocollective.com/skidanov. The full version is in Russian and you can check it out at http://portfolio.skidanov.com/#/commercial. I also recommend that you visit/follow him on Dribbble at http://dribbble.com/3DSMART The client wanted to present the block to investors on design stage, so I have to model and visualise the block rather quickly, and make it look like a studio photo at the same time. I wanted to make people believe that the detail had already been manufactured. I decided to use NURBS modeling to create a life-sized model as the customer had design drawings. When the model was approved I used maxwell render for photorealistic visualisation. The project has been fulfilled during 5 days.
Insane: the word that comes to mind when I first saw the work of Anselm von Seherr-Thoss. I happened to be casually checking out videos on Vimeo, and somehow I stumbled upon his visual effects show reel. I was so impressed, inspired; ecstatic at the thought of possibly interviewing him. After getting in contact, I knew he’d be perfect for an interview. What a great guy, he’s very knowledgeable in his field; simply put, he knows what he’s talking about. Without further ado, I present to you an Abduzeedo exclusive interview with Anselm von Seherr-Thoss! Anselm! How’s that work coming along? From what you’ve told me, visual effects can take months on end to perfect. Very true! That highly depends on the task though. You usually work in a team and an effect goes through many hands. I can get, at times, a mind-numbing “haha”. That's why I personally like a good mix of film and commercial work. Sure it's great to JUST work on blockbusters, but commercial work is very refreshing at times! Tasks are shorter, deadlines quicker, less iterations until a director is pleased. The same goes for music videos and game cinematics. Faster pace, quicker turn over. In commercials it doesn't have to look 101% real...you can get away with a lot more due to the shorter deadlines and tighter budget as well. It is the last 10% of realism that takes 40% of the time! Tweaking it, noodling settings. People always want fast, cheap, cutting edge. That is a quality triangle. “Fast, cheap, good: choose two!” Is the credo when doing visual effects and what it is something I try to live by. Another good one is "Animation is about creating the illusion of life. And you can't create it if you don't have one." -Brad Bird Great to hear, your work inspires me! Let’s get down to business. You graduated with a degree in fine arts, what brought you into the field of visual effects and 3D particle manipulation? In 2001, I graduated from high school and went to college to study media design. One day a classmate brought Cinema 4D and Maya to class on his notebook. From that moment on, I didn't participate much in what was going on up front. After university in fall 2004, I looked for CG companies in Hannover, Germany, and found SoulPix, a small studio that uses 3D Studio Max. I asked for an internship, but couldn't provide ANY knowledge of 3DS Max though...so I bombed the owner, Frank Sennholz, with funny emails and stuff like that for half a year straight, until I got invited if I would promise to stop any email traffic. I knew Photoshop and AfterEffects from campus, so I could at least help a bit with texturing and composition; I learned 3DS Max on the go. After two weeks, I participated in my first real production. So, I interned at a CG studio without ANY 3DS Max knowledge... One of the artists brought the “Advanced Visual Effects” DVD by Allan McKay to work one day, and I knew what I wanted to specialize in. Now you originally lived in Germany, correct? Similar to the last question, what brought you to the United States, was it the promise of cinematography? I always wanted to work at Blur. Every CG artist admires their work. I never ended up there, unfortunately. Thanks to my website and my involvement in internet forums, other companies started to call and check if I was available for freelance gigs, and so I became one. Over the years, I worked at most German CG companies, and I was always active in forums helping people out, that caught international attention and I eventually had a job interview at Frantic Films which is Prime Focus VFX today. For our readers that don’t know, Anselm has had the privilege of working on prestigious films like James Cameron’s “Avatar” and Ridley Scott’s “Robin Hood”. What sort of time goes into that work? Many moons! In the case of “Robin Hood”, it took just 2 weeks actually. That one was a 911-call to help out the UK department of Prime Focus with some shading work for 2 shots only. Avatar and other blockbusters lasted over 6 months, but they were some of the best best and most organized projects I have worked on yet! Barely any pain, to a large extent this is due to the awesome team we had! I dare to say we gathered some of the best Max artists that are around today. You worked out in Los Angeles and Hollywood, what was it like there? Los Angeles is where the film industry is, so lots of production houses there. Lots of film people, even every waiter seems to be an actor, writer, director waiting for the breakthrough. It has a certain vibe in the air. Plus, sun shines every damn day! LA is huge; you barely ever leave your part of town if it's not for spare time at the beach or going out to clubs. It is nice to say that I lived in LA and worked in Hollywood, but Nola is very nice too. “The Big Hectic vs. The Big Easy”. Hollywood itself is surprisingly dirty and blighted in some corners. I didn't see a lot of LA actually while I lived there. I worked a lot and on weekends. I did some touristy stuff when my lady was in town or with friends but that was about it. Very un-glamorous...but I met a local visual effects talent who was supposed to be one of the best artists around: Charley Carlat. He taught me a lot in such a short amount of time. He was one of the best technical directors I know and a great person to know! While out west you were with Prime Focus (originally Frantic Films)? I know you’ve always said it’s a “boom-bust” market out there, but I’m sure working for Prime Focus definitely helped you to get some exposure. Enough so that you could eventually start your own company, which I’m sure our readers are eager to hear about. Describe what it’s like working in a large visual effects company. Prime Focus is a medium size facility in LA. I'd say it can be a lot more organized working in a bigger, more corporate environment. Paid overtime, large render power, state of the art equipment, stuff like that. Bigger places attract bigger names in the industry as supervisors, which then attracts bigger production companies to have work done there. So I had the great opportunity to work on movies like Avatar and others. I am grateful for that, I am lucky. Shortly after moving out to New Orleans, you started your own company, Incendii. The name sparks intrigue and inspiration, similar to the name, which is reminiscent of a flame. How did things change after splitting off from a larger visual effects house to form your own company? Seems like Incendii is doing quite well; lots of commercial work, eh? It is doing great, yes. Plans for expansion dawn... The name comes from the latin word for fire and passion and is the genitive of the noun. “Ars Incendii” is the “Art of Fire”, and those two little words describe pretty well what is done here! I personally specialized in particle effects and dynamics so most of the work coming in involved particles and rigid body systems as well as fluid simulations like fire and smoke. (@ars_incendii is my twitter account as well if you are keen to follow up!) I bet you’re a busy man! After you told me what your workspace was like, I was in awe; tell our readers what your setup is like and how you get the job done. Specifically, what programs have you used over the years? I also know you’ve helped to develop plugins and different functions for some programs, which is pretty impressive in and of itself! Setup hardware wise or software wise? I have 2 computers at my desk. One is always, caching, simulating, rendering, on the other I work in the meantime, and then switch back. I have a monitor switch so I can use the same mouse, keyboard and monitors for all machines. One rig itself is 2xi7based quads with HT, so 16 threads and 24 GB of RAM, along with two 24” monitors. Software wise, I use 3D Studio Max, VRay, the Particle Flow toolboxes 1, 2, and 3 pro, RayFire, Krakatoa, Fume FX, just to name a few. What is used highly depends on the task that is asked for. Whatever gets the job done. How it's done is individually different from project to project. Some of my techniques are on my training DVDs, who doesn’t love a little shameless self-promotion! Development wise I am a producer on the very successful RayFire plug-in for dynamic destruction effects. It is greatly accepted by the Max community so we get a lot of input of what people want to have featured and if it makes sense it gets implemented. Mir Vadim is a great developer and reacts very quickly on bug reports. It has evolved in a very fast pace. Other then RayFire, I am a beta tester on a lot of plug-ins for Max. Orbaz, the company behind Particle Flow and its extensions is a good example. From an artist’s perspective, it’s tough to teach yourself a medium and continue to learn over the years. What has inspired you and kept you determined over the years, is it that satisfaction you get when your work is finally rendered? True! You have to stay on top of the game. The internet, especially forums, helps a lot with that. Lots of people figure out funky stuff! Often times they share their setups or explain what they did and you can learn from it. CGTalk is a great place to hang. It’s always good to see an effect someone else has done, something inspirational and try to recreate it, collect reference images and videos! My reference folder counts 80 GB and still growing...that's what I do a lot between tasks or in the evening. Like Steve Jobs says, “Stay hungry!” I personally get the most satisfaction if I find a solution for a problem I’ve had for a while. It's like solving a puzzle. Being in the rolling credits of a good movie satisfies equally though! I’d like to jump back to Los Angeles. I’m sure our readers are wondering what kind of work goes into those holograms and heat from “Avatar”, enlighten them! The hologram of the jungle, the mine pit, and the “hometree” are particles that were generated and rendered with Krakatoa PRT Volumes and/or generated with Particle Flow Box #3. All the countless icons were designed by us after rough layouts from Cameron's design team, but redesigned by our art department (Neil Huxley was the art director). The trajectories of satellites and airplanes are animated spines and all tables and columns on the “holotable” are cards designed and animated in After Effects. They don't really mean anything. James Cameron said himself, “If anybody wants to read the tables and icons, we are making the wrong movie here.” So we had pretty much no directions and they gave us some room for interpretation; the names on the tables are all co-workers! Everything that is interacting with real persons had to be match moved and modeled. The “holotable” hardware was a prop on set but was digitally replaced by us to a large extent. Every laser unit on it and the projection hardware is full CG. Every screen (called “Immersive”) consists of a many layers with depth information to look 3D so every layer had to be designed and animated separately. All those elements where then rendered with Vray and comped in Digital Fusion. Beside the many 3D screens, we had to build and matte paint every environment seen through the windows in the command center. In the shots where Giovanni, the businessman, plays with the Unobtanium rock, it was replaced in CG for more zero gravity aesthetics. There was a prop Unobtanium on a string on-set, but it didn't deliver satisfying motion results. Stunning, simply stunning. Now with Incendii, you’ve been getting lots of commercial and feature film work, correct? How’s that coming along and what’s in store for the company’s future? Only the future can tell. Right now work is done on two films, commercials, and the new Black Eyed Peas music video for the song titled: “The Time (Dirty Bit)”. A lot going parallel... Film wise it's usually smaller effects or just a few shots that get out-housed by bigger studios to specialists or simply because schedule is tight. Louisiana's film industry is boosting right now due to the great tax credit companies get when they shoot and post produce here, so it's good to be around the area (http://louisianaentertainment.gov). I know Incendii has a promising future, as do you. Anything new coming out soon from Anselm von Seherr-Thoss? I think the next thing that airs is the B.E.P. music video and two commercials I worked on the last two months. The movies have midyear release dates (Priest, Sucker Punch, and two others I can't talk about). It has truly been my pleasure chatting with you. Is there anything you’d like to leave our readers with? I think it is very important to enjoy what you do. Staying “hungry” is the key. And don't sell for cheap! If you need some advice in attitude, read VFX Solider's blog. Years ago, before I moved to the US I wrote an article for CGArena entitled “Freelancer's Manifesto – A Collection of advices” which became quite popular. It has horrible English, but I think it still holds up. Other than that it's all worth it if you are a tough bastard! Best of luck in the future! Same to you on your endeavor, and thanks for the opportunity and interview!
Perspective in drawings creating 3D scenes in not something new. We've seen some cool examples of that through out the years, but I just got to see something really fresh and amazingly creepy. These eerie drawings are the work of Wladimir Inostroza, also known as Fredo. He's a Chilean illustrator and he sures likes his work jumping at him. I wonder if anyone else would place a creepy old man hanging just above their bed. I wouldn't. Anyways, for more of Fredo's work, you may check out his potfolio at DeviantART. I hope you don't dream at night. Cheers. ;)
Truly an inspiration, Anselm von Seherr-Thoss is one of the top visual effects and 3D particle artists around. Not only has he spent years within his craft, he’s worked on favorites like James Cameron’s “Avatar” and “The A-Team”. Visual effects is quite the tough industry. Anselm has worked his way to the top, though his journey wasn’t easy. After working at Frantic Films, which eventually became Prime Focus, he broke off to form his own company, Incendii. Larger visual effects companies usually hire him to participate on large projects whether they’re movies that take 6-8 months on end, or television commercials that take about 2-3 months. No matter the project, visual effects and 3d design goes through a lot of stages in the process; changes are always made. An interview will be coming soon, here on Abduzeedo. Below is his 2010 personal film reel, enjoy! 3Delicious Film Reel 2010/3 (VFX Artist & TD) from Anselm von Seherr Thoss on Vimeo.
A few days ago I was looking for some 3D artworks, just for inspiration, and I came across this 3D artist from Siberian town Novosibirsk, Russia, called Denis Tolkishevsk. I was totally blown away with the quality and realism of some of his 3D pieces that I had to share that on Abduzeedo. Most of his works is done in 3ds Max, Vray and Photoshop. For more information about Denis Tolkishevsky at we highly recommend that you visit his Web site and check out more of his works at http://to3d.ru/index.php?option=com_frontpage&Itemid=1. There's also a super cool making of/tutorial of one of his artworks, the one called DragONtFLY, which has gotten 5 awards from Russian and English CG Portals. You "I’ve studied 3D graphics on my own, using books and lessons downloaded from Internet as a basis. I haven’t been through any courses, besides I don’t have any artistic education... I remember I saw 3D Max for the first time in the university. A friend of mine showed it to me. It seemed to be really complicated thing at that time, so many buttons, menus, and commands..." If you want to learn more about Denis, there's this great interview with him over at http://www.templates.com/blog/interview-with-3d-artist-denis-tolkishevs…
Photoshop CS5 Extended comes with 3D capabilities and I believe that is not any news to the majority. We have been publishing some tutorials exploring the 3D tool in Photoshop especially the Repousse in which we can create extrusing and other geometries directly in Photoshop. This video is another super cool tutorial send by Stacey Deonanan. So in this tutorial Stacey will show us how to create a incredible star using Repousse in Photoshop. The outcome of this effect is awesome, sort of abstract and I don't have any idea how she came up with those values to create the star.
Like I promised to all of you yesterday, today is also 3D day! But differently from tomorrow, I felt the need for some movement. While stereographics are stills, stereoscopic has movement and man, I didn't think it would be this awesome. I spent almost 3 hours at YouTube finding the best of the best, and I think I've succeded. It got me totally by surprise, but YouTube actually has got 3D settings in its player, which is amazing cause you may watch your 3D videos however you like them. You may watch with your 3D glasses, or with pararel images or cross-eye also, and more. There are plenty options there (you may check instructions for this at the end of the post). These are so amazing that I'm totally making plans of getting a better PC for some sweet stereoscopic badass gaming experience. If you don't know what I'm talking about yet, just check these videos. You'll also be surprised. Like yesterday, here's an intro video for those who don't know how to see these in 3D. Another thing: embedding the videos caused a loss of 3D quality in some of them, so I've placed a link in the ones you should watch at YouTube for full experience. This is how you do it Flower blooming Watch this on YouTube for the full experience. Fireworks Symphony Big bird in slow motion 3D testing mix Watch it at YouTube for the full experience. 3D Motion Tokyo Mozilla Seabird Watch it at YouTube for the full experience. Resident Evil 5 Dirt 2 Watch it at YouTube for the full experience. Street Fighter IV Watch it at YouTube for the full experience. NBA 2K10 - Michael Jordan dunks on Shaq Watch it at YouTube for the full experience. Left4Dead 2 COD - Modern Warfare 2 Watch it at YouTube for the full experience. GTA IV Watch it at YouTube for the full experience. Instructions So, if after watching these you still think it's better to watch them with glasses, or if you didn't get to see these at all, here's some brief instructions on how to watch it at YouTube with your 3D glasses. 1. You should notice a 3D button right beside the quality button. Click on it. 2. All the possible options will pop-up. If you wonder what each one of these do, just try them out. But for the regular glasses view, you'll probably wanna use the first option: Red / Cyan Glasses: Full Color. So, this is it. I hope you have enjoyed these. I sure did and got really excited by it. Cheers! ;)
We're seeing lately a big buzz around stereo pictures. Some of the latest cameras come with dual lenses to capture 3D, but this is nothing new, actually. This is old technology getting new clothing, and we love it! Last year we had our first great post on stereographics. These, if you don't know, are the paralel kind. There's also the cross-eye kind, but I find it more difficult to focus. With paralel stereographics I have no trouble at all, because all I move are my eyes to make the effect, from any distance. I'm also posting a video that teaches you how to merge these images with your bare eyes. This video is so amazing that I'll find more stereographics videos and post them tomorrow (so if you see any other blog posting stereo videos on wednesday, at least you know where they got their idea from). All of these pictures are brought to you by Okinawa Soba. You may visit his flickrstream for much more of these! He'll appreciate it. I hope you enjoy these, and don't forget to come back tomorrow to check some stereographics videos. Cheers! ;) Ps.: The funny part is that after a time seeing these in 3D, your brain will get so much used to it that even when you stop doing it, you'll see depth in normal text and other things in your monitor. How to see 3D in paralel stereographics There's a reason for everything Burton Holmes Abraham Lincoln Mark Twain Traveling the globe Stereo Photographer Henry A. Strohmeyer Miss Ku-ra-tu Miss Won-si-vu and Miss Ku-ra-tu Miss Kai-Ar Stereo Photographer Henry A. Strohmeyer Guglielmo Marconi Clara Barton Thomas Edison Thomas Edison 1932 Olympics A young prince has a look at an early motion picture cam Royal photographer riding to the trenches of WW1 Charles Lindbergh and the Spirit of St. Louis Couple at the well Mark Twain shooting some pool
The Logo Design series is up and running! We're thinking ahead and we want to find new ways to sort these listings. Last week we had a post on logos with cars, trucks and vans... today it's all about 3D logos! As usual, we'll search for logos in these galleries: Logopond, Logo Faves, Logo Moose, Logo from Dreams, Logo Gala, WS Logos, The Logo Mix and Wolda. We hope you all enjoy our selection! Cheers. ;) PS.: Got cool ideas for sorting? Tell us! ;)
Markus Baier is a 21 year old student of communication design at the Institute of Design in Hamburg. His work is quite unique mixing abstract elements with photos. Sometimes it reminds me of David Carson like the bUTTER bEI dE kITCHEN cookbook, however darker. I don't know how to explain but that is why we are featuring his work here on Abduzeedo. For more information about Markus visit his Web site at http://markusbaier.com/ bUTTER bEI dE kITCHEN cookbook An extraodinary cookbook for ordinary people. Duration: 6 months. Size of one chapter: 1.40m x 0.20m .Size of all Chapters: 1.40m x 1.00m Needs I made five new illustrations which are dealing with the needs of human beings. The issues are OBSESSION, DESIGN, LOVE, PASSION and SIN. Original Size DIN A1, 300ppi, CMYK. Ambition Is Wicked Nike Football Never hide Blackout Handmade
Air CGI is an image production studio and animation company from Worcestershire, UK. They are experts in CGI image production, in which they can successfully bring together photography and CGI to produce some of the finest quality images, animations and campaigns, paying meticulous attention to detail and realism. Because of that they have big names in their list of clients including brands like Ford, Mercedes-Benz, Nissan, Volvo and others. For more information about Air CGI visit his Web site at http://www.air-cgi.com/ Demo Reel Air CGI Showreel from Air CGI on Vimeo. Images A Little Bit Tasty – This is an award winning conceptual /fantasy image in a realistic scene, created by Air CGI in conjunction with Harniman Photography for a national Mars advertising campaign. The background was shot with additional CG elements Magners Label – this is a 100% CG bottle label, modelled by Air CGI for a Magners animation – the team took a standard object & utilised CG to animate it Glass engine – this shows an example of when the team use creative texturing to change objects and elements of objects e.g. taking a car engine & using CG to change the material it is made from and portraying it as a glass engine The team at Air CGI added the CG wings to this image of a model These 3 CGI Volvo cars were rendered into the setting which was shot in Hong Kong This CG Pagani Zonda has been incorporated into a CG studio environment This CG Nissan car has been incorporated into a CG studio environment by the team at Air Shows a surreal statue that was modelled, textured & rendered by Air CGI. The team can create any fantasy concepts including characters, animals, statues etc CG Volvo car rendered by the Air team, into stills backplates CGI Volvo car rendered by the Air team, into stills backplates (which was shot in Miami by Harniman Photography) Car interior detail shot, done completely in CG This CG image created by Air CGI demonstrates a CG environment with photographic elements (i.e. the people) Magners Label – this is a 100% CG bottle label, modelled by Air CGI for a Magners animation – the team took a standard object & utilised CG to animate it CGI Volvo c30 car rendered by the Air team, into stills backplates (which was shot in Miami by Harniman Photography) This is a still taken from an animation created, featuring humans made out of trainers! All the trainers were individually modelled and animated by the team at Air CGI. Videos Bulmers Light advertising campaign from Air CGI on Vimeo. Air-CGI Pagani Zonda animation from Air CGI on Vimeo. CGI Trainer Man! from Air CGI on Vimeo.
A few days ago I went to the movies with Amanda (@amlight) to watch Inception, the new Christopher Nolan movie. I left the movie theater completely blown away. The story is simply amazing and the director leaves us confused all the time, especially in the end. Anyway I'm not here to talk about the movie, but instead about how it inspired me to get on Photoshop and try something. Then I saw the posters of the movie and boom, there it was, a really cool effect to create a tutorial about :) So in this tutorial I will show you how to create the effect of one of the Inception posters, the one with the word Inception made of buildings on an aerial photo of a city. To create this effect we will use the new 3D tool in Photoshop CS 5 called Repousse and an aerial photo from Pixelcase (http://www.pixelcase.com.au/). I hope you enjoy the tutorial and I highly recommend that you go to the movies to watch Inception, it's fantastic.... btw in the end it is all a.... :) Step 1 Open Photoshop and create a new document. I'm using a Letter format with 72DPI only for this tutorial, but I suggest that you do at least 300DPI. Make sure the background is black too. Step 2 In order to recreate the poster I needed to find the right image. After searching on stock photos sites I didn't find any image that had the same birds eye view. Then I tweeted about it and @janinetoro sent the link to Pixelacase. Pixelcase simply has the most amazing aerial photos ever. So I sent an email to them asking permission to use one of the images in this tutorial. They were kind enough and allowed me to do that :) With the image I wanted, I placed it in my design. Step 3 With the Horizontal Type Tool (T) I add the text DREAM using Futura Condensed for the font. I also stretched the word a little bit so the letters would have sort of match the size of the blocks in the photo. Then just rotate the text to match the photo as well. Step 4 With the text selected go to 3D>Repousse. Use the default preset but change the Depth to 2.4. Step 5 Go to Window>3D to show the 3D panel in Photoshop. Click on the DREAM object and then select the DREAM Extrusion Material to change the material of the extrusion. We will use some windows for it. To do that click on the little folder next to the Diffuse Color and select New Texture. After that click on the icon again and choose edit texture to open it in a new document. Step 6 This is an image of a building I found on Google Images and placed on the texture file. After that I just saved it and Photoshop automatically updated the original design with withe windows. Step 7 Do the same thing for the Bump, use the same image but convert it to black and white and increase the contrast. Save it and change the Bump to 8. Step 8 For both the Difuse and Bump, click on the texture icon and select Texture Properties. Use 8 for the U Scale and 2 for the V Scale. Step 9 Here is the design you got so far. Step 10 Duplicate the city photo layer and rearrange it so it will be on top of the other layers. Then create a marquee selection of the top of the 3D object, the word DREAM. Go to Layer>Layer Mask>Reveall Selection. Step 11 Go to Layer>Layer Style>Stroke. Use 1 for the Size and 25% for the Opacity. Step 12 Select Inner Glow and use Multiply for the Blend Mode, 100% for the Opacity, 30% for the Choke and 5 pixels for the Size. Step 13 As you can see now, we have the buildings with the windows on their sides and the top is the original one from the aerial photo. However it is still not looking very clear. Step 14 Select the aerial photo that is beneath the other layers and go to Layer>Layer Mask>Reveal All. Then with the Brush Tool (B) and a very soft brush (0 Hardness) with black for the color, start painting the areas beneath the word to delete the city so we sort of isolate the DREAM word as real buildings. You can also create a vignette effect by painting the corners of the layer. Step 15 In order to render the 3D object for the final design, go to the 3D panel and select the Scene, then, over Render Settings, change the Quality to Ray Traced Final. The render process might take some time, like minutes I think, but it depends on the machine you have, so wait until it's done. Step 16 Select the layer on top of the others and then go to Layer>New Adjustment Layer>Hue and Saturation. Mark Colorize and then for the Hue use 200, for the Saturation 40 and keep 0 for the Lightness. Conclusion You can add another Adjustment Layer, to increase the brightness and contrast, but the process is finished. I also tweaked the lights a little bit trying to match the photo. The technique is quite simple and you can use it with different images. If you have a photo with more resolution and more closer to the roof tops you can work a little bit more to make it even more real. I am waiting for a hi-res image from http://www.pixelcase.com.au/ so I can create my poster and play a little bit more with this concept, however one thing is pretty clear, this is the right type of effect in which Repousse is perfect for, you can create a 3D text effect pretty quickly and without having to use another app. Download the Photoshop File Click here to download the Photoshop file used for this tutorial
We often get to see awesome illustrations and 3D renders from many great artists. I find particularly cool realistic works, that if you see from a certain distance, you can't tell it's not real. So I've made a little research and found some awesome examples of realistic pieces which I find amazing! I hope you all enjoy these, and if you've seen any more examples, tell us! Also, I recommend you to visit each artist by clicking each image for more great works! Cheers. ;)
Experimentation is really important... whether you're coming up with some pretty intense art or with cheerful designs. You must be open for any possibility, and this guy, Teodoru Badiu has done that. He's came up with some cool 3d characters, which I find pretty awesome and I'm sure digging his style, which reminds me a lot of those colorful Fanta commercials. Anyways, for much more of his awesome work you may visit his portfolio. I hope you all enjoy these. Cheers! ;)
The guys from Pixar did it again... Toy Story 3 is simply a master piece, even better than the prior ones I would say. The movie already starts with a short film - Day & Night - that take our breath away, but that is just the intro for a whole animated magic world. All the characters - the ones we already knew from the last movies - and the new ones, are great. Perfectly imagined and executed. And the history? Oh, awesome... if you watched the movie you know what I'm talking about. In case you didn't, go to the nearest theater right now. :) Whenever I watch something from Pixar I like to go online and research about it... browse around fan art, concept art and further details I can find about it. This time I found a very interesting site, heyuguys.co.uk, where they had the opportunity to go to San Francisco to meet the people involved in making Toy Story 3... and they got access to some really nice concept arts. So I gathered some of their concept arts and a few fan art to show here to you cause I believe that many of you also like Pixar and their animation world. Take your time... ;) By the way, I wish I had the talent to draw some of the toys from my old days... Concept Art via heyuguys.co.uk Fan Art via deviantART BunnyHeadFullForce cherlye DarkDorArt g0N3Morganna Singabee JereduLevenin kparrish33 Cepillo16 Toy Story 3 Trailer