Full Body Motion Capture Suit for SALE

I am selling my Perception Neuron 32 neuron full body motion capture suit. can also capture hands and fingers. used only 2 times.

Buy it on eBay:

https://www.ebay.com/itm/122852490111


Ladybug v2 soon on Turbosquid!

I just finished the shaders of a second more realistic ladybug that will support macro close-up. Soon to be published on Turbosquid. Done in 3ds Max/V-Ray. I am now rigging it in CAT.

 


Spot for Mobile Strike

Voici un spot que je viens de terminer avec mon ami réalisateur Patrick Boivin pour le jeu vidéo Mobile Strike. J'étais en charge de tous les effets visuels, supervision sur le plateau (photo HDR 360, scan 3D de certaines parties du set poureffets d'éclairage) et animation 3D.Les modèles et texutres m'ont été fourni par l'éditeur de Mobile Strike: Epic War (nous avons seulement ajouté des lances-missiles à l'hélico modelisé par mon aide, Joseph Tran). J'ai traqué tous les mouvements de Caméra dans Blender avec un peu d'aide de mon ami Joseph Tran. Le tracking dans Blender fonctionne super bien surtout pour ce genre de shots: i.e. des shots très difficiles et qui se portent très peu au tracking automatisé. Blender était très stable et fluide pour ce genre de travail.

J'ai fait le reste avec 3ds max, V-Ray et PhoenixFD. Quelques explosions ont été faites live sur le plateau et c'était très cool d'y assiter. Le piano a explosé dans une déflagration assez impressionante, par chance on nous fournissait des bouchons d'oreilles! ça nous a pris à peu près 2 semaines pour traquer toutes les 18 shots qui étaient toutes très blurrées, pleines d'objets qui bougent ou de fumée et débris et avec des mouvements assez complexes. Ensuite j'ai passé 2 semaines à faire seul les animations, les simulations de fumée, de feu et d'explosion, l'éclairage et le rendu (j'avais fait le rigging du tank à l'avance).

J'ai par la suite fait des précomps pour le réalisateur Patrick Boivin, qui a fait le comp final lui-même ajoutant détails d'étincelles, débris, lens flare et glow. Patrick a d'ailleur joué le rôle du père avec son fils Roméo.

Ce fut un autre projet très excitant avec Pat et mon seul regret est de ne pas avoir travaillé avec Arnold Schwarzy (qui jouent dans plusieurs spots de ce jeu) même si c'est sa voix qu'on entend à la fin. Peut-être la prochaine fois! ;)

***

A spot for Mobile Strike that I just did with my friend: director Patrick Boivin.

I was in charge of all the VFX, onset supervison (HDR 360 photo shoot, etc) and 3D animation. I used some assets (3d models and textures) supplied by Mobile Strike's editor: Epic war (we just added some missile launcher to the chooper modeled by my helper Joseph Tran). Then I tracked all the camera movement in Blender with some help from my friend Joseph Tran. First time I used Blender in production and certainly not the last, it was amazing, smooth and stable to track with Blender.

I did the rest with 3ds Max, V-Ray and PhoenixFD. Some explosion were done onset with real explosives and it was really cool to be there to see and hear that. It took us approx 2 weeks to track the cameras for the 18 shots since they were all blurry, full of moving stuff and pretty difficult motion. So not the kind of shots that can be track automatically. Then I spent another 2 weeks doing all the animation, smoke, fire and explosion simulations, lighting, rendering (I did the rigging for the tank in advance though).

I then did precomps for director Patrick Boivin who did the final compositing himself, adding some details of sparks, debris, bloom and glare. Patrick is also playing the role of the father with his son Romeo.

It was an amazing project to do, my only regret is that I didn't get to meet with Arnold, who plays in most Mobile Strike spots, even though we can hear his voice at the end! Maybe next time. ;)

A test I did for the tank firing FX and rigging:

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Creepy circus VR matte Painting for NYX, part of Loréal Group.

J'ai fait le décor en matte painting d'un cirque lugubre VR pour ces vidéos pour UNLTD, client: les cosmétiques NYX (filiale du groupe Loréal).

I did the Creepy Circus set matte painting in VR for those NYX cosmetic vidéos (part of Loréal Group) (for UNLTD)




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CG podcasts everywhere!

If you are a CG maniac and have a few hours of sparetime (yeah sounds like a perfect antithesis) there are more and more podcast to listen to everyday, here are some:

 

Published today with Justin Goby (zbrush artist):
https://www.youtube.com/watch?v=D0i25054AnM&feature=youtu.be
https://itunes.apple.com/…/…/the-zbrush-podcast/id1146947233

 

Yesterday with Grant Warwick (3ds max and V-Ray artist turned teacher/mentor):
http://www.thecollectivepodcast.com/

 

The Allan Mckay podcast (3ds max artist and mentor):
https://www.allanmckay.com/itunes/
https://itunes.apple.com/…/the-allan-mckay-podc…/id935478122

 

There is also the FXguide podcast (published september 12):
https://www.fxguide.com/fxpodcasts/fxpodcast-312-take-care-of-your-eyes/

 

Another one by Blendernation (from sept 22).
https://cloud.blender.org/blog/blender-institute-podcast-040-blendercoders

 

All very interesting podcasts but since I have trouble working while listening I hope I can stop time to listen to them all!


Sand castle collapse 3D animation VFX

A sand castle collapsing with Houdini. Just testing Houdini grain sim and mantra BPR rendering. I used 2 animated spheres to wake up the particles. Render was only between 2 to 5 minutes a frame with mantra BPR for 5.2 million particles. It took around 3 minutes a frame for simulation (5 hours total).


Houdini Engine pour 3DS Max enfin disponible!

Houdini Engine for 3ds Max is now finally available!

I didn't find anything about that anywhere and I had a hard time finding where was the installer and the doc but it's finally here: Houdini engine for 3ds Max and yes you can really do stuff that only Houdini can do but inside of max. you expose the parameters that you choose and they appear in 3ds Max and you can tweak them and see the change in the viewport in real time. I couldn't believe it!

I created a swiss cheese plugin using the vdb feature from Houdini, now inside of max. Before, to model such a volume I would have use Krakatoa with some Magma magic that I just copied from Master Bobo and to mesh it with frost and it was fast but with Houdini Engine the vdb are even faster and it's easy to understand their logic!

swissCheeseHoudiniEngine_v001

And the best of all is that Houdini Engine for 3ds Max is free but you need a Houdini or Houdini Indie license to run it (or also a dedicated Houdini Engine license). You just have to find the right link on Git hub here it is (just clicjk on "latest binaires" to download it from dropbox and there is a document explaining how to install it):

https://github.com/K240/HoudiniEngineFor3dsMax/wiki/Houdini-Engine-for-3dsMax-Binariess

It seems to me that instead of buying so many expensive plugins for 3ds max, I can now just use Houdini Indie (for only 200$) and create plugins for max that I will load via Houdini Engine! That's the best news of 2015 for me!


PhoenixFD medium explosion in 4K

An explosion I made with Chaosgroup PhoenixFD. Using massive scale vorticity and slowed down 4 times. Rendered with vray 3 at 4k.

754 million cels. 2 to 3 min/frame fora main sim and then 4 to 5 min/f for a 4x slow down. Direct symmetric, multi-pass, massive scale vorticity.


Nestlé Honey Stars Planetarium ad with some breakdown

Here is the Nestlé Honey Stars cereal ad for which I created the cereals in 3D and most of all the macro shot with the spoon coming to the camera. I also modeled the spaceship based on a design by Guillaume Blackburn at Pascal Blais Studios. Directed by Pascal Blais.

Voici la pub de céréales Nestlé Honey Star pour laquelle j'ai créé les céréales en 3D et surtout la shot avec la cuillère qui s'approche de l'écran en macro. J'ai aussi modéliser le vaisseau spacial basé sur un design de Guillaume Blackburn chez Pascal Blais Studios. Réalisé par Pascal Blais.


Nestlé Koko Krunch Cereal ad

Voici une pub de céréales Nestlé (la 1ère de 3) pour laquelle j'ai fait les shading, éclairage et rendus des décors et accessoires. J'étais aussi en charge de tous les effets visuels (sauf les petits swirl autour des céréales). J'ai engagé Tommi Saaristoranta en Finlande pour faire les simulations de fluides dans PhoenixFD. J'ai ensuite fait les shaders de ces fluides, et je les ai éclairés et rendus. J'ai moi-même les effets de cacao/neige avec Krakatoa. Tout mon travail fut fait dans 3DS MAX et rendu dans V-Ray. Le modeling, l'animation et le rendu des personnages fut réalisé par les Studios Pascal Blais et leur équipe (Emile Ghorayeb a fait l'animation de personnages pour eux). Compositing et fonds de ciel aussi fait chez PBS. Réalisé par Pascal Blais.

Here is a Nestlé cereal ad (first of 3) for which I did the sets and props shading, lighting and rendering. I was also in charge of all the VFX (except the small swirls around the cereal done at PBS). I hired Tommi Saaristoranta in Finland to do the fluid sims in PhoenixFD. I then did the shaders, lighting and rendering for them. I did the cocoa/snow effect with Krakatoa. All my work was done in 3DS Max and rendered in V-Ray. The characters modeling, animation, rendering and sets modeling were done by Pascal Blais Studio and their crew (Emile Ghorayeb did the character animation for them). Compositing and BG skies also done at PBS. Directed by Pascal Blais.