Podcasts about ZBrush

With our last episode recapping MFCA 2025, your hosts—with help from Lou Masses and Dennis Levy—kicked up a bit of a hornet's nest by addressing a major recurring topic of discussion at the show and in our small section of the miniatures world in general: Should digital sculpting and 3D printing be judged differently than the “handmade/toothpick and putty” sculpts that have predominated in this odd art form of ours for the last five and a half decades?Okay, it was mainly Jim doing the kicking. But since he was in part recounting a long and thoughtful conversation in Pennsylvania with master-sculptor Alan Ball, first featured with his master-painter wife Marion on Episode 20 of our podcast, we invited Alan to come back to have the discussion in real time—“for the record,” so to speak, and sans paraphrasing. As always, he graciously and eloquently shared his thoughts and insights as one of the deepest thinkers about this passion we share.Now, when anyone talks about digital sculpting in the historical as opposed to the fantasy category of miniature figures today, the name Nello Rivieccio inevitably comes up. Based near Naples, he is as much of a master on Zbrush as he was for many years with a toothpick (or similar tool) and two-part epoxy putty.To be clear, we do not intend these dual chats as a Pro/Con, Point/Counterpoint pairing: Alan and Nello have as many areas of agreement with each other (and with your hosts) as they do differences. But since the conversation about the advent of digital sculpting is certain to be a major topic of conversation again at World Model Expo, we wanted to drop this epic episode with both of them at the same time, so folks can have their perspectives (and our own) in mind as they view the work on display in Versailles from July 4 to 6.

Riley Hill is back to talk about a grab bag of different topics including; Beats Solo Buds, Final Cut Pro, DaVinci Resolve 20, ZBrush, Pages Removing Apple Books Integration, Affinity Update 2.6, 15 Years Of iPad, and iPadOS 18.4.Early episodes with chapter markers are available by supporting the podcast at www.patreon.com/ipadpros. Early episodes are also now available in Apple Podcasts!Show notes are available at www.iPadPros.net. Feedback is welcomed at iPadProsPodcast@gmail.com.Links:https://slatepad.orgChapter Markers:00:00:00: Opening00:00:28: Beats Solo Buds00:06:43: Magnetic Pencil00:13:26: Final Cut Pro00:20:35: DaVinci Resolve 2000:27:29: ZBrush00:29:07: Pages00:33:35: Affinity 2.600:36:31: 15 Years Of iPad00:40:10: iPadOS 18.400:47:17: Follow Riley And Closing02:45:27: Closing Hosted on Acast. See acast.com/privacy for more information.

Blender artist and motion designer Elijah Sheffield shares how he transitioned into 3D, built a standout demo reel, and turned personal projects into career-defining moments. Check out the corresponding blog post (with episode highlights) here: https://www.schoolofmotion.com/blog/elijah-sheffield-blender

YONK is a Dutch 3D animation studio consisting of artistic power couple Victoria Young and Niels van der Donk. Coming from different backgrounds like fine art and graphic design they decided early on to combine their individual skills to create 3D work. Since 2019 they specialize in using Virtual Reality and 3D sculpting tools to create uniquely strange, textured and colorful artworks, animations and character designs for an increasingly international client list such as Google, Sprite, Nike, Amazon and The New York Times, but also just for the sake of creating and having fun experimenting.  In this episode they take us into their world and explain how sculpting 3D figures in virtual reality is more intuitive and less technical than the traditional way with a keyboard and mouse. Working in VR has led to quicker results and helped them discover their unique style. By embracing the explorer's mindset they experiment in a way where everything is allowed and create a body of work by describing their nightmares to each other.  They generously share how their style gradually developed by not knowing how to do things “properly” and how they made a conscious decision to leave the imperfections and happy accidents in their work to give it a more organic feel. While collaborating they acknowledge each other's strengths and try to involve each other throughout the whole process to create a cohesive result.  Even though their work is mostly created in VR it can be transferred to many other mediums and be experienced by everyone as an animated video, a 3D print or traditional 2D image. But their activities are not only limited to making art — they also develop tools to solve specific problems within the sculpting or animation programs and share them with the growing VR and 3D sculpting community.  It was that constant sharing of their personal work on Instagram that has caught the attention of potential clients who want be a part of their exciting experiences and set their mark in the VR space. To YONK, client work not only poses creative challenges, but also requires them to incorporate some planning and organizing into their process while still keeping it as intuitive and natural as possible.  _________ MENTIONED LINKS:  • Adobe Medium • Substance 3D Modeler (by Adobe) • Joseph Melhuish • Meta Quest Pro • YONK & Friends (live stream) • Christopher Rutledge • Blender (open-source 3D & animation software) • Step Motion on Blender Market • WarpySTEP v1.2 for Blender (by Will Anderson) • Grease Pencil Resources for Blender • Geometry Nodes for Blender • Dédouze • Other 3D software: Cinema 4D, Houdini, ZBrush, Maya  _________ FOLLOW YONK:  Instagram: @yonk.online Website: yonk.online YouTube: YONK TikTok: @yonk.online Twitch: yonkonline Threads: @yonk.online Twitter: x.com/yonkonline _________ If you liked this episode, please subscribe and leave a review. And follow Paid 2 Draw on Instagram and TikTok.  _________ Hosted by Vicky Cichoń and Dave Leutert. Music by Amanda Deff. Assistance by Diana Lazaru.  _________ This interview was recorded on May 5th, 2024, during the 20th annual Pictoplasma Conference at silent green in Berlin. Each spring, Pictoplasma transforms the city into an international meeting point for a diverse scene of artists and creatives, trailblazing the face of tomorrow's visual culture. The central conference brings together 900 key players on a global scale and features 20+ lectures by forward-thinking creatives. The accompanying animation screenings showcase cutting edge short films, with most of the filmmakers present in Q&A rounds. The character lab offers hands-on workshops, immersive media demos, panels and networking. Get your tickets for Pictoplasma Berlin 2025 (May 1st–4th).

Dave and Matt talk the latest updates in Octane Render, Cinema 4D, and ZBrush. They critique the new Coca-Cola Ai Ad, discuss node-based AI animation, and share plans for future shows.

Glen Southern runs SouthernGFX, a small Cheshire-based studio specialising in character and creature design, which creates assets for TV and film. Clients include SKY, Wacom and Oculus Medium and the studio has an impressive project list that features 3D models for Game of Thrones' house sigils. He's been using and training ZBrush for over 15 years and is a Wacom Ambassador for the UK and Ireland. In this episode, we discuss his background, the digital sculpting software landscape on iPad, and do a deep dive into ZBrush for iPad. Early episodes with chapter markers are available by supporting the podcast at www.patreon.com/ipadpros. Early episodes are also now available in Apple Podcasts!Show notes are available at www.iPadPros.net. Feedback is welcomed at iPadProsPodcast@gmail.com.Links:https://southerngfx.co.ukhttps://www.creativebloq.com/author/glen-southernChapter Markers:00:00:00: Opening00:01:54: Support The Podcast00:02:15: Glen Southern00:10:15: Film And TV Projects00:19:25: The iPad00:38:33: Digital Sculpting00:46:48: Game Dev Workflow00:49:52: Hair And Fur00:54:03: Nomad Sculpt01:01:45: Anatomy01:06:06: Teaching ZBrush01:09:05: iPad Vs Desktop01:10:36: Apple Vision Pro 01:13:02: Keyboard Shortcuts01:14:30: New to sculpting01:19:05: Multiple Creatures01:20:40: ZBrush Concepts01:22:07: Favorite Brushes01:23:05: 3D01:24:23: 3D Prints01:26:25: Apple Pencil01:29:47: Going From Desktop To iPad01:31:52: What Features Do You Hope Come To iPad01:34:24: Exporting01:35:23: Free Version01:38:37: Anything Else01:43:12: Closing Hosted on Acast. See acast.com/privacy for more information.

Learn Squared Instructor Alex FIgini (Concepting in ZBrush) joins us for this episode to discuss many topics, including the current state of our industry, recent job losses, how AI technology is probably going to affect us moving forward, and why it is important for you to be different! LEARN FROM AND FOLLOW ALEX https://www.learnsquared.com/courses/concepting-zbrush https://www.artstation.com/alexfigini https://twitter.com/AlexFIginiArt https://www.instagram.com/alexfigini FOLLOW LEARN SQUARED (ALL First Lessons are FREE!) https://www.learnsquared.com https://www.instagram.com/patreon https://www.instagram.com/learnsquared https://www.twitter.com/learnsquared https://www.linkedin.com/school/learnsquared YOUR HOST https://www.artstation.com/dhanda https://www.instagram.com/dhandatron https://www.twitter.com/dhandatron

Os presento a Daniel Pagán, invitado del Episodio Número 32 de "El Podcast del 3D"

Eva Khan shares insights into her futuristic, dystopian cyberpunk-inspired master's thesis project "Molten Memories". She explains how memories shape us and our environment, and how new technologies like machine learning and neural links could allow us to store, transfer, and modify memories in immersive 3D environments.Khan details the narrative, concepts, characters, environments, vehicles, and technical workflow behind her project. She discusses key influences like the film Ghost in the Shell, finding inspiration in sci-fi architecture and intangible realities. Khan walks through her process of developing assets, animations, rigging, lighting, scenes, and camera work to bring her vision to life. She shares tips on software, modeling techniques, iteration, and more. Khan emphasizes the importance of storytelling, pacing, and cinematic techniques in architectural visualization. Overall, her project offers a masterclass in worldbuilding, visual effects, and using emerging tools to create fully-realized visions of the future. 00:00 - Introduction00:17 - Inspiration from Ghost in the Shell movie01:13 - Overview of Molten Memories project concepts02:21 - Introduction to the cyborg Duran03:10 - Process of memory manipulation04:15 - Bim corpuscles for data collection05:28 - City scale data aggregation07:15 - Vehicles designed for the city08:46 - Scene setup in Unreal Engine09:59 - Breakdown of scenes and transitions18:54 - Ghost in the Shell movie inspiration20:18 - Narrative and environment creation43:57 - Final rendered cinematic video47:48 - Summary and closing cyborg design - futuristic architecture - dystopian worldbuilding - Maya 3D modeling - ZBrush digital sculpting - Houdini VFX - Unreal Engine environments - RAM garment - neural links - visual storytelling - cinematic editing - conceptual ideation - thesis project breakdown - behind the scenes - breakdown --- Send in a voice message: https://podcasters.spotify.com/pod/show/mayur-m-mistry/message

In this episode, Devon Mathis, a lighting supervisor and cinematographer at Sony Pictures Torchlight, recounts his career path, starting with his work on virtual production for children with autism, to leading a virtual production department in LA. He discusses his educational background in arts and technology, and his transition from a technical to a creative approach to lighting, the use of Unreal Engine for visualization, and the potential of AI in the industry. He also provides advice for newcomers and provides encouragement for ongoing professional growth. 00:42 Devon's journey, including early inspirations and entry into virtual production. 02:57 Unexpected entry into the film industry, working with renowned filmmakers, and the impact on his career and aspirations. 07:24 Early technical skills, including using Unreal Engine, Substance Designer, and Maya, and the evolution of tools in the industry. 11:41 Shift from chasing tools to focusing on creativity, inspired by storytelling and observation of lighting in photography and paintings. 13:29 Approach to developing creative skills, including observing and analyzing lighting in photography and movies, and breaking down fundamental elements. 18:42 Emphasis on understanding lighting principles and effective communication of lighting concepts, regardless of the specific tools used. 22:25 Mathis shares his experience of putting lighting knowledge into practice using various methods. 24:20 The importance of observing and practicing different lighting styles to understand their emotional impact. 30:43 The use of advanced visualization in Unreal Engine for pre-visualization and motion capture. 34:41 Discussion about using Maya, ZBrush, Blender, and Unreal Engine in the production pipeline. 37:08 Exploring the evolving tools in the industry, including the adoption of Unreal Engine and Blender. 41:08 Mathis shares his thoughts on the potential impact of AI and machine learning in the industry. 42:08 Discussion on the impact of technological disruptions like the transition from 2D to 3D animation and film to digital cameras. 43:08 Exploring the use of AI in the film industry, its potential impact, and the challenges associated with its adoption. 45:20 The influence of TikTok on video creation and the role of virtual production in modern filmmaking. 51:40 The importance of pre-lights in virtual production and the challenges of visualizing content outside the volume. 53:20 Adapting to changes in the film industry and the role of visualization in the early stages of filmmaking. 54:40 Valuable advice for newcomers, emphasizing collaboration, creativity, and the importance of being adaptable in a changing industry. 59:25 Discussion on the future of filmmaking, the role of cinematographers in the connected world, and personal pursuits in photography and filmmaking. Connecting with the Guest: LinkedIn: https://www.linkedin.com/in/devonmathis/ IMDB: https://www.imdb.com/name/nm15428234/?ref_=ext_shr_lnk Art Station: https://www.artstation.com/devonmathis Sony: https://www.sony.com/en/brand/beyondthescreen/torchlight/ Connecting with CG Pro: Facebook: https://www.facebook.com/groups/becomecgpro Instagram: https://www.instagram.com/becomecgpro/ Website: https://www.becomecgpro.com/

Join Raymond Bonilla in this captivating chat with digital modeler, sculptor, and educator, Glen Southern. Glen runs SouthernGFX, a small Cheshire-based studio specialising in character and creature design, which creates assets for TV and film. Clients include SKY, Wacom and Oculus Medium and the studio has an impressive project list that features 3D models for Game of Thrones' house sigils. He's been using and training ZBrush for over 15 years and is a Wacom Ambassador for the UK and Ireland. Subscribe to our channel to get updates on our latest episodes of Studio Bridge and more!

Hey everyone and welcome to Halloween... Welp! We did it! We did four horror films over October and released this episode on Halloween itself! Wow! How do we celebrate? By combining Blackdog chaos with Jim and Teresa doing a Commentary club on Uwe Bolls "masterpiece" Alone In The Dark, which is currently available on Amazon Prime. It is a watch along episode as all of us descend in to drunken madness. So if you have no intention of watching this absolute nonsense then probably best skip an episode which sounds like the last captains log of the USS Event Horizon.  Otherwise pull up a chair, a lot of booze, slap the film on and watch along as we slowly go mad trying to work out why Father Ted wants a Phillips screwdriver from the bottom of the ocean, why a ZBrush tutorial is apparently scary, what on Earth is so sexy about Ninah Cherry and Youssou N'Dour and why one soldier is so obsessed about lights.. There may also be wine tasting tips and a lot of B Roll footage... Who knows... I'm drunk writing this stuff... Just be glad its spelt right!

Contact your host with questions, suggestions, or requests about sponsoring the AppleInsider Daily:charles_martin@appleinsider.com (00:00) - 01 - Intro (00:12) - 02 - Apple Q4 report coming soon (01:06) - 03 - Cook sells AAPL low (01:40) - 04 - Apple, Amazon eye college football (02:18) - 05 - PayPal cards coming to Apple Pay (02:50) - 06 - Dammit, Google ... (03:37) - 07 - QN: Zbrush coming to iPad (03:57) - 08 - QN: Discord on AS Mac bug (04:34) - 09 - QN: Apple privacy, broached (05:21) - 10 - OTN: Pixel 8, 8 Pro, Pixel Watch 2 (07:03) - 11 - Hey Siri you so fine, you so fine you blow my mind HEY SIRI! (08:55) - 12 - Outro Links from the showApple to announce 2023 fourth quarter earnings on November 2Tim Cook makes $41.5 million in his first Apple stock sale since 2021Apple interested in College Football Playoff streaming rights for 2026 championshipYou can now add your PayPal credit card to Apple WalletDuckDuckGo could have been Apple's private search engine3D sculpting tool ZBrush will get native iPad app in 2024Discord's latest update broke it on macOS — here's how to fix itApple researching how to make a 'Star Trek' communicator badgeGoogle's Pixel 8 series offers extended software support & AI camera featuresWoman named Siri had to change her name because of iOS 17Subscribe to the AppleInsider podcast on: Apple Podcasts Overcast Pocket Casts Spotify Subscribe to the HomeKit Insider podcast on:•  Apple Podcasts•  Overcast•  Pocket Casts•  Spotify

Industrial Design, Creative Inspiration & Personal Projects! Today we chat about the fun moments in working relationships, making of the modern world and wanting to learn ZBrush.Industrial Design, Creative Inspiration & Personal Projects! - Turning 25 - The return of Matt Shun - Working relationships - Making of the modern world - Models in St. Jacobs - Ash ThorpAll the links, all the time! Industrial Design, Creativity & Inspiration! For Industrial Design related business inquiries: Big Design Company Website: www.bigdesigncompany.com Big Design Company email: hi@bigdesigncompany.com Follow us on Instagram! @theprocess__podcast Zak Watson // LinkedIn Behance Website NFTs Dylan Torraville // LinkedIn Website 3D Dyl Behance Send us an email to hi.theprocesspodcast@gmail.com if you have any questions or want to reach out! The Process is a podcast created by industrial designers Dylan Torraville and Zak Watson. Dyl and Zak are picking up microphones to chat about their experiences in design school,  personal projects and navigating the creative process. Oh yeah, and there will be some sweet interviews with other designers and friends too.

Questo è the Pixels Chips e io sono Matteo Sgherri. Chicche creative di tecnologia, tecnologie per creativi, novità dal mondo che svoltano o fanno inversione di rotta dalla monotonia, le mie ansie da creativo, eventi interessanti, cultura pop che piace e molto altro.Alcuni link!La vita la salsa e tutto quanto https://amzn.eu/d/iQYxS6QQuesto è il 2022 che avete voluto voi https://amzn.eu/d/jdBrsmVLa vita è banaNe https://amzn.eu/d/j4rkc2D

80LV talked with Ran Manolov (Visual Effects Supervisor, Sculptor & Character Art Director), who worked on such projects as Diablo II, Love Death + Robots and many more. Ran shares his journey from being a classically trained artist to the digital realm and provides insights into the art industry. He also discusses the impact of technology on creativity, and the importance of developing skills & staying curious.Check out Ran's portfolio: https://www.ranmanolov.art/Learn from the tutorials: https://www.patreon.com/ranmanolovOther social media: https://taplink.cc/ranmanolov   Follow 80 LEVEL on social media:https://www.facebook.com/LevelEighty  https://www.instagram.com/eighty_level/ https://twitter.com/80Level We are looking for more artists!Join 80 LEVEL Talent for free: https://80lv.pro/join-80lvTalentGet your work noticed by some of the biggest and best developers, publishers, and studios in video games today.This video is sponsored by Xsolla, a global video game commerce company with a robust and powerful set of tools and services designed specifically for the video game industry: http://xsolla.pro/8023

Meats Meier is a unique combination of artist and technical director. Not only does he create incredible biomechanical pieces with ZBrush, but he's also advanced VFX via projects including Hellboy and The Day After Tomorrow. More recently, Meats has art-directed virtual production for Obi-Wan Kenobi and Netflix's upcoming live-action adaptation of Avatar: The Last Airbender. In this balanced conversation, recorded in person at Meats' Yucca Valley residence, the artist discusses his background in computer graphics and then delves into some of the questions rapid advances in AI art pose: Is it ethical? Will it steal artists' jobs? And what does it mean for the future?

Javi Antunez @Javi_TattooedTheory specializes in beautifully rendered illustrative realism in tattooing. He is very well versed in ZBrush and other 3D modeling software and often uses these methods in his tattoo design. In today's episode, we take a deep dive into Javi's tattoo design and thought processes. We discuss tips mixing color accents in black and grey tattoos and even dive into his awesome Bored to Death Club NFT projects. Enjoy! Keep up with Javi at the links below https://www.instagram.com/javi_tattooedtheory/ www.tattooedtheory.com Did you know we have tattoo focused courses, workshops and even a tattoo club? Learn more about them all at the link below https://explore.firesidetattoo.com/fireside-tattoo-network-courses

In this episode, we chat to María Carriedo, CG Lead at Freefolk and former colleague of Daniel's at The Mill.Born in Mexico, María studied VFX at the prestigious Gnomon School in LA before working at Psyops on commercials. Since then she moved to London to work at The Mill before her current role. In this interview we learn about María's journey into VFX and her approach to continuous learning and development.As a lead María is involved in the hiring process so her showreel advice will be invaluable to any 3D Artists seeking new projects. While trained in Maya, María mostly works with Houdini so we discuss the merits of the 2 giants in the 3D industry as well as touching on Zbrush, Unreal and the new Solaris/Karma renderer in Houdini.There's a lot packed into this interview so you will want to check it out!Einstein image credit: Smart Energy/The Mill, "Join the Revolution"00:00:14 : Current role00:00:32 : Education and beginning of career00:14:34 : Showreel advice from the point of view of a hirer00:19:15 : What seniors can learn from new entrants00:20:33 : What qualities make a better 3D artist00:26:17 : R&D Stages of a project00:29:25 : Reference from everyday life00:33:54 : Solaris and UnrealAfter Hours Entrepreneur: Your Guide to Profitable, 6-Figure YearsQuit your job. Make more money.Listen on: Apple Podcasts SpotifyEach episode is visually engaging. To not miss out, you can watch all our episodes on our YouTube channel. Subscribe & Watch all episodes on our YouTube Channel Visit our website Thank you for your support! We appreciate you!

Find J Hill: https://artofjhill.com/Learn Character Art: https://www.cgspectrum.com/career-pathways/character-artistIn this week's interview with J Hill, Lead Character Artist at Turtle Rock Studios, joins Maxine to chat about the success of his eponymous YouTube channel @J Hill , how he got started as a character artist, using YouTube as a creative outlet and a form of accountability, and why encouraging other people to pursue their passions is so important to him. Plus, J shares some practical wisdom about job interviews, what sets applicants apart, and what he looks for when he's in the hiring seat. J also answers your listener questions about time management, render engines, and more!J is a professional 3D character artist in the entertainment industry working as a Lead Character Artist at Turtle Rock Studios, known for popular games Back 4 Blood, Evolve, and Left 4 Dead. J also runs @J Hill where he helps artists pursue their interests in digital art, including 3D character art, ZBrush sculpting, 3D modeling, game art, and rendering.

Maddie is a talented concept artist and teacher known mostly for her ZBrush work. Coming from a practical background, her skills come from familiar ground - Fangoria, a love of monsters and sculpting for fun! She has taught classes for Gnomon since 2006 - we recommend the ‘Introduction to ZBrush 2021' video course. Todd and I both cite this as the breakthrough moment for both of us, making what previously had been indecipherable to us accessible and understandable. The way she comes across reminded us of Dick Smith, with a generous nature coupled with a thorough understanding of the subject.  Maddie graciously invited Stu and me into her museum-like flat in London, where we chatted for hours surrounded by an eclectic collection of curios and oddities; it is a little 'Ripley's Believe It Or Not' and a little bit Smithsonian, with a dash of Natural History thrown carefully in. We talked about everything, concentrating on how digital sculpting has become a permanent part of the special makeup effects world.

Andrew Swift is well-known throughout the profession as a prolific medical illustrator. After graduating from the Georgia program in 1999, he went on to be an Associate Professor there for the next decade and helped to train a generation of highly skilled medical illustrators. He's been an active member of the Association of Medical Illustrators and presents regularly at the annual meetings. Andrew is well-grounded in traditional art techniques and continues to draw almost every day. He's worked extensively in ZBrush and corresponds regularly with their development team, helping that software provide the tools medical illustrators need for the types of projects we do. As the Director of Medical Science at iso-Form, he's been actively working on a multitude of illustration and animation projects and has completed thousands of illustrations, many using a combination of techniques which we discuss. Hope you enjoy this conversation! Show notes can be found at: https://www.pkvisualization.com/post/medical-illustration-podcast-andrew-swift-interview

Olá, artistas do Brasil!! Se alguma vez você já pensou em começar no 3D, garanto que você já ficou na dúvida de qual software seria o melhor para estudar, certo? Tem o Blender, tem o Maya, tem o 3DMax, tem o Cinema 4D…. Cada um deles tem suas especificidades e aplicações. Como saber qual é o melhor? Nesse episódio da Sala 1604 você vai conhecer um pouco mais de um dos softwares 3D mais usados na indústria, o ZBrush! PARTICIPAM DESTE EPISÓDIO KAUE DAIPRAI Instagram: https://instagram.com/ksdaiprai Artstation: https://www.artstation.com/kauedaiprai GABRIELA ANTONIA ROSA Instagram: https://www.instagram.com/gabrielantoniarosa/ Twitter: https://twitter.com/galantoniarosa LINKS COMENTADOS NO EPISÓDIO ☆ Podcast **Como perder o medo do 3D:** https://www.youtube.com/watch?v=4FV6DUPVD1s ☆ Aula gratuita de ZBrush: https://www.youtube.com/watch?v=V3hyp7BkC-Y

Bernhard was born in Cape Town, South Africa. Growing up, he discovered his love for music, film, and art. Twenty years ago, he moved to London to restart his life and worked odd jobs for most of that time, having stopped drawing and painting altogether. Only around seven years ago, he realized he would die working in a warehouse if he didn't get off his ass and get back into art. Knowing how difficult it would be to be successful as a traditional artist and not having practiced the craft for so long, he decided to start learning 3D art. After some years of teaching himself all the software and related skills, like Zbrush sculpting, He is now a Senior 3D Artist at Rocksteady Studios in London and the owner of his own 3d model packs business. --- Support this podcast: https://podcasters.spotify.com/pod/show/xrmotinon/support

This week Ryan is interviewing Filipe Magalhães, Realtime Supervisor at Nviz. Filipe gives us an interesting tour through his career from working about Zbrush to generating presacral solutions in 3D. He spotlights the artistry in math and coding, which most average people struggle to see. For student and aspiring 3D artist there are a lot of amazing breadcrumbs to what up should expect in the industry. Learn more about Vertex School: https://www.vertexschool.com/ Learn more about Dan Artstation: ArtStation - Filipe Magalhaes Linkin: Filipe Magalhães | LinkedIn Instagram: Filipe Magalhães

This is episode #002 of the FuturePerfect Podcast where we talk with compelling people breaking new ground in art, media, and entertainment. This podcast is produced by FuturePerfect Studio, an extended reality studio creating immersive experiences for global audiences. Episodes are released every two weeks, visit our website futureperfect.studio for more details.The text version of this interview has been edited for length and clarity. Find the full audio version above or in your favorite podcast app.This week we interview Team Rolfes, a digital performance and image studio led by Sam and Andy Rolfes. The studio specializes in figurative animation, VR puppetry, and mixed reality collage. They create works across multiple formats, including livestream improvisational comedy, live motion capture animation on large festival stages and in underground rave bunkers, print design for fashion collections, album covers and music videos. They have collaborated with Lady Gaga, Danny Elfman, Danny L Harle, Nike, Netflix, Adult Swim and performed at music festivals across the world. On June 4th, 2022, they will premiere their live 3D musical 3-2-1 RULE at Carriageworks in Sydney, Australia. The work is being developed together with writer and net artist Jacob Bakkila and artist songwriter Lil Mariko.I first encountered your work as an online video in 2020 as a part of the Lunchmeat Festival of electronic music and art based in Prague. I think it was called Sam Rolfes 360° AV experience. I watched it on my Oculus headset and the work was so exhilarating, but also disconcerting and humorous at the same time. It was like a fever dream complete with moving walls, objects melting, spaces constantly changing sizes, and yet was extremely beautiful. For me, the work exemplified this intriguing in-betweenness that you embrace: part puppet show, theme park ride, sculpture, live performance, gaming, and installation. And this makes absolute sense because you've been making experiences across media and genres for a very long time.You were both originally trained in painting and fine art. How did you get from there to the work that you're doing now?Sam Rolfes: Yes, Andy and I both come from a painting background. Our mom was a painter. She ran a little 3D studio when we were kids. She had these big huge books on Blender and 3ds Max laying around.Andy Rolfes: It was a long path back to 3D. We played around with 2D a lot more. We read about musculature systems in the 3D books and wondered how in the world people can even set this stuff up.SR: There was also a lot about wireframes. When we were kids 3D was just kind of boring. It felt like math and I didn't want to do math I just wanted to make a cool race car. AR: Yeah a lot of math. I remember making a sword in Blender when I was 12. It's a pretty linear shape, but it was the most taxing process. So I went back to 2D. I could just play with a plane and an abstraction and it was more fun.These 3D tools, along with game engines and other design software, have become some of the most significant toolsets for conceptualizing and building your work. What happened in terms of your training where you suddenly realized you needed to leave painting and watercolor and shift into 3D?SR: I don't remember how I came across it, but I came across ZBrush, a 3D sculpting program where you can mash things around like digital clay. That was the big aha moment for me. A lot times it hides (honestly oftentimes to its detriment) the mathy elements and we found that it was actually in keeping with our painting background where it allows for semi-improvisation, but with an impressionistic sculptural object. Andy started playing more with Maya and Blender as well. And we both slowly got into it just because it was fun.AR: I went through the whole watercolor track and was doing semi-pro photography and developing an interest in photogrammetry. As I was seeing Sam play around with ZBrush, I got into it and jumped back into 3D. I actually went back to 3ds Max. I was putting photogrammetry scans in there and throwing grass around and rendering that out and realized it had gotten way better. And I started bringing in my 2D stuff and playing with ways to collage that in. I played around with that and Cinema 4D before I ended up going back to ZBrush.SR: This was in tandem with the 2012 to 2016 era of internet art and post internet art. There were a lot of people doing 3D art. They would kind of kludge something together in Maya and make it shiny and spin around. And that stuff still exists to some extent these days, but was increasingly present in Chicago where I was living at the time. I had just moved back from Austin after being there for a year after graduating art school. I was starting to do more show flyers and stuff like that and I was trying to find whatever scene existed in Chicago. You wouldn't know it because none of the people would actually hang out in person, but a lot of interesting things in the glitch scene and post internet scene were coming out of Chicago. I was trying to engage with this new community and was finding our perspective within that. I realized we could take a different approach because of our painting background. All these other people were coming more from a digital art or computer science background. They had an art game program at SAIC where I went to school, but I was so turned off by it because everybody was making these white box gallery experiences and they were all the same. That was one reason why it took me a while to get into Unreal Engine. I was still traumatized by having to virtually walk through all these terribly designed spaces. And then I started doing music videos. Our first one was for this group Amnesia Scanner. And I started using ZBrush as a live visual performance tool and did visuals for shows. I would make characters for every musician performing. There's no real rigging in ZBrush, but I managed to make the characters bounce around like marionettes. From there I got a bit of an understanding of realtime performance.And then Amnesia Scanner kind of blew up on the internet. We don't reach out to musicians like this, but I just like sent them an email. They're very mysterious and I didn't know where they were based. I sent them an email that was in four different languages that was like, please let's work together. And they responded to me. So I spent two months with an initial dev trying out both Unity and Unreal. And Unreal ended up being better.I got in contact through a friend of a friend with this guy Eric Anderson, who was running a three-story punk venue in Chicago called The Keep. We met and he had a prototype Oculus Rift. This was back in 2015 or something like that. And I went to this DIY spot and then stayed there for a week and we just banged out this crazy video. I just palmed the prototype Oculus headset to do the camera. There was no sequencer and there was nothing rendered in Unreal. This was all recorded. I exported it all and took it to my painting mentor's place and uploaded it to his 12 year old daughter's gaming computer. And it took like 24 hours for it to load on that computer and then we performed it there and just recorded it straight from the screen. It felt good enough that we kind of just kept running with it for everything after that.So in terms of music, your past works have a long dialogue with rave culture, hyperpop, and new forms of media that circulate on the internet. Tell us more about that dialogue and how it informs some of your current work.AR: I was kind of plugged into, or at least aware of, both vaporwave and glitch and everything in between that, like the acerbic visuals and everyone realizing 3D is a lot more approachable. The communities I've engaged with have definitely been varied and scattered. It's a lot of pulling things together and trying to figure out what works. Up until recently not many friends or people I've know have directly engaged with 3D. But I show them what I'm working on and try to connect different communities together and see how we can work together.SR: And more recently you've been more active in the visual artist communities than I have. I've been more interested in those rave cultures. I have a long career of DJing and producing. I've been in the turntable scene, the glitch hop scene, the witch house scene, and now it's hyperpop. It all ends up being the same. The through line is just experimentalism basically. It's just like a certain amount of interest in a new sound.Hyperpop is an interesting illustration of this to talk about because it's this weird thing where underground culture was made mainstream and at the same time, at least initially, was not diluted upon becoming mainstream. I guess this has happened all the time, but it's the most recent occurrence that I participated in. Hyperpop is this weird sound that somehow a ton of people know about and it became a meme and a joke because of course it was gonna be. But watching that dynamic was very interesting. We've had a long history with different music scenes. Both me performing as a DJ, but also us doing stage performances with musicians on big festival stages with mocap (motion capture) VR performances that are kind of accompaniments to their music. We've got an opera and a kind of a 3D musical in the works right now. But where it all started was album covers and then music videos. It was about participating in those communities and finding a way to, as visual artists, be a part if it more than just fans, but actually help shape the ideas and shape where everything is going. What are the ideas you're shaping? What's the content and the substance of what you're trying to shape right now?SR: Generally we try and get in and maybe expand the visual dynamic range. With a lot of experimental approaches, especially in the music scenes, it ends up being a lot about vibe or the nerdy tech or kind of esoteric stuff. For us, we can use all these esoteric tech tools, but use them hopefully for a compelling overarching narrative.And I'm sure we'll talk more about the performative aspects of our work with using digital tools. But in these electronic scenes it ends up losing a certain humanity. A lot of it for us has been trying to reconnect to this live, in-the-moment feeling. Our work is trying to hit the same subconscious feeling of being in the moment and having all these things happening rather than have some kind of contrived tech demo construction or something.AR: Especially nowadays where people are like—oh yeah I need to touch grass. We want to somehow bring that back to the digital and think how can we make this more physical? We're combining that with strong motivations and guiding lights in theater, performance, athletics, heavy physicality. And we're thinking what can we really do with having our bodies fling around, often literally, and have that cascade and become a deeper narrative that also has its own motivations of speaking to the community or wherever our eyes are fixated at the moment.Performance in front of a live audience is super central to you guys. Give us a sense of the infrastructure you need to build in order to create one of your dynamic realtime performances. How does it work compositionally, dramaturgically and technically? What does it take to put together and create a realtime dynamic performance in front of a live audience.SR: Right now, one of our projects is this stage adaptation for this short film, this bigger thing 3-2-1 RULE that's going to debut in Australia in a month. That one is going to be significantly more structured and quality controlled beforehand rather than being a crazy thing where it's incredibly improvisational. Often times each show is purpose built to a certain extent. Most of our projects inherit worlds and characters and assets from previous projects, but they they build on each other. We'll have a collection of scenes that are modular and existing in the same world. Each one is setup for a specific type of camera shot and a specific type of motion capture or VR mechanic.AR: Before we get into designing the motion, we also have to figure what the arc of the performance is. What's the energy, what modes want to fit where? Is this going to be a soft moment or is it going to be more excitable? We chart the long arc and mini arcs of the scene.SR: Oftentimes we're not able to meet with the musicians until we get to whatever country we're going to. Prior to meeting them we set up these modular scenes, each with their arc in terms of mechanics and scene dynamic. We have a whole collection of things and plug them together to an extent. Because the performances are so improvisational, it's kind of like acting the part of a good DJ who's watching the audience, watching the musicians, listening, and deciding what's right in the moment.We work this way when we're making music videos as well. Where we build the environment in VR and then kind of feel out where the choreography of a scene is supposed to go. This big Australian debut of 3-2-1 RULE is going to be pretty regimented. We're going to have everything planned, but there's still going to be a fair amount of improvisation since it's all realtime. I would never want to cut out the potential for those kind of magical moments to happen.It sounds like 3-2-1 RULE is a very important transitional project for you where you're in control of the narrative and you're not in service of some other musicians. Tell me where the title 3-2-1 RULE comes from and give me a sense of what you're producing.SR: The name comes from this backup strategy in tech where you're supposed to have three backups. I'm gonna get this wrong, but one is local, one is on the cloud, and one is offsite. The staged work is an adaptation of a short film and will eventually be either a feature film or a playable game. It's one of the major projects for us this year. It's kind of a parody of both the metaverse stuff and the contemporary moment. But also a way to talk about memory and people's relationships and history together on the internet and what happens when you use the cloud platforms as a prosthetic brain or a prosthetic memory where you're offloading moments together. The work follows these gig economy workers who respond to listings posted on an app that gathers memories for people in a metaverse space. If someone wants to remember the best day they ever had or the way their dad danced around when he made breakfast they would use this app and the gig economy workers dive in and play these genre parody games to unlock the memory for them. The conceit is that AI can obviously go in and scan your brain or scan the internet and grab this stuff, but it could never recreate the senses that really make up the core of what the memory is. So you have these gig economy workers who kind of chemically collage and assemble these things together for their clients.The stage adaptation served the dual function of giving us an excuse to start building out everything for this broader narrative project really fast. And to start developing this format that's closer to a musical. The debut in Australia will be with the musician Lil Mariko, but the idea is that we would put this on all over the world, and it could be any musician friend that would star in this role. It might be customized for each musician a bit. There are moments where there's narrative and there are moments were they could just perform their songs. This is kind of our pitch for a new performance format that could be replicated elsewhere and could really bring variety to the music performance world. Because I mean I love music shows. I love venues. I love playing them. I love going to them. I'm at them all the time. But I'm sick of music shows and the format has hardly changed. There exists this potential to unite all these different formats including visuals, sound, music, and narrative. And it takes a little more work. But I think we might be good people to try it out.You're working with writer and social network artist Jacob Bakkila. What is he bringing to the work?SR: We initially brought Jacob in on our now defunct Netflix project we were developing. He has a whole career of performing as bots on the internet or doing genre parody things and all these satirical things that are really brilliant. The project was going really well, but there was too much red tape and it got canceled. But we were talking afterward about working together and we had a kernel of the idea for 3-2-1 RULE. He said, okay I think I can do this and went away for a few days and came back with the base concept for 3-2-1 RULE. And it just threaded the needle between stuff that our team had already been working on for our game and other projects. I work directly with Jacob on the broader concepts and the story and where it goes, but he can churn out hilarious writing very quickly. It's a mishmash of different online references from every generation and he's so conversant in that kind of dialogue that he can make it feel genuinely realistic. He's able to sit in this incredibly online space that I feel is very essential to this story. He just generally knows how to fit everything together in a very nice way and was able to bring the emotion to the project.Do you have a sense of what you want the audience to experience? What do you want them to come away with? What kind of impact do you want to have on them?SR: Maybe it varies a bit between the live show, the eventual short, and then whatever the final big project is. I want it to be jarring, but funny. I want it to reflect upon our online relationships and what we've given up in terms of community, interpersonal dialogue, memory and moments together. How much are we sacrificing for platforms?Would it be safe to say that you obviously have a fraught relationship with these platforms? You've experimented in these spaces, you draw inspiration from these spaces, you post in these spaces, and simultaneously, you're frustrated and critical of these spaces. SR: We're participating in them because there really is no alternative. I have friends who are making their own distributed web3 based platforms like people doing Channel and people doing other projects, like more horizontal lefty things here and there. But they still have to promote it on platforms because that is just where all this stuff exists. So much of our stuff, especially if it has any narrative, does have a platform critical element to it because I can't think of anything else to comment on. It feels so absurd to be forced to fit this art that we do, that could take so many different forms, into a box that's 1080 by 1080 pixels and lasts a minute. There's always been constraints to art, but with platforms it's not a meritocracy, and the best stuff does not rise to the surface. The platforms themselves do not promote things that are in keeping with the value system of anybody within their right minds. It promotes things that will do well on the platform for its own good. I don't think that's a healthy thing for an artistic community, or for an artist, or for anything. I think most people recognize this to an extent. In a sense, critiquing it and putting it in my little skits is just coping. It's like acknowledging it, but I only have so much ability to actually do anything about it. It's also just generally frustrating with the moment we're in. The trick is speaking to that moment and then not getting too trapped in the Twitter style riffing on the discourse of the day. That stuff will do better, it is incentivized because you will get better metrics and the platforms want that kind of momentary ephemeral thing. But then if you go back a week later, it doesn't hit the same. So that's also a trap. Having things be somehow engaging with the contemporary moment, acknowledging where we are right now, and what our relation is to these platforms and to the economy and to how they have basically become the air we breath. Doing that and then also figuring out how you have it be something that lasts longer than 10 minutes is always a struggle artistically.In all of our discussion we haven't touched on the literal politics of the day. I mean, we haven't talked about Ukraine, we haven't talked about Russia. We haven't talked about the elections. We haven't talked about any of that. What's your relationship to these events and the work you're doing? Is it something you avoid, something you engage with, or something you don't wanna participate in?SR: All the political discourse, at least between the conservative and liberal sphere, I don't give a s**t about. My interest is in the working class relation to their power, and collective bargaining and what we can do about it. I have opinions about imperialism and being against it and what the US should be doing abroad. But a much more tangible thing to engage with is union and platform issues.AR: It feels more actionable. Stuff that doesn't feel like beating the same drum. We're not trying to be Beeple where we just do modern day political cartoons.SR: That's that momentary discourse thing I'm talking about where it's like oh, I'm going to make an Elon thing. Like who cares?AR: It feels far too ephemeral. And there's a time in place for that, the political art.SR: And I have done some stuff like that, I mean I've thrown Zuckerberg into some s**t, but I don't know.AR: But that's also trying to keep things contemporary and keeping with a sense of immediacy. I feel like we usually try to tie things down to more. Not really universal, well sort of universal because working class issues are fairly universal outside of maybe the top 1%. But try to speak to the broader issues, and try to speak more to the individual themselves rather than trying to talk to political issues that will come and go all the time. Even if they don't seem like they ever go away.SR: Talking about the news of the day and making art about the news of the day is both a symptom of a broader issue that is very much not the discourse in the mainstream media or however you wanna phrase it. Not to sound like too much like a post-left guy, but it's a liberal trap to make your art about an issue that is being discussed by the media that you have no control over. It's a liberal trap in that it is a culture war fabrication that art can change the world. Like if we make the most moral Disney movie, then everybody will be good. It ignores people's relation to their labor and all these other things. It's like, if we have no more bad villains who do problematic things on TV, then everybody's gonna be okay. And I think a lot of artists end up in that trap, feeling the push to have to make work about things like this. Both because it's incentivized by the platform, and because again it's the churn of the daily discourse you're supposed to plug into. And just morally they feel like oh, I have to be saying something. And I'm not saying that my stuff is not cope because there's a left version of this that is just cope too. But it's just like posting on Twitter. It's not doing anything. We've all been trained to be cultural commentators. All we are doing is quote tweeting people endlessly while the same structural system continues. And I just have no interest in participating in that. It's entertainment at the end of the day and it's entertainment for some people and my stuff is entertainment for lefty types and I'm not necessarily accomplishing anything more, but I at least think that the topics that I'm interested in maybe are more realistically accomplished.AR: I usually just look to the actual items. I just made an artwork for the Queer Museum of Digital Art, which is part of the whole web3 sphere. They're trying to fundraise.SR: Just to clarify, I was not talking about that kind of stuff. I'm not saying that fundraising's bad or anything like that.AR: I know. I know. For Ukraine or other huge issues, I'm just going to donate or help however I can. If sharing something might help connect one or two other people, I'm aware of my presence as a node within this whole network. If i'm one of a thousand other people sharing this, but there are three other people in my network who didn't see this it's cool if it's actionable. Not if it's just hot takes.SR: That community building is also way more important than making art about it. Communities can make art and have that steer people in a certain direction. Just to self roast a little bit, if I made the most perfectly leftist take down of whatever, that doesn't accomplish anything either. So making these alternative structures, not to get into dual power talk, but building community structures that exist outside of these platform capital dependent things, I think is the most important thing.What communities are you working with specifically?SR: I have yet to start helping them really in a way that I can give myself credit for, but Jaded is a new organization. It's some people from the Black Socialists in America, Zack Fox, and a bunch of comedians have started this artist co-op and community. They're building a venue, they're going to be funding scripts, they just debuted this podcast they're doing. Black Socialists in America also have all these other projects like The Dual Power App, which helps give people tools for building co-ops and horizontal things and community structures that don't rely on basic finance capital. They are a great example.And then Channel, I did some work for them. They're a web3 venture. I don't want to over explain their thing because I will probably do a bad job. They've done a lot of platform critical work, podcasts, and they're a bunch of lefty artists. But from time to time they would get shadowbanned. And they are still, regardless of how critical they are, dependent on these platforms to a certain extent. They're working to untether that. In the same way that people are tethered to their jobs because they can't get universal healthcare, they have to stay at the job for healthcare. To give themselves a life raft or a way to untether from that toxic situation, the idea is that basically their followers are on the chain so that they can move to whatever platform. You don't lose followers when you jump somewhere else. It's a first step towards an alternative platform structure or an alternative community structure that does not rely on passing through AWS and Google and relying on this huge stack from just a couple companies. Both of them, Channel and Jaded are awesome examples, and we help where we can.That's great. This really helps fill in a whole other part of your practice that I'm learning more and more about all the time. So I'm super excited to hear you talk about that.We have so many things in common and we have some really interesting overlapping happening between Team Rolfes and FuturePerfect Studio. It's very exciting and I can't wait to see more of your work and have more conversations with both of you. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit futureperfect.substack.com

सुनिए सुमित सभरवाल के जीवन की प्रेरक कहानी। देहरादुन, उत्तराखंड के रहने वाले सुमित की ज़िन्दगी का ये सफर बेहद ही खूबसूरत एवं रोमांचक है। देहरादून में अपने भरे पुरे परिवार के साथ रहते रहते इन्होंने अपना बचपन बिताया। वर्तमान में ये 13 पार्टिकल स्टूडियो के को-फाउंडर और प्रोजेक्ट मैनेजर है, 13 पार्टिकल एक एनिमेशन, गेमिंग और थ्रीडी आर्ट क्रिएशन कंपनी है, जहां ये 3डी आर्ट, एनिमेशन एंड गेम्स कंटेंट बनाते है। ये अपने इस काम के लिए पूरी तरह समर्पित है।आपको बतादें सुमित को हमेशा से ही गेमिंग का बहुत शौक था। बड़े होते होते अपनी इसी दिलचस्पी को आगे बढ़ाया और अपने रचनात्मक विचारों के साथ आगे बढ़े।स्कूली शिक्षा पूरी करने के बाद अपने करियर पर फोकस करते हुए इसी फील्ड में आगे बढ़ने का निश्चय किया। 2009 में ये देहरादुन से दिल्ली गए और MAAC इंस्टिट्यूट जो कि हाई-एंड 3डी एनिमेशन और विजुअल इफेक्ट्स के लिए इंडिया का लीडिंग ट्रेनिंग इंस्टिट्यूट है, वहाँ से एनिमेशन कोर्स किया और यही से अपने सफर की शुरुआत की। जो आज भी जारी है, जी हाँ पिछले 10 से भी अधिक सालों से ये इसी क्षेत्र में हर दिन अपने नए रचनात्मक विचारों के साथ कुछ ना कुछ बेहतर कर रहे है और अपने रूचि के क्षेत्र में ही आगे बढ़ते-बढ़ते आज ये अपनी एक अच्छी पहचान बना चुके है। पूरी कहानी पढ़ें: https://stories.workmob.com/sumit-sabharwal-arts-entertainment वर्कमोब द्वारा #मेरीकहानी कार्यक्रम के माध्यम से एक नयी पहल शुरू की गयी है जिसके ज़रिये हर कोई छोटे बड़े बिज़नेस ओनर्स अपनी प्रेरक कहानियों को यहाँ सभी के साथ साझा कर सकते है। क्योंकि हर शख्स की कहानी में है वो बात जो जीवन को बदलकर एक नयी दिशा दिखाएगी, और ज़िन्दगी में ले आएगी आशा की एक नयी चमकती किरण। #प्रेरककहानियाँ #सुमितसभरवाल #13पार्टिकलस्टूडियो #कोफाउंडर #प्रोजेक्टमैनेजर #एनिमेशन #गेमिंग #थ्रीडीआर्ट #MAACइंस्टिट्यूट #3डीएनिमेशन #विजुअलइफेक्ट्स जानिए वर्कमोब के बारे में: जुड़िये वर्कमोब पर अपनी कहानी साझा करने और प्रेरणादायक कहानियाँ देखने के लिए। ये एक ऐसा मंच है जहां आप पेशेवरों, लघु व्यापारियों, उद्यमियों और सामाजिक कार्यकर्ताओं की वीडियो कहानियां देख सकते हैं और दूसरों को प्रेरित करने के लिए अपनी व्यक्तिगत और व्यावसायिक कहानी सभी के साथ साझा कर सकते हैं। आपकी कहानी में लोगों को आशा देने, प्रेरणा देने और दूसरों का जीवन बदलने में मदद करने की एक अद्भुत क्षमता है। यह 100% मुफ़्त है। इस लिंक पर क्लिक करें और देखें प्रेरक कहानियां https://stories.workmob.com/  हमारे ऐप्प को डाउनलोड करें: Android: https://play.google.com/store/apps/details?id=com.workmob iOS: https://apps.apple.com/in/app/workmob/id901802570 

We invite you to listen in on Kurtis Dawe and Ryan's conversation about Prime Ape Panet. Kurtis Dawe now has decided that he wants to use his skills and experience to bring a high-value project to NFT space with Prime Ape Panet. The project is headed up by Kurtis and a team of designers who are known for many productions like The Lion King, Godzilla, and many other animations for Marvel, Disney, MGM, and much more. Kourtis gives us an in-depth view of his process for how his team creates the insane volume of work, from sculpting in Zbrush to rendering in Houdini and finally the loving touches in Photoshop. Also, he gives us a sense of perspective from the Artist point of view as a creator in the ever-evolving NFT community. Kurtis has worked on with studios like Scanline and Zoic Studio. Make sure to learn more about Kurtis at the links below. Kurtis Dawe's Artstation: https://www.artstation.com/kurtisdawe Kurtis Dawe's Twitter: https://twitter.com/Kurtis_Dawe10 Prime Ape Panet: https://opensea.io/collection/primeapeplanetpap Learn more about Vertex School: https://www.vertexschool.com/ 29 / 200

Podcasting isn't hard when you have the right partners, and the team at Buzzsprout is passionate about helping you succeed. Join over a hundred thousand podcasters already using Buzzsprout. Following the link in the show notes let's Buzzsprout know we sent you, gets you a $20 Amazon gift card if you sign up for a paid plan, and helps support our show. Click the link below to get started for FREE.https://www.buzzsprout.com/?referrer_id=399292Today I'm joined by 3D Animator Oscar Torres. Oscar has a degree in Computer Animation, with over 7 years of technical and artistic experience as a 3D modeler for Animation, Game design, Gobile app creation and Gd printing. He has a strong grasp on  various tools Maya, MudBox, SpaceClaim ,  Zbrush, and Photoshop. Oscar has worked on various arenas in the 3d realm. From mobile asset creation for ios and Android. To creating of assets for fabrication and manufacturing. He's also very capable of creating 3D objects for  3d printing as well. He has recently had an opportunity to work with Augmented Reality experiences.Here's what listeners can learn:- How To Get Started With 3D Animation- Types Of 3D Printing- Resources For Learning Online- 3D Fabrication IdeasGuest: Oscar Torres - Instagram (@creaturefactory54)Website: https://oscartorres9.wixsite.com/oscartorres-3dYouTube: https://www.youtube.com/user/OscarTorresWork/videosPodcast: Hardwood Rod Podcast (@hardwoodrod)Host: Rodrigo Roque IV (@rodrigo.filmmaker) My Website: RodrigoRoque4.comSubscribe and Share on all platforms.  Follow us on Instagram & Facebook @hardwoodrodInterested in Sponsoring or being on the Podcast? Contact us at info@relionmedia.comCheck out the new merch!www.HardwoodRod.comBuzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show (https://www.buymeacoffee.com/hardwoodrod)

Não sei qual foi a primeira vez que isso aconteceu, mas a gente já bateu nessa tecla várias vezes aqui: o mercado de 3D só cresce a cada ano e o 3D é uma ótima área pra comecar a estudar se você tem vontade de trabalhar com arte. Como muitas pessoas se assustam com os softwares e ferramentas quando têm contato com o mundo em três dimensoes pela primeira vez, hoje o convidado da Sala é alguem que pode ensinar a gente a perder esse medo, o nosso professor de Introducao ao Zbrush, o Kaue Daiprai! PARTICIPAM DESTE EPISÓDIO KAUE DAIPRAI Instagram: https://instagram.com/ksdaiprai Artstation: https://www.artstation.com/kauedaiprai GABRIELA ANTONIA ROSA Instagram: https://www.instagram.com/gabrielantoniarosa/ Twitter: https://twitter.com/galantoniarosa LINKS COMENTADOS NO EPISÓDIO ☆ Podcast com o professor Ivan: https://www.youtube.com/watch?v=dcxMmKKLR-s

In this episode, we talk with materials maestro Pete Tindall about all things making related, along with a dose of rantage. I moan a bit about ZBrush (although I love it) and the fact that despite the terrifying interface and the huge number of tools available in ZBrush, freedom comes from accepting that you likely need only a handful of them. Early on in ZBrush, you are can indeed happily ignore most of it with confidence. Pete is an adept materials man, knowing and using a broad range of materials. We first met on Batman Begins (2005) where Pete worked in the Bat-suit workshop and miniatures for the monorail sequence. ------------------------------------------------ We also start the podcast as usual with a little FX chit-chat and this time we talk about creating the illusion of hard things in soft tissue such as horns protruding from foreheads, teeth showing from exposed gums and foreign bodies sticking out of the skin (knives or arrows for example). In the reality of filming, the scene may need to be repeated and used in intense action, so things that are really hard or sharp in real life could break off or cause real injury. As a result, often it is made up of either soft or semi-rigid material which looks solid but is safer. Sometimes the thing may be designed to break away, be replaceable if multiple takes are needed, be incredibly lightweight or even detachable so it can be removed when not needed. ------------------------------------------------ Many thanks as always for your time checking the stuff out. You can email us direct at stuartandtodd@gmail.com or leave us a voice message directly on our site.  you enjoy this podcast and got something out of it, would you do us a solid and tell just one person about us? Send them a link and help us grow! Stuart & Todd

Part 4 of the "Digital Art Renaissance" series for Strategic Possibilities Podcast. Having just been through COVID, many people have taken the opportunity to change their careers. On top of that, internet and social media provides so many new opportunities from moonlighting podcasters who grow from their closets to stories like Dawn Spears' who started her career in Science and Tech and eventually transitioned into the Book Illustration space. In this episode, Dawn reveals her advice and tips for those looking to break into book illustration. But she also shares how certain life situations essentially forced her to learn new technology. Throughout the episode, she shares interesting insight into her creative habits, how she prefers to tackle opportunities to learn head on, as well as some specific tips on how you can get started or grow a career as a book illustrator. With that, Dawn wanted to introduce herself directly: Bio from Dawn: I am a freelance illustrator and 3D modeler based in the UK. I also have a background in science and software development. I've illustrated for many clients, including book publishers, independent authors, retail businesses, and interiors. I use mainly Photoshop for illustration. ZBrush for 3D modelling and Daz Studio or Unreal Engine for adding rendered material to illustrations where necessary. You can find Dawn's work online via: www.dawnydawny.com www.mythicstock.com https://dawnspears.artstation.com/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/strategic-possibilities/support

  What does digital sculpting have to do with battling with bits of rubber?   Speaking in one of the VFX classrooms, a huge space with rows of monitors and Wacom Cintiqs, we gathered as a group to discuss training to work in film and TV.   We looked particularly at the pipeline and workflow of VFX and how that has changed over the years with regards to practical work and why confidence matters and how it can be generated.   One aspect of confidence is to know how and when to exercise what is your responsibility when you may feel like it is someone else's job. What can you do practically to accumulate confidence and where does that come from? What are the stepping stones?     Many makeup schools do not know how or teach how practical effects may work with VFX. There isn't an extensive history yet of that combination, so fewer resources and gurus to call upon. If you want to make a nose or a wig, there already exists a long history of practitioners and techniques one can call upon to get that information. Some places are teaching this such as Bolton, Falmouth & the University of Wolverhampton (https://www.instagram.com/digital_prosthetics/?hl=en).   Now if you want to take a head scan, clean it up and correct it, make cores so you can print out sections to be remoulded or sculpted on, there are ways it can be done but it is new enough that there isn't a standardised method easily accessed by everyone.   It's a new thing so there isn't an extensive range of ways to do it or a plethora of experienced practitioners willing to share what may be for them hard-won knowledge or a new process they may have pioneered themselves recently.    VFX and practical were once very separate disciplines but the increased use of digital processes in the practical world (photography, scanning, machining, 3D printing and sculpting in ZBrush) are very much part of the VFX world and crossover is more common. A shared language will assist in departments blending their expertise rather than dividing them.    The VFX may be less willing to share their processes compared with practical, but this may be in part because pipelines and workflows are so unique that one may not align with another even though they are both under the umbrella term of VFX.    Larger commercial pipelines are often customised, so they will approach a process in a specific way that may not be the same way as another company doing the same kind of work. These make incredible efficiencies within that unit of work, and changing pipelines isn't always compatible.    The lowering cost of scanners will mean increased availability of information and tutorials. They will become commonplace and so being able to work with them will become important.     We imagine that in no time ZBrush will be even more ingrained in the educational workflow of fx programs teaching both practical and digital fx.  It will be the standard, no longer any differentiation as two disciplines; it will all be part of fx training and execution. ------------------------- Many thanks as always for your time checking the stuff out. You can email us direct at stuartandtodd@gmail.com or leave us a voice message directly on our site.

Kévin Marks sculpte des figurine sur Zbrush, elles sont ensuite imprimées en 3D à destination du jeu de plateau ou deviennent de simples jouets. Il nous parle dans cette interview de la différence entre dessin 2D et volume 3D pour de la figurine, ainsi que les contraintes lié à l'impression 3D, et la différence avec la modélisation à destination du jeu vidéo. Vous pouvez retrouver son travail sur son :

Kévin Marks sculpte des figurine sur Zbrush, elles sont ensuite imprimées en 3D à destination du jeu de plateau ou deviennent de simples jouets. Il nous parle dans cette interview de la différence entre dessin 2D et volume 3D pour de la figurine, ainsi que les contraintes lié à l'impression 3D, et la différence avec la modélisation à destination du jeu vidéo. Vous pouvez retrouver son travail sur son :

Esse podcast é um oferecimento da EBAC, a Escola Britânica de Artes Criativas. No dia 1 e 2 de dezembro, às 19 hrs, eles vão oferecer um workshop sobre como modelar um personagem 3D no Zbrush, tudo completamente gratuito. Mais informações no link: https://bit.ly/3l8QxHg Apoie o projeto e permita que ele continue: apoia.se/nautilus | picpay.me/canalnautilus No Café com Videogames #65 falamos sobre a possibilidade de um Remaster de Chrono Cross, sobre o sucesso do Series S, sobre o processo da Sony por discriminação contra mulheres, sobre novidades no mundinho Bioware e muito mais. Participantes: Host: Lucas Zavadil | @lucaseduardrz Convidado: Ricardo Regis | @RicardoNauts Convidado: Bruno Tessaro | @BrunoTessaro Encontre-nos também nas redes sociais: Discord: discord.gg/FPd6hgE Twitter: twitter.com/nautiluslink Instagram: instagram.com/nautiluslink

In this week's episode of the Future Construct Podcast (32 min interview), we are excited to feature Sanjay Mistry, Co-Founder of VIM (@vimaec). Sanjay is an experienced Vice President with a demonstrated history of working in the design industry. He is a strong professional, skilled in game design, ZBrush, computer animation, graphics, and MEL. Founded in 2016 with the goal of providing AEC professionals easy access to BIM (Building Information Model) data in real-time and on as many devices and platforms as possible, VIM is transforming the way that architects, engineers, and construction professionals design and build buildings. By removing the artificial walls between the AEC disciplines, and borrowing innovation from the gaming industry, VIM-equipped teams are delivering and sustaining a building's design intent, from its originally approved conception to its ongoing operation.Highlights of Sanjay's interview with host Amy Peck (@AmyPeckXR) include:Sanjay's journey into the industry of Building Information Modeling and what led him to start VIMHow the entertainment industry impacted gaming and how game engines can influence smart buildings, smart cities, and IoTOperating on a job site without access to internet connections, and making data accessible on personal devicesHis desired gadget of the future that would completely transform his personal life and the automotive industry entirelySHOW NOTES0:37  Amy Peck introduces Sanjay Mistry, Co-Founder of VIM.2:00  "Through your journey, was it a natural progression into the world of AEC [from computer graphics], or did you start off on more of the creative bend?"24:12  Sanjay discusses the operating on a work site without internet connections and making data accessible on personal devices.29:14  If you project yourself 25 years into the future, and you could have any kind of gadget or service or just something that would make you personally happy or make your life better in some way, what would it be and what would it do?

Paul Deasy is a true master of character modeling. His sculpts demonstrate a deft understanding of how to tell stories through emotions and subtle touches, whether it's Hellboy, Mr. Freeze, Voldemort, or his own noir-ish creations. In this podcast, Chris talks to Paul about how becoming one of the most respected character artists on the internet, from his youthful obsession with Batman: The Animated Series to his present-day work at Giant Animation. He shares useful tips, from how to create an evocative sculpt to the essential steps to nurturing talent and ensuring artists are happy.

Questo è the Pixels Chips e io sono Matteo Sgherri. News, stampa e scultura 3d per giocattoli e art toys, il mio progetto, eventi e molto altro.

就像本期节目开头我俩聊到的，作为两个八零后生人，我们成长､求知时期「沾」了当时盗版风行的光，得以用非常廉价的手段获得了远远超过付出成本的知识､技能､认知上的「原始积累」。说得夸张点，就像马克思认为的任何原始积累都伴随着罪恶一样，靠着盗版内容丰满起来的人生，那份负罪感绝不是像孔乙己吼两嗓子「偷书不是偷」就能自我安慰的。所以在经济条件允许的情况下，付费购买､付费订阅自己用得着､喜爱的产品和内容，尽可能地支持原作者。我想，只有从自己开始这么做，「知识」才会真正变得值钱。正义，无论是谁的正义才能得到真正的贯彻。# 内容提要03:37 · 二号主播表示：70、80、90 上半头的这些人，都有「原罪」11:17 · 刚去敌台做客的一号主播忍不住又聊起了字体的版权问题19:11 · 本着「坦白从宽，抗拒从严」的原则，我们也来说说自己电脑上那些「不干净」的东西28:06 · 互晒每月软件订阅账单时间到了34:53 · 两段悲伤的故事38:51 · 今天这个主题肯定也逃不开书、漫画、影音46:13 · 最后也来说说各种支付渠道# 参考链接《征途》这款游戏真的有那么赚钱吗？它给史玉柱带来了多大的利润？ 7:17Adobe Fonts 字体库 11:16本台官网以及品牌字体 Calluna Sans 13:13喜鹊造字的官方淘宝店 16:16记录行动轨迹的 app——足迹 22:46功能类似但更游戏化的应用《世界迷雾 Fog of the World》 23:18同样基于地理位置的游戏《Pokémon GO》 23:46签到软件 Swarm 24:153D 角色建模软件 Zbrush 25:26统计、管理每月各种服务订阅费用的应用 Bobby 28:12亚马逊自制的架空历史科幻剧《高堡奇人》 30:11并不建议你在上班（以及下班）时间打开的日本成人影像网站 Fanza 31:40近期播出的老友记特别节目《Friends: The Reunion》 32:50Yummy FTP 作者的家属在其官方推特上发布的讣告 35:15Vernon Adams 家人所维护的官方网站 37:30免费字体 Oswald 37:41免费字体 Nunito 37:52Google Fonts 上的来自 Vernon Adams 的字体作品 38:05台湾电子小说网站讀墨 42:47Epic 游戏商店 43:99蒸汽朋克风格的经营类游戏《冰汽时代》 43:51上海的「大自鸣钟」地区 44:46励志于为创作者提供数字产品销售服务的网站 Gumroad 46:34很多软件都植入了 Paddle 这个服务作为支付系统 50:06Square 出品的电子钱包应用 Cash 50:31# 会员计划在本台官网(Anyway.FM) 注册会员即可 14 天试用 X 轴播放器和催更功能~ 开启独特的播客互动体验，Pro 会员更可加入听众群参与节目讨(hua)论(shui)~

Meet our Organic Sculpting Instructor, Concept Artist, and Concept Sculptor - Arsen Asyrankulov. Arsen joins us to give us an insight into the process and the journey that led him towards producing his breathtaking sculpts. We also get some surprising insights into his Learn Squared course and more. Listen now Learn From Arsen (First Lesson Free) > https://www.learnsquared.com/courses/organic-sculpting - - Follow Arsen https://www.artstation.com/asyrankulov https://www.instagram.com/arsen_asyrankulov/ https://twitter.com/arsenasyranklv - - Your Host https://www.artstation.com/dhanda https://www.instagram.com/dhandatron/ https://twitter.com/dhandatron

Welcome to Session 44 of 3D Art Direct's podcast, where Paul Bussey interviews Oshyan Greene, the business manager of Planetside Software, which produces Terragen 4 for rendering and animating realistic natural environments. Terragen 4 is used in film, TV, commercials, as well as educational disciplines, to name but a few. We're primarily talking to Oshyan about the recent release of Terragen 4.1, as well as SIGGRAPH held recently in Los Angeles. Digital Art Live's mission is getting behind the scenes with top digital artists and leaders by featuring them in in-depth interviews, through our magazine, podcast, and live event webinars, allowing you to connect with them and other artists and discover what inspired them, the steps they've taken in conceptualizing their work, and the techniques that they've used in building their creations. You can stay informed of our live webinars and podcasts by subscribing to our free monthly magazine at digitalartlive.com. While there, take the time to browse our growing library of new events and live webinars, as well as past recordings and magazine issues. Our site is constantly being updated, featuring topics such as modeling, sculpting, rigging, lighting, and digital composition for software such as DAZ Studio, ZBrush, Poser, Terragen, and Vue, to list but a few. So let's get to the interview.

Doing a ZBrush CAD software review and it is a very different CAD program from anything else we have reviewd on WTFFF?! before. It's a very different kind of CAD program in general. This is really gong to be very interesting for those of you that have been listening to our different reviews in our series of CAD software reviews. To send us a message, go to 3dstartpoint.com or shoot us a message at info@3dstartpoint.com or on our facebook or twitter! Its absolutely free, so ask away and and don't forget to subscribe so you can hear more on our regularly scheduled Thursday podcast episodes!

This is a special session of the podcast where we go in depth in learning about behind the scenes of Renderosity, one of the most well known digital artist communities and digital products stores on the web. I speak with Tommy Lemon, vice president of Renderosity and also Tim Haskasma manager of business development and marketing. In this session we learn - The original vision for Renderosity back when it started in 1999 - The deep history of Renderosity. - The challenge of selling digital content in the stone age of the internet. - All about the mission statement for Renderosity. - Initiatives that highlight community members, artists, vendors.  - Dig into some of the demographics of the Renderosity community - Who are some of the longest serving staff members and what they've brought to Renderosity. - The Renderosity community on Facebook?  - How regular feedback from the community helps improve the services and website.  - What tools are offered to vendors at Renderosity  - Video tutorials are an important part of the Renderosity marketplace. Just remember you can sign up for our free digital artists magazine at digitalartlive.com, where you can also discover live webinar events and our store containing recordings of those events. You'll find tutorials on Poser, DAZ Studio, Vue, Terragen, Hexagon and ZBrush.

in this session, we're focussing on a subject to do with the exploration and colonisation of Mars, which is part of our overall theme for our forthcoming Digital Art Live magazine, where we will feature artwork on the colonisation of space. We will have at least three artists with some stunning sci-fi artwork and in-depth interviews with the artists on their work and you can get this magazine for free, which will include the PDF at digitalartlive.com and click on the “Get Started Now” button on the home page. You can also check out our live webinar events we host for training on software such as Poser, DAZ Studio, ZBrush, Vue and more. So I was very privileged to talk to Nicol Willett the education director of the mars society and to see her enthusiasm for teaching about the opportunities for us on Mars. In this session we learn:-  - What is the Mars society and why it was formed - How concept illustrations have helped in some of the Mars society projects - What are the two most significant barriers in getting humans to Mars. - Is it easier to colonise the moon rather than Mars? - The new "160 mission" organised by the Mars Society. - Nicole's view on the top two achievements of the society since it's been formed. - How you can help the Mars Society.