Go behind the scenes at Massive Entertainment — A Ubisoft Studio, and discover the power of the Snowdrop engine; Massive’s in-house answer to video game creation on the new generation of consoles. Snowdrop supports the philosophy of the studio to work better, not bigger, by giving content creators the freedom to experiment, prototype and truly unleash their creativity.
In this tutorial EJ Hassenfratz explains a couple very simple ways that you can effect Light Objects intensity in Cinema 4D using effectors. He shows you techniques you can use to “turn on/off” lights as well as a gradual light fade on/off. He also goes over another use for this method to create a noise meter animation where meter bars light up and glow, all controlled with an effector. Last he shows how to use a combination of Cappucino & Mograph to animate the noise meter to look like it’s reacting to crowd noise and how to sync it with a shaking camera as shown in the example.
In the wilderness of the forests where giant bulldozers are tearing apart the woods there is a monkey that accidentally
finds a shaving machine and decides to use it. Spontaneously disguised as a human being, he moves out to the city and starts a career. After a stunning success in business, he understands the need of gaining political power. Not too long after, he becomes the president. Now he is ready to make a change.
For us, it’s an ironic reﬂection about how nature adapts to the human invasion. We found a great inspiration in an Amazonian bird, the Lira, which imitates the sounds it hears in the environment. It does it with such a lack of criticism or judgment that it imitates the other birds singing, the power saws noise or the crash of the trees falling in the same way. We must admit that part of the credits should go to Nahuel, a friend of us that shaves his arms in laughable ways.
We watched the monkey’s behaviour and the way they move, ﬁrst in the zoos, then there was a trip to the Amazonian jungle and ﬁnally some actors friends, the monkey’s acting is the result of all this together. Regarding aesthetics, we wanted to choose the way of maximum expression possible, trying to get over the technique. In a free mix of 3D and 2D animation, saturated and live colours we found a harmony that reﬂects the nature’s freedom and that even loses its’ respect.
Microfloaties is free from Joelotron.com and handy for adding floating dust to your Cinema 4D scene. This could been done with a particle generator in After Effects but it’s only a small render hit in Cinema and looks great.
Advertising agency McKinney approached Buck with a brief that challenged them to create a world using Sherwin-Williams paint swatches to tell a story about color. Benjamin Langsfeld, an associate creative director at Buck, writes about what he learned, what he did wrong, and what he learned, from making Sherwin Williams commercial.
What he learned.
“1. We organised our workflow. 2. We created a set of rules. 3. We explored water and fluid-like motion. 4. We were flexible with rigging.”
What he did wrong.
“One of the hardest things about this project was agreeing the same definition of ‘colourful’ between us, the agency and the client. We got stuck in a debate between thinking of it as a controlled palette with pops of vibrant colours and a full-on explosion of highly saturated colours for 30 seconds.”
“Sometimes a production schedule doesn’t exactly synchronise with the client’s decision-making process, and in those cases you have to shoot first and hope you aimed in the right direction later.”
For a detailed interview, see the original post on 3D World
“A short I did in my spare time while working on the films ‘Avatar’ and ‘2012’. This is the version I sent out to festivals, with a longer cut, and new music. On the graphics side, it was just me, my laptop, a Canon 5D, and some good coffee.”
– Peter Szewczyk