Posted On:October 2018 | Greyscalegorilla
See how Blind used Cinema 4D, After Effects, Octane, and Redshift to create several 3D scenes of popular games to announce Xbox Game Pass at E3 2018.
All images courtesy of Microsoft / Blind.
In 2018, for the fourth year in a row, Microsoft and the Ayzenberg Group tapped Los Angeles-based design and brand strategy studio Blind to create content for their high-profile E3 (Electronic Entertainment Expo) show. While last year’s project was devoted to the launch of the Xbox One X, this year’s goal was to highlight Microsoft’s monthly subscription service, Xbox Game Pass.
We chat with Trevor Kerr from MANVSMACHINE about 3D workflows, third-party rendering, and the new Greyscalegorilla Guide to Redshift.
Trevor Kerr, the Technical Director at MANVSMACHINE, chats with Chad Ashley about all things rendering. They talk about the strengths and weaknesses of Arnold, Octane, and Redshift, and also dive into the many topics covered in the new Greyscalegorilla Guide to Redshift.
In this informal discussion Trevor Kerr and Chad Ashley discuss the meteoric rise of Redshift in production as well as an in-depth Redshift training product the two recently teamed up on.
See why 3D World Magazine calls Light Kit Pro 3 an “essential” plugin for Cinema 4D, and gives the new tool a Best in Class 5-star review.
The latest edition of 3D World Magazine is on newsstands now. (You can purchase a physical or digital copy here.)
Featured among the greatest new things and trends in 3D are both a Light Kit Pro 3 review and tutorial.
Freelance journalist and CG artist Steve Jarratt tested the new Light Kit Pro 3, and came back with a stellar review and the magazine’s highest honors, a Best in Class 5/5 review.
“With a huge library of preset studios on offer, some really clever functionality and general ease of use, Light Kit Pro 3.0 comes highly recommended — hell, if your work is primarily product shots, it’s pretty much essential.” Read More
See how Run, Kick, Shout and Calabash Animation used Cinema 4D and Redshift to create a series of animated spots for PayPal.
Did you know that over 19 million sites use PayPal? That’s the fun fact I learned in these new animated spots from Run, Kick, Shout. Then I realized that this campaign was 100% effective on me. I learned facts about the client, I enjoyed the animation, and now here I am sharing my thoughts. I consider that a well executed campaign.
Take a look at the PayPal videos here to see what I fell in love with.
I wanted to learn more about this project, and the team behind, so I reached out to Chicago’s Run, Kick, Shout for more. Read More
The Corridor Crew walks you through their latest Corridor Digital short Foam Fortnite. Go behind the scenes of the shoot, edit, VFX, and more.
As entertaining as the short films on the Corridor Digital channel are, you can find equally entertaining and educational videos on the Corridor Crew channel (formerly the Sam and Niko channel). Its a series of videos that take you behind the scenes of the office life, as well as tutorials on their biggest sequences, shoots, and general post-production madness.
We had a chance to hang out with the crew at the Maxon + Greyscalegorilla pinball party at NAB this year. It was there that a giant group on Cinema 4D enthusiasts likely finally convinced Wren Weichman to make the jump to C4D, which he talks about in this video.
We are a few months into the teams transition, and the Corridor Crew channel has been a blast to watch as Wren and Clint Jones learn Cinema 4D.
Join Nick Campbell in person or streaming at these upcoming events in Los Angeles, Toronto, and YouTube live.
NAB and SIGGRAPH have concluded, but there are still a few more big events rounding out the end of 2018. Here’s what’s coming up on our schedules.
Adobe Max is an annual creativity conference held in Los Angeles hosted by Adobe. This year’s keynote speakers include Ron Howard and Questlove, and a performance by Beck. You can also preview upcoming new features to the Adobe CC with special host Tiffany Haddish. Read More
A wonderful look into Disney’s Twelve Principles of Animation, and how to apply these techniques to your motion design work.
When it comes to deep dives into what makes animation great, I am a sucker for books, video essays, and breakdowns. I’ve devoured countless hours on the history of animation, as well as VFX and filmmaking in general.
While I may enjoy a read through Ed Catmull’s Creativity, Inc. or deep studies of The VES Handbook of Visual Effects (both on the shelf next to me), I just absolutely love watching a well paced and extensive video essay. One of the best at the video essay genre is the great kaptainkristian.
Disney’s 12 Principles of Animation
When should you start thinking about color in your 3D and motion design projects? It’s time to think like a Director of Photography.
While listening to an Entagma discussion, where Manuel Casasola Merkle and Moritz Schwing rant about render engines, the duo spends a little bit of time talking about LUTs in the post-process.
This led me down a tangent of questions, which ultimately led me to wonder if 3D artists should operate more like cinematographers. A Director of Photography (DP) will often devise a color scheme before production even begins. They’ll talk with the director about the emotional connection they want the piece to convey, and then the DP, either on their own or with a DIT or colorist, will create a look. Read More