Fantasy User Interface (FUI) artist Robyn Haddow talks about her experience building functional interfaces for films, television, video games, and more.
Motion graphics artist Robyn Haddow is a dreamer, and as a successful freelancer specializing in creating fantasy user interfaces (FUI), she gets to dream plenty. Ant-Man and the Wasp, Guardians of the Galaxy Vol. 2, Spider-Man: Homecoming, Thor, Transformers, Mile 22, and Bumblebee—those are just a handful of the feature films for which Haddow has designed screen graphics and holograms.
Greyscalegorilla is looking for freelance motion designers, 3D artists, trainers, educators, and plugin developers.
Greyscalegorilla is looking for talented motion designers, 3D artists, and developers who are tired of corporate projects and looking to work with a small creative team.
We are not looking for 3D rockstars or design ninjas, just genuinely good people.
Check out the jobs page for more details.
- After Effects + Element 3D Artist (Contract Freelance)
- Cinema 4D + Houdini Trainer (Contract Freelance)
- Adobe CC After Effects Developer (Contract Freelance)
- Content Creator / Educator (Freelance)
Interested in working with our small creative team? Browse our open positions on the Jobs page, and apply where you feel qualified.
These jobs are contract freelance positions. Pay and project length are based on experience.
Inspired by the web-slinging animated film, learn how to create an Arnold shader in the style of Spider-Man: Into the Spider-verse.
I recently watched Spider-Man: Into the Spider-Verse and was completely blown away by that movie. The lighting, the shading, the half-tone pattern techniques all blew me away. Wanting to emulate shaders in this style, I came up with C4D Arnold material with half-tone patterns and cross hatching.
In this tutorial you will learn about the techniques the animators used to create the film, and then follow along as we attempt to recreate this look in Arnold. Read More
Adobe Acquires Allegorithmic, the makers of Substance. This brings one of the industry’s best tools in creating 3D textures and materials to the Creative Cloud.
Adobe is taking a huge step into 3D with this acquisition. While Adobe’s 3D offering Dimension bridges a gap for 2D artists, it has not been largely adopted by the professional 3D market. However, Allegorithmic’s Substance has become a standard tool among many 3D artists and studios in a variety of industries, so the move is a big play to bring those users into the Adobe Creative Cloud. Read More
Gear heads Chad Ashley and Shawn Astrom talk about their favorite gear of 2018, and what they are looking forward to the most in 2019.
In this episode of the GSG Show, we talk about many of our favorite new pieces of gear for our work and personal lives. Tune in, and be sure to checkout the show notes to find links to all of the hardware we put to the test.
Also, you can now find the GSG Show on Spotify! Follow us for the latest episodes, and dive into the archives.
In 2018, the whole Greyscalegorilla team switched to PC.
Looking for the right keyboard, aka getting flirty with QWERTY. Read More
A back-and-forth journey to find the perfect new displays for 3D artists and motion designers.
If you think shopping for new PC is difficult, try shopping for a new computer display.
I’ve been rocking two displays for quite some time now, one NEC PA271w-bk as my main and a ViewSonic VP2780-4K for 4K reference. I knew my displays were starting to show their age and it was time to upgrade, but deep down inside I was dreading the process.
My first inclination was to check out the NEC website, only to find out that the newest version of my current monitor didn’t have many new features other than LED backlighting. After quickly being overwhelmed by the amount of options, I decided to see what I could find locally.
I drove to a MicroCenter and discovered the Dell U3818DW, which was a 38″ widescreen monitor with a resolution of 3840×1600 and a PPI of 110 for $899. It seemed like it could be the perfect monitor to replace my two. I quickly looked it over and decided the price was right, so I bought one.
I lugged this beast home and quickly set it up. The screen was even in terms of color and lighting and after staring at it closely for a few minutes I determined there were no dead pixels. With much excitement I went right into Cinema 4D and completely redesigned my layout so that I could take full advantage of such awesome screen real estate. Everything was working great. Read More
Nick loads up Cinema 4D for the first time on his new PC. Watch him compare speeds of C4D’s Physical render on the CPU and Redshift on the GPU.
In an attempt to catch up in the render wars, I finally get to use Redshift for Cinema 4D on my new PC. This is the first time loading up C4D and using Redshift on my new computer.
If you are interested in following along with my Mac to PC journey, check out the previous videos:
In this video, you will see me fire up Cinema 4D and open some studios with Light Kit Pro 3. Then we will try rendering in Physical before hopping over into Redshift. You’ll also see me dabble in animation in the first time in a long time, as I no longer have to wait hours to create animated scenes.
I’m not gonna lie, this was a lot of fun, and I’m totally blown away by how fast I can get results. Let’s hop in.
Looking for the plugins and tools mentioned in the video? Here you go.
- Nick’s PC Specs
- Greyscalegorilla Computers + Resources
- Light Kit Pro 3 Suite
- Getting Started with Redshift Tutorial
- Greyscalegorilla Guide to Redshift
You’ve seen countless photos and videos of Iceland, but nothing like this.
See how this filmmaker and VFX team took surreal footage of Iceland, then used Houdini and Nuke to create something you’ve never seen.
It was really refreshing to see a unique piece like this, so I reached out to the creative team behind it. Here’s our conversation.
Michael Maher: We have the whole ANOMALY creative team joining us today. Can we go around and hear a bit about each of you?
Jacco Kliesch: Hi, my name is Jacco and I’m a filmmaker. I grew up in Erlangen, Germany. I studied Media Technology with key focus area Media Design at the Deggendorf Institute of Technology. Now I live in Nuremberg.
I love to make creative films and to edit dynamic videos. I work in advertising and I do corporate videos and commercial films. But I also do personal projects from time to time – like this short film ANOMALY, which I did with Wildboar 3D Design Studio. Read More
Watch as Nick sets up his first PC in 20 years. See where he struggles, questions he has, and getting things ready to render.
Nick will give you a guided tour of his office, unboxing his new computer, and PC setup challenges. Want to know more about the gear and the tools we installed? Check the list down below.
What happens in this video?
Nick shows up to the office to open his new PC and monitor. He will show you challenges of his office space, where and how he works, unboxing all the gear and accessories, and then setting up the machine. Read More
The popular MoGraph tools in Cinema 4D earn top recognition from the Academy of Motion Picture Arts and Sciences.
The Academy of Motion Picture Arts and Sciences has announced nine scientific and technical achievements for 2019.
From the announcement, the Academy says,
“Each year, the Academy forms a diverse committee made up of nearly 60 experts on the technology of filmmaking tasked with examining the tools that artists use to create films,” said Doug Roble, chair of the Scientific and Technical Awards Committee. “This year, the committee is recognizing nine technologies from around the world. These extraordinary contributions to the science of filmmaking have elevated our art form to incredible new heights.”
Winners are not required to have been developed and introduced in 2018, but rather have demonstrated a proven record of contributing significant value to the process of making motion pictures.
We talk to motion designer James Owen about his experimental series of looping animations. See how he uses C4D, Redshift, and the new Everyday Material Collection.
All images via James Owen.
The benefit of scrolling through the Instagram accounts of the many talented C4D motion designers is the treasure trove of stunning imagery.
One of the most recent eye-catching designs that caught my attention where the series of flourishes created by James Owen.
It’s a really beautiful series of shorts, and to find out more I reached out to creator James Owen. Here’s what I learned about his Flourishing series. Read More
To create a spiritual sequel to their Academy Award® nominated short film, this trio relied on Cinema 4D, Octane, and After Effects.
In Dutch animation trio, Job, Joris & Marieke’s latest short film, A Double Life, a husband and wife spiral into a life or death confrontation when the wife suddenly opts to become a man. A complex story to tell at any length, Job Roggeveen, Joris Oprins and Marieke Blaauw manage to do it in two minutes and forty-three seconds while intentionally leaving the ending open to interpretation.
Like their Oscar-nominated short, A Single Life, about a young woman who finds a mysterious record on her doorstep that allows her to time travel, A Double Life is a thought-provoking darkly humorous tale that relies primarily on in-house sound design by Job Roggeveen and visuals created using Cinema 4D, After Effects, and Octane rather than dialogue.
Here Marieke Blaauw, Job Roggeveen and Joris Oprins—who met while studying product design at the Design Academy Eindhoven in the Netherlands—explain their latest project as well as their love of black comedy and really, really short stories Read More