I’ve been tapped up by a few studios looking for C4D nerds, but having spent most of my life half-cut in a foreign country, I didn’t have a cogent folio of rigging work to show them.
I’m building a camera-projected set of a Tokyo street, rain, reflections, vray, realflow, vehicle rigging, the works.
Have any of you lot run into an issue when you want to control the speed of something rotating with a percent slider? All seems fine until you want to slow it down to a stop gradually. You’ll notice that the rotation goes nuts, backwards, all kinds of speeds, before finally stopping.
Hello world. I’ve gone backpacking so I’m currently available to work in Buenos Aires! Hello Argentina design studios… Looking forward to the assault of variety and colour and bombastic drumming, bye wintry London! I mock your grey raining city from afar.
I just uploaded a one-minute tutorial to my Vimeo about making Save Incremental save your project with just one zero instead of three. Yeah, it’s dull, that’s why the tute’s like 30 seconds long without the intro/outro clips.
MAYA VS. CINEMA 4D I’ve been busy – trying to elicit more technical difficulty from Cinema 4D than my current work demands, I’ve drifted over to Maya and have been modelling and doing all kinds of things, to try to understand the key differences between Maya and Cinema 4D. All in all, I think I...
Here’s my latest reel. It features work for Ministry of Sound, Plan B, British Eurosport, HSBC, you know, just little neighbourhood guys I helped out.
Here’s the tutorial I made for my Youtube channel. I’ve uploaded it to Vimeo now to embed it with no nasties, recommendations of unrelated awful videos or advertising. Feel free to comment on the video over at Youtube or use the contacts form to request a tutorial if there’s something you think I can help...
Yeah, making fake rooms and then rendering them is dull, super-dull. Some people live for it. I think that’s weird.
I know this is a little late in the game, but I only just got myself onto Cinema r15. The first thing I thought to make with the aerodynamics was floating feathers, leaves, scarves – anything that soft body dynamics alone was proving too hard to pull off.
Hey, So here’s some of my lovely subsurface scattering and depth of field dancing teeth nonsense for Cecile B. Evan’s film The Brightness. Enjoy! The Brightness, 2013, d. Cécile B. Evans, stereo 3D presentation