Dec
29
Making of Captain Bonecrusher
Posted in: 1Future mercenary which belongs to a group of warriors where people have assimilated the cyborg technology
Dec
29
Making of Never Again
Posted in: 1Steps and creation process used in the image is shared by the artist. 3ds max and vray mainly used in this image
Dec
29
Astral “Station ID Tags” Commercial
Posted in: 1Feature the Z-Tele logo transforming into a living TV machine, as well as collapsing into the logo once more
Dec
29
Cast Vote for 2009 Calendar Wallpaper
Posted in: 1Choose the best 12 images out of 25 images you like to see in the 2009 calendar wallpaper
Dec
29
Dynamics in Maya: Part 4
Posted in: 1In this fourth part of this video series learn about baking keyframes, solvers and constraints inside Maya
Dec
29
Understanding Strokes and Alphas in ZBrush
Posted in: 1In these videos you will learn how to use strokes and alphas inside ZBrush to create things like zipper, horns
Dec
29
Production Focus: Max Payne
Posted in: 1Toronto-based Spin VFX knew from the outset that Max Payne would be a complex project
Dec
29
Making of Lexus on the Road
Posted in: 1In this making artist will explain the camera match in 3ds max, adding car in the scene and used HDRI for lighting
Dec
29
Making of the Joker
Posted in: 1Artist saw the dark knight posters and decide to try something similar but did not want the character to look like Heath Ledger
Dec
29
TaRa Rum Pum is well paced and tells the story in just the amount of time at just the right pace. 800 shots, and then some, in 60 days. 3D people filling the stadium, 3D cars racing on the track, smoke, fire and sparks. A three and a half minutes song in CGI with dancing bears, chocolate rivers and Rani and Saif in a fantasy foodworld. That was pretty much what VCL did for Ta Ra Rum Pum.
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