Gracias Gracias:  0
Página 1 de 3 123 ÚltimoÚltimo
Resultados 1 al 15 de 38

Tema: Busco información sobre Silo

  1. #1
    El druida Avatar de Kinematix
    Fecha de ingreso
    Apr 2002
    Ubicación
    En la Galia
    Mensajes
    1,480

    Busco información sobre Silo

    Más que perdido, no encontrado.

    Hace unos días, creo que no muchos (no me fijé en la fecha del post) alguien publicó el link a un tutorial sobre modelado humano, muy detallado. Creo que fue SHAZAM. El caso es que estaba en el trabajo y no me guardé el link y ahora no encuentro el post.

    Si alguien recuerda ese link, le agradecería que lo pusiese. Es un tutorial muy completo, muy detallado, sobre el modelado completo de una figura humana. Lamento no poder dar más pistas, porque no recuerdo mucho más.

    Un saludo y gracias.
    Los sabios hablan porque tienen algo que decir, los tontos lo hacen porque tienen que decir algo.

  2. #2
    Administrador Avatar de SHAZAM
    Fecha de ingreso
    Apr 2002
    Ubicación
    28.10º N 15.43º W in a blue planet.
    Mensajes
    20,761

    Busco información sobre Silo

    No se si te refieres a este, lo he puesto por aquí en los últimos meses en varias oportunidades:
    http://www.nevercenter.com/

    Esta hecho en SILO por el genial Tony Jung.

    Una captura del modelo en Messiahtudio, software que utiliza Jung para renderizar:

    Saludos modela2,
    Shazam.

    The first thing is of course to start with something. The typical choice is usually a box. Why a box? It is very simple to start with, you should always start with less and build up to your finally form, even when sketching, it is beneficial to start out with some basic shapes, like circles, square and so on to establish you figures gestures, posture, mood, action and so on.

    Busco información sobre Silo-tony_jung_tutorial_1_001.jpg

    Here I like to extrude up and back, keeping the shape relative the same between the extrude. By keeping them the same, I am establishing proportions. Generally, from the side of the head, from the bottom of the shin, to the eyes is your first box, from then the extruded face that went up is from the eye to the top of the head. Extruding back is from the start of the ear to the back of the head. If you look at the whole shape, from the side, it should look like a square with a bottom piece missing.

    Busco información sobre Silo-tony_jung_tutorial_1_002.jpg

    Here I scale out the model to a full head width, which is different than the head length that I was working with in pic 2. The head width will depend on what you are creating, but in my case the HW(head width) is about 2/3 of the HL(head length).

    Busco información sobre Silo-tony_jung_tutorial_1_003.jpg

    Once my basic sets of proportion of the head is done, I start just shaping the head with some tweaking. I also deleted half the head and instance mirror to the other side.

    Busco información sobre Silo-tony_jung_tutorial_1_004.jpg

    Here I select some edges at the bottom of the head to connect.

    Busco información sobre Silo-tony_jung_tutorial_1_006.jpg

    Here I delete the inner faces, because at this point I don't need them while I form the shape of the head. The more unnecessary elements you end up working with will save you time and keep your modeling more effecient.

    Busco información sobre Silo-tony_jung_tutorial_1_007.jpg

    Here I cut 2 edges with the connect tool and I connect the newly created vértices to start establishing some topology. Now this is important, because the sooner you get to establishing your topology, edge loops the faster and you be to forming your shape. While it is still early, you won't have alot to clean up or rework to fix your topology later down the road.

    Busco información sobre Silo-tony_jung_tutorial_1_008.jpg

    Here I tweak the vértices to form the shape.

    Busco información sobre Silo-tony_jung_tutorial_1_009.jpg Busco información sobre Silo-tony_jung_tutorial_1_010.jpg

    I add an edge on one side of the model.

    Busco información sobre Silo-tony_jung_tutorial_1_011.jpg

    More tweaking.

    Busco información sobre Silo-tony_jung_tutorial_1_012.jpg

    Once again I am establishing some topology. Here i form the edge loops for the middle of the face, which incompass the eyes, the brows, cheeks and upper no sé region.

    Busco información sobre Silo-tony_jung_tutorial_1_013.jpg

    Busco información sobre Silo-tony_jung_tutorial_1_014.jpg

    Here I bevel an edge that will be for the eye socket area.

    Busco información sobre Silo-tony_jung_tutorial_1_015.jpg

    I delete the faces in the eye área and I tweak the surrounding shape.

    Busco información sobre Silo-tony_jung_tutorial_1_016.jpg

    Once again I am creating loops for my topology. This is goes from the middle of the mouth to the forehead.

    Busco información sobre Silo-tony_jung_tutorial_1_017.jpg Busco información sobre Silo-tony_jung_tutorial_1_018.jpg

    Again, I am connecting edges and creating edge loops for more estabilshing of the topology.

    Busco información sobre Silo-tony_jung_tutorial_1_019.jpg Busco información sobre Silo-tony_jung_tutorial_1_020.jpg

    Now these are just showing varying shots of the head as we are up to til now.

    Busco información sobre Silo-tony_jung_tutorial_1_021.jpg Busco información sobre Silo-tony_jung_tutorial_1_022.jpg Busco información sobre Silo-tony_jung_tutorial_1_023.jpg

    This entire process, should only take about 5 minutes or less for some. As you can see it is a rather simple process, mostly using the connect tool. What I wanted to show here is first, building the basic proportions, and second establishing some topology and edge loops. Now, with the Topology brush and all, why even bother with topology. The reason is simple, creating the basis for your form to be build upon you need to have a solid foundation. Your topology is your foundation, if you just model without establishing the building blocks for your model, in this case your topology(edge loops) the more disadvantages you will have when your shape gets more complicated and heavy in forming the shapes you want and also requiring more added reworking.

    This is it for now. The next one will continue from here with more topology work and then to sculpting with software selection and then to retopologizing with the Topology Brush.

    Now that I have a nice simple topology laid out for the head, I want to work on the neck.

    Busco información sobre Silo-800px-tony_jung_tutorial_2_001.jpg

    I simply extrude out the neck portion and start adding some definition by creating new loops of edges and tweaking the shape.

    Busco información sobre Silo-800px-tony_jung_tutorial_2_002.jpg Busco información sobre Silo-tony_jung_tutorial_2_003.jpg

    At this point I wanted to see how my overall shape was working, so I deleted my instance mirrored geometry and I mirrored the shape and worked on some áreas like the back of the head.

    Busco información sobre Silo-tony_jung_tutorial_2_004.jpg

    I deleted half the head again and recreated an instance mirror. Also at this point I subdivided the head to level 1 and refined control mesh. The reason I went this route, was because I needed to start adding definition to the mesh. Using refine control mesh comes in handy, to give me the added definition in one shot. Another added benefit of using RCM(Refine Control Mesh) is that it gives you the actual smooth versión, which if you did it by hand, would take some time. RCM is also a great tool to use when making hard surface models, like cars. For example, once you have your nice curvy shaped car, but need to add detail, adding an edge would most likely warp your shape, and you would have to tweak it to get it back into shape, which could prove daunting and frustrating at times. RCM in this case would save your smooth shape while giving you the needed higher definition, so you could add details to your car model.

    Busco información sobre Silo-tony_jung_tutorial_2_005.jpg

    Here I tweak out the shape using software selection as well as tweaking some points.

    Busco información sobre Silo-800px-tony_jung_tutorial_2_006.jpg

    Some thoughts: I am not really following a set procedure at this point, it is more about roughing out the shape and I need enough definition in my mesh, while still keeping it simple. So, if I need to rework the topology in some spots, it won't too difficult.

    Needs more upper body, so I extrude a select path down and tweak the shape out.

    Busco información sobre Silo-800px-tony_jung_tutorial_3_001.jpg

    In this series of images, what I am doing is to work in some topology. What I have currently, only goes in 2 direction, but I need my topology also going in a 3rd direction. In these shots, you can see how I am reworking the topology to also include the muscle form that runs from the back of the jaw to the upper mid-point of the chest. Now, this isn't the fastest way to accomplish my goal, but I thought it might be beneficial to show some edge work.

    Busco información sobre Silo-471px-tony_jung_tutorial_3_002.jpg

    After I have established the reworked topology, I want to clean-up the surrounding edges to follow in the same direction as the original topology.

    Busco información sobre Silo-572px-tony_jung_tutorial_3_003.jpg

    More of the same, but you can see in the last image, that now my topology runs in the direction that I wanted.

    Busco información sobre Silo-664px-tony_jung_tutorial_3_004.jpg

    Here is another example that I wanted to demo, for a circle pole topology in a square área of your model. I create the circle pattern by connecting edges and vertices. I bevel the newly create edge loop. I like using bevel in this type of situation, because, with pole topologies you always end up needing to add more circle edges, you could extrude out or cut other surrounding edges. With bevel I get both with just the one tool. After that, I just extrude the inner edges foward and scale them in(I changed the position of the manipulator for the select)and convert the selection to vértices and use the new SMOOTH function to average out the vertices, a very helpfull tools, something you will see me use more when I do more sculpting with software selection. And finally I tweak the vértices to get my shape.

    Busco información sobre Silo-477px-tony_jung_tutorial_3_005.jpg

    Notes: I didn't need to rework the topology for the neck if I plan on using the topology brush later on, but I wanted to show some of the work that goes into creating topology, and also my thought process. Generally, at that point, when I need to add in a topology, I have to see how the topology is flowing and what changes I need to add in. I like to break things down to simple steps in my head this way. So, in one of the images, I have yellow and red arrows with what direction things were going. I try to follow the muscle in this regard as much as possible. The best way for anybody to know what to work out for topology, is for them to refer to any good artist anatomy book, I always have varies ones alround, man and animals.

    Another thing I wanted to bring up is the concept of pole topology. Some of the most used pole topology is for áreas like the eyes, mouth, ears and so on. Creating good pole topology can sometimes be tricky, if you try to create one similiar to the grid like pattern I added the mouth pole on, you might have to rework the surrounding mesh. In my case there were just a little reworking. It is generally best to get these type of topology in early or in áreas that are not too dense or complicated.

    An important issue of 5-point. 5-point occurs in your mesh when you have 5 edges converging into one vertex. 5-point can cause problems during deformation, causing unslightly creases where you don't want it. For this reason, it is a good idea to push the 5-points to área with no or less deformation.

    Another of the reason I choosed to bevel on the circle topology I created was to push any possibility of a 5-point further away as you can see on the following image:

    Busco información sobre Silo-424px-tony_jung_tutorial_3_006.jpg

    The No sé

    Busco información sobre Silo-670px-tony_jung_tutorial_4_001.jpg

    Okay, now for the no sé. I do not model the no sé until about now. The reason is because the no sé is a b*tch to model. It generally has many topology consideration that needs to work for facial animation and just so it looks good. It also demands a lot of reworking of the surrounding topology, but if you have a nice topology flow already established it will help more than hurt.

    One of the thing that makes the no sé so tricky to model is that it requires more densely packed definition in a small área and that can cause problems, especially if it produces 5-points that won't play nice with deformation.

    Now a little rundown of what I did in this series. As you can see I extrude the área of the no sé and I tweak the shape into place. I add an extra edge loop from the no sé to the mouth. This is good, because I know I could use some more edges from the brow and the mouth, and this didn't happen due to luck, but to a solid foundation I already had in place. The extra edge loop cause a bit of warping, but I selected a generous amount of vértices surrounding the newly created vértices and SMOOTH them a few times to smooth out the rough shape.

    Not much to say here, I am just forming the shape and tweaking as I go along.

    Busco información sobre Silo-656px-tony_jung_tutorial_4_002.jpg

    Here I am reworking some of the surrounding topology to work with the no sé. I am also giving the no sé more definition, since I wanted the no sé to look meaner, sort of like a broken and bulging beaten-up boxer's no sé.

    Busco información sobre Silo-762px-tony_jung_tutorial_4_003.jpg

    I got the look I want for the no sé, but I don't like the way the nostrils came out and as you can see in the last set of images, there is an undesirable crease showing due to a 5-point. I have a bit of a snarl to the facial expression, so it is easier to see what might happen during such a expression if it was being deformed that way. It is always a good idea to check out issues that might occur during deformation, with some quick deformation test. I sometimes like to start out with an expression like anger, than a neutral pose. An anger expression really works the face, using a lot of muscle edge flows to create a good expression. It is a good way to establish a solid topology for facial expression. You neutral expression, like your other expression will be morphs of this expression.

    Busco información sobre Silo-747px-tony_jung_tutorial_4_004.jpg

    I am just re-working some edge flows and getting my topology the way I want it flowing. I have a U shape edge flow going, from the brow down the underside of the no sé, and I have edge flowing in the direction of muscle reaction during a snarling or growling expression. I also redid the nostril to a more extreme, anger expression, which fits what I had in mind.

    Busco información sobre Silo-760px-tony_jung_tutorial_4_005.jpg

    There are still some 5-point áreas on the no sé mesh, but due to their placement, it is hard to notice any unsightly distortion during this extreme facial expression.

    Busco información sobre Silo-800px-tony_jung_tutorial_4_006.jpg

    Another view, but as a whole head:

    Busco información sobre Silo-316px-tony_jung_tutorial_4_007.jpg

    The Eye Region

    The technique I am doing here is something new I have recently started with. In this case I am using the topology brush to create new geometry. The topology brush is such a great tool, and it has multiple usage. it is a powerful tool, yet it remains so easy to use. My background is strongly from an illustrative side so I LOVE this tool, because I can quickly sketch in new geometry or fix certain áreas in my mesh, without being destructive to my mesh. I give props to Dave Cardwell from Weta for the idea, but my hat goes off to the Nevercenter guys for bringing to reality this great revolutionary tool, while keeping it simple for users.

    Here we go with creating the eye region:

    I start creating some edges and tweaking the shape. I then create a sphere and subdivide it 2 times. After that I RCM(refine control mesh) the sphere. The reason I do that is because I want the resulting mesh from the topology brush to match closely to a smooth spherical shape as much as possible, instead of a blocky sphere shape.

    Once I scale and move the sphere which will serve as my eyeball into place, I check and setup the proportion for the eye region. I sort of did myself a disservice by posing the no sé in an extreme expression. I need to setup my proportion for a neutral pose, so I will have to guesstimate where the nostril will be to setup my proportion.

    Once all is good with proportions, I move on to the Topology Brush Options. I leave it at its default, and I make sure the offset is set to something greater than 0, as I want the eye lid to fit the eyeball with a bit of cushion and not right smack on the eyeball.

    I multi-select the eyeball and the face, because I want to sketch new geometry based on the two surfaces. I follow the original topology lines and then I create the eyelid lines. I cross the lines for the upper and lower eyelid lines and I make sure they follow the original topology lines. I now start sketching in the other lines following once again the original topology lines. Once I have finished with the lines, I check in wireframe that my lines are good. I notice that I have a couple of mistakes, or missed lines, so I add more lines and MMB an existing line to continue its sketch to cross the outer ring. Once that is done I enter to create my eyelid mesh.

    Busco información sobre Silo-725px-tony_jung_tutorial_5_001.jpg

    I check the new mesh, instance mirror it to the other side. If I am happy with it I'll move on or I'll go back into sketch mode and fix things up. I am happy with how the mesh can out so I'll move on. Ok, now the reason I chose to match the topology for the new mesh to the original mesh was because I want to merge the two meshes together as is demo below. I do another proportion check.

    Busco información sobre Silo-800px-tony_jung_tutorial_5_002.jpg

    Okay, now to shape the eye region. Once again we are working with a pole topology, and I know right off the bat I need more definition to shape my eye, so I ring select->connect->bevel. There is some unwanted bulkiness, so I once again select a generous amount of vértices and smooth a few times to smooth out the region. Now the stuff after this is pretty much self-explanatory.

    Busco información sobre Silo-576px-tony_jung_tutorial_5_003.jpg

    Final shape and mirror to check out the mesh.

    Busco información sobre Silo-800px-tony_jung_tutorial_5_004.jpg

    More Facial Detail

    This part went by pretty quickly. I decided to give some flesh color to the character and model the cornea. I like to model the cornea, because one, I can spot if I made a mistake with the eye lids; two, to spot if I framed the eye incorrectly, sometimes you might not notice after the fact, that the your eyes come out looking cross-eyed. You can contribute this to bad framing. Three, it gives the character some "life".

    I added detail to the eyes region as you can see from the first 2 images. Then I went and reworked the chin, since it is obvious by now the type of character I am going for here is a brute-type, so a nice round chin isn't going to cut it for this type of character. I want to get a squared-in dimpled chin.

    Busco información sobre Silo-759px-tony_jung_tutorial_6_001.jpg

    Here is more of the same, but I come to a 5-point problem, with an obvious creasing problem. Now 5-point doesn't necessary mean just a 5-point, you could have more like in this situation, it is generally a term of in which such creasing problems become visible due to having more than 4 merging edges into 1 point. Here I just rework the edges and push the 5-point into a flat surface área, which will have very little or no-deformation.

    Busco información sobre Silo-758px-tony_jung_tutorial_6_002.jpg

    This series of images is pretty much self-explanatory, on how I am forming the lips.

    Busco información sobre Silo-758px-tony_jung_tutorial_6_003.jpg

    Modeled the gums and teeth to see the full effect:

    Busco información sobre Silo-638px-tony_jung_tutorial_6_004.jpg

    The Ear

    I am finishing things off with the ear.

    I start off with adding edges so I will have enough definition to form the shape of the ear. I also start things off by creating a pole-type topology for the ear. I connect and then rotate the newly-created ring.

    Busco información sobre Silo-623px-tony_jung_tutorial_7_001.jpg

    Now since I have the basis for the ear, I break it from the main mesh. I do this for 2 reason, one I will need to add more edge definition to the ear mesh to model the shape of the ear, two I don't want to rework the surrounding topology as I build the ear to compensate for the newly added edges. This would causing too much of a mess that needs cleaning up while I model. Once again, less things that I have to deal with the better. In the last image you can see that I RCM(refine control mesh) the ear mesh to get me my added definition.

    Busco información sobre Silo-763px-tony_jung_tutorial_7_002.jpg

    Here is where I really start working on the ear. Now the first thing that I do, which is consistent with what I do when modeling anything is consider the edge flow/topology in the simplest manner possible. I break down the flow into 3 flows, one the overall ear is sort of a number 9 shape. The second is a curving Y shape and the third is just a pole shape. With these 3 edge flow/topology goals in mind I start working the flows/topologies in to the ear mesh.

    Busco información sobre Silo-510px-tony_jung_tutorial_7_003.jpg

    Now in these series of images, I am reworking the edge flows, I am using edge spin a lot here, you can see how I use it in the third top image the 3 edges that are now flowing more with the number 9 edge flow I had in mind.

    Busco información sobre Silo-567px-tony_jung_tutorial_7_004.jpg Busco información sobre Silo-608px-tony_jung_tutorial_7_005.jpg Busco información sobre Silo-591px-tony_jung_tutorial_7_006.jpg Busco información sobre Silo-tony_jung_tutorial_7_007.jpg

    Once I am done with the ear I merge it back with the head mesh. I merge vértices and I add in new edges into the head mesh to deal with the extra added edges from the ear. I use smooth to smooth out some bumpy spots. It is much easier and less work to smooth out the rough spots and compensate with extra edges to match the edges in the ear. This is why I prefer to build my ears this way, I have my final ear shape, so I only need to "clean-up" and match it to the main mesh only once. If I had modeled the ear right on the main mesh, I would have had to "clean-up" while I model the ear more often that I would like, which just slows my modeling.

    Busco información sobre Silo-604px-tony_jung_tutorial_7_008.jpg Busco información sobre Silo-630px-tony_jung_tutorial_7_009.jpg

    So that is it for the head. In final thought, I would recommend taking a look at the wireframe of the head and examining the edge flow, then go back and rereading the sets of tutorial and recognizing how they came to be. If you look at the finished head and the original basic head, you will see that not much changed in terms of you established basic topology flow, the foundation. Like I stated, start simple with a solid foundation and build your way up, getting your basic topology flow established will go along way in helping you realize your modeling quickly, efficiently and less frustrating in the end.

    The Upper Body

    I like to model the upper body separately from the head. It is the way I like to work, others might like to continue on from the neck on down, but like with the ear I prefer to concentrate solely on the task at hand.

    This went by pretty quick. I look over some anatomy references I have on hand and I pretty much have an idea of how I want the upper body to look like. Big over developed pecks, big lats and back muscles, and so on.

    Most of the stuff here is pretty self-explanatory.

    Busco información sobre Silo-646px-tony_jung_tutorial_8_001.jpg Busco información sobre Silo-750px-tony_jung_tutorial_8_002.jpg Busco información sobre Silo-679px-tony_jung_tutorial_8_003.jpg Busco información sobre Silo-660px-tony_jung_tutorial_8_004.jpg Busco información sobre Silo-tony_jung_tutorial_8_005.jpg

    I was asked what type of modeling I prefer, box or poly-poly. I can't say I do one or the other exclusively. I think edge modeling is more appropriate term for the type of modeling I do, because the only time I actually work with a box is in the very beginning and after that I am really working on edges and edge flow.

    I was also asked about tweaking, and how much time I spend tweaking. I do a lot of tweaking, but it is almost always quick tweaks, if I have to spend a lot of time tweaking things into the shape, then there is something wrong with my edge flow. A good edge flow helps to form your shapes quickly and efficiently, a bad one with do the opposite and may cause you into adding more unnecessary edges and add to your headache.

    Finishing the Torso Area

    Finishing up the body portion of the character. Lower abs, some fatty obliques, and lower back.

    Busco información sobre Silo-705px-tony_jung_tutorial_9_001.jpg

    Building arm. I notice that I have 5-points directly in the fault lines where my área will deform, not wanting to risk deformation problem later on, I rework the edge flow.

    Busco información sobre Silo-698px-tony_jung_tutorial_9_002.jpg

    In here I need to add more edges, extra definition for proper smoother deformation. The shoulder-upper arm área is always tricky área of deformation, and requires a good amount of definition(edge loops) to get good deformation.

    Busco información sobre Silo-725px-tony_jung_tutorial_9_003.jpg

    I am forming the shape of the upper arm. Generally, there are 2 muscle shapes you have to be aware of. One the biggest muscle in your upper arm, the bicep which forms more towards in the direction of the body, than being in the center of the upper arm, this is something many people tend not to do properly, and the tricep which runs counter to the bicep, so it forms more away from the body than towards.

    To form the 2 muscles, I mainly redirect edges, using spin edge and reconnecting edges or creating new loops.

    Busco información sobre Silo-738px-tony_jung_tutorial_9_004.jpg

    Another área of deformation is in between your upper arm and the forearm, the elbow region. In this área, it is a standard practice to have more than enough edge loops, to get good deformation out of the área. The arm needs to flex from 0 degree up to maybe 135 degree, so the deformation is pretty extreme. As a rule of thumb you shouldn't have anything less than 5 edge loops in that surrounding elbow region if you want to deform that region properly.

    Busco información sobre Silo-800px-tony_jung_tutorial_9_005.jpg

    Another mirror check. Needs some minor fixing and tweaking, but so far so good.

    Busco información sobre Silo-796px-tony_jung_tutorial_9_006.jpg

    Right about this time I almost always do a quick deformation check. It is a good idea to do so, to spot áreas that are having deformation problems and needs further work. I catch some minor issues, but I am pretty happy how things are deforming, the shoulder bend at the right spots, shape is maintained. The pecks stretches with the shoulder and bicep, as the edges fans out, which was what I wanted.

    Busco información sobre Silo-748px-tony_jung_tutorial_9_007.jpg Busco información sobre Silo-tony_jung_tutorial_9_008.jpg

    Modeling the Hand

    I want to make a big hand for the brute, about the size of the forearm. Modeling a hand I have found over time becoming easier and easier, which is kind of funny since it was always the one thing that was difficult for me as an traditional artist, but because of 3D modeling it has helped me with sketching and drawing hands.

    I start by just form the basic shape I want for the hand. I extrude the boundary edge of the wrist and then I create some additional segments. I tweak the shape out. Once I am happy with the proportion and form I break the mesh for the hand up behind the wrist.

    Busco información sobre Silo-610px-tony_jung_tutorial_10_001.jpg

    The first thing on my mind is the topology/edge flow of the thumb. I like to model it as a pole type topology so I rework the edges to get a pole type topology. I delete the inner polys of the thumb, so I can get my clean pole topology and it saves me from having to rework the inner part at this point.

    Busco información sobre Silo-598px-tony_jung_tutorial_10_002.jpg

    Here is just some work on the área opposite the thumb on the palm side. Also in the last set of images I am reworking the edge flow to deal with the folding of that área during deformation of the hand for example a fist.

    Busco información sobre Silo-570px-tony_jung_tutorial_10_003.jpg

    A v-mirror check and more of the same. You can see now the folding área for the palm in the set of images at the end here. I also start building the thumb. I extrude the edge, convert the STILL highlighted edge to vértices and hit P for create polygon.

    Busco información sobre Silo-581px-tony_jung_tutorial_10_004.jpg

    I started out making a pole for the thumb, but at the end I like to revert back into a grid pattern. The reason is because, of the pinching and crease that would be created if I end the pole right onto 1 vertex, which is NOT what we want, but a grid would give me a smoother surface. I add in more segments to the thumb and I tweak the form to shape the thumb.
    Busco información sobre Silo-581px-tony_jung_tutorial_10_005.jpg

    Making the nail of the thumb, pretty much what you see in the images.

    Busco información sobre Silo-581px-tony_jung_tutorial_10_006.jpg

    I like to start off with the middle finger. Extrude out 2 ploys and create more segments and tweak shape. Pretty easy and straight forward.

    Busco información sobre Silo-581px-tony_jung_tutorial_10_007.jpg

    I copy the finished finger and then paste move, scale and rotate into place for the index finger. I merge object the 2 mesh and then begin to weld the vertices. If I have a stranded vertex that doesn't match up I just cut an edge and weld the stranded vertex, to be fixed later. I also make some changes to the mesh surrounding the área between the finger, because of the creasing from a 5-point that will occur during deformation. I push it back to an área of less deformation. I repeat the process for the other fingers.

    Busco información sobre Silo-581px-tony_jung_tutorial_10_008.jpg

    Here I am cleaning up the 5-sided polys and work them into the mesh.

    Busco información sobre Silo-499px-tony_jung_tutorial_10_009.jpg

    I merge the hand back onto the main mesh and since the vértices match up with the arm, not much work attaching. Another mirror check. It doesn't look quite right, the hands are fine, but I need to bulk up the forearm, bicep and shoulder muscles to match the big hands.

    Busco información sobre Silo-786px-tony_jung_tutorial_10_0010.jpg

    Lower Body and Legs

    The lower body is pretty easy and quick to build. There really isn't many complex shapes, its actually simple when you break it down. Formulating the muscle shapes for the lower body and legs are really about edge flow redirection, by connecting, creating or spinning edges. The trick lies in knowing how to tweak the shapes out from the edge flow. For this you really need to have a trained eye as well as refer to good anatomy material. With experience, you will be able to spot how you want your edge to flow and how to tweak the shape, there is no magic here, you need to apply information you gathered and model what you have analyzed.

    Let's begin!

    The first thing I need to do is a proportion check. I have a stylistic character, but I still want to maintain correct proportions. The little things like bad proportion could kill the believability of a character, even one that isn't really real. The brute in this case follows the 8-head Length proportion guideline. From the top of the head down to the groin is 4 heads and half of a full body length. I select the boundary edges and extrude down for my groin-lower body region. I select a generous amount of polys and break from the main mesh. Now you don't have to do that, but like usual I prefer to concentrate on the área I am modeling also the upper body doesn't obstruct my view while I am modeling the lower body. I select 4 vértices from the butt region and the groin region and create polygon and repeat again.

    Busco información sobre Silo-765px-tony_jung_tutorial_11_001.jpg

    Now I tweak the shape and I get my groin shape. At this point I want to change the topology surrounding what will be the legs to a pole topology. It will also help me form the glut/butt shape. Simple redirection is all I need, by using spin edge and adding in more edge segments so I have enough to shape the leg later on.

    Busco información sobre Silo-770px-tony_jung_tutorial_11_002.jpg

    More edge redirection by adding a edge which creates a tri and another edge which fans out. I split the tri into a quad, I split the edges right in the lower groin área so I can form a slightly define groin shape.

    Busco información sobre Silo-753px-tony_jung_tutorial_11_003.jpg

    With an extruded LOOP I start forming the shape of the gluts. I do another check against the main mesh. So far so good, I extrude another loop down to the ankle. I make another proportion check. I don't go all the way down to fill up the 1/2 body length guide, I leave enough room for the foot. I add some extra segments in the leg, and I use software selection tweaking to form the a rough shape of the leg.

    Busco información sobre Silo-743px-tony_jung_tutorial_11_004.jpg

    There are 2 quad leg muscles to deal with. I tackle the inner muscle first, since it will be the hardest to form out of all the other muscles on the leg. This sets of images is really about edge flow redirection, spin edges, connect, split and cleaning up any extra edges.

    Busco información sobre Silo-716px-tony_jung_tutorial_11_005.jpg

    More of the same inner leg muscle. In the end it comes out prefect for the shape, but required some edge flow work to get to that final point. Tweaking the shape as I go and I use Smooth as I tweak.

    Busco información sobre Silo-684px-tony_jung_tutorial_11_006.jpg

    I noticed that the outer quad muscle is a little too thin and needs to be bulked up, so I just rework the edges to extend the bulky shape. I also notice that I have too many extra edges that serves no purpose. Now to get rid of such extra edge, I use spin edge to redirect edges and delete the 2 extra segments of edges from the leg. Some vértices clean-up and smooth to finish up. The muscle behind the leg the hamstrings is another easy shape to form, once again just simple redirection using spin edge and then I connect up the resulting tris and tweak the shape also using smooth.

    Busco información sobre Silo-671px-tony_jung_tutorial_11_007.jpg

    I add another segment in the middle of the upper leg, because I know I don't have enough edges to get good deformation, so I SELECT RING and CONNECT to create the segment and SMOOTH to smooth out the shape. I go back to the back of the legs, this time I want to work on the calves. Once again simple redirection using spin edge and tweak.

    Busco información sobre Silo-664px-tony_jung_tutorial_11_008.jpg

    I mirror the lower body, merge back to the main mesh and merge vertices.

    Busco información sobre Silo-550px-tony_jung_tutorial_11_009.jpg

    Some thoughts:

    A lot of times you don't need to create a whole segment of edges. Simple redirection is sometimes all that is required. Think things through first, ask yourself if the segment of edges will serve a purpose to the resulting mesh, and see if some redirection would work better.

    If you look at the final wires, you can see that every edge has a purpose. I even had to delete some segments of edges. Keep your mesh efficient and clean, it benefits rendering and deformation.

    I used to model the área between the butt and the leg heavier in the past. I have learned since then due to rigging, that it doesn't have to be heavy. It actually hurts rigging proper deformation when it is so densely packed. The key is to have enough, but not too much.

    I have recently mapped Spin Edge to the mouse Scroll Wheel Up. Since I use it quite a bit I wanted to key it better. For some reason mapping it to the Scroll Wheel makes it feel nature and quick to use. I also been discovering how effective SMOOTH works while spinning an edge and tweaking. I have mapped it to the Scroll Wheel Down. Smooth saves me more time while tweaking, but I need to smooth a few times at least to get the desired result, so what would be more nature than scrolling the repeating action in a more nature manner.

    Next and last part will be building the foot.

    The Foot

    The foot is a tricky thing. The construction isn't all that hard, but making it work and be believable is. The foot needs to have a sense of weight, stability and strength. But if you plan on deforming the foot, you need to also set it up properly with toes spaced far enough so the weighting of each toe isn't too problematic, as well as not modeling the foot looking like it has too much weight on it. It is really a balancing act, something a modeler needs to envision how the foot will eventually need to look like, while modeling it in a very unnatural neutral pose.

    Like usual I like to BREAK off an área of the mesh to form newer pieces. I select up to an área that won't be changing so I also have a guideline to follow with regard to proportions and shape.

    Busco información sobre Silo-628px-tony_jung_tutorial_12_001.jpg

    I quickly build the heel and the instep of the foot. I refer back to my main mesh to see if the foot is going in the right direction of shape and proportion. I'm going for a really big-ass foot, so so far so good. Some redirection of edges to define the inner ankle of the leg.

    Busco información sobre Silo-628px-tony_jung_tutorial_12_002.jpg

    I fill in the bottom of the foot by selecting vértices and creating a polygon. Also I am reworking the shape for the heel in a rounding topology.

    Busco información sobre Silo-628px-tony_jung_tutorial_12_003.jpg

    Forming the área for the big toe, with some redirection of edges using spin edge.

    Busco información sobre Silo-628px-tony_jung_tutorial_12_004.jpg
    Here I start to model the big toe. Like with the hand I create some polygons usually 2 to extrude.

    Busco información sobre Silo-685px-tony_jung_tutorial_12_005.jpg

    Busco información sobre Silo-685px-tony_jung_tutorial_12_006.jpg

    Busco información sobre Silo-685px-tony_jung_tutorial_12_006b.jpg

    Once I build one toe, I copy the mesh to use for my other toes. Since the other remaining toes are different from the big toe, I have sculpt the shape. Once I make my changes to the other toe I merge it back to the foot mesh and make the appropriate additional of edges and modifications to match the edges and keeping the results in quads.

    Busco información sobre Silo-685px-tony_jung_tutorial_12_008.jpg
    I repeat the process by copying the second toe and making rotation changes and some tweaks. I have to keep the toe loose and not too curled up, a neutral like pose for rigging. I merge back, merge vertices, adding additional edges to the foot and so on.

    Busco información sobre Silo-685px-tony_jung_tutorial_12_008.jpg Busco información sobre Silo-800px-tony_jung_tutorial_12_009.jpg

    I merge the foot back to the main mesh and I make some changes. For one the toes are way too thin, so I bulk them up by scaling and some software tweaks, but I still make sure I keep the toes farther apart as needed for rigging and maintaining their neutral pose.

    Busco información sobre Silo-569px-tony_jung_tutorial_12_0010.jpg

    So that is it for the bad-ass brute, well he's not really BAD, he's just modeled that way.

    There will be some minor changes to the body mesh, stuff I will spot during the rigging phase. Once the rigging is done I will be moving on to adding detail to the character with Zbrush to really make the character pop and texture mapping. Adding clothing and accessories. And finally to posing, staging and rendering.

    Text and Images Copyright © 2004 Tony Jung.
    Miniaturas adjuntadas Miniaturas adjuntadas Busco información sobre Silo-image_wire_163.jpg  
    Obtén enseñanza tradicional en arte y cine. Los ordenadores solo son herramientas. Ellos no pueden tomar decisiones creativas, y solo pueden crear trabajos tan buenos como tus conocimientos y tu experiencia les permita.
    Victor Navone


    Ser "animador" es un regalo que te ganas y un honor que deben adjudicarte los otros.
    Chuck Jones


    La tecnología no hace las películas, la gente las hace. No eres un animador sólo porque puedas mover un objeto del punto A al punto B. Eres alguien quien le da vida a un personaje, que es algo que el software y la tecnología no puede dar.
    John Lasseter

  3. #3
    El druida Avatar de Kinematix
    Fecha de ingreso
    Apr 2002
    Ubicación
    En la Galia
    Mensajes
    1,480

    Busco información sobre Silo

    Mil gracias SHAZAM, ese era

    Me sonaba el enlace a nevercenter, pero vi un par de enlaces a esa página que no se referían al tutorial, y desestimé la página... Mal hecho por mi parte.

    Un saludo y gracias de nuevo
    Los sabios hablan porque tienen algo que decir, los tontos lo hacen porque tienen que decir algo.

  4. #4
    Administrador Avatar de SHAZAM
    Fecha de ingreso
    Apr 2002
    Ubicación
    28.10º N 15.43º W in a blue planet.
    Mensajes
    20,761

    Busco información sobre Silo

    Por nada hombre, lo que más me gusta del tutorial es la depurada técnica de Jung para evitar triángulos, muy recomendable para modelos destinados a animación.

    Un saludo,
    Shazam.
    Obtén enseñanza tradicional en arte y cine. Los ordenadores solo son herramientas. Ellos no pueden tomar decisiones creativas, y solo pueden crear trabajos tan buenos como tus conocimientos y tu experiencia les permita.
    Victor Navone


    Ser "animador" es un regalo que te ganas y un honor que deben adjudicarte los otros.
    Chuck Jones


    La tecnología no hace las películas, la gente las hace. No eres un animador sólo porque puedas mover un objeto del punto A al punto B. Eres alguien quien le da vida a un personaje, que es algo que el software y la tecnología no puede dar.
    John Lasseter

  5. #5
    El druida Avatar de Kinematix
    Fecha de ingreso
    Apr 2002
    Ubicación
    En la Galia
    Mensajes
    1,480

    Busco información sobre Silo

    Cita Iniciado por SHAZAM
    Por nada hombre, lo que más me gusta del tutorial es la depurada técnica de Jung para evitar triángulos, muy recomendable para modelos destinados a animación.
    Pues sí. Recuerdo las primeras veces que intenté modelar algo siguiendo la misma técnica (a partir de un cubo)... me volvía loco cada vez que movía vértices y los triángulos se marcaban.

    En fin, a ver si ahora que tengo algo más de tiempo vuelvo a darle caña al modelado orgánico, que lo tengo muy olvidado

    Saludos y gracias a los dos
    Los sabios hablan porque tienen algo que decir, los tontos lo hacen porque tienen que decir algo.

  6. #6
    Administrador Avatar de SHAZAM
    Fecha de ingreso
    Apr 2002
    Ubicación
    28.10º N 15.43º W in a blue planet.
    Mensajes
    20,761

    Busco información sobre Silo

    Ten cuidado si te bajas la demo de SILO o la versión de aprendizaje, podrías engancharte con el "programa" (es un programazo).
    Obtén enseñanza tradicional en arte y cine. Los ordenadores solo son herramientas. Ellos no pueden tomar decisiones creativas, y solo pueden crear trabajos tan buenos como tus conocimientos y tu experiencia les permita.
    Victor Navone


    Ser "animador" es un regalo que te ganas y un honor que deben adjudicarte los otros.
    Chuck Jones


    La tecnología no hace las películas, la gente las hace. No eres un animador sólo porque puedas mover un objeto del punto A al punto B. Eres alguien quien le da vida a un personaje, que es algo que el software y la tecnología no puede dar.
    John Lasseter

  7. #7
    El druida Avatar de Kinematix
    Fecha de ingreso
    Apr 2002
    Ubicación
    En la Galia
    Mensajes
    1,480

    Busco información sobre Silo

    Pues tenía pensado hacerlo con el Max, pero me ha entrado el gusanillo y me he descargado la demo...

    Todavía no la he instalado, lo haré mañana, pero, doctor, ¿podría causarme adicción?

    La verdad es que por 109 dólares... es muy tentador. Claro que con mi falta de tiempo, seguramente pasaría a la lista de programas comprados para "no usar"

    Bueno, mañana lo pruebo y os cuento, ahora tengo que acabar un par de cosas.

    Saludos
    Los sabios hablan porque tienen algo que decir, los tontos lo hacen porque tienen que decir algo.

  8. #8
    Administrador Avatar de SHAZAM
    Fecha de ingreso
    Apr 2002
    Ubicación
    28.10º N 15.43º W in a blue planet.
    Mensajes
    20,761

    Busco información sobre Silo

    Cita Iniciado por TheEyE
    ... pero, doctor, ¿podría causarme adicción? ...
    En serio que si

    Unos tips para que lo pilles más rapido:

    Silo Quik Start Guide
    This guide assumes you are using the basic setup that Silo comes with when it is first installed. You can customize the mouse and keyboard shortcuts completely, not to mention all of the interface buttons, so don't regard this as the way Silo always works. You can make it work almost any way you want. In particular, we recommend that you try the alternate mouse setup built-in to Silo (Options > Mouse Setup) to get an idea of what a difference different setups can make.

    View controls
    - Hold Alt + Left Mouse Button (LMB) to rotate the view. Rotation will occur around the manipulator.
    - Hold Alt + Middle Mouse Button (MMB) to pan the view.
    - Hold Alt + RMB to zoom the view, or use the scroll wheel or Alt + LMB + MMB.
    - Hold Ctrl + Alt and scroll the mousewheel to cycle shading modes. (Or use the default hotkey, 0 on the number pad.)

    Selection
    - Use LMB for visible selection (only the foremost components) or MMB for thru selection (all components behind the mouse).
    - You can select an individual component (object, face, texture, edge, or vertex) by clicking on it with the left or middle mouse buttons. This will not preserve the previous selection unless modifier buttons are being held.
    - Clik and drag to perform an área select. This will not preserve the previous selection unless modifier buttons are being held.
    - Hold Shift while selecting to add components to the current selection.
    - Hold Alt+Shift while selecting to remove components from the current selection.
    - Hold Ctrl+Shift while selecting to toggle components between selected and deselected. In Silo, objects which are selected while in object mode will be the only objects editable in texture, face, vertex, and edge modes.
    - Hold Ctrl to Tweak. With nothing already selected, Tweaque allows you to clik on, temporarily select, and edit an object by dragging. When you let go, the object will be deselected, allowing you to select something else. If something is already selected, Tweaque will allow you to quickly edit the current selection. The type of editing (move, rotate, scale) depends on the current manipulator.

    Default selection mode hotkeys:
    a - Vertex selection mode
    s - Edge selection mode
    d - Face selection mode
    f - Object selection mode
    g - Texture selection mode

    Manipulators
    - Move - drag handles to move in indicated direction. Hold Ctrl to move in the plane of the screen.
    - Scale - drag handles to scale in indicated direction. The center handle scales in all directions. Hold Ctrl to scale in the plane of the screen.
    - Rotate - drag handles to rotate in indicated direction. Hold Ctrl to rotate in the plane of the screen.
    - Universal - handle shapes indicate function. Drag to rotate, scale, or move. Hold Ctrl to move in the plane of the screen.
    - No Manipulator - Hold Ctrl to move in the plane of the screen.

    Default manipulator hotkeys:
    que - Universal manipulator
    w - Move manipulator
    e - Scale manipulator
    r - Rotate manipulator
    t - No manipulator

    Subdivision
    - Subdivide - creates a smoothed versión of an object underlying the original object. Edits applied to the original polygon mesh will affect the subdivided shape. This operation can be performed múltiple times to create a smoother underlying shape.
    - Unsubdivide - If an object has been subdivided, this undoes one level of subdivisión. Can be performed until there is no underlying subdivided shape.
    - Refine Control Mesh - deletes the polygonal control mesh and makes the underlying subdivided shape directly editable.
    - Crease Edges - Makes the subdivided shape more closely conform to the control mesh along the creased edges.
    - Uncrease Edges - Removes creases (if applied) from the selected edges.

    Default subdivisión hotkeys:
    c - Subdivide
    v - Unsubdivide
    Shift+c - Refine Control Mesh

    __________________________________________________ ___

    Si lo compras es porque te gusta y si te gusta te aseguro que lo utilizaras
    Obtén enseñanza tradicional en arte y cine. Los ordenadores solo son herramientas. Ellos no pueden tomar decisiones creativas, y solo pueden crear trabajos tan buenos como tus conocimientos y tu experiencia les permita.
    Victor Navone


    Ser "animador" es un regalo que te ganas y un honor que deben adjudicarte los otros.
    Chuck Jones


    La tecnología no hace las películas, la gente las hace. No eres un animador sólo porque puedas mover un objeto del punto A al punto B. Eres alguien quien le da vida a un personaje, que es algo que el software y la tecnología no puede dar.
    John Lasseter

  9. #9
    Tresmiltornillero Avatar de Leander
    Fecha de ingreso
    Oct 2004
    Ubicación
    Zaragoza (ESPAÑA)
    Mensajes
    10,969

    Busco información sobre Silo

    Casi se me va la mano con el "buy now"

    To purchache or not purchache, that´s the question.



    EDITADO:

    ¿PERO QUE ES ESTO DIOS MIO? WAAAAAAAAOOOOOO!!

    Manipulators buttons para bajar...

    ¡Para mi es la nueva generación de UI en cuanto a modelado se refiere!
    No hay hotboxs ni hotkeys que lo valga!
    Archivos adjuntados Archivos adjuntados

  10. #10
    Administrador Avatar de SHAZAM
    Fecha de ingreso
    Apr 2002
    Ubicación
    28.10º N 15.43º W in a blue planet.
    Mensajes
    20,761

    Busco información sobre Silo

    Como he leído por ahí. imagínate un estudio con 20 asientos Maya, de los cuales 10 son solo para modelar. Te ahorras un pastón y además vas a modelar más a gusto que con nada. Hace un buen tiempo me puse con la Learning versión y aun tengo esa misma sensación "pulsar buy now".

    Vale la pena por lo menos conocerlo
    Obtén enseñanza tradicional en arte y cine. Los ordenadores solo son herramientas. Ellos no pueden tomar decisiones creativas, y solo pueden crear trabajos tan buenos como tus conocimientos y tu experiencia les permita.
    Victor Navone


    Ser "animador" es un regalo que te ganas y un honor que deben adjudicarte los otros.
    Chuck Jones


    La tecnología no hace las películas, la gente las hace. No eres un animador sólo porque puedas mover un objeto del punto A al punto B. Eres alguien quien le da vida a un personaje, que es algo que el software y la tecnología no puede dar.
    John Lasseter

  11. #11
    Tresmiltornillero Avatar de Leander
    Fecha de ingreso
    Oct 2004
    Ubicación
    Zaragoza (ESPAÑA)
    Mensajes
    10,969

    Busco información sobre Silo

    ¿Y el messiah que tal va?

    ¿Es comparable al mental ray? ¿Es más rápido?

    Imagínate este trío:

    silo+messiah+zbrush

    Ya tienes TODO por 600 € poco más.

  12. #12
    El druida Avatar de Kinematix
    Fecha de ingreso
    Apr 2002
    Ubicación
    En la Galia
    Mensajes
    1,480

    Busco información sobre Silo

    Madre mía, maldito el momento. Ayer acabé un programa que tenía pendiente, sobre la 1.30, y pensé vaya, ahora que estoy algo despejado, instalo el SILO, y así mañana cuando llegue le puedo echar un vistazo rápido...
    Luego, sobre las 5 de la mañana pensé mierda, tengo que dejar esto, que entro a trabajar a las 8.30 y no son horas de estar modelando...

    Como diría Manquiña "Tú tenías mucha raaasoon, noo te hiiiissse caso"

    No solo crea adicción, si no que es impresionante. Me falta probarlo un poco más a fondo, pero creo que lo tengo claro, para el próximo mes, es una compra fija en mi lista de software. Su único problema grave es el motor de render, pero para eso tengo el Max.

    Es increíble la velocidad que se consigue modelando. Me he hecho la cabeza del tutorial en solo 15 minutos, cuando hace años que no practico ese tipo de modelado.

    Lo único que echo de menos es un sistema de control de unidades, porque no lo he visto (aunque tampoco se puede decir que haya buscado mucho...).

    Pero bueno, tenías razón

    Cita Iniciado por SHAZAM
    Si lo compras es porque te gusta y si te gusta te aseguro que lo utilizaras
    Gracias por los tips, aunque me los aprendí esta noche probándolo, jeje.

    En fin... me quedan 17 días de evaluación, y 5 para comprarlo, jajaja. Ya os contaré que tal.

    Un saludo y gracias por todo chicos
    Los sabios hablan porque tienen algo que decir, los tontos lo hacen porque tienen que decir algo.

  13. #13
    Tresmiltornillero Avatar de Leander
    Fecha de ingreso
    Oct 2004
    Ubicación
    Zaragoza (ESPAÑA)
    Mensajes
    10,969

    Busco información sobre Silo

    Impresionante avatar SHAZAM, ya era hora!!

  14. #14
    Administrador Avatar de SHAZAM
    Fecha de ingreso
    Apr 2002
    Ubicación
    28.10º N 15.43º W in a blue planet.
    Mensajes
    20,761

    Busco información sobre Silo

    ¿Y el messiah que tal va? ¿Es comparable al mental ray? ¿Es más rápido? Imagínate este trió: silo+messiah+zbrush. Ya tienes TODO por 600 € poco más.
    El Messiah Studio tiene en su motor de render un Frankestein de Arnold o algo así. Si no recuerdo mal Marcos Fajardo hizo algo con ellos, que me disculpe Marcos si me equivoco. De esos tres me falta probar el Messiah Render, el modulo Messiah Animate lo he probado porque hay demo pero no se si el M tiene alguna versión de pruebas. La galería y lo que enseñan en CGTalk tiene excelente pinta. Ya informaré si puedo probarlo. Sus usuarios dicen que es rápido.

    Por CGTalk, como sugerí antes, suelen pasarse varios monstruos que utilizan esa combinación explosiva.

    Gracias por los tips, aunque me los aprendí esta noche probándolo, jeje.

    En fin... me quedan 17 días de evaluación, y 5 para comprarlo, jajaja. Ya os contaré que tal.

    Un saludo y gracias por todo chicos
    TheEye, me imaginé que te iba a gustar

    Impresionante avatar SHAZAM, ya era hora!!
    Un gif chapuza, pero impresionante por la caricatura de A78, por eso lo he renovado, el foro es original hasta en ese sentido gracias a este artista de lujo que tenemos
    Obtén enseñanza tradicional en arte y cine. Los ordenadores solo son herramientas. Ellos no pueden tomar decisiones creativas, y solo pueden crear trabajos tan buenos como tus conocimientos y tu experiencia les permita.
    Victor Navone


    Ser "animador" es un regalo que te ganas y un honor que deben adjudicarte los otros.
    Chuck Jones


    La tecnología no hace las películas, la gente las hace. No eres un animador sólo porque puedas mover un objeto del punto A al punto B. Eres alguien quien le da vida a un personaje, que es algo que el software y la tecnología no puede dar.
    John Lasseter

  15. #15
    Maestro -YeDaY- Avatar de -YeraY-
    Fecha de ingreso
    Apr 2004
    Ubicación
    Islas Canarias
    Mensajes
    2,691

    Busco información sobre Silo

    bajando Silo demo vamos paya.

Página 1 de 3 123 ÚltimoÚltimo

Temas similares

  1. 3ds Max Busco informacion sobre cursos de iluminaciony texturizado
    Por clst en el foro Educacion 3D, escuelas y universidades
    Respuestas: 2
    Último mensaje: 20-12-2013, 16:30
  2. Busco informacion sobre este reloj
    Por dancowi en el foro Quien eres tu - Aqui puedes presentarte
    Respuestas: 0
    Último mensaje: 19-07-2011, 22:46
  3. Busco informacion sobre ayudas y becas en Madrid
    Por sorone en el foro Educacion 3D, escuelas y universidades
    Respuestas: 1
    Último mensaje: 10-04-2010, 09:14
  4. Busco información sobre Revit
    Por Frito en el foro Diseño Gráfico y CAD
    Respuestas: 13
    Último mensaje: 02-06-2009, 22:05
  5. Busco informacion del MapZone
    Por PAULA en el foro Materiales y Texturizado
    Respuestas: 6
    Último mensaje: 25-01-2008, 13:00

Actualmente estos son sus permisos de publicación en el foro.

  • -No puedes crear nuevos temas al no estar registrado o no haber iniciado sesión en el foro.
  • -No puedes responder temas al no estar registrado o no haber iniciado sesión en el foro.
  • -No puedes subir archivos adjuntos al no estar registrado o no haber iniciado sesión en el foro.
  • -No puedes editar tus mensajes al no estar registrado o no haber iniciado sesión en el foro.
  •