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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

"The Third & The Seventh" - fully CG-animated short is spookily realistic!

The focus racking was a bit excessive, I'll agree. Take a closer look though. He's hiding a lot with the shallow focus and the timing of those racks.
 
Paolo Tinari said:
He deserves to be his own boss
Click to expand...

If he has enough money for those "games" he could be his own studio boss but he already failed with it...

"Some time back, in partnership with Sergio Miruri, we had attempted to run our own company -- unfortunately, our efforts were not met with success."

Read more about it here>>>

Stephen Williams said:
He probably saw an old lens marked 13.5 cm, the point had probably worn off. About right for a standard lens for that camera.
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Alex took a lot of "instant" stock 3D models even from some free internet libraries

and he as a CG master was just plying with it using V-Ray renderer for 3DMax

that also exists the same for Maya that I will use in one of my next projects.

More about how he is doing these things you can see at some of his Vimeo movies

LINK>>>
 
The modeling really isn't that great in this. Nice design and style, I think the most impressive models are the old cameras. The surfacing is pretty good, but like I said above, lots of stock procedurals used, probably stock bitmap imagery as well. For me, what really stands out about this little film is the composition, color and lighting.

You guys should read some of the reviews of this little film over at CGchannel, SpinQuad and other CG related sites. It's a different point of view than what we have in this thread. You have people making suggestions to the artist about alternative texture choices, nitpicking some of his architectural flaws, etc.. For me, the concrete walls with perfect joints everywhere and pefectly placed and shaped tie dimples just kills all the realism in those shots. Sorry, that's the contractor and civil engineer in me coming through.

As a renderer, V-Ray is very capable and popular. But once again, it's the artist that makes the art and not the tools. Other renderers on the market like Modo, Mental Ray, even free ones like BMRT and Blender are all capable of this level of imagery or realism when in capable hands. This guy is truly an artist and I would like to see some of his other work besides CG. I bet his paintings show the same wonderful use color and light.
 
tina said:
The constant focus racking is killing me. And racking focus in grass is just too much.

Anyone with an explanation for the model-like quality and impression of some of the shots?
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The constant focus racking that's exactly what I like the most, it looks so real to me and reminds me on how I use a camera,

it's about a search for vision like a photographer does to look for and to get things in more interesting way and is far from mostly

boring use of focus from a conventional cinematographer. It's more like a documentary style of shooting.

It's a motor and a sort of dynamics that can drive that action because we do not have there an ordinary architectural presentation,

or any plot in terms of genre movie with a particular character involved in this story except if you don't count on (3D modeled and also a bit stylized)

appearance of Alex himself in some of scenes as a photographer/cinematographer and as a composer/conductor of his movie dreams.

The camera (still photo, video and film) together with its various old lenses and by the artist's himself chosen modern classic and some of postmodern architecture

samples are taking the main roles in this film that makes in terms of "Deconstruction theory" one total vision using power of moving images.

All that could be considered as a sort of CG visual poetry masterpiece with addition of an original music score(s) and some sound effects in the background.

Amazing.
 
Most people have no idea the level of patience/artistry required to do a little CG project like this one. Im sure the the scene outside with the dynamic flowing foliage and grass by itself took weeks maybe even months to render... If you know what to look for you can see some imperfections on the textures, but overall truly a masterpiece!
 
Jeff Kilgroe said:
The modeling really isn't that great in this. The surfacing is pretty good, but like I said above, lots of stock procedurals used, probably stock bitmap imagery as well. For me, what really stands out about this little film is the composition, color and lighting.
Click to expand...

Just goes to show though the importance of shading and texturing. The importance of shader development can't be overemphasized. The difference between a lot of amateur and professional work is really in the shaders. In fact some of the most amazing 3D shots I've ever seen were just 2D cards. The form is much less important than the surface imo.

Honestly if he did actually want to work at a big studio, Weta wouldn't probably be it. He would probably find a studio with a strong digimatte department more to his liking than someplace like Weta.
 
Sanjin Jukic said:
Alex took a lot of "instant" stock 3D models even from some free internet libraries and he as a CG master was just plying with it using[...]
Click to expand...

While he started with stock geometry I'm pretty sure he only used it for reference and scale.
 
The only thing a little off to me was that some of it felt like miniatures in scale. Other than that, if it's 100% computer generated, deserves an oscar

later,
Jason
 
Nit-picking aside, it's a fine piece. And it's still very early
in the game. There is no shortage of real world panoramas
being made to look like toy town miniatures by way of
post induced selective focusing. And it never ceases to amaze
me how often straight imagery is miscalled "shopped".
This was rarely an issue before the preponderance of p-shop art.
We used to, for example, take delight in such oddities as a tree
casting a double shadow across snow, or in how a forest interior
could muddle one's senses with complex and often contradictory
directions of light, and so on. Now much of this naturally occurring
phenomena is the bane of the digital image-maker.
 
nice but overDOFed
 
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