VOLUME 2, ISSUE 2 FEBRUARY 2007

CGArena
Get Attention in Computer Graphics Community

GALLERY INTERVIEW
Showcase of latest 3d inspiring art John Kearney
PHOTOSHOP 3DSMAX
Getting the most out of your RAM The Age of Numeron
AFTER EFFECTS Punishment
Fire in the Eyes 3D Challenge
 contents

05 Interview 12 3d Challenge
John Kearney Punishment

16 Photoshop 20 After Effects

Getting the most out Fire in the Eyes
of your RAM

25 3ds Max 33 Gallery

Making of the Age of Showcase of latest 3d art
Numeron

Magazine Designed & Edited: Ashish Rastogi

Magazine Cover Image: Ivan Ulicny
Challenge Sponsors: Wacom, Realviz, Duber Studio, 3d.sk, Environment-textures.com,
ambientLight, Hyperfocal Design and Its Art Magazine

Page  Issue 2 Feb 2007

 industry news

Now Dhoom 2 Videogame Toy Story 3 for 2009

FXLabs Studios, a leading provider of game develop-
ment and outsourcing services, announced that it has
signed an exclusive agreement with Yashraj Film Studios
to develop a PC game based on the popular action thrill-
er Dhoom 2. An industry first for Bollywood, this game
will boast of international “AAA” production quality, and
will set the standards for all Indian-Cinema based games
in the future.
Under the working title “Dhoom 2”, FXLabs has begun
development of the game and expect to complete it by
the end of 2007. This game will reach out to all audiences
who are avid Dhoom 2 fans as it is the natural extension
of the sequel in the virtual screen.
The game will feature likeness of characters from Dhoom
2, including Mr. A (Aryan) Jai, Sunehri, Ali and Shonali
and many more. Each character will be faithfully recre-
ated in full 3D and will be brought to life by the FXLabs
team of talented programmers, artists, and animators.
source: www.cgarena.com
Disney has announced that Pixar will
release Toy Story 3 in 2009. And the
Oscar nominated screenwriter behind
Little Miss Sunshine is hard at work
on the story. But Toy Story and Pixar
mastermind and all-around animation
god John Lasseter won’t be directing.
Lasseter and Disney Animation president
Ed Catmull revealed the news at investor conference.
Lee Unkrich, who has been co-director on Toy Story 2,
Monsters Inc, and Finding Nemo, will step up to helm
the third film in the series. Lasseter is probably too busy
in his new post as chief creative officer of Disney Anima-
tion to work on the latest effort.
Michael Arndt, the Academy Award nominated scribe
of Little Miss Sunshine, is working on the screenplay.
source: www.slashfilm.com

Buzzword of the Month

Deep Focus - Deep focus is a photographic and cinemato-
graphic technique incorporating a large depth-of-field. Depth-
of-field is the front-to-back range of focus in an image — that
is, how much of it appears sharp and clear.

In simple words, Deep focus involves the expansion of a camera’s

depth of field, so that objects in the extreme foreground and dis-
tant background appear equally sharp. The ability to achieve deep
focus did not occur until new film stock, lighting equipment,
camera lens and camera lens coatings become available in the
late 1930s. The opposite of deep focus is shallow focus, in which
only one plane of the image is in focus.

Page  Issue 2 Feb 2007

 www.cgarena.com
CGArena brings you latest news and happenings 24 hours a day.

Plus, join in our interactive forums to showcase your work, and get
attention in the computer graphics community Email: contact@cgarena.com
 interview

AN INTERVIEW WITH
John Kearney
Q. Hi could you tell us a bit about yourself and your background in CG and are
you self taught or taken some training?

I’m a 28 year old English artist with over 10 years experience, most of which have
been as a 3D artist in the games industry. I’m self-taught for the most part, I en-
tered the industry at the age of 18 and it was the perfect baptism of fire. I learnt
all about deadlines and pressure early on, and I feel the experience benefited me
greatly.

Q. 3D or 2D which you like the most and there are very few artists which are
good in 3D and 2D both, what is the
secret behind this?

Ah, this is tough, if you had to push

me I would probably take 2D - just
about. The main reason for this is because there are fewer technical limi-
tations. With 3D, you find that 5 years down the line, your previous 3D
work tends to look a little dated, and the main reason for that is because
of new technological advancements. Take skin and hair as an example
(especially hair), you’re pretty much constrained by your software and
hardware. With a 2D painting I’m able to just paint those elements how-
ever I like with absolutely no technical fuss or trickery, the final result is
timeless. Although, I must admit, part of the charm with 3D is trying to
get the best out of your software within the imposed limitations.

Q. So, you are a freelancer, can we know what the reason of leaving the
seven years games industry experience and working freelance? How
much happy you are with your decision?

Sure, I felt the time was right to move on and explore new things. It was a
chance for me to spread my wings, move away from 3D and push my 2D
ability onward. I have always enjoyed painting, but I never had the chance
in a professional capacity, I was too busy being asked to model and tex-
ture all sorts of things. In fact, I don’t think any of my former colleagues

Page  Issue 2 Feb 2007

 interview

AN INTERVIEW WITH
John Kearney
realised I could paint. I have been very happy with my decision. It’s been a successful year for me and I’ve managed to
do a lot, with the pinnacle probably being the privilege of painting the special edition covers for Future Publishing’s
ImagineFX magazine.

Q. Tell something about your next-gen games development studio and what will be special in this studio compari-
son to others if you like to disclose?

This is a great question! I can’t mention too much for obvious reasons, but I can say that I would not contemplate the
idea of setting up a new dev studio unless I had a lot of confidence in the people around me. Luckily, I’m excited to say
that I will be working with the most talented of my former colleagues and for that reason more than any other I believe
we will be able to compete at the highest possible level.

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 interview

AN INTERVIEW WITH
John Kearney

Q. Your current work “The Fallen” is

very unique. Where do you find the
inspiration?

Thank you, The Fallen wasn’t planned,

it just happened. I sat down one day,
decided to sketch something and hit
on a nice character pose with a decent
combination of colours. I chose to take
it further and gradually refined it over
a period of months, doing an hour or
two here and there. Things tend to
evolve.

Q. What difficulties have you en-

countered while working with “The
Fallen” image and how you overcome
those obstacles? Please show some
WIP images if possible?

I know it sounds bizarre but I didn’t

really hit any obstacles with it, one of
the few paintings where I haven’t! The
only issue was one of time, I always try
and paint everything if I’m working
on a 2D piece, this means I avoid us-
ing textures/photographs and the like.
With that in mind, it’s an incredibly
time consuming process when the res-
olution you’re painting at is over 3500
x 5000 pixels. It seemed to go on for-
ever and ever!

Page  Issue 2 Feb 2007

 interview

AN INTERVIEW WITH
John Kearney
Q. What is your favorite canvas color when starting a painting?

I always begin with a warm/cool grey, the warm or cool sets the mood immediately. I more often than not work from
dark to light, so I start with shadows, using them to help me find an exciting composition. I work as loosely as possible
during the initial stages, making sure that the fundamental elements feel right. After that, I begin adding highlights and
form to surfaces. From then on it’s all about how much I wish to refine it, and that varies greatly depending on personal
preference and the subject matter.

Q. Which is better Adobe Photoshop or Corel Painter and why?

Haha, you’re not going to nail me down here, I love them both! They are completely different though. I find painter
is more expressive, and Photoshop a little tighter for details and effects. Painter has lovely colour blending and I wish
Photoshop was similar in that respect. However, I find Painter frustrating if my job requires very tight detailing. The
result is that I use them both depending on the task at hand.

Q. Anything you like to add? It is your chance now to state your opinion about anything.

Page  Issue 2 Feb 2007

 interview

Page  Issue 2 Feb 2007

 interview

AN INTERVIEW WITH
John Kearney
Q. Would you like to give any 5 tips to the Photoshop users which like to create artwork like yours?

I shall try! Although, I hate preaching because ev-

eryone is different. Anyway, here goes:

• 1. Learn your software as well as you pos-

sibly can so that the painting experience is second
nature. When I’m painting in Photoshop I never
once have to think about what I’m doing and that’s
important when you need to remain focused on the
subject matter.

• 2. Paint as much as you possibly can, practise

makes perfect.

• 3. Don’t be lazy. Try and take pride in paint-

ing even the most seemingly boring of subject mat-
ters. There’s something to be learnt from every single
painting that you do, and regardless of the outcome,
there’s value in the process. It’s easy to slap a texture
on something, but what do you really learn from do-
ing that? Getting dirty with the mundane will im-
prove your critical eye.

• 4. Be true to yourself, objectively judge your

ability, it’s never worth telling yourself something is
done or good enough when inside you know that it
isn’t. Study why something isn’t quite working and
do it again until you get it right. Giving up gets you
nowhere!

• 5. Experiment and have fun.

Q. How would you like to see your career evolve in the next few years?

I’d love to be part of a highly talented team of artists creating cutting edge 2D/3D artwork for great games with my
new studio!

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 interview

AN INTERVIEW WITH
John Kearney
Q. Are you working on any projects currently? If so, what are they?

I always have several projects on the go, I find it helps to have different paintings to focus on. It allows you to turn your
attention to something else whilst your subconscious works on the previous projects. Switching back and forth between
them renews your vision and stops you becoming blind to errors. Making sure you’re able to critically assess your own
work is incredibly important.

Q. Anything you like to add? It is your chance now to state your opinion about anything

Yes, it’s an inside joke, but I’ll just say; Beware of the smudgers!

Thanks a lot for taking out sometime for us from your busy schedule.
Thanks!
Website: www.brushsize.com

Page 11 Issue 2 Feb 2007

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 photoshop

Getting the
most out of
your RAM

How much RAM does your PC have? If you run Windows XP, it is probably in the range of 512 MB to 1 GB. Older
Windows versions will do the job with less than that, but as soon as you execute demanding applications or more than
one application at a time, anything below 512 MB will likely translate into performance bottlenecks.

The best way to improve Photoshop performance is to make better use of your RAM. Here are several tips to show you
how to try this before you buy more. No matter how much memory you have, you could always use more. Installing
more RAM is generally the quickest way to better performance. But you can also speed up Photoshop by making bet-
ter use of the RAM you already have. There have been a lot of times when I’m working in Photoshop and things really
start to slow down. When this happens it usually means it’s time to take a look at my RAM and see how much of it
is allocated to Photoshop. In this tutorial, we’ll look at how you can speed up your Photoshop performance by using
your RAM more effectively.

What is RAM - Random access memory (usually known by its acronym, RAM) is a type of data storage used in com-
puters. It takes the form of integrated circuits that allow the stored data to be accessed in any order — that is, at random
and without the physical movement of the storage medium or a physical reading head. The word “random” refers to the
fact that any piece of data can be returned quickly, and in a constant time, regardless of its physical location and whether
or not it is related to the previous piece of data.

As you’re working in Photoshop, click on the right-facing triangle on the status bar near the bottom left of your image
window, and choose Show>Efficiency from the pop-up menu. You can use this indicator to determine how Photoshop
is doing with the current amount of allocated RAM. If the efficiency indicator goes below 95% then you are accessing
the scratch disk which, in turn, will begin to slow Photoshop down. But if your efficiency starts to go below 70%, then
you may see Photoshop’s performance increase if you change your RAM allocation or add more RAM.

Page 16 Issue 2 Feb 2007

 photoshop

Tip 1: Go to Preferences > Memory & Image Cache and If you’ve never made changes to this, then the Maximum
Used by Photoshop setting should read 55% by default in Windows. Increase the amount of RAM in 3-5% increments
to start. Click OK to close the preferences. And restart the Photoshop for viewing any performance improvements.

Don’t allocate too much RAM to Photoshop because don’t forget that your operating system still needs RAM.

Tip 2: If you increase the number of History States that Photoshop saves to large number, then you’ll really slow down
your editing and image creation in Photoshop. At any rate, the decision is yours and it depends on the way you work,
as well as how much RAM you have on your computer. Go to Preferences (under the Photoshop menu on a Mac, or
the Edit menu on a PC) and choose General. My suggestion is that if you have at least 1 GB of RAM, then you should
set the History States to 50 and Photoshop will now save 50 History States instead of only 20. If you find this slows
Photoshop down too much, then try changing to something lower.

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 photoshop

Tip 3: When you work on your images in Photoshop, it breaks your image into sections called tiles. By default, the
maximum size of each tile is 132 KB of RAM. However, in CS2 you can increase this tile size by activating the Bigger
Tiles plug-in. This means that Photoshop can process large images faster because it won’t have to draw as many tiles
Go to Adobe Photoshop CS2/Plug-Ins/Adobe Photoshop Only/Extensions/Bigger Tiles folder and remove the ~
(Tilde) from the file name. Now Photoshop redraws more data at a time because each tile is larger, it will process your
images faster.

Tip 4: Go to Photoshop CS2’s Plug-Ins folder, and in the File Formats folder add a tilde (~) in front of any file types
that you don’t use to speed up Photoshop’s startup time.

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 photoshop

Tip 5: Pixel doubling is an option that lets Photoshop redraw your images faster whenever you use tools or com-
mands to move the pixels in the image. Whenever you have an image open and you move the pixels, Photoshop must
redraw the entire image. This can take some serious processing power if you’re working with a large photo from, say,
an 8-megapixel camera. To speed the process up, turn on the Use Pixel Doubling checkbox in the Preferences dialog
(under Display & Cursors). Photoshop will temporarily double the size of the pixels in the photo (essentially cutting
the resolution of the image in half ) for a fast redraw. It doesn’t make any permanent changes to the photo and as soon
as you’re done using the tool, it returns the image to its normal pixel data.

Few More General Tips:

a) The Task Manager’s Performance tab, provides the best way to monitor memory use. To run the Task Manager, press
Ctrl-Alt-Delete, then click on the Performance tab. With it, you can interpret the information and make better use of
your memory.

b) Over time, your PC’s hard disk can become damaged or fragmented. If there is not enough contiguous space for the
system to save a file, it saves pieces of the file to different locations on the disk. It takes an application longer to read a
fragmented file whose pieces are saved in several locations. To optimize and defragment the hard disk on a PC, use the
Windows Disk Defragmenter or if like to use more professional utility then use the Diskeeper software.

- Andy Halls
andyhalls123@yahoo.com

Page 19 Issue 2 Feb 2007

 after effects

Fire in the Eyes

In this tutorial I try to show a fire in the eyes effect which used in many movies when spirit enters in any human body
or character doing anything through their eyes like in Xmen. For this project you will need a shot of men, I have used a
image from the 3d.sk database. 3d.sk is the best website for any references you are looking may be human, or animals.

Step 1: Before creating composition in After Effects you have to create a flame image in Photoshop. Using the custom
shape, create a ring of flames evenly spaced across the camera.

You will need two shapes to work with, so create another pattern, this time with the flames pointing inward. Save the
files as PNG or TGA with alpha because you need a transparent background.

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 after effects

Step 2: Import all the above files in After Effects. Create a new composition that is the size of the eye image. Bring
the first flame pattern into the composition and place it above the Eye layer. You will need to shrink the layer quite a
bit in order for it to fit into the Iris area of the eye.

Step 3: Apply the Tint effect to the eye layer, Map the Black color to orange (255, 128, 0). Change the amount to Tint
to 100% and the flames will take on the appropriate color.

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 after effects
Step 4: Apply the glow effect to the layer and choose the almost following settings.

Step 5: Change the transfer mode of the layer to Overlay.

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 after effects
Step 6: Now, let’s rotate the layer. With the Timeline Indicator at the beginning of the Timeline, create an initial
keyframe for the layer by clicking on the Stopwatch Icon and another keyframe at the end of the timeline and change
the rotation value to around 10.

Step 7: Add the second flame image and apply the scale, tint, and glow and animate the rotation in the opposite direc-
tion of the first flame layer.

Step 8: Duplicate the Eye layer and move it to the top of the Timeline stack. Using the Pen Tool, create a mask around
the Iris of the eye. It doesn’t have to be exact and select the invert in the mask properties.

Step 9: Now, you get a fire in the eyes, for better look you can add a glow or Trapcode shine on the adjustment layer.
Hope you like this tutorial.

- Abhishek Arya
aabhi.arya@rediffmail.com

Page 23 Issue 2 Feb 2007

 3ds max

Making of
The Age of Numeron
By- Ivan ULicny, Slovakia
Email: iulicny@gmail.com

Page 25 Issue 2 Feb 2007

 3ds max

Hi, My name is Ivan Uličný (shinnok on internet) and I’m pleased, I can introduce you through this article my latest
image – The Age of Numeron.

Just for specification, Numeron was kingdom described by Tolkien in his books. So inspiration by Lord of the Rings is
quite clear here. I started this project without any sketches. I wanted to let free flow to it. For renderer I chose Mental
Ray, which is the renderer of my choice. I downloaded couple of references of Minas Thirith from LOTR film to get
more accurate vision about the architecture, which used Peter Jackson in his film.

At the beginning, I started with creation of tower. Next were cliffs, ships, dock and finally additional details like houses,
trees, wooden cranes and scaffolds, statues etc. On these pictures you can see, that every object is mapped and tex-
tured.

Page 26 Issue 2 Feb 2007

 3ds max

Most of the materials are Raytrace materials. For textures I used Photoshop. I started mostly from photos downloaded
from internet, I used texture database webpages.

For water material I used raytrace material too, where I used diffuse and bump map created in Photoshop from photos
of water. Reflections, Refractions and depth I made through the use of falloff maps.

Material examples:

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 3ds max

Every material has diffuse, bump and specular map.

Examples:

Page 28 Issue 2 Feb 2007

 3ds max
For the inbark on the rocks (trees) I used combination of different kinds of simple models and simple planes on which
I mapped only textures with opacity maps. On the foreground I put “3d“ trees and on the background trees made of
planes as a coulisse.

Because I wanted to keep unification of flora, I used rendered 3D models of trees with alpha maps as the previously
mentioned coulisses.

Here are the examples:

Page 29 Issue 2 Feb 2007

 3ds max
Lightning consist of just two lights: 1. MR area spot light, 2. skylight. I gave yellow color and big multiplier to main
direct light. To skylight I gave purple-blue color and I let multiplier on default value 1. Because I used raytrace shadows
and I wanted to create effect of bluring them into distance, I had to also change area light parameters on much higher
values then were defaults.

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 3ds max

After finishing all the work in 3d studio and making of final render I started with postproduction in Photoshop. It was
quite difficult, because I let color tuning on the end. I also added fog, sky, waterfall and some small details. Hope you
like this small making. Some pictures on the end:

Page 31 Issue 2 Feb 2007

 gallery

Sunrise at Viperon Strudon III

Martin Kocisek, Slovakia
martin.kocisek@post.sk
3ds Max, Photoshop

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 gallery

Obsolete
Pawel Hynek, Poland
hynol@op.pl
3ds Max

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 gallery

The Wonder Years

Pedro Conti, Brazil
pedro_conti@hotmail.com
3ds Max, Vray, Photoshop

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 gallery

The Sunflower Mountain

Tjerk Otten, The Netherlands
capoeira99@hotmail.com
3ds Max, Photoshop

Room
Javier Borrego Camparia, Spain
3djavier@gmail.com
3ds Max, Vray, Photoshop

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 gallery

-
Michal Konwicki, Poland
mkonwicki@gmail.com
3ds Max, Vray, Photoshop

Imagine
Daniel Thul, Uruguay
pixelarq@pixelarq.com
Blender, Indigo

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 gallery

Blind Queen
Yannick SALA, France
le.nicso@gmail.com
3ds max

Passion
Andre Kutscherauer, Germany
info@ak3d.de
3ds max, Rhino, Mental Ray

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 gallery

Kitchen Big FM
Nguyen Manh Hung, Vietnam AlexanderDokukin, Brlarus
trangbin@hotmail.com dokukin@inbox.ru
3ds Max, Vray 3ds Max, Vray

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 gallery

Hero
Michal Kotek, Czech
info@michalkotek.com
3ds max, Photoshop

Page 40 Issue 2 Feb 2007

 submission

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