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Hyperion was designed to be mechanically plausible, being mainly driven by pistons and other recognisable pieces. I was keen on maintaining a grounded look for Hyperion. I love the small details we were able to add of objects being pushed out of the way by the rigs movement. It... show more

Rassoul Edji

9,732 subscribers

321,520 次观看 • 1 年前 •via X (Twitter)

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ThunderOwl - Sci-Fi Assets. Owlified. 🇱🇻🇺🇦🌞 的头像

ThunderOwl - Sci-Fi Assets. Owlified. 🇱🇻🇺🇦🌞1 年前

@Stef_Chasseloup As an engineer myself, I always admire plausible or semi-plausible designs 😎👍

Rassoul Edji 的头像

Rassoul Edji1 年前

@Stef_Chasseloup It takes a lot of iterations to get right but the results are always more satisfying when your mind believes how it’s moving

Bipbup 🇵🇷 的头像

Bipbup 🇵🇷1 年前

You're out here designing possible war machines. Looks amazing.

Rassoul Edji 的头像

Rassoul Edji1 年前

It’s a lot of fun designing them

Favour Saviour 的头像

Favour Saviour1 年前

Show the full design please

Cookie⚡ 的头像

Cookie⚡1 年前

Unity or Unreal? Looks fab BTW 😊

"Drawing lines between your eyes and your ears." 的头像

"Drawing lines between your eyes and your ears."1 年前

I need a cigarette after watching this.

Alon Helman 的头像

Alon Helman1 年前

SIIICK!!

Rassoul Edji 的头像

Rassoul Edji1 年前

🙏🏽🙏🏽

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Mechanical feet are always a challenge to design and develop as they need to support near omni-directional movement. For organic creatures this isn't a problem, but for mechanical designs you need to figure out ways the pieces can slide over each other and move in a realistic manner. For Hyperion, I designed the feet with three primary pistons which handle most of the movement, almost like a ball joint. The rest of the mechanisms are hinges and overlapping panels which slide on top of one another when the feet moves. Because of his massive size and weight, I also added a toe spread feature so we could spread his toes when he walks, further selling the weight of the character. Overall I'm very happy with how the feet turned out. The feet are the second most difficult joint to work out mechanically. Second only to the shoulder joints. The hips are a close third place. #mecha #3d #vfx #cgi #rigging #animation #characterdesign #hardsurface

Mechanical feet are always a challenge to design and develop as they need to support near omni-directional movement. For organic creatures this isn't a problem, but for mechanical designs you need to figure out ways the pieces can slide over each other and move in a realistic manner. For Hyperion, I designed the feet with three primary pistons which handle most of the movement, almost like a ball joint. The rest of the mechanisms are hinges and overlapping panels which slide on top of one another when the feet moves. Because of his massive size and weight, I also added a toe spread feature so we could spread his toes when he walks, further selling the weight of the character. Overall I'm very happy with how the feet turned out. The feet are the second most difficult joint to work out mechanically. Second only to the shoulder joints. The hips are a close third place. #mecha #3d #vfx #cgi #rigging #animation #characterdesign #hardsurface

Rassoul Edji

61,057 次观看 • 1 年前

Hyperion is a very heavy asset, because of this, we built a LOD system into the rig to enable animators to work fluidly with the character at the different stages of production. You don't always need to work with the highest quality version of your asset, especially at the earlier stages of a shot/production. Having LODs allows animators to work more efficiently by choosing the level of detail they want to work with directly in the rig. LODA - Final render asset with all details LODB - Primary and secondary panels and mechanics LODC - Only the primary panels and mechanics #mecha #3d #vfx #cgi #rigging #animation

Hyperion is a very heavy asset, because of this, we built a LOD system into the rig to enable animators to work fluidly with the character at the different stages of production. You don't always need to work with the highest quality version of your asset, especially at the earlier stages of a shot/production. Having LODs allows animators to work more efficiently by choosing the level of detail they want to work with directly in the rig. LODA - Final render asset with all details LODB - Primary and secondary panels and mechanics LODC - Only the primary panels and mechanics #mecha #3d #vfx #cgi #rigging #animation

Rassoul Edji

22,192 次观看 • 1 年前

This was the very first shot that was animated by Léo Silly Pélissier, the director of animation of Flow during pre-production. The character rigs and models were later remade from scrach. There're still a few shots left in the film which feature the older rigs.

This was the very first shot that was animated by Léo Silly Pélissier, the director of animation of Flow during pre-production. The character rigs and models were later remade from scrach. There're still a few shots left in the film which feature the older rigs.

Gints Zilbalodis

114,967 次观看 • 1 年前

heres one of the scenes that didn't make it into the final episode of #thebasics it was scrapped mainly due to it being kinda filler animated by Ironskarmory6̶7̶6 gotta sweep was voiced by me and the music was composed by rundown 3d work by n_cgi #Gumball #BaldisBasics

heres one of the scenes that didn't make it into the final episode of #thebasics it was scrapped mainly due to it being kinda filler animated by Ironskarmory6̶7̶6 gotta sweep was voiced by me and the music was composed by rundown 3d work by n_cgi #Gumball #BaldisBasics

Mars

430,416 次观看 • 8 个月前

Big announcement🚀 Our comprehensive course on 3D Animated Character Creation using Blender 3D is officially online. If you're new to the 3D world and keen on crafting your very first animated character, this is for you. #B3d #animation #CGI #Blender3D

Big announcement🚀 Our comprehensive course on 3D Animated Character Creation using Blender 3D is officially online. If you're new to the 3D world and keen on crafting your very first animated character, this is for you. #B3d #animation #CGI #Blender3D

Ram Singh

36,246 次观看 • 2 年前

This was the first sequence I animated for Dreamworks #Dogman Officer Knight and Greg the dog were secondary characters and had very limited rigs. But using lots of shot sculpting I made it through with some of the more pushed shapes / poses I was aiming for. #animation

This was the first sequence I animated for Dreamworks #Dogman Officer Knight and Greg the dog were secondary characters and had very limited rigs. But using lots of shot sculpting I made it through with some of the more pushed shapes / poses I was aiming for. #animation

Chester Sampson

12,049 次观看 • 1 年前

Neat #Maya add-on BlendShape Monitor 1.0 helps troubleshoot complex character rigs by displaying the influence of individual shapes as color-coded heatmaps in the viewport Works for facial and full-body rigs #characterrigging #animation #VFX #gamedev

Neat #Maya add-on BlendShape Monitor 1.0 helps troubleshoot complex character rigs by displaying the influence of individual shapes as color-coded heatmaps in the viewport Works for facial and full-body rigs #characterrigging #animation #VFX #gamedev

CG Channel

11,061 次观看 • 4 个月前

Zack Polanski, "When did you first become political?" Hannah Spencer, "The big moment was during covid where inequality got so much bigger so quickly" "The very richest were doing incredibly well out of an emergency" "And the people who were making the rules were breaking the rules" "But I also saw this humanity from all of the rest of us" "Where we realised we had to help each other out" "We didn't do everything perfectly all of the time, we we tried to look after each other" "And I saw this split, that this is what most of us are like, and yet we're being ruled by people only there to look after themselves"

Zack Polanski, "When did you first become political?" Hannah Spencer, "The big moment was during covid where inequality got so much bigger so quickly" "The very richest were doing incredibly well out of an emergency" "And the people who were making the rules were breaking the rules" "But I also saw this humanity from all of the rest of us" "Where we realised we had to help each other out" "We didn't do everything perfectly all of the time, we we tried to look after each other" "And I saw this split, that this is what most of us are like, and yet we're being ruled by people only there to look after themselves"

Farrukh

34,274 次观看 • 3 个月前

Mirage was the new human-buddy lead in #Transformers ROTB. The studio wanted a character other than Bumblebee to have that role and be in the spotlight with Optimus Prime. He was designed to look "handsome" and to be sporty. He was the only character in the film with more than 1 alternate form. He had a total of 4 that we built in 3D (1 of which was cut from the film) and 1 that was only in live action (the garbage truck). I served as the asset Lead and did the Primary Texturing & Look Development for him. I also modelled and designed his eyes, upgrading them from what we had originally in the concept and ref. We spent a lot of time getting his car paint to look correct in shots, matching closely to on set reference pictures of the Porsche. At the end of the film, Mirage gives up his life and becomes the Exo-suit for Noah. The suit was built separately, using the same tooling and systems as Mirage to ensure visual continuity between them for the transformation from Mirage to Noah Exo-suit. He was voice acted by Pete Davidson, a change which was made later in production. The animators tried to introduce some of Pete's mannerisms into Mirage's animations too. Overall he was a character which was a lot of fun to work on and I'm proud of the work the team did to get him to look the way he does in the final film. CREDITS Primary Modelling by Lilian Robert. Final Texturing & LookDev by Martin Kamminga. Various other artists supported the creation of Mirage and the Exo-suit. The Exo-suit and Mirage were sent to WetaFX for the final sequence. Video by Paramount, MPC, and WetaFX.

Mirage was the new human-buddy lead in #Transformers ROTB. The studio wanted a character other than Bumblebee to have that role and be in the spotlight with Optimus Prime. He was designed to look "handsome" and to be sporty. He was the only character in the film with more than 1 alternate form. He had a total of 4 that we built in 3D (1 of which was cut from the film) and 1 that was only in live action (the garbage truck). I served as the asset Lead and did the Primary Texturing & Look Development for him. I also modelled and designed his eyes, upgrading them from what we had originally in the concept and ref. We spent a lot of time getting his car paint to look correct in shots, matching closely to on set reference pictures of the Porsche. At the end of the film, Mirage gives up his life and becomes the Exo-suit for Noah. The suit was built separately, using the same tooling and systems as Mirage to ensure visual continuity between them for the transformation from Mirage to Noah Exo-suit. He was voice acted by Pete Davidson, a change which was made later in production. The animators tried to introduce some of Pete's mannerisms into Mirage's animations too. Overall he was a character which was a lot of fun to work on and I'm proud of the work the team did to get him to look the way he does in the final film. CREDITS Primary Modelling by Lilian Robert. Final Texturing & LookDev by Martin Kamminga. Various other artists supported the creation of Mirage and the Exo-suit. The Exo-suit and Mirage were sent to WetaFX for the final sequence. Video by Paramount, MPC, and WetaFX.

Rassoul Edji

130,078 次观看 • 1 年前

Hi everyone, I'm so excited to share the CGI breakdown of my animation, 「Aurora Project I」!!! This video showcases the details of my first 3D character, the custom shader I created, and the FX made in Houdini. Hope you'll enjoy it! #animation #b3d #blender #3DCG #breakdown

Hi everyone, I'm so excited to share the CGI breakdown of my animation, 「Aurora Project I」!!! This video showcases the details of my first 3D character, the custom shader I created, and the FX made in Houdini. Hope you'll enjoy it! #animation #b3d #blender #3DCG #breakdown

ArKus⚡@Art&3DCG

16,339 次观看 • 1 年前

GQ (recent) 🐥 it was so, so hard, i was going to cry... but being able to be in those shoes and experiencing that meant a lot to US AYS2 (june) 🐥 when i think of military days, i think of you and me together 🐥 but for US, we had each other 18 months of being each other's anchor and strength. he can laugh about the "so, so hard" parts today because they were in those shoes together 🥹

GQ (recent) 🐥 it was so, so hard, i was going to cry... but being able to be in those shoes and experiencing that meant a lot to US AYS2 (june) 🐥 when i think of military days, i think of you and me together 🐥 but for US, we had each other 18 months of being each other's anchor and strength. he can laugh about the "so, so hard" parts today because they were in those shoes together 🥹

☺️💐 shira.

14,865 次观看 • 3 个月前

Stratosphere was our biggest and heaviest character on #Transformers ROTB. He was a real challenge to deal with on the Modeling, Texturing, and Rendering side. He had 1434 UDIMs due to his immense scale and was made up of tens of thousands of objects. His level of detail was truly something else. His vehicle form was also a behemoth. We had also built a mortar for his robot form and a cannon for his vehicle form but neither of these made it into the film as his part in the final battle was cut out. He was originally supposed to help out in the final battle, using both of these weapons against the Sweepers and Predacons. The decision to cut him from the final act came very late as all of his assets were final at that point. We were never told the reason why his role was cut from the film. I had to re-design my texturing system in Mari when working on him to ensure that it could handle such a complex and large character. I had to simplify a lot of the procedural systems and even had to branch off some of them into their own files to ensure that artists could work with somewhat decent performance. We ran into a lot of issues pushing him through our pipeline, both as a model as well as rendering him due to the sheer amount of objects and textures that had to be processed. For shots, it was requested by Lighting that we reduce his memory footprint as Google had complained he was taking up too much memory and their I/O for rendering on the cloud was being affected. The leadership team and I decided that the best way to do this was to half the texel density on the parts that wouldn't be visible in our approved shots and to also half the resolution of the textures in the parts not visible to camera. This allowed us to optimize his memory footprint both in shots as well as storage and I/O. It was massive technical undertaking working on Stratosphere, so much so that we had to delay getting him into shots as we simply couldn't push him through with our normal tooling. I really enjoyed the challenge that he posed for us as a team. CREDITS: Primary Modeling by Oscar Lowe Support Modeling by Arthur Grandjean and his team Final Texturing & Lookdev by Yaz Raji Video credits: Breakdown shot by MPC Film footage by Paramount

Stratosphere was our biggest and heaviest character on #Transformers ROTB. He was a real challenge to deal with on the Modeling, Texturing, and Rendering side. He had 1434 UDIMs due to his immense scale and was made up of tens of thousands of objects. His level of detail was truly something else. His vehicle form was also a behemoth. We had also built a mortar for his robot form and a cannon for his vehicle form but neither of these made it into the film as his part in the final battle was cut out. He was originally supposed to help out in the final battle, using both of these weapons against the Sweepers and Predacons. The decision to cut him from the final act came very late as all of his assets were final at that point. We were never told the reason why his role was cut from the film. I had to re-design my texturing system in Mari when working on him to ensure that it could handle such a complex and large character. I had to simplify a lot of the procedural systems and even had to branch off some of them into their own files to ensure that artists could work with somewhat decent performance. We ran into a lot of issues pushing him through our pipeline, both as a model as well as rendering him due to the sheer amount of objects and textures that had to be processed. For shots, it was requested by Lighting that we reduce his memory footprint as Google had complained he was taking up too much memory and their I/O for rendering on the cloud was being affected. The leadership team and I decided that the best way to do this was to half the texel density on the parts that wouldn't be visible in our approved shots and to also half the resolution of the textures in the parts not visible to camera. This allowed us to optimize his memory footprint both in shots as well as storage and I/O. It was massive technical undertaking working on Stratosphere, so much so that we had to delay getting him into shots as we simply couldn't push him through with our normal tooling. I really enjoyed the challenge that he posed for us as a team. CREDITS: Primary Modeling by Oscar Lowe Support Modeling by Arthur Grandjean and his team Final Texturing & Lookdev by Yaz Raji Video credits: Breakdown shot by MPC Film footage by Paramount

Rassoul Edji

268,448 次观看 • 1 年前

Chums! Baby Dog here. Thank you SO MUCH for all Malcy’s birthday wishes - he was blown away by all the love! I wanted him to have a day off, so it was up to me to be on Christmas Tree Duty. I did EVERYTHING I could to keep Ron out of the Tree…

Chums! Baby Dog here. Thank you SO MUCH for all Malcy’s birthday wishes - he was blown away by all the love! I wanted him to have a day off, so it was up to me to be on Christmas Tree Duty. I did EVERYTHING I could to keep Ron out of the Tree…

Malcolm & Baby Dog

15,457 次观看 • 6 个月前

Naz Reid on what makes Minneapolis and Minnesota so special. “It’s one love, I like to call it one love because everybody is so supportive of each other, they were supportive of me when I came in and nobody knew who I was, and everybody was so supportive… people always dedicate themselves to one another, they care for one another being here for seven years I feel like this is home away from home… I want to try and give as much love as I can back to the city as much as possible”

Naz Reid on what makes Minneapolis and Minnesota so special. “It’s one love, I like to call it one love because everybody is so supportive of each other, they were supportive of me when I came in and nobody knew who I was, and everybody was so supportive… people always dedicate themselves to one another, they care for one another being here for seven years I feel like this is home away from home… I want to try and give as much love as I can back to the city as much as possible”

Andrew Dukowitz

77,453 次观看 • 4 个月前

While learning Unreal Engine 5, I decided to port over most of Hyperion to it to see if I could potentially move my workflows over to UE5. Although it worked decently well, it didn't work well enough to allow me to change over entirely. Hyperion is simply too complex of an asset for real-time workflows (or at least is limited due to my knowledge of said workflows). 131 4K-8K UDIMs at over 8 channels and a solid amount of shaders with layering being the biggest bottleneck. I couldn't even match the shading setup to what I have in RenderMan, UE gave me a warning that the material was too complex. I was using the new Substrate materials, which mimic RenderMan LAMA shaders. The render below is using the pathtracer. As you can see there are some random flickering parts which I couldn't fix during my tests. This render of course doesn't have any displacement either (which Hyperion heavily relies on). I think Unreal Engine has a very bright future, but it is still limited by todays hardware technology for high end VFX work. Maybe in a few years I will give it another try when hardware improves and the engine becomes a bit more versatile in feature-set.

While learning Unreal Engine 5, I decided to port over most of Hyperion to it to see if I could potentially move my workflows over to UE5. Although it worked decently well, it didn't work well enough to allow me to change over entirely. Hyperion is simply too complex of an asset for real-time workflows (or at least is limited due to my knowledge of said workflows). 131 4K-8K UDIMs at over 8 channels and a solid amount of shaders with layering being the biggest bottleneck. I couldn't even match the shading setup to what I have in RenderMan, UE gave me a warning that the material was too complex. I was using the new Substrate materials, which mimic RenderMan LAMA shaders. The render below is using the pathtracer. As you can see there are some random flickering parts which I couldn't fix during my tests. This render of course doesn't have any displacement either (which Hyperion heavily relies on). I think Unreal Engine has a very bright future, but it is still limited by todays hardware technology for high end VFX work. Maybe in a few years I will give it another try when hardware improves and the engine becomes a bit more versatile in feature-set.

Rassoul Edji

25,110 次观看 • 1 年前

LUCAS THWALA We were playing for Orlando whilst other players were playing for Pirates. It was Mbuyane, Dukuduku, Terminator, myself & others We got sidelined to a stage where we were pushed out of Orlando Pirates. Augusto Palacious told us that he was instructed to sideline us We were told to look for teams on our own. I tried to train with Supersport, but I was told to stop. Told by the Order.

LUCAS THWALA We were playing for Orlando whilst other players were playing for Pirates. It was Mbuyane, Dukuduku, Terminator, myself & others We got sidelined to a stage where we were pushed out of Orlando Pirates. Augusto Palacious told us that he was instructed to sideline us We were told to look for teams on our own. I tried to train with Supersport, but I was told to stop. Told by the Order.

Constitution First 🇿🇦

57,422 次观看 • 1 年前

The character we spent by far the longest creating for #Transformers ROTB was Air Razor. We spent over a year working on just her and her variants. The reason she took so long was because there was no unified vision for what she was supposed to look like. We had initial concepts but the leadership team from the studio wasn't happy with how she looked when we matched to them so we had to iterate and develop different styles until they were happy. Our asset supervisor did a mockup redesign of her head to look more like a golden eagle which they liked a lot, this is what the final head shape was decided to be. We opted to match her styling to a peregrine falcon as the animation director really liked the breakup and contrast that provided. She is the only hero character in the film without an alt mode. She only has her bird form. It was decided during the concepting stages of the film that she would not have a robot form. To make her talk, it was decided by the animation director early on that her beak would semi transform to enable some more expressive talking animations as opposed to her just opening and closing her beak. We spent a very long time on her feathers, in modelling, look development, and rigging, ensuring that we matched to the directors vision and that they looked good in shots. She had over 9 variants, each for a different part of the film. She had a battle mode, damage states, and a "virus" infected mode for when she was infected by Scourge. Each of these also had different variants, totalling the final 9 seen in the film. We added a lot of engraving details to her, each being in the official Maximal language, translated from English. For example, the engraving on her chest says "In the absence of light, darkness prevails" Air Razor was a big creative and technical challenge and a massive team effort to get right. We had plenty of sleepless nights while trying to figure her out. CREDITS: Video by Paramount, MPC, and WetaFX I was responsible for her primary texturing and look development and also served as the asset Lead alongside Tom Goodchild. Primary modeling by Simone Porchedda Final texturing & lookdev by Vipin Kabadi Primary rigging by Tom Goodchild Various other artists supported the modeling, texturing, and rigging of Air Razor, I unfortunately do not recall everyone's names - she was a big team effort.

The character we spent by far the longest creating for #Transformers ROTB was Air Razor. We spent over a year working on just her and her variants. The reason she took so long was because there was no unified vision for what she was supposed to look like. We had initial concepts but the leadership team from the studio wasn't happy with how she looked when we matched to them so we had to iterate and develop different styles until they were happy. Our asset supervisor did a mockup redesign of her head to look more like a golden eagle which they liked a lot, this is what the final head shape was decided to be. We opted to match her styling to a peregrine falcon as the animation director really liked the breakup and contrast that provided. She is the only hero character in the film without an alt mode. She only has her bird form. It was decided during the concepting stages of the film that she would not have a robot form. To make her talk, it was decided by the animation director early on that her beak would semi transform to enable some more expressive talking animations as opposed to her just opening and closing her beak. We spent a very long time on her feathers, in modelling, look development, and rigging, ensuring that we matched to the directors vision and that they looked good in shots. She had over 9 variants, each for a different part of the film. She had a battle mode, damage states, and a "virus" infected mode for when she was infected by Scourge. Each of these also had different variants, totalling the final 9 seen in the film. We added a lot of engraving details to her, each being in the official Maximal language, translated from English. For example, the engraving on her chest says "In the absence of light, darkness prevails" Air Razor was a big creative and technical challenge and a massive team effort to get right. We had plenty of sleepless nights while trying to figure her out. CREDITS: Video by Paramount, MPC, and WetaFX I was responsible for her primary texturing and look development and also served as the asset Lead alongside Tom Goodchild. Primary modeling by Simone Porchedda Final texturing & lookdev by Vipin Kabadi Primary rigging by Tom Goodchild Various other artists supported the modeling, texturing, and rigging of Air Razor, I unfortunately do not recall everyone's names - she was a big team effort.

Rassoul Edji

83,383 次观看 • 1 年前

Jayson Tatum on his message of gratitude to the team yesterday: “It was one, just being vulnerable, showing my appreciation to the team, of how they have played this season, how they motivated me every single day. The joy and competitive nature that they displayed, I wanted to be a part of that. And I say it all the time, going through rehab and being injured is lonely. It's not intentional. I couldn't practice for a while, I couldn't be in the game. When they were on the court, I was in the weight room, having to do my own thing. So you feel isolated, in a sense. “But I just expressed that being around as much as possible, going to games, being on the plane, really made me feel like I was still very much a part of the team, and how thankful to the group for just being themselves. I was thankful to the coaches that extended their days a lot by helping me during rehab and on the court and pick-up games [for] my conditioning. So I really just kind of telling everybody in the room that they all played a part in essentially helping me get to this moment.”

Jayson Tatum on his message of gratitude to the team yesterday: “It was one, just being vulnerable, showing my appreciation to the team, of how they have played this season, how they motivated me every single day. The joy and competitive nature that they displayed, I wanted to be a part of that. And I say it all the time, going through rehab and being injured is lonely. It's not intentional. I couldn't practice for a while, I couldn't be in the game. When they were on the court, I was in the weight room, having to do my own thing. So you feel isolated, in a sense. “But I just expressed that being around as much as possible, going to games, being on the plane, really made me feel like I was still very much a part of the team, and how thankful to the group for just being themselves. I was thankful to the coaches that extended their days a lot by helping me during rehab and on the court and pick-up games [for] my conditioning. So I really just kind of telling everybody in the room that they all played a part in essentially helping me get to this moment.”

Noa Dalzell 🏀

2,779,200 次观看 • 3 个月前

When I say that the monetary order is breaking down, I mean that fiat currencies and debt as a storehold of wealth are not being held by central banks in the same way they were in the recent past. That reality is largely being driven by the same forces that drive The Big Cycle. Today, we know that both the holders of US dollar denominated debt (other countries) and those who need it (the US) are worried about each other for geopolitical reasons. That becomes a big problem when you’re producing a lot of debt — which the US continues to do.

When I say that the monetary order is breaking down, I mean that fiat currencies and debt as a storehold of wealth are not being held by central banks in the same way they were in the recent past. That reality is largely being driven by the same forces that drive The Big Cycle. Today, we know that both the holders of US dollar denominated debt (other countries) and those who need it (the US) are worried about each other for geopolitical reasons. That becomes a big problem when you’re producing a lot of debt — which the US continues to do.

Ray Dalio

260,594 次观看 • 4 个月前