Sunday, December 14, 2014

SoulburnScripts Updated Dec 14th 2014

Max script update:

Added a new script:
cameraMapTemplateRenderer: Will render out templates for all selected cameras or all cameras associated with a single cameraMapGemini modifier. Automates the process so you're not stuck rendering a lot of cameras and changing lots of render resolutions by hand. This replaces cameraMapGeminiRenderer script, generalizing it to work for any camera mapping setup.

Updated some older scripts:
snapShoter: Added ability to delete the original objects, defaulted to off.
materialInfoDisplayer: Added several new tests including "Objects That Have The Active Material Assigned", "Materials In Scene That Contain A Map Type Based On A Search String", Cleanup up a lot of code.
getMatFromSelectedObject: Added error handling for if you don't have any object selected.

http://www.neilblevins.com/cg_tools/soulburnscripts/soulburnscripts.htm

Thanks to everyone for your support.

Wednesday, December 10, 2014

Autodesk University 2014 Talk Now Online

My talk "Shading And Texturing Workflow" that I did at AU2014 in Vegas last week is now online, check it out here: http://area.autodesk.com/au2014

Monday, December 1, 2014

"Inc" Visual Development Book Project Update #5 Dec 2014

Artwork WIP & Finished: 197 images
Pages Complete: 77/122 (63% of book done)

Welcome to the Dec Update, probably the final update for the year, but next year we have monthly updates of pictures and behind the scenes info, so expect a lot more stuff to come a lot faster real soon. In the meantime, two last orders of business for 2014.

First, we now have an official Inc facebook page, blog and tumblr...

http://www.facebook.com/thestoryofinc
http://thestoryofinc.blogspot.com/
http://thestoryofinc.tumblr.com/

Please like or follow your prefered site if you want to get all the most up to date info about the project. And please invite others who you think would be interested to follow along as well. I will continue to post some info on my other personal social media pages (soulburn3d Facebook page, soulburn3d twitter, etc), but the majority of the updates will now go on these sites.

And second, below is our first Inc Teaser Poster. I think it gives a pretty good indication of the tone of the project.

Thanks everyone for all your comments and input in 2014, next year is the team finishing the book and then sending it off to the publisher. I am so excited to get Inc finished and want to get it to you guys as soon as possible. But good things come to those who wait, and I want to make sure that the final product you get is of the highest quality, so a little waiting is going to be necessary. Thanks for the support, see you first thing in 2015!

Tuesday, November 18, 2014

3 Masterclasses at Autodesk University In 2 Weeks

Just a reminder, in two weeks I'll do doing 3 masterclasses at Autodesk University to be held in Las Vegas Dec 2 to 4:

Visit here for more information and to reserve a seat...
https://events.au.autodesk.com/

1) Concept Art: Combining 2D and 3D Tools To Create Compelling Imagery
Thursday, Dec 4, 1:00 PM - 2:00 PM
In this intermediary class I will show practical examples of my workflow for producing concept art. My workflow combines both 2D painting and 3D rendering to produce the most detailed images possible in the shortest amount of time. I have split up my image-making process into 20 stages, starting with rough 2D sketches and photobashing. I then move on to rough 3D and then a more detailed 3D stage, followed by a final 2D stage of painting tiny details and compositing the final image. Whether you're a concept artist for visual effects, animated films, or video games, you'll gain insight into techniques that can help your own process. We will primarily use Adobe Photoshop, 3ds Max software, Chaos Group's V-Ray rendering engine, and Red Giant Software’s Magic Bullet—but you can apply the principals discussed to the software of your choice.

2) Shading And Texturing Workflow
Tuesday, Dec 2, 3:00 PM - 4:00 PM
In this intermediary class I will discuss the theory behind my workflow for shading and texturing environments, props, and characters. These techniques can be used to texture any high-resolution object, whether for visual effects, animated films, video game cinematics, or even architectural work. We will discuss shaders, as well as available methods for applying textures to your models. We will also cover pattern creation methods, from procedurals to hand-painted textures to photo manipulation. We will focus on how to efficiently shade thousands of individual objects without having to spend a lot of time UV shading everything (although we will touch on UV shading). Many of the examples will use 3ds Max software, Mudbox software, Chaos Group's V-Ray rendering engine, and Adobe Photoshop—but you can apply the principals discussed to the 3D app, paint application, and renderer of your choice.

3) Shading And Texturing a Photoreal Robot
Wednesday, Dec 3, 3:00 PM - 4:00 PM
In this intermediary class I will build upon the theory presented in my class, Shading And Texturing Workflow, with a practical example that involves shading and texturing a high-resolution photoreal robot. The techniques presented can be used to texture any high-resolution hard-surface object, whether for visual effects, animated films, video game cinematics, or even architectural work. We will focus on how to efficiently shade thousands of individual objects without having to spend a lot of time UV shading everything. Blended box maps, projection paint, curvature maps, occlusion maps, and the building of a library of materials are just some of the topic that we will cover. I will use 3ds Max software, Chaos Group's V-Ray rendering engine, and Adobe Photoshop for this example, but you can apply the principals discussed to the 3D app, paint application, and renderer of your choice.

If you have any questions on what will be covered in the classes, just give me a scream!

Tuesday, October 14, 2014

SoulburnScripts Updated Oct 14th 2014

Max script update:

Added a new script:
snapShoter: Like the snapshot command, except turns your mesh to an editablePoly when done, and a couple of other goodies, like selecting the newly created objects. Only for unanimated objects, does not let you produce an object per frame like the max tool.

Updated some older scripts:
blendedBoxMapMaker: Adjusted both the UVWMapping and CameramapGemini Auto Calculate Size so they now match.
blendedCubeProjectionMaker: Adjusted both the UVWMapping and CameramapGemini Auto Calculate Size so they now match. Creates reference cameras when in UVW Mapping Method mode, although doesn't use the cameras for projection, uses the UVW mapping modifier gizmos.

http://www.neilblevins.com/cg_tools/soulburnscripts/soulburnscripts.htm

Thanks to everyone for your support.

Sunday, October 12, 2014

"Inc" Visual Development Book Project Update #4 Oct 2014

Artwork WIP & Finished: 188 images
Pages Complete: 57/120 (47% of book done)

Welcome to the Oct Update, we're getting close to the half completed mark! Plenty going on in the land of Inc. First, Chris Stoski has been kicking it into high gear lately, and gotten a bunch of amazing artwork done of the main city. Will feature some of it in the next update. And our main human protagonist is almost complete, just a few final details to finish off, thanks to the super talented Bill Zahn.

I just got back from a trip to Utah to shoot reference photos for the project (ok, it was a vacation as well), but came back with approx 3000 photos that my wife and I shot, below are just a few examples. We visited Moab, Arches National Park, Capitol Reef National Park, Goblin Valley and Canyonlands. Such beautiful landscape, expect to see it influence some of the upcoming work.

Almost finished with the 3 main bad-guy boss robots, expect Modern Transformers meets Goldorak!

In December, the first Inc Teaser Poster! And then we plan basically monthly updates (with artwork) for 2015 till the book is complete. Thanks for watching, next year is the big push to get this project complete and in your hands!

Sunday, September 28, 2014

Tuesday, September 2, 2014

Three Master Classes at this year's Autodesk University 2014

So I'd like to announce that I will be giving 3 Classes at this year's Autodesk University to be held in Las Vegas Dec 2 to 4.

Visit here for more information and to reserve a seat...
https://events.au.autodesk.com/

For those of you who remember my shading class from last year, I have basically taken that class, and split into 2 classes, 2 and 3 below so I can spend more time and detail on the topics without being as rushed. And class 1 is a completely new class on my concept art process. Note, class 1 will be a whole bunch of visual examples as opposed to a live class demo, to fit the subject into the hour long class.

Here's the classes:

1) Concept Art: Combining 2D and 3D Tools To Create Compelling Imagery
Thursday, Dec 4, 1:00 PM - 2:00 PM
In this intermediary class I will show practical examples of my workflow for producing concept art. My workflow combines both 2D painting and 3D rendering to produce the most detailed images possible in the shortest amount of time. I have split up my image-making process into 20 stages, starting with rough 2D sketches and photobashing. I then move on to rough 3D and then a more detailed 3D stage, followed by a final 2D stage of painting tiny details and compositing the final image. Whether you're a concept artist for visual effects, animated films, or video games, you'll gain insight into techniques that can help your own process. We will primarily use Adobe Photoshop, 3ds Max software, Chaos Group's V-Ray rendering engine, and Red Giant Software’s Magic Bullet—but you can apply the principals discussed to the software of your choice.

2) Shading And Texturing Workflow
Tuesday, Dec 2, 3:00 PM - 4:00 PM
In this intermediary class I will discuss the theory behind my workflow for shading and texturing environments, props, and characters. These techniques can be used to texture any high-resolution object, whether for visual effects, animated films, video game cinematics, or even architectural work. We will discuss shaders, as well as available methods for applying textures to your models. We will also cover pattern creation methods, from procedurals to hand-painted textures to photo manipulation. We will focus on how to efficiently shade thousands of individual objects without having to spend a lot of time UV shading everything (although we will touch on UV shading). Many of the examples will use 3ds Max software, Mudbox software, Chaos Group's V-Ray rendering engine, and Adobe Photoshop—but you can apply the principals discussed to the 3D app, paint application, and renderer of your choice.

3) Shading And Texturing a Photoreal Robot
Wednesday, Dec 3, 3:00 PM - 4:00 PM
In this intermediary class I will build upon the theory presented in my class, Shading And Texturing Workflow, with a practical example that involves shading and texturing a high-resolution photoreal robot. The techniques presented can be used to texture any high-resolution hard-surface object, whether for visual effects, animated films, video game cinematics, or even architectural work. We will focus on how to efficiently shade thousands of individual objects without having to spend a lot of time UV shading everything. Blended box maps, projection paint, curvature maps, occlusion maps, and the building of a library of materials are just some of the topic that we will cover. I will use 3ds Max software, Chaos Group's V-Ray rendering engine, and Adobe Photoshop for this example, but you can apply the principals discussed to the 3D app, paint application, and renderer of your choice.

If you have any further questions, don't hesitate to ask. Hope to see many of you there!

Tuesday, August 12, 2014

SoulburnScripts Updated Aug 12th 2014

Max script update:

Updated a ton of older scripts:

soulburnAssetLoader (SAL): Added a wizard to install max objects / material as assets. This is currently very basic, but there will be more features added soon. Now when importing Materials will ignore any helpers inside the imported max file. Align now works properly with groups. Fixed an error that would occur if you had more than 20 categories. Added ability to always have your light assets visible in your view, invisible, or just accept whatever the setting is in your saved maxfile (the default).
cameraMapGeminiRenderer: Fixed a bug where it wouldn't read your Defaults properly. Also, you'd have problems running the script if certain defaults were set in the render dialog. That's now been fixed.
objectPainter: Disposed of a gc() that was interfering with undo. However, now it's possible that painting using the option "Paint On All Scene Objects?" may be slightly more unstable. Use with caution.
subdivisionManager: Added OpenSubdiv Support.
subdivisionAutomator: Added OpenSubdiv Support.
modifySubdivIters: Added OpenSubdiv Support.

http://www.neilblevins.com/cg_tools/soulburnscripts/soulburnscripts.htm

Thanks to everyone for your support.

Soulburn 3D Education Page Updated Aug 12th 2014

3ds Max 2015 Ext 1 now has OpenSubdiv Support. Here's two videos I did to show off the new feature. Say goodbye to Turbosmooth, and now enter a world of proper creasing and complete compatibility with other major 3d apps.

Exploring OpenSubdiv in 3ds Max 2015 Extension 1

Wednesday, August 6, 2014

Alien Mothership For "Inc"

As promised, here's an Alien Mothership from "Inc", which was the original inspiration for doing my Epic Starship gumroad video tutorial.


Tuesday, August 5, 2014

Sunday, August 3, 2014

Soulburn 3D Education Page Updated Aug 4th 2014

Designing An Epic Starship Part 3: Detailing The Upper Level

40 min video, $2
Designing An Epic Starship Part 3 Detailing The Upper Level Video (FastSpring, accepts Credit Card and Paypal)
Designing An Epic Starship Part 3 Detailing The Upper Level Video (Gumroad, accepts Credit Card only)

This multi-part tutorial discusses designing an epic starship in Photoshop, starting with the silhouette, then moving on to refining the shape, and ending in detailing. While the final results look dimensional, 90% of the work is actually done in 2d in photoshop, achieving 3d looking results with only the most minor 3d work involved. Part 3 focuses on detailing the Upper Level of the ship, and then final tweaks to get the final starship design.

If you haven't bought any of this three parter, you can also buy the Parts 1, 2 and 3 bundle (for $5, $1 off the price of buying the parts separately) here...

Designing An Epic Starship Parts 1, 2 and 3 Videos (FastSpring, accepts Credit Card and Paypal)
Designing An Epic Starship Parts 1, 2 and 3 Videos (Gumroad, accepts Credit Card only)

Next will be a bit of a gumroad break, and back to some free tutorials for a bit. Thanks everyone for your support!

Friday, August 1, 2014

Camera Lens Packages for CG

A short little article on Camera Lens Packages for CG:

http://www.neilblevins.com/cg_education/lens_package/lens_package.htm


When doing a live action film shoot, you buy or rent your camera (usually rent), and then you choose a set of lenses that you intend to shoot on. This set is usually referred to as a "Lens Package" (I've also heard it referred to as a "Lens Kit"). While you could potentially use an unlimited number of lenses, in general, you'll find a Director or Director of Photography will tend to favor a small subset of lenses, in some cases, and entire film might be shot using only 3-4 lenses.

How does this affect us in CG? Well, in CG, you can change your lens to whatever you want. This gives you great power, but it also can break consistency. Like in live action, maybe every time there's a closeup on a character, the director chooses their goto 35mm lens. In CG, every closeup might have a completely different focal length, which means your character starts to look weird because every shot their face is distorted in a slightly different way. So I highly recommend, if you're doing a CG film, to make yourself a lens package, a small set of lenses you'll be using for your virtual shoot. It will not only guarantee more consistency (like how many films color grade a sequence to have a consistent color scheme), but it will also more closely emulate the way a real live action shoot is done. So if you're trying to emulate a live action feel, best to emulate some of their techniques as well, and give your virtual camera the same constraints the live action camera has.

Lets talk about a simple lens package, which might consist of a wide angle lens (lets say 35mm), a telephoto (lets say 100mm), and a 50mm, which is approx the same as what the human eye sees. Wide Angle lenses tend to distort your subject, bulging things close to camera, and there tends to be more apparent distance between your foreground and background objects. Telephoto lenses tend to flatten out space, decreasing the apparent distance between foreground and background objects. But more on this topic in a different tutorial. From the perspective of Lens Packages, having at least these 3 types of lenses would let you achieve a number of different types of shots and stay very consistent.

If you want to bring things to the next level and use a more reality accurate camera in cg, different lenses also tend to have different apertures which is marked in f-stops. So a specific lens may only allow for a limited number of f-stops. The aperture controls how much light enters the camera (so how bright the image will be) as well as the depth of field (how blurry the background is). Again, more detailed discussion of aperture should probably have its own tutorial since its a complex topic. But for a true lens package, you should limit yourself not just to specific focal lengths but each focal length should be limited in terms of aperture. You can find this information out by looking up real world lenses and see what sort of aperture they tend to have.

For extra bonus points, each lens would also have a specific distortion, for example, wide angle lenses tend to have some degree of barrel distortion, and some telephoto lenses tend to have pincushion distortion. But not all cg cameras allow you to modify the distortion on the lens.

Talking to some experts, I found out that many of my favorite films from the late 70s, early 80s were shot on Panavision cameras. And here's a basic lens package frequently used for those cameras: 24mm, 35mm, 50mm, 55mm, 75mm, 100mm. These are all fixed lenses (Prime Lenses) BTW, which means they only have one focal length. You can of course throw a zoom lens into the mix, which will give you multiple focal lengths, like say a 36-82mm lens. Although many films from that era didn't use zooms, and used Fixed Lenses only. For at least some info on what your favorite films were shot with (although lens focal lengths are not included), feel free to check out http://shotonwhat.com/.

The standard 3dsmax camera actually has a lens package built in to the tool. So you have a preset number of lenses, or you can adjust the focal length above to be whatever you want. I wish there was a simple way to customize this lens package, as it would make things way easier.

Knowing what lens package was used on a film can also help you if you're a VFX person. Knowing what lenses were used for what shots makes it far easier to replicate these real world cameras in the virtual world (which is the process of matchmoving). And if you're adding some full CG shots to the film, it's best to stick with similar lenses to the ones used for the live action shoot, to help blend your completely virtual shots with the practical shots.

So next time you're doing a short CG film, and you've done a little research into wide angle and telephoto lenses, and in what situation to use them, consider going one step further and make yourself a 5-10 lens "package" of specific focal lengths, and stick to using those lenses for your virtual shoot, only deviating if absolutely necessary. Or to go one step further, have each lens have a specific focal length, specific aperture range, and a specific type of lens distortion.

Unless of course the goal is to make something not of this world, in which case all bets are off :)

Monday, July 28, 2014

Soulburn 3D Education Page Updated July 28th 2014

Designing An Epic Starship Part 2: Detailing The Trench

35 min video, $2
Designing An Epic Starship Part 2 Detailing The Trench Video (FastSpring, accepts Credit Card and Paypal)
Designing An Epic Starship Part 2 Detailing The Trench Video (Gumroad, accepts Credit Card only)

This multi-part tutorial discusses designing an epic starship in Photoshop, starting with the silhouette, then moving on to refining the shape, and ending in detailing. While the final results look dimensional, 90% of the work is actually done in 2d in photoshop, achieving 3d looking results with only the most minor 3d work involved. Part 2 starts with taking one of the ship designs from part 1, coming up with a story on which to base the function of the ship, refining the shape, and then detailing the trench area.

Monday, July 14, 2014

Soulburn 3D Education Page Updated July 13th 2014

Designing An Epic Starship Part 1: Choosing A Form Using Silhouette Sketches

25 min video, $2
Designing An Epic Starship Part 1 Silhouette Sketches Video (FastSpring, Credit Card and Paypal)
Designing An Epic Starship Part 1 Silhouette Sketches Video (Gumroad, Credit Card only)

This multi-part tutorial discusses designing an epic starship in Photoshop, starting with the silhouette, then moving on to refining the shape, and ending in detailing. While the final results look dimensional, 90% of the work is actually done in 2d in photoshop, achieving 3d looking results with only the most minor 3d work involved. Part 1 focuses more on form than function, coming up with unique shapes using a random brush in photoshop, then starting to refine the shapes to create something visually interesting. One of the 8 silhouettes in the video will then be refined in Parts 2 and 3 with a focus on function, refining the design's purpose and tying the look of the ship into its role in a story. Which of the 8 designs gets refined depends on you, so if you have a favorite design of the bunch, please let me know, I'll tally the votes and use it to help decide which ship I'm going to complete.


Wednesday, July 9, 2014

Update On Educational Videos

3d Sketches As A Base For A Painting Video
(Credit Card only) https://gum.co/fHouS
(Credit Card and Paypal) http://sites.fastspring.com/soulburnstudios/product/3dsketchesasabaseforapaintingvideotutorial

Texturing A Robot Hand Video
(Credit Card only) https://gum.co/vPoxN
(Credit Card and Paypal) http://sites.fastspring.com/soulburnstudios/product/texturingarobothandvideotutorial

Hey there, so first off, thanks for all the support buying my educational videos. I asked for feedback and got plenty of it. So here's the plan for the future.

1) My videos will be available on both Gumroad and FastSpring. The advantage of FastSpring is you can use paypal, Gumroad is creditcard only. Feel free to use whichever store you want, they both have the same content.
2) I upgraded my copy of Camtasia and the videos are now mp4s, which should mean better quality and maximum compatability.
3) In the future, anytime I do a cg theory lecture, I'm going to release those for free on my youtube channel. But anytime I do a practical example, such as a recording of me painting a finished painting with commentary over top, or taking a finished piece and deconstructing the process, those sorts of things I will release highres in the store for a couple of bucks. Check my website http://www.neilblevins.com/cg_education/cg_education.htm to see the difference between "Theory And Techniques" and "Practical Application".
4) I'll keep the Practical Application videos shortish, between 30-45 min, because no one has the patience to sit through anything longer :)

Anyways, thanks to everyone who has supported my work, I'll get more stuff free and pay up in the next few weeks. Remember, whether pro or just starting out, there's so much to learn about art and cg, new techniques, new ways of thinking and approaching image making, so lets get learning! Enjoy!

Sunday, July 6, 2014

Soulburn 3D Education Page Updated July 6th 2014

Texturing A Robot Hand Video (25 minutes, $1)

Description: Are you a 3d Concept Artist who uses Keyshot but wishes its materials were more flexible and it had better painting capabilities? Are you a Texture Artist who works on the final asset, but are tired of waiting for a complex robot with thousands of parts to be UVd? This video tutorial shows off how I textured a robot hand from my book project "Inc" using a projection painting technique that requires no UV unwrapping and gives you far more flexibility than Keyshot provides while still retaining the speed.

So I'm trying a little experiment here, usually I upload my video tutorials to youtube, but have never been happy with the video quality of the result. Recently a lot of artists have been uploading longer / higher quality training videos to their online stores on gumroad. So what I'm going to do is this: I'm uploading the original high quality video to my online store which is downloadable for $1. I'd just like to see if people appreciate the better video fidelity and the ability to have the video locally, or if people find it doesn't matter.

Note: I will still be doing plenty of free videos and such in the future, so don't worry, not everything is going pay. But I may make more long format videos in the future, sell them for a couple bucks a pop, and do my usual shorter videos and written tutorials for free.

Let me know your thoughts, any feedback is appreciated!


Friday, July 4, 2014

SoulburnScripts Updated July 4th 2014

Max script update:

Added a new scripts:

maxfileOldVersionSaver: Collects all of the max files in a directory and its subdirectories and saves them as max files for older versions of max.

Updated a ton of older scripts:

soulburnAssetLoader: Now does a proper alphabetization of assets.
sLib: Added sLibFileNameCompareCaseSensitive.
objectDetacher: Fixed a bug that caused the presets to not be saved properly.
attachSelectedObjects: Added ability to turn off undo to fix a max memory issue.
modifierUtilities: Added ability to copy a modifier from 1 object and paste it to a selection of objects.
texmapBaker: Added ability to bake vray occlusion.

http://www.neilblevins.com/cg_tools/soulburnscripts/soulburnscripts.htm

Thanks to everyone for your support.

Tuesday, July 1, 2014

New 3dsmax Asset Packs For Download

Hey everyone. So many of you have downloaded or purchased my 3dsmax Assets Packs available here: http://www.neilblevins.com/cg_tools/assets/assets_3dsmax.htm

Well, it's time for an update. First, my three free packs have been bumped up to version 2, the biggest changes are a major renaming and reorganization of maps and materials, as well as some small extra abilities. What I'd recommend is first delete the contents of the old packs from your hard drive (how difficult this is depends on whether you mixed in your own assets in the same directories as the free assets), then download the new packs. I've included max 2012, 2013 and 2014 in the same pack, so copy over only the directory you need, and of course the maps and info subdirectories as well. More detailed install instructions can be found on the asset pack pages.

My first pay pack HardSurface1 has also been updated to version 2, if you bought this pack, please email me from the email you used to purchase the pack and I'll give you a version 2 pack free of charge.

And lastly, I've uploaded a new "Metals Advanced" Pack for $3.99, that contains 4 new metals and a new Combo. These are essentially the same materials I'm using on my book project "Inc", and I'll be using these guys to replace the metals in the Free pack for all my own work. I'll also be uploading next week a video tutorial showing me using the new "Metals Advanced" Pack on a practical example, so watch for that.

Also, even if you don't use vray, each pack contains dozens of useful highres texture maps that can be used with Mentalray, scanline, even other 3d apps, so even if you're not a vray user, please consider buying these packs as you'll still find them helpful. To see a preview of the texture maps included in the packs, please visit their respective pages at http://www.neilblevins.com/cg_tools/assets/assets_3dsmax.htm

Thanks everyone, any questions, feel free to ask!


Saturday, June 28, 2014

SoulburnScripts Updated June 28th 2014

Max script update:

Added two new scripts:

vraySamplingSubdivManager: Allows you to adjust the Sampling Subdiv value for scene materials and lights all together, ensuring consistency.
customAttributeRemover: Delete all Custom Attributes from selected or all scene objects.

Updated a ton of older scripts:

blendedBoxMapMaker: Now you can mix and match map types and mapping types. Removed the unneeded 6 side mode.
blendedCubeProjectionMaker: Now you can mix and match map types and mapping types. Makes a much more accurate calculation on the "Auto Calculate Size" for the mapping UVW modifiers.
cameraMapGeminiRenderer: Added some more error catching.
sLib: Added sLibGetVrayBitmapsFromMaps.
objectDetacher: Added ability to turn off undo to fix a max memory issue.
nameManager: Added support for vray bitmaps.
geometryBanger: Now can add the geometry changes to an EditPoly modifier.
imagePlaneMaker: When creating a new layer, the layer is now frozen by default.

http://www.neilblevins.com/cg_tools/soulburnscripts/soulburnscripts.htm

Thanks to everyone for your support.

Monday, June 23, 2014

"Inc" Visual Development Book Project Update #3 June 2014

Artwork WIP & Finished: 143 images
Pages Complete: 43 (36% of book done)

Welcome to the June Update. And I'd like to introduce you to the team for Inc! A big thanks to all of these fine artists and storytellers for joining me on this little adventure, I am so lucky to have so many top notch talent helping me out with the world and story of Inc.

Neil Blevins: Story, Landscape, Citadel, Robots, Odds and Ends
http://www.neilblevins.com

Bill Zahn: Story, Humans
http://www.billzahn.com/

Stephan Bugaj: Story
http://www.bugaj.com/about/

Jeremy Cook: Vehicles and Spaceships
http://www.2d2cg.com/

Chris Stoski: The Settlement
http://www.stoskidigital.com/

Dominic Qwek: Creature Design
http://www.dominicqwek.com
http://www.facebook.com/DominicQwekArt

Jeremy Vickery: Coral Desert
http://www.jermilex.com/Welcome.html

Michael Spaw: Coral Desert
http://morphographic.com/

Will show you some work from the team in upcoming updates.

Also, the main robot character is now fully textured after 3 weeks of after work art sessions! I'll post some pics of him in some sort of dramatic fashion in the coming months, so stay tuned.

Here's another rough painting below of our heroes walking through the coral desert. And visit http://www.youtube.com/watch?v=yeFKg9skkvk to see a video tutorial on how I set up a rough 3d scene for the painting.

More next month, thanks for following!


Thursday, June 12, 2014

False Color Texture Maps On "Inc"

Figured you may find this amusing. Here's one of the painted texture maps for the main robot in "Inc". It's a series of 3 greyscale masks baked to channels in a single bitmap used to blend between a metal, paint and rust material.

1) First the model gets a metal material.
2) Then on top is layered a paint material that contains procedural paint chipping: http://www.neilblevins.com/cg_education/vertex_map_wear/vertex_map_wear.htm
3) Then the red channel of this map adds some paint back in places to cover over the procedural
4) Then the green channel removes larger chunks of paint, revealing the metal below
5) Then the blue channel blends a rust over top of the metal and paint.

Why use a single false color image instead of 3 greyscale maps? Two reasons...

1) You now only have a single bitmap to deal with instead of 3. Means far less clutter in your maps directory, especially if your model has a lot of bitmaps, and more difficult to accidentally misplace related bitmaps.
2) Some renderers internally convert all greyscale bitmaps into rgb, which wastes bitmap memory. So this technique can save memory in some instances. (1 rgb map instead of 3 in memory).

Personally, I just think the texture maps look freaky :D



Friday, June 6, 2014

20th Anniversary of my First 3D Image

So it was June 1994, and I had just bought a 486 computer. One day I remembered that I had purchased a book called "Image Lab" a few years earlier that contained a raytracer called POVRay, but I could never run it since my older computer didn't have a math co-processor. "Hey, I could try out that software now!" So I opened up my first text file, and coded the scene below using a fractal generated in fractint for the mountain, a gradient for the sky, and the moon was a bitmap that came with the software. This is the image that started my path down 3d. The exact date of this image is unknown, but I do know it was June, so since June 6th is also Steve Vai's birthday (one of my favorite guitar players), I now declare June 6th 2014 as my official 20th year 3d anniversary. Things have certainly changed a lot of 20 years :)



Tuesday, June 3, 2014

I've been asked to contribute to Nuthin' But Mech Book 3

Nuthin' But Mech Book 3 has been announced for July 2015, and I'm honored that I was asked to contribute some artwork to the project.

http://nuthinbutmech.blogspot.com/p/volume-3.html

Quite a list of great artists.

Make sure to get Nuthin' But Mech Book 2, which should be available soon!

Wednesday, May 28, 2014

"Inc" Visual Development Book Project Update #2 May 2014

Artwork WIP & Finished: 138 images
Pages Complete: 40 (33% of book done)

So I know I said quarterly updates, but so much has been going on with Inc I may have to do them a little more often. I'll say "at least quarterly" updates.

This will be a short one, but we just hit the 1/3rd done point with 40 pages complete! And a staggering 138 images in progress or complete (well, its staggering to me at least considering this isn't our day job). On the story front, we now have all the major story beats pretty finalized, as we refine the specific action in each sequence things may change a bit of course, but overall we have a solid 3 act scifi adventure.

Next update will include info on the team, so far we've got work back from 7 of the 8 participants, and the stuff I'm seeing from the team is fantastic!

My big milestone in May was finishing the design and modeling of one of our two main characters. One protagonist is a robot, one is human, you can guess which one I've been working on :) Anyways, construction is complete, all 1617 pieces of him (252 of which are screws). June is texturing month for me, then on to the final design of the bad guy robots.

More next month!


Wednesday, May 21, 2014

SoulburnScripts Updated May 21st 2014

Max script update:

Updated a bunch of scripts:

soulburnAssetLoader: Fixed a merge bug where sometimes the script would put the objects on the wrong layer.
blendedBoxMapMaker: Makes a much more accurate calculation on the "Auto Calculate Size" for the mapping UVW modifiers.
cornerEdgeToVertexMap: Fixed a bug where polyOp.getEdgeFaces returns undefined on some meshes and then crashes the script. Now the script will continue to function even if it runs into these situations. Set the defaults to turn off the Border Edges by default. Can be turned back on if you wish.
modifierUtilities: Added ability to turn on or off or toggle modifiers based on Name.
sLib: Added sLibGammaChange.

http://www.neilblevins.com/cg_tools/soulburnscripts/soulburnscripts.htm

Thanks to everyone for your support.

Tuesday, May 13, 2014

SoulburnScripts Updated May 13th 2014

Max script update:

First, my script pack appears to work fine in Max 2015

Updated two scripts:

soulburnAssetLoader: Fixed a bug where the script would fail on some system with an "Syntax error: at (, expected do" error.
geometryBanger: Added Progress Bar. Added ability to turn off undo to fix a max memory issue. Only affects instanced objects once.

http://www.neilblevins.com/cg_tools/soulburnscripts/soulburnscripts.htm

The image below is from SoulburnScript user Nick, who is now using SAL to organize his model library. Just figured it would be cool to see someone else's assets for a change, I'm glad Nick is enjoying the script!


Rest In Peace H.R. Giger

Such horrible news this morning, one of my greatest influences has passed away. Your work will live on in all of us forever. Thank you so much for everything you brought to the art world.

H.R. Giger: February 5, 1940 - May 12, 2014

http://www.rollingstone.com/music/news/h-r-giger-surrealist-artist-and-alien-designer-dead-at-74-20140513


 

Friday, May 9, 2014

SAL News Update

First off, we now have max 2012 compatible asset packs available here:

http://www.neilblevins.com/cg_tools/assets/assets_3dsmax.htm

Both the 3 free pack and the 1 pay pack. Thanks to the people who decided to support me by buying the hard surface pack. Note, even if you're not a vray user, the hard surface material pack comes with a dozen highres tilable bitmaps that you can use in your own materials for any renderer. At $10, I think it's pretty cheap for what you're getting, and again, if I see there's a decent market out there for this sort of thing I'll spend the time to make more packs, possibly another hard surface one, and certainly an organic one for terrain, snow, trees, fabric, etc.

As for SAL itself, the release actually went pretty smoothly, there were only two large bugs that affected about a half dozen users. The first bug I managed to figure out thanks to the help of the users and Paul Neale. So I've released a new soulburnscript pack, version 081, which contains the fix (the bug would throw a random dotNet error when you tried to run the script).

http://www.neilblevins.com/cg_tools/soulburnscripts/soulburnscripts.htm

Now I'm working on the second bug, hope to get that one worked out soon. And I've compiled all your wishlist items, some of which I hope to add in the near future.

That's it for now, happy Sal usage!


Saturday, May 3, 2014

soulburnAssetLoader (SAL) has been released for 3dsmax!

The soulburnAssetLoader is a quick way to let you merge various assets into your scene from a nice icon based interface (including Environments that consist of lights and hdris, material presets and individual models). I got the idea from looking at keyshot, while keyshot is a nice piece of software, it's quite limiting when you want to do something more complex (like adding rust on an object for example.) But it's great at quickly swapping materials and rendering them in a realistic environment. So hopefully this script can help you achieve the speed but lets you to customize your materials and rigs more than keyshot allows.

Go here to download the script:

http://www.neilblevins.com/cg_tools/soulburnscripts/soulburnscripts.htm

Visit http://www.youtube.com/watch?v=edvfB7Tc-lU to watch a video showing how the software works.

And here's 4 asset packs of environments, materials and models. 3 packs are free, and 1 pack of advanced vray hard surface materials is $9.99. Please consider buying the Hard Surface pack to support the further development of SAL:
http://www.neilblevins.com/cg_tools/assets/assets_3dsmax.htm

Thanks!

Saturday, April 26, 2014

My Artwork Got "Remixed" Without Permission

Man, so I've discovered in the last month two professional concept artists who've used my artwork in their own designs. I know its common for concept designers to take photos and such and incorporate them as texture in their work, but if it's obvious you really need to credit the original artist, or best yet, don't do it at all (I almost exclusively use my own photos and would never use another artists work in my own).

One of the images I'm particularly annoyed about because I made the original image years ago, and then decided to use it as the basis for some of my design work on "Inc", but now I found out it got incorporated in the concept art for a major videogame. Now when I release the image in "Inc", people are going to go "Hey, you stole work from such and such", and I'll have to say "No, he stole it from me!". So frustrating.

Monday, April 21, 2014

ArtStation Gallery

Just signed up for an ArtStation Gallery, feel free to take a peak and follow along if you'd like!

http://soulburn3d.artstation.com/

Saturday, April 12, 2014

Some new software is coming from Soulburn Studios

Ever wanted a keyshot like workflow for 3dsmax? Well, so did I. Watch in HD!:


Monday, April 7, 2014

Wednesday, April 2, 2014

"Inc" Visual Development Book Project Update April 2014


So I've decided to release quarterly updates on how the "Inc" Visual Development Book Project is going. As well as a summary of what's been going on (and the odd tidbit of story), I'll try and release a picture or two from the book with each update.

The current plan (everything is subject to change of course) is for a 120 page book, landscape format, and we've got 50 pieces of artwork so far for a total of approx 30 pages, so we're actually 25% complete! Right now the team will be 8 including myself, with 7 already working on images.

The current format will be 2 parts. Part 1 will be the Narrative portion, which will be short clips of the script mixed with artwork depicting what's happening at each major story beat. Think of it like those old school story books you could buy for movies, where they have images from the movie followed by an abridged version of the story and dialog. Part 2 will be the World of Inc, which will delve in more detail on the characters, robots, environment, creatures, vehicles, weapons, etc, flushing out the world building aspect of the project.

I'm really excited about how things are going, my goal is to see this finished by Christmas 2015, which I think is doable even though all the work on this book is being done in our spare time. There are plenty of sub-projects going as well, like the Inc official facebook page, possibly some model kits of Inc characters and vehicles, etc, but right now our focus is the book.

Next update I'll introduce you to the team, between the bunch of we have a ton of experience in animated features, visual effects films and videogames. I'm really lucky to have so much talent say yes to the project. Each person was picked because they're really good at some aspect that the project needs (like one person is handling the humans, someone else is doing the majority of the vehicle designs, I'm focusing on the environments and robots, etc), and so far the work I've seen from my cohorts is fantastic.

The first real artwork update will be end of June, until then, check out the sneak a peak at one of our two Inc logos. Thanks for your interest!

Thursday, March 20, 2014

SoulburnScripts Updated Mar 20th 2014

Max script update:

Updated a bunch of scripts:

blendedBoxMapMaker: I completely botched up the distance calculation for the placement of the CameraMapGemini cameras. This fixes that. Uniquifies camera names.
blendedCubeProjectionMaker: I completely botched up the distance calculation for the placement of the CameraMapGemini cameras. This fixes that. Uniquifies camera names.
nameManager: Changed Padding to 3 to be in line with newer copies of max. Fixed a bug where it wouldn't rename the object if it had no material assigned. Fixed an issue that could occur when applying a unique name to your objects.
objectReplacer: Small code change, no visible change to the user.
objectPainter: Now when you instance geometry it copies over the Object ID of the original object.
iDSetter: Added ability to give a constant value for all the objects.
sLib: Added sLibAddExtraBackslashesToFilename.

http://www.neilblevins.com/cg_tools/soulburnscripts/soulburnscripts.htm

Thanks to everyone for your support.

Thursday, March 13, 2014

CG Tools Updated Mar 13th 2014

I've received many requests over the years for my UIs for various pieces of software, so here ya go (right now I have my custom UI for 3dsmax, Maya and Photoshop). I'd recommend taking what you want from these and customizing them, no two people work alike and I don't expect anyone is going to use my exact UI. But it is interesting seeing how other people choose to organize their tools, and so maybe this can help inspire a UI for you that's better for your workflow.

http://www.neilblevins.com/cg_tools/ui/ui_3dsmax.htm

Thanks to everyone for your support.

Sunday, March 2, 2014

Toy Photo Page Updates for Feb 2014


Here's my latest toy photos. Note: this will be the last time I post my toy photos to my various social media pages. I will continue to post new photos to flickr, but I need to start focusing more of my time on other projects. So if you'd like to continue getting updates on new photos, please add me as a contact on the flickr page. Thanks for watching!

3A World War Robot Group Shoot 74
10 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157640701043105/

3A WWR Harold MK1 Medic Shoot 1

53 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157640699144054/

3A WWRp Harold MK1 Medic Shoot 1
41 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157640695969215/

3A World War Robot Group Shoot 75
10 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157641072975263/

3A WWR Harold MK1 Experimental Div Shoot 1
48 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157641073468864/

3A WWRp Harold MK1 Experimental Div Shoot 1
42 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157641072921383/

3A World War Robot Group Shoot 76
9 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157641419787843/

3A WWR Harold MK1 Modchip Shoot 1
77 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157641417414625/

3A WWRp Harold MK1 Modchip Shoot 1
56 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157641419678163/

3A World War Robot Group Shoot 77
9 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157641730937535/

3A WWR Harold MK1 BcELL Shoot 1
54 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157641730881555/

3A WWRp Harold MK1 BcELL Shoot 1
38 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157641730912465/

Thursday, February 20, 2014

Soulburn 3D Education Page Updated Feb 19th 2014

Updated my How Do I Shade / Texture Stuff?: Shading Pipeline Overview lesson with a bunch of new info, especially on pattern placement methods and pattern storage.

Wednesday, February 19, 2014

Go To School Or Learn CG At Home?

This topic came up the other day, and I figured I'd expand upon it here. With so many training DVDs and online resources (like Gnomon, CDW, Digital Tutors, etc), is there still a reason to go to a brick and mortar school if you want to be a professional CG artist? Or can you learn enough on your own at home?

First, full disclosure, I didn't go to school for 3D. 3D computer graphics was still a pretty new field at the time and there weren't many schools teaching it as a degree. So I got a Bachelors of Fine Arts in Design, mostly Photoshop, illustrator, drawing, painting, art history, color theory, that sort of stuff. I learned all of my 3D stuff at home through experimenting with the software and through online forums on CompuServe and later the web. So I'm sorta school and self taught.

Now back to the main question. In my opinion, I think of it a little like the Kahn Academy. https://www.khanacademy.org/ One of the main principals it was founded on was this: We're doing education backwards. We have students in the class for lectures, and then we give them homework. The way we should be doing it is recording the lectures and have the kids watch them at home, and then homework is done in class where the teachers can answer questions. And that's how I feel about learning CG. The lecture portion of learning in general can be covered using stuff like Gnomon DVDs, but the interactive portion, the lab time, the questions, the critique, that's something that's still best taught in a class environment.

Here's a few specific advantages that going to an actual school gives...

1) Building Your Mental Visual Library: On facebook, if you like something, you hit the like button. As you like more things, facebook starts to only show you things similar to what you've liked. Which is great in one respect, you get more of what you're interested in. But the danger is that you end up having a very narrow focus of knowledge, experience and visual reference. Art history classes are good for getting a very broad understanding of a lot of different types of art. Which is important, so if you need to make something outside of your current focus, you've at least got some idea where to start. Art directors also are always referencing art movements and artists, good to know who these artists and movements are are ahead of time so you can communicate more effectively with the person in charge. And also, some topic may not be that interesting to you by themselves, but by taking small elements from this and that (say Cubism) and incorporating it into the stuff you love (say Scifi robots), it adds variety and possibly a brand new style that differentiates you from the other people who have a more narrow focus. While it's possible to force yourself to have a broad focus online, many online sites are doing their best to narrow your focus, so if you go to an actual art history class, you're forcing yourself to broaden that focus.

2) Motivation: Humans are pack animals, they generally want to interact and impress others in the pack, so when you're in a class with a bunch of other like minded people, there's motivation to actually work hard on your art. This is the computer lab experience, a whole bunch of people in a computer lab together at 2am that gives you motivation to get stuff done. That motivation may be more difficult to come by sitting at home. You can get some of this by posting your artwork in forums and such, but it's not as immediate as putting that piece of work up on the classroom wall and getting immediate feedback.

3) Answering Questions: In a school, the teacher is a professional artist whose JOB it is to answer your questions, as opposed to a professional online who may not have the time to answer your questions. Things like animation mentor can help replace this.

4) Critiques: While you can get your work critiqued online, you never know for sure who's critiquing you. Are these critiques coming from someone who is a professional? Or someone who may not know as much? The signal to noise ratio is different on the internet than it is in a school. Also, in the professional world, a lot of critiques happen face to face, so if you're only used to critiques online, you may not react as well when you are critiqued in person. A big chunk of doing well in this industry is how you react when someone tells you to your face that your work sucks and changes need to be made. And the only way to get used to that is to be critiqued in person and see how other professionals take critique in person.

5) Work In A Team: This may not apply to you as much if your plan is to be a concept artist working freelance from home, but if you're planning on working at a company with more than a couple of employees, you need to be able to work as part of a team. Many life lessons there, including how to sometimes do the non-sexy work because it needs to get done, how to ask things of other people, how to manage people and schedules, these are all important and very difficult to simulate unless you're a part of an actual team. In school projects can help simulate that environment. This is something you can also learn in other places than school, but learn it you must.

6) Equipment: Not everyone has tons of money, and for many having good equipment and access to software is expensive. Even if you have a great computer at home, do you have your own renderfarm? If not, a school probably does and going to a school gives you access to this.

7) Networking: You meet other people who themselves will get jobs, and may recommend you for a job if they liked you and your work at school. You don't necessarily need a real school for this, my first job I got because people saw my work online and offered me a job, but the more people out there you network with, the better a chance you have of landing work.

8) Work Visa: If you plan on getting work in a country other than your own, many work visas are easier to get if you have a degree in your field. Whether this is fair or not isn't the issue, it's the reality of the situation so having a degree from a real live school can be helpful. Some companies like you having a degree as well, but the vast majority don't care, they just want to see your portfolio.

Anyways, a few thoughts, hopefully this didn't come across too much like a "stay in school" PSA. You can succeed and not go to school (I have a few good friends who are very successful in this field and barely passed High School), but it's important to know the things you give up if you choose to make that decision.

Thanks to Kat and Roderick for some extra input.

Monday, February 17, 2014

SoulburnScripts Updated Feb 17th 2014

Max script update:

Added a new script:

iDSetter: Takes all selected objects and applies a material modifier, modifies their object ID, or modifies their User Defined Properties to either a random ID between the high and low value, or a sequential set of IDs based on selection order.

Updated a bunch of scripts:

texmapBaker: Added ability to use new vray 3 user defined object tags in the switcher.
blendedBoxMapMaker: Change CameraMapGemini Distance to a Multiplier.
blendedCubeProjectionMaker: Change CameraMapGemini Distance to a Multiplier.
putPivot: Added option to also align pivot to currently selected vert, edge or face.
findInstances: Added ability to work on all or visible objects.

http://www.neilblevins.com/cg_tools/soulburnscripts/soulburnscripts.htm

Thanks to everyone for your support.

Soulburn 3D Education Page Updated Feb 17th 2014


Friday, February 7, 2014

Soulburn 3D Education Page Updated Feb 7th 2014

Added a new lesson and updated some older ones...

Monday, February 3, 2014

Two New Speed Paintings

Two speed paintings for the hell of it:


Sunday, February 2, 2014

Toy Photo Page Updates for Jan 2014


3A World War Robot Group Shoot 73
8 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157640405744883/

3A WWRp Harold MK1 Bromwich Shoot 1
42 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157640406096394/

3A WWR Harold MK1 Bromwich Shoot 1
46 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157640403713465/

3A World War Robot Group Shoot 72 (18 Harolds!)
30 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157640122771576/

3A WWRp Caesar BcELL Shoot 1
66 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157639705050355/

3A WWRp Bertie MK3.5 Bromwich Shoot 1
70 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157639413454914/

Sunday, January 26, 2014

SoulburnScripts Updated Jan 26th 2014

Max script update:

Added a new script:

geometryBanger: Chooses a % of vertexes in an object and moves them around randomly. Good for adding subtle bangs and bumps to your geometry. The advantage this has over say the Noise modifier is it only affect some verts, which will give a more realistic result. Object Size Compensation tries to bang smaller objects less, and large objects more.

Updated a bunch of scripts:

texmapBaker: Improved unwrapping algorithm.
cameraFromPerspectiveView: Adjusted some default values.
blendedBoxMapMaker:
Fixed an issue with the cameraMapGemini mode by moving the cameras further away from the object. This workaround will have to do until a cameraMapGemini bug gets fixed.
blendedCubeProjectionMaker: Fixed an issue with the cameraMapGemini mode by moving the cameras further away from the object. This workaround will have to do until a cameraMapGemini bug gets fixed.
sLib: sLibGetCollectionBBoxVolume.

http://www.neilblevins.com/cg_tools/soulburnscripts/soulburnscripts.htm

Maya script update:

Added new shelves, new tools on the shelves, and a bunch of new icons.

http://www.neilblevins.com/cg_tools/soulburnscripts_for_maya/soulburnscripts_for_maya.htm

Thanks to everyone for your support.

Wednesday, January 8, 2014

Sunday, January 5, 2014

Soulburn 3D Education Page Updated Jan 5th 2014

First lesson of the new year (wanted to get this in quick before heading back to work) Added a new lesson called Scratch Patterns Using A Scratchboard.



Wednesday, January 1, 2014

Toy Photo Page Updates for Dec 2013


3A Adventure Kartel Portable Ankou-Ex Med-Ex Shoot 1
24 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157638453913734/

3A Adventure Kartel Portable Ankou-Ex Fat Drown Shoot 1
29 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157638453024005/

3A Adventure Kartel Portable Ankou-Ex Shadow Security Shoot 1
36 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157638453347956/

3A Adventure Kartel Group Shoot 4
8 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157638453402256/

3A WWRp Square MK1 Fat Cloud Cloud Shoot 1
12 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157638649491235/

3A WWRp Square MK1 ISO Shoot 1
16 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157638698106126/

3A WWRp Square MK1 Fremantle Shoot 1
20 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157638698169436/

3A WWRp Dropcloth MK1 Snowballer Shoot 1
30 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157638699685354/

3A WWRp Dropcloth MK1 Marine JEA Recon Shoot 1
23 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157638698646525/

3A WWRp Dropcloth MK1 Iron Panda Shoot 1
30 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157638698715815/

3A WWRp Dropcloth MK1 Monty Desert Sand Devil 666 Shoot 1
21 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157638778615454/

3A WWRp Dropcloth MK1 Zhivago Shoot 1
25 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157638776728626/

3A WWRp Dropcloth MK1 EMGY Shoot 1
27 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157638778673034/

3A WWRp Dropcloth MK1 Peaceday Shoot 1
33 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157638777435195/

3A WWRp Dropcloth MK1 Deimos Liberator Shoot 1
28 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157638776824686/

3A WWRp Bertie MK3.5 Bromwich Damaged Shoot 1
86 Photos
http://www.flickr.com/photos/soulburn3d/sets/72157639218581074/