Com­mu­nity News

We chat with the win­ning en­trants of this 3D con­test which fo­cuses on cre­at­ing cab­ins – re­al­is­tic or fic­tional – fea­tur­ing a vir­tual re­al­ity twist

3D Artist - - CONTENTS -

Win­ners of Ronen Bek­er­man’s cab­ins con­test

the sev­enth of Ronen Bek­er­man’s con­tests re­volved around the idea of cab­ins, tiny homes hid­den away from the world. this was the first time, how­ever, that the chal­lenges re­quired im­ple­ment­ing vir­tual re­al­ity, mean­ing that it was ex­pected that these grand and awe-in­spir­ing scenes needed to be ren­dered to be VR com­pat­i­ble, too. in con­junc­tion with this a part­ner­ship with Quixel’s me­gas­cans was set up, al­low­ing those who took part to make use of the li­brary of PBR tex­tures.

“i wanted the cab­ins to stand out from the en­vi­ron­ment, and be deeply po­etic,” says Bar­tosz Domiczek, who was an­nounced as the win­ner of the chal­lenge. “i wanted them to even to be naive or struc­turally non­sen­si­cal in this po­etry of theirs.”

His en­try into the com­pe­ti­tion was an ice­landic moun­tain range, dot­ted with tall, can­vas tent-like struc­tures that – as he puts it – would have been im­pos­si­ble in the set­ting. “i started shap­ing the first by out­lin­ing the cred­i­ble wooden frame,” he ex­plains. “the ex­ter­nal fab­ric was sim­u­lated in mar­velous De­signer, us­ing dou­ble seams on the edges. the ma­te­rial of the ex­ter­nal cover was the cru­cial as­pect of this project and i wanted the very spe­cific translu­cency and some plas­tic glossi­ness that would evoke the con­struc­tion site feel. noth­ing too so­phis­ti­cated, rather uni­form and util­i­tar­ian.

“my en­vi­ron­ment was pretty bar­ren,” says Domiczek, high­light­ing how this meant he couldn’t hide the ter­rain be­hind veg­e­ta­tion. “i started by col­lect­ing a bunch of ref­er­ences and cre­at­ing the ba­sic ty­pol­ogy of ge­o­log­i­cal forms i needed. i as­signed the spe­cific tools i wanted to use. i de­cided to start with world ma­chine and sculpt the de­tails in Zbrush. i also used a lot of rock as­sets from Quixel me­gas­cans and man­u­ally placed them to com­ple­ment the scenes.”

Quite the con­trary is Jamie Holmes’ en­try into the Cab­ins chal­lenge, a se­cluded trop­i­cal beach set­ting with the sort of hide­away you’d see in a Bond movie. “Be­cause i knew VR was a com­po­nent of it, i sort of planned around how that would work,” says Holmes, whose en­try won him sec­ond place in the chal­lenge. “so the first part of my process was cre­at­ing a

my en­vi­ron­ment was pretty bar­ren and i couldn’t hide the ter­rain’s char­ac­ter­is­tics un­der­neath the veg­e­ta­tion Bar­tosz Domiczek, ar­chi­tect and CG artist

rough scene so i knew what would be seen if you turned the cam­era in any di­rec­tion.

“the ac­tual wa­ter is prob­a­bly where i spent most of my time,” laughs Holmes, “just try­ing dif­fer­ent things, play­ing with the shaders quite a lot.

“it was all within the shader, mak­ing sure that the depth change looked like it should, so that as the wa­ter got deeper it got more blue, more murky.

“it did prove to be quite a lot of ex­tra work, i think in the end it worked out and i cer­tainly learnt a lot from it, too.”

For sergey Fer­ley, who placed third in the com­pe­ti­tion, his en­try was a “trib­ute to my life Aus­tralia”, af­ter the artist was re­cently in­spired by the Aussie out­back and wanted to cre­ate a scene that cap­tured both the wild­ness and fragility of such an en­vi­ron­ment.

“i had never used speedtree be­fore. it’s a great tool,” he says of his process in cre­at­ing the Cab­ins chal­lenge en­try and the tools he used.

“And Corona, too; this is the sec­ond time in my life i worked with this en­gine and it’s amaz­ing, it’s so easy to change and tweak op­tions with the light­ing. But the most dif­fi­cult part for me was the sur­round­ing, es­pe­cially the trees be­cause i wanted to get as close to the real eu­ca­lyp­tus trees as pos­si­ble.

“Cre­at­ing the trees and all the de­bris on the ground and the scat­ter­ing of these el­e­ments, this was the task for me – it took a lot of ex­per­i­ments, three or four times i com­pletely changed the trees for this scene.”

A full list of win­ners, run­ner-ups and honourable men­tion scan be found on­line at cab­ins. ron en bek­erm an. com/cab­ins-chal­lenge-win­ners-an­nounced.

Sergey Fer­ley had been liv­ing in Aus­tralia up un­til re­cently, which in­spired his ren­di­tion of this frag­ile glass house within the out­back

Jamie Holmes wanted to break away from the sort of work he does daily and cre­ate some­thing ex­tra­or­di­nary with his scene

Bar­tosz Domiczek was in­spired by Ice­land, want­ing to cre­ate some­thing that could not be fea­si­ble in re­al­ity

Newspapers in English

Newspapers from UK

© PressReader. All rights reserved.