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This is a simple tutorial that describes how to use the open source programs “Blender” ( http://www.blender.org ) and “Open Stereogram” ( http://code.google.com/p/openstereogram ) to create your own 3D Stereogram Images (SIS / Single Image Stereogram).

I got inspired through a Adrew Price and Sebastian König conversation on Twitter today, where Sebastian created a mini tutorial about “How to Separate Two Materials With a Sunlamp”, trying to show something to Adrew. In his tutorial he described a technique where we can enable “mist” in render layers and by using the node editor and Color Ramps we can extract an image that describe the “depth” of the rendering. The first thing that came to my mind when I saw the technique for extracting the  Debth Image through the 3D Scene was…stereogram images..!!! So, here is the simple tutorial that I created. :-)

Here is the final Stereogram Image (can you focus correctly and see the hidden image?)

Here is the Blender 3D Rendered image (the hidden image inside the stereogram in the above “strange” image)

 

Download the Blend File: vag_blender_stereogram.blend.zip

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I was creating the textures for the iPhone Game that we are making. Here are some thoughts about the work flow.

One complex part of the workflow was the “Texture Slicing” part.
You see all the graphics of the iPhone game that we are creating, were created using the amazing Blender 3D. For the 3D objects that will be used as textures inside the game, no big deal. I just render the 3D objects in a i.e. 512×512 pixels image with alpha map. There is no problem with that. We can import them in the game Engine and use them.

The complexity comes through the need to create some objects that should have two forms. The one should be “as it is” and the second one should be “sliced in pieces”. The Game Engine should do the animation of the sliced pieces, so I had only to create the slices as “textures”.

The first thing someone can think is “ok, so what is the big deal?”.
Practically things are a little more difficult than it seems with the first look.

Lets examine the situation.

The result of some renderings where 512×512 pixels images. Also there is a situation that some 3D objects need to be sliced into pieces and then be rendered. Then those rendering with the object pieces should be used to create the textures. I had to take each piece and fit it (without resizing it) inside a “Power of Two” dimension constrained image.

How should I slice the pieces of the 3D Object? What should be the workflow to create correct slices that could fit exactly in a various range of image dimensions that are constrained by the power of two?

First of all I created some basic rules that I found it would be useful and I should follow for the 3D Object slicing:

  • Each texture piece size should have a dimension constrained to the “power of two” numbers (i.e. 512×512, 256×256, 128×128, 64×64, 32×32, 256×128, etc).
  • Each texture piece should not leave much “empty space” inside the texture. It should “fit correctly” inside the texture dimensions.
  • The texture pieces (the slices that consist the 512×512 rendered 3D Object) should not exceed in total the size of the original 512×512 pixels image (for “optimization” purposes). (this is a logical rule but there are some situations that I finally had to make sacrifices and disobey that rule).
  • The 3D Object “cutting” is supposed to be somehow “artistic” and not just a square lasso cut.
  • The 3D Object pieces should have different sizes (but they should follow the power of two rule at the same time).

So here is the big question. How should I easily cut the 3D Object in pieces and at the same time follow the above rules?
I tried different approaches on this “problem”. I was trying to find a way – a work flow -  to do the 3D Object Slicing as quick and as easy as possible.

After a few tryouts, I “synthesized” a 512×512 Texture Slicing Guide Map image from Pixel groups with different colors. It was a guide to help me do the slicing more easily. Each color represent a “Power of Two” dimension from 2×2 pixels to 512×512 pixels (or even bigger).

For example the gray color is one big square 512×512 pixels image and in front of it, it have one big 256×256 blue square at the top left corner and one big 256×256 blue square in the bottom right corner. The viewer can see only the two 256×256 parts (upper right and lower left) of the big gray 512×512 square because the other parts are in front of it.

Here is the image I created:

 

With this image I created I could easily identify “power of two chunks” of the 3D Object to do the slicing and at the same time I could take the sliced pieces and test them inside the “Guide Map” and see if they were cut correctly and that they will fit well inside the “power of two” textures. I simply put this image as a background image inside blender camera and begin cutting the object.

At the same time this image is very helpful inside 2D Image Editing programs (like Gimp, Photoshop, etc) because it can help you easily create guide lines that follow the “power of two” rule.

Please let me know your opinion about my approach. What do you think? Is there a better solution for slicing a 3D Object in “power of two” constrained parts (following “the rules” that I described earlier)?

What is your workflow?

You can download the “Texture Slicing Guide Map” that I created if you want. :-)

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This is a simple Camera Tracking Tutorial of the workflow between “Syntheyes 2011″ and “Blender 2.57b” (the moment I created the tutorial, syntheyes was able to export the python file only for blender 2.49 so I follow a different approach to finally import the scene to blender 2.57b).

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*** Update (2011/06/02)***: ssontech gave us a great surprise and created for Syntheyes a new Beta exporter for “blender 2.57 and up” (thanks ssontech for taking good care of your customers. I really appreciate it). Now we can have the classic Blender 2.49 python exporter and also the new “Blender 2.57 and up” beta python exporter. Visit http://www.ssontech.com/ to download the updates from the “customers only” section and test it if you own a license of syntheyes. :-)

For the rest people that don’t own a license of syntheyes (yet) I Exported the solved 3D scene with the new Beta “Blender 2.57 and Up” exporter of syntheyes and uploaded them on my site. Now they are available for download for you (scroll down to find them). ;-)

Also I took some time to improve a little bit more the solved scene in syntheyes. Now you have even less hpix error witch means better results for your VFX.

I also (lens) undistorted the footage inside syntheyes (no time for a tutorial update for now about the Lens Undistortion).
So, now you have the original “Lens Distorted” image sequence and also you can download the “Lens Undistorted” image sequence too.

I added some 3D meshes inside the scene (3 x 3D Planes and one little mesh on the tree. The “little Tree mesh” is created from the syntheyes trackers, so the position is exactly where the synteyes solve says it should be in space. You can use it as a reference to create a 3D model of the tree, or anyway you like if you find them usefull. I just created those meshes to help you).

I created some ZWT (Zero Weight Trackers) to help you feel the space of the 3D Scene (inside the blend file I managed to separate the elements in layers, and carefully kept some trackers of my choice to a different layer to help you work with your VFX, so we can say that the blend file is somehow “organized” for you (better than nothing). :-)

Finally I took some new fresh screenshots to show you how the solved scene looks like inside the syntheyes.

 

 

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All the files of this tutorial are available for download for free under the creative common license.

Creative Commons License
Blender 2.57b & Syntheyes 2011 Tutorial – “The Trees” by Vangelis Bobolas is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.

 

 

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The last days I suspended the graphics creation and begun creating little by little the “Game Design and Mechanics” for our game. A chaos of ideas in my mind need to find the way out and be written down to the paper. I need to put them in order.
Somehow the game design process, feels like “industrial design”. Any change somewhere could affect many other sectors at once and this is something that I take seriously in account.

I am thinking that when I have the basic Game Design ready (written and in the correct order with paragraphs, etc) I will continue creating the graphics for the game.
(As the creation of the game design happens, I feel that there is a need to create graphics to describe various things and ideas that will take part inside the game. The HUD (Heads Up Display) will be created also as part of the Game Design creation process).

Here is a photo of the “Game Design and Mechanics” process until now…

Those are the first papers with the game design concept I created.
All that text was written on my iPhone’s “notes.app”..!!! I love the yellow color of the “paper” and the font inside “notes.app”.
(maybe I should buy an iPad 2 for better/faster/easier typing) :P

I was listening (in loop – again and again) a song I bought from iTunes in my iPhone 4. It was the song from “U2″ called “With or Without You” and I was Read the rest of this entry »

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Many years ago, when we were younger, me and my friend Harry Kalogirou had a dream. The dream was to create a game.
Harry created a Real Time 3D Engine for Games named “Sylphis” and I was creating 3D stuff and Artwork.

It was the start of something…

Today, we certainly grown up, but there is still some kind of “Flame” in our hearts, that never extinguished. The “Flame” of game development. The last months many game ideas where passing through our minds making us wondering witch one could be a good one for a game.

Guess what…!!?! We are making a game for the iPhone…!!!
I am so excited and happy that I am finally announcing something like that. :-)

This time we have a concept, we have a good game design and a strong feeling that we are in the correct way. I already started creating 3D Models and Artwok for the game using the open source Blender.

iPhone Game Development Pig

Thanasis Lightbridge will be with us with his amazing music to help us make the game real.

Hmm…!!! I can’t give you any more information about the game for now. Soon I will post again, though.
Stay tuned.

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A beautiful Red Dragonfly suddenly stood in front of me. I had no choice, I had to Film it and Photograph it.
I used my Canon HG21 High Definition Camcorder for both filming and photography.

Those who love nature, will find this sample material very interesting because the shots are very close to the object and the material is High Definition (Video: 1920×1080, 25 FPS, Progressive, 24 Mbps / Photographs: 2048 x 1536 and 1920 x 1080).
Because the video is shotted with a digital HD camera, still frames with dimensions of 1920 x 1080 can easily be extracted from it.

(Make sure that you watch the youtube video on “HD mode”).
Enjoy…

 

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This is a fictional advertising of a non existing Refreshment Drink I imagined and created in Blender 2.56.0 (r34076).

I motivated to create this 3D Model because of a challenge thread in a Greek 3D Modeling forum. The challenge (“3D Model Battle”) this time was “Create your Refreshment Drink”.
So, bellow is my creation.

Drink Name: “Inferno”
Drink Category: Refreshment Energy Drink (maybe with caffeine inside it, like the “Red Bull” drink)
Slogan: “Inferno – Burn Out Your Thirst”.

Here is the final Image/Rendering of the fictional drink ad I created:

Behind the scenes:

The 3D Model:
I created this 3D Model with extra (non necessary) detail. Even parts that will never appear in renderings, where designed. This extra detail makes the rendering times heavier (so this 3D model is not suitable for any project). If you observe in the “explode mode” preview, I tried to create even the “special trick” that the aluminum can industry is using to “securely close” the lid of the aluminum soda can.
The reason I created so much extra detail was because I wanted to have an as much detailed and accurate 3D model as possible, for high res animations. The main purpose of this 3D Model is the creation of advertisings. Maybe an “explode view” of the model would be useful for a possible project. Maybe a 360 animation of a new drink. I can always make a new low res 3D Model based on the high resolution model (maybe with normal maps) for quick renderings, or just remove some “unseen” details, for better optimization of the model at any time. I used a real Coca Cola aluminum can as a reference to create it.
I created the anaglyph of the top of the aluminum can (the part with the hole) with enough detail, bun not as accurate as in the real Coca Cola aluminum can.
(I saved the coca cola for later / for the lunch time :-P ) but because of the many variations of the aluminum cans this would not have a negative effect on the overall accuracy of my 3D model.

I didn’t use any “edge creasing” technique. I wanted the detail just to be there, so any curves of the object were made only with edge loops at the correct point. The fact that the 3D model don’t use any Edge Creasing makes it “easy exportable” to any 3D Modeling Platform (Maya, 3D Studio, Cinema 4D, Lightwave, etc) and “ready to use” without any extra work.

The overall faces that the scene “consume” with the subsurface modifier set to “0″, are about 3523 faces (2.563 for everything except the droplets + 960 faces for the water droplets, if I enable the viewing of the water droplets layer too). With the subsurface modifier set to 3 (as it was at the rendering time), the total faces of the scene raise to 159.367 faces, according to blender measuring tool on the top of the blender window. I didn’t use any subsurface modifier on the water droplets.

Check out the following screen-shots.

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I love using blender, an open source 3D Modeling program.

Recently I tried to create an as much as possible “Realistic Earth” 3D Model in Blender for the needs of a project.
The 3D Model is just a simple sphere for each earth layer (Earth, Clouds, Atmosphere). The textures where downloaded from www.shadedrelief.com.
It is complete different to create “just a 3D Earth”, in compare to a “Realistic Earth”.
You have to play with the materials, the lights, and maybe with the compositor to have the best possible results.

Earths atmosphere is the most tricky part.
There is an optical phenomenon that happens on our earth’s atmosphere that is called “Rayleigh Scattering” which is the most complicated to achieve.

I tried to create some kind of Rayleigh Scattering without the use of any scripts or python in blender (only with the node editor) without success until now, so I have to make many improvements to the atmosphere to “fake Rayleigh Scattering”.

I  didn’t want to use the Blender Game Engine to achieve the effect because I wanted to create some really big renderings and an approach with the Blender Game Engine could lead me to a bottleneck to my screen resolution if I could capture the result with a blender script.

The Realistic Earth 3D Model should be used so much for far renderings as for close renderings.
I intent to create some asteroids and explosions with particles and smoke, that will cross the earths atmosphere and hit the earth in the future.
For now the atmosphere is pretty simple. Just a Fresnel material on a sphere.

Here is a rendering from my “Realistic Earth” as it is right now.

Realistic Earth as it is now:

Vag - Real Earth 003 - 080_small_001a

Here is the Blend File “as it is right now” (no time at the moment for improvements because I work on another project)
Download:  Vag – Realistic Earth – 003 – 081.blend.zip
The blend file does not contain any textures. You have to download them (www.shadedrelief.com) and load them inside the materials/textures, under your own file “path”. The main texture of my blender earth is “edited” and changed in an artistic way to give a more realistic feel.

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