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Equilibre - France
HDA : Pylon Designer
Client : RTE - ERDF
Architect : HDA
Date : 2013 -
See more at : www.hda-paris.com/
Bridle’s search for the lost ghosts, the architectural spectres wandering the renders of our possible futures, had all but failed. His project had been shown around the globe, he’d gained glorious reviews in the pages of art journals and magazines, his ghosts had been discussed on many a panel. However, none of ‘the originals’ had been located.
There had been the odd false hope; a mythical photoshoot in albuquerque, a photographers convention in Milton Keynes, but the trail always went cold. He’d been approached by people claiming they were an original, but it didn’t take long to dismiss their claims. The ghouls, as he called them, went to extraordinary lengths to convince him. They dressed up in similar clothes, posed in the same positions, they’d even been known to return to the construction site where their hopeful ghost image had once occupied; placing their flesh bodies into, yet another, distanced layer of our hyper real existence.
It wasn’t until he returned to Korea, that he discovered where the ghosts had come from. After a particularly poorly attended lecture, an elderly man approached him and reprimanded him for accessing ‘the unknown’. The ghosts that he’d been searching for would never appear. The man claimed they’d come from ancient space, a pre-architectural world of possibility. Their projection into the render world, somewhat akin to Edwin Abbott Abbott’s Flatland, was to discover whether architects had evolved since their last contact. Sadly, the man said, they still felt us too primitive in our spatial practice to materialise, they’d returned to the unknown to wait out our spatial puberty.
Initial 3d render for the yacht building... dusk time like i usually like to do. hopefully, the pitch for the client will go OK and I'll get a chance to elaborate this further. Modeled with SketchUP and rendered with VRay 1.5 sp3a. VRay RT was a saver on this one to cut production time.
The AMC Gremlin (also American Motors Gremlin) is a subcompact automobile introduced in 1970, manufactured and marketed in a single, two-door body style (1970–1978) by American Motors Corporation (AMC), as well as in Mexico (1974–1978) by AMC's VehÃculos Automotores Mexicanos (VAM) subsidiary.
Using a shortened Hornet platform and bodywork with a pronounced kammback tail, the Gremlin was classified as an economy car and competed with the Chevrolet Vega and Ford Pinto, as well as imported cars including the Volkswagen Beetle and Toyota Corolla. The small domestic automaker marketed the Gremlin as "the first American-built import."
The Gremlin reached a total production of 671,475 over a single generation—and was superseded by a restyled and revised variant, the AMC Spirit.
1972
1972 AMC Gremlin
All Gremlins received a new body-colored front fascia treatment for 1972. Among many other changes was an available 304 cu in (5.0 L) V8 engine. It was "the muscle car formula of stuffing a big motor in a small car." Engine ratings were downgraded to more accurate Society of Automotive Engineers (SAE) net hp figures, bringing the 232 cu in (3.8 L) engine to 100 hp (75 kW; 101 PS), the 258 cu in (4.2 L) to 110 hp (82 kW; 112 PS) and the 304 V8 to 150 hp (112 kW; 152 PS). Even with the lower engine output ratings across the industry, "the V8 Gremlin was a poor-man's Corvette, able to spin its rear tires at will and outrun some larger, more expensive pony cars" and it was "the only real performance car available under $2,200."
Hace 7 horas que estoy haciendo un render, y tiene para rato. Y me acordé de una idea que tuve hace tiempo, sobre los renders que no llegan a "nacer", renders interminables que nunca llegarán a conformar la imagen final, y de los cuales sólo puedo rescatar el intento, en esta imagen que representa el cálculo de iluminación global:
Created using LDD2POV, taking over six hours to render at this size. It would have been great if it were possible to apply decorations to microfigs...
Dewailly Cloister Roof - Amiens -France
HDA : Architect
Client : Ville d’Amiens
Architect: H²O& HDA
Date : 2007
See more at : www.hda-paris.com/
rendered in cinema 4d + photoshop www.facebook.com/christophermalheirosvisualization www.cmalheiros.com
Taïkoo Hui - Tianhe, Guangzhou, Guangdong, China
HDA : Specialist Design consultants
Client : Swire Properties Inc.
Architect: Arquitectonica
Date : 2005 - 2010
See more at : www.hda-paris.com/
The Final render of my animation, I really enjoyed the project overall. I felt going through the stages of creating the character to rigging to skinning and painting weights really helped me to understand how it all works and how to create a flawless (or near flawless) model. There were major problems along the way, first hurdle was getting the character right, I went through 3 iterations of characters, there the first 2 didnt feel quite right or its was the style I was going for.
Finally it got to the stage where I was happy with the devil shown above, I ended up using an old joker model for reference, this worked well and allowed for major characterisations, with a large area to the mouth and a long pointy face, I felt it was perfect for what I wanted. By that time I was meant to have started animating, so I started rigging and blend shapes as fast as possible, I followed a great tutorial on rigging from digital tutors, learnt all about naming conventions and how they can help select many joints at once, how to mirror joints and their names as well so R becomes L.
I felt I rushed the rigging stages of the character, it definitely shows in the animation, I had no neck movement and had to compensate with the body, also the hands/arms, I didnt put pole vectors on them which shows again, not being able to rotate the hands and arms fully, this really affected the flow.
I also had issues with the computers, when it came to skinning, I kept losing work or the university computers had major issues for about 5 days....sometimes I couldn't open my file, there was a save file bug, so if you tried to save maya it crashed, this was even with a blank scene.
But re-doing the skinning stage helped me learn a lot about the modelling and rigging, making sure the topology is correct for this stage is a must.
Finally getting to the animation, this I really enjoyed!
I changed the quote because I didnt want to use the original audio clip, it was boring and had nothing fun or exciting about it. My idea wasn't very fleshed out and I was running out of time. I searched for a funny devil quote and came across the cow and chicken one I used in the final product.
There are some obvious problems with the animation, some of the mouth movements don't match the dialogue, had I done another polish pass on the animation I would have sorted this out.. I wanted to do more with the arms, for example when the devil says "Im naked" I wanted the devil to be looking at his nails, but again a rigging problem.
The hands also float through the table but another time management issue, so I ignored it.
There is an issue with the hello at the start, I think its the arc at of the head, because the neck doesn't move it was hard to exaggerate this. I tried to offset the head and the body but it started to make the mesh on the neck warp.
My favourite part of the animation is the laugh at the end, it really captures the emotion of the character, hitting the 2 beats of the main laugh in time with the drum beats of the music really emphasises this.
I think I could have added some more subtleties with his eyes, the eyes dance around in parts, I would go back and act out the part myself seeing how the eyes moved, maybe taking reference video.
The subtle head movement when he says im naked works well, its a cocky confident way of showing he knows there is nothing under the apron and is absolutely fine about it.
I added a secondary action to the chefs hat and it really shows, its a subtle movement and works well with the character.
If I had to go back and do anything differently, I would spend more time on rigging, and knowing how the skinning and painting weights work now I would edit some of the topology, maybe take some of the edge loops out. Taking edge loops out will save time when editing blend shapes which was a slight annoyance.
When animating I found that not having a competent rig was a big issue when trying to create arcs with the character, not having neck movement made it very odd.
Overall I am very happy with the outcome and definitely intend to work and polish the animation over the summer, I really enjoyed this module and felt it was a huge improvement from the last, although I wish I could have added another layer of polish to this before submitting. But deadlines are deadlines.
Indigo park cinemas - Beijing - China
HDA : Architect
Client : Swire Properties LTD,& Sin-Ocean Land
Date : 2010
See more at : www.hda-paris.com/
St Georges Shopping Center - Toulouse, France
HDA : Glass Roof & Facade Consultants
Client : SCI ALTA Saint. Georges
Architect: Guerin Pedroza & Jean Pierre Buffi
Date : 2003
See more at : www.hda-paris.com/