Thought I would share this here as it turned out pretty good. This is an animation my partner put together featuring one of my mathematical 3d printable models (interlocked ladder Möbius). Everything in this 20 sec. clip is either composited or created from scratch in 3d. There's no real-world footage used here other than a hdri map for reflections and lighting. The audio was mixed using nearly a dozen different sound clips and fx. The model, of course, was built in 3dsmax specifically for 3d printing, but since I modeled it using subdivision surface techniques in polygons, we were able to UV Unwrap and animate without much fuss. Hope you like it. We were going for a "found footage" type of feel here, suggesting a first-person stumbling upon some type of alien artifact floating there in the woods. Color grading and compositing was done in After Effects.

Nice model. Did you composite in AE using E3D? Or 3d app?

_AniMajik

animajikgraphics posted at 8:56PM Thu, 30 November 2017 - #4319018

Nice model. Did you composite in AE using E3D? Or 3d app?

_AniMajik

Thank you very much. For this short clip, I did all of the texture unwrapping, texturing, materials, and of course the geometry optimization for faster animation rendering. I had some help from my partner who manages the DigiFootage stock footage stuff. He's primarily a motion graphics artist and does a lot of work in After Effects for our stock footage endeavors. He had suggested we take the model into Element3d and do all the rendering there, but after a test animation using Corona render in 3dsmax, we decided it was actually a time saver to quickly animate the camera shake and object rotation directly in 3dsmax, then output multiple composite passes (diffuse, reflection, lighting, AO) in just one single 1200 frame render session from Corona for compositing in AE. I was told the render time per frame from Corona, for this particular project, was about the same as what we would have been looking at from Element 3D anyway. We were using 3d motion blur, raytraced AO, DOF, etc, and we were able to get some good physical camera lens bloom and glare from the renderer. I was actually considering Marmoset Toolbag for the render, as it would have been truly real time with all the lens effects also, but Corona proved quite fast for a path tracing engine. So we decided to keep everything as simplified and streamlined as possible to get it done very quickly. Altogether, from the time the inspiration to do this hit us to the time the final composite was finished rendering out of AE, the whole thing was knocked out in around 3 hours.

this is great, so realistic, i like the copper shapes and added real life sounds etc and movement made it watchable :)