Rob Rodriguez has earned a place for himself as an expert in photo-realistic rendering in fields quite different from the gaming and entertainment worlds. Rob’s expertise is used to help people visualize and make decisions before they make real products. From the architecture we live with to the products that we hold in our hands, Rob’s skills make the things we use better from the beginning. Rob’s business, Axis CAD Solutions, delivers the value and power of rendered images primarily using PhotoWorks from SolidWorks. He also shares his knowledge with others through presentations at annual events like SolidWorks World and at numerous user group meetings throughout the US.    

Q1: How did you first become interested in 3D modeling, animation and rendering? 

Like everyone else I suppose I started designing in 2D with CAD tools like AutoCAD.  I can remember my professors from architectural school saying you have to learn how to visualize your design in 3D as you’re putting it on paper or the screen.  Sometimes this can be difficult when working on a complex design.  I can remember thinking if I can’t “see” the design in 3D then how is the customer going to see it?  2D CAD  was a step up from board drafting but it didn’t solve the problem of visualization for me.  I had worked in the architecture field for a while when I took a position designing decorative cast iron and sheet metal parts for a company that manufactures wood and gas heating appliances.  The decorative cast parts were very free form shapes with a more artistic feel and again I found it very difficult to communicate and visualize this type of design with 2D CAD.  This was the point I jumped into the 3D CAD world using SolidWorks.   I was amazed how much easier it was to “see” my design in 3D since I was working that way on screen.  There was no turning back at that point.  I was in the 3D CAD world to stay and 10 years later I’m still here.  Rendering and animation  just seemed to be a natural progression from modeling.  I used to see very life-like computer generated images while thumbing through trade magazines and they really caught my interest.  I wanted to learn how to create images like this and I’ve been learning ever since.

Q2: What types of 3D modeling, animation and rendering do you do?  

Having been in a number of different industries, I’ve modeled a variety of things.  Residential homes, cabinetry, furniture, sheet metal parts, castings, monuments, mausoleums, etc, etc, etc.  It’s an odd combination really, especially when  people find out I use SolidWorks as my primary design, modeling, and rendering package.  SolidWorks is primarily an MCAD design tool and I’ll be the first to admit some of the things I use SolidWorks to design and render don’t fit with its normal usage.

Q3: What role do your models, animations and renderings play in the product development process? 

That really depends on the context of the work.  If I’m working on consumer type products my renderings and animations typically come at the end of the design process and are used for more of a marketing or sales tool.  Most of my images and animations are used for print brochures, magazines and the web.  If I’m working on an architectural project renderings and animations are used to allow the clients to easily see the design and decide on revisions.

Q4: How much time do you spend, on average, on one particular rendering? 

Typically the modeling is already finished when I need to create a rendering.  I could have created the model at an earlier time myself or my client may have sent me their model to use for rendering purposes.  Since the work of modeling is already completed, the rendering process progresses rather quickly.  I’d say a typical consumer product rendering takes about a ½ day to a day depending on the complexity of the design and what exactly the client wants to show.  Architectural type renderings usually take longer just because the nature of them requires more work.

Q5: What additional software do you use to create your images? 

I like to do as much work as possible in the modeling / rendering package but there is always a bit of post processing required.  For this I use a photo editing program, Corel Draw / PhotoPaint.

Q6: What is your day like?

 I’ll let you know when this one is over J.  It varies greatly but there are some constants.  Having a full time job and operating my own business makes for some long hours.  During the day I would typically be working on design projects for a wide range of customers.  This could include creating models, fabrication drawings, renderings and animations.  I usually have multiple projects happening at once so things can become hectic.  Nights you can usually find me creating renderings for various clients through my own business Axis CAD Solutions LLC.  Again I’m usually working on multiple projects of varying degrees of difficulty  across a wide spectrum of products.  I’ve also branched out into the education side of the software, collaborating on a rendering book for SolidWorks and providing rendering training classes for clients.

Q7: What tips can you share for staying focused on a large project? 

Organization is really the key, especially when you’re working on multiple projects.  Document every detail of each rendering set up, you never know when you’ll need to go back to a particular point in time.  Time management is also very important.  It’s easy to become overwhelmed by  a large project but if you manage your time wisely and work in an organized fashion you’ll be amazed at how quickly it can all come together.

Q8: What part of 3D modeling and rendering do you find most rewarding? 

I really like it when I’m surfing the web or looking at a magazine and I see one of my images.  I can say, “I did that”.

Q9: Just for fun, what is you favorite game?  Movie?  Comic Book?

My all time favorite movie is Rocky I and II.  The whole “David vs. Goliath” theme appeals to me, probably because I’ve felt like the underdog most of my life.  Sci-fi action movies appeal to me the most, probably because of the special effects.  I’m always fascinated by how “real” it all looks in the movies. Star Wars, The Matrix, Alien, all great flicks.

Thanks, Rob, for taking time from your busy work and travel schedule to help 3DVIA visitors understand a little bit more about other areas of the world where 3D models are making a big difference.

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Blake Metzler is the Associate Director of 3D Animation at the Center for Digital Imaging Arts at Boston University(CDIABU). As a man of many talents, Blake has worked as a teacher (New York Film Academy), writer, director, musician, actor, editor, and master of ceremonies (among other roles). His 3D art has appeared in films, video games, architecture, websites, and print.   His work on Episode 604: The Final Project won him the prestigious EVVY Award for Best Animation in 2004. He has also done commercial work for the likes of Polaroid and The Thoreau Society.  He’s an accomplished guitarist and his band PBR has been featured in AMP and Loud Fast Rules Magazine. 

Q1: How did you get your first break in the Gaming/Entertainment Industry?

Ha! That’s assuming that I got a “break” at some point. In all honesty, my first professional job was to create 5 different 30 second animations for an educational DVD. I got that gig through a fellow student and friend I made in grad school who didn’t think he could do it. To be honest, I didn’t think I could either, but that didn’t stop me from grabbing it! I really learned a lot on that project and am a firm believer in trial by fire. So the ‘how’ I got it was by being social, networking and above all having confidence in myself to take on something new. I think that these are all still the key today.

Q2: How much time do you spend, on average, on one particular model?

The answer to that question is not short and is going to depend on tons of variables that would change from project to project: Will the model deform and/or animate? How close to the model will the camera get? Is there a poly count? Etc….. Obviously, I spend much more time on character modeling because of the need for clean geometry and appropriate flow lines. But if it’s a mechanical model, I will care less about n-gons and get it done faster. Ultimately the budget and schedule determine how much time to spend. Artwork is never finished (only abandoned) and I only abandon it after putting in as much time as possible without missing a deadline. On average, I’d say one to two full days of modeling for one model.

Q3: What program do you use for modeling and what 3rd party software do you use to make your job easier?

I’m a 3D generalist through and through. Although I think XSI, 3DS, and even Lightwave have amazing attributes that are better than Maya individually, pound for pound, Maya gives the most ability in the 3D pipeline. Since I think that, I generally use Maya to model, with a heavy dose of Mudbox and/or Z-brush for detailing. Ultimately these are just tools and the tools are bound to change over time, so I don’t get too comfortable with any of them. Oh yeah and (of course) all of the Adobe stuff…

Q4: What is your day like?

I really wish I could answer that with consistency. Currently, I’m the Associate Director of 3D animation at the CDIA at Boston University. On any given day I will be teaching, freelancing, doing research, interviewing, answering e-mails, and working on curriculum from when I wake up until I hit the pillow. The day is impossible to predict and that’s why I like it.

Q5: What influenced you into becoming a 3D Artist?

I was a film major (minored in theater), so naturally after college I made films and got a real job to pay the bills (carpentry and renovation). I was in the emergency room getting stitched up from a table saw injury and thought it might be good to do something a little less hazardous to my health and a little more kind to my wallet. I went to graduate school (originally for web design) and when I took my first 3D elective, it was over.

Q6: Favorite game?  Movie?  Comic Book?

I don’t do favorites… but I’ll give you 3 good ones of each. Game wise, I think the Grand Theft Autos, the Guitar Heroes, and The Final Fantasy series are pivotal. Movie wise, I don’t get behind a flick just because it has good computer generated imagery. The Evil Dead movies, Fight Club and Star Wars (you know which ones) are the first that come to mind. I was a big comic fan when I was younger, so this one is pretty easy; X-men, Spiderman, Spawn.

Q7: What are your tips to staying focused on a large model/project?

Honestly, keep track of everything you do! Even if it means keeping a little journal documenting what you do each day. Also, make schedules, follow through on them and don’t put stuff off! I’ve gotten burnt (as all of you either have or will) by waiting until the last minute to tackle a big project. And leave nothing on the cutting room floor!!! Until super computers all render final gathering and ray-tracing in real-time, we don’t have time to do that!

I want to thank Blake for taking part of this interview.  Apart from being an excellent personage, he is a fantastic resource and a great educator. After a few minutes of working with him, you get the feeling that he puts a great positive energy into whatever he’s working on and brings you along for the ride.  You can view more of Blake Metzlers work from his website.  

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Peter is a Production Artist at Turbine Entertainment working on Lord of the Rings Online Massively Multi-player Online Game.  He’s also worked for Electronic Arts, Sony Interactive and Vivendi Universal on such titles as Bulletproof, Everquest II and James Bond: From Russia with Love.  Along with his professional duties, he also teaches at the Center for Digital Imaging Arts at Boston University (CDIABU) in Massachusetts USA.  His 2D illustration work has been featured in The Boston Globe, The Miami Herald and the Chicago Tribune.

Q1:  How did you get your first break in the Gaming/Entertainment Industry?
 
My first few opportunities were as a subcontractor for some rather unsuccessful titles.  I had interviewed with Ballistic Pixel (BP) Lab back in 2003 to work their then Middle Earth Online contract with Turbine Games. I unfortunately had to turn the job down due to pay requirements, but I guess I left a good impression.  When I worked at CDIA BU, BP contacted me to do some subcontract work.  I mainly did some props, but I did get one character. The important thing for me was the end client names like  Sony Interactive, Vivendi Universal and Electronic Arts.  Doing less than glamorous work was okay.

Q2:  How much time do you spend, on average, on one particular model?
 
When you’re in production, you need to be aware of deadlines. You have to learn to not only produce high quality, but also in a timely matter.  I typically spend anywhere between 5-15 days on a character depending on its complexity and importance.

Q3:  What program do you use for modeling and what 3rd party software do you use to make your job easier?
 
I mainly model in Maya, but I use Zbrush for high resolution models.  It’s a Maya to Zbrush work-flow at the moment.  I imagine in the future I may cut out Maya altogether. UV layout by Headus is by far the best 3rd party software I have come across in a while. The hardest part used to be getting your UV’s just right, now UV layout takes all the guess work out.  It’s awesome. I also have to mention Crazybump and Xnormal, both incredible software to produce high quality Normal Maps with ease.

Q4:  What is your day like?

Work, work and more work, but that’s how I like it :)
 
I usually get in around 9:30 and get right to work. I take lunch at 11:30 for an hour or so. The afternoon is where I spend my time really getting into what I’m working on, surfing the web for textures, etc.  I make sure to keep EVERY image I find for reference or overlays. I typically listen to my favorite TV shows or movies while I work.
 
Sometimes I skip lunch and practice Zbrush, but I’ve always got a good cup of cereal to get me through.

 
Q5:  What influenced you into becoming a 3D Artist?
 
Well, I started off my career in traditional illustration. I was pretty successful, but was always concerned about full time employment.  I am not the sort of illustrator to get into concept; guess I’m not all that imaginative, but I love to create.  Being a Production Artist just seemed the perfect fit. Maybe someday I’ll paint again, who knows.
 
Q6:  Favorite game? Movie? Comic Book?
 
My favorite game… that’s tough.  I’m kind of old school, but you have to remember the roots.  Let me give you my top 5 in no particular order: Bionic Commando (NES), Metroid (NES, N64, GC,  Wii), Dragon’s Lair (Arcade), Zelda (NES, N64, GC,  Wii), Pac Man (arcade). 
 
My favorite Movie? Here’s a few: The 40 Year Old Virgin, Van Wilder, Billy Madison, Clerks, Naked Gun, Airplane, The Natural, Unbreakable, Raiders of the Lost Ark, August Rush, Austin Powers, Major Payne, Office Space, Strange Brew, The Rundown, Better off Dead, and One Crazy Summer. I could go on and on but I’ll stop with just one more:  Spaceship… horribly awesome!

Q7:  What are your tips to staying focused on a large model/project?

That’s easy, I just think of all the crappy jobs I had before this and remember how much fun it is to do anything on LOTRO!

Peter was one of my teachers at CDIA, and I was always impressed by his energy and endless instant knowledge of Maya and how things work.  He’s tirelessly tinkering and improving on his work making all of his art look fantastic.  Peter’s website is currently going through renovations but as soon as it’s available I’ll edit the post and add a comment so you can all see his jaw dropping images.   And we may be adding some images soon of his work with Lord of The Rings Online.   Thank you Pete for doing the interview!

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Welcome everyone to 3DVIA’s first Featured Artist interview!  In these posts we aim to ask industry veteran 3D Artists a few questions and showcase their work for our community members.  Today’s Featured Artist is Bryan Silva.  Bryan  worked for Rockstar New England (formerly MadDoc Software) creating a wide variety of game models and is currently working for Image Movers Digital, the company behind Polar Express and Beowulf.  The bad boy in the image above is none other than Danny Trejo, and is one of the models created by Bryan in 3D. 

  How did you get your first break in the Gaming/Entertainment Industry?

 I spent a lot of time at online forums like Polycount and CGTalk posting my work and getting critiques. I sought out tutorials that would help me learn the software I was using. Then I started getting emails from people working at game companies that had seen my work on the forums. None of those materialized into a job offer for me, though. I had a few art tests sent to me that also never materialized.  I sent myself to GDC two times before ever landing a job in the game industry. The experience of attending was great. They have tutorials that you can attend where industry professionals share their knowledge with conference attendees. I learned a lot from those tutorials. Plus GDC is a great environment to network with industry professionals. I remember I had gone to Kinkos and printed business cards with my name, number, my online portfolio url  and what I was good at doing in 3d. I started to apply to game  studios and it took a little over a year to get an onsite interview. The developer that ended up hiring me had my resume on file from a year earlier when I had applied. It was so out of the blue I was very surprised and happy.

  How much time do you spend, on average, on one particular model?

While in the game industry two weeks to a month to do a character. When it’s a personal project I tend to spend more time on it than I could on the job. Im now in the film industry working on blend shapes. I usually spend one to 3 days on a shape depending on its complexity.

  What program do you use for modeling, and what 3rd party software do you use to make your job easier?

3dsmax with Polyboost, Polygon Cruncher, Crazybump, Maya with NEX, proprietary scripts at my job, Mudbox, Zbrush.

  What is your day like?

I work on blendshapes for a film that is completely CG. There are actors that I create shapes for as well as shapes for the characters based on those actors. There are rounds daily where your work is reviewed by your superiors. Weekly meetings. Dailies, where artists submit their work to be reviewed by other departments and studio heads. It’s a really great environment. Its really exciting to see progress. In games, you get to do a whole character which is great, but you don’t have as much time or technology to devote to the character. In film you work on one part of the characters’ creation, and everyone who works on it, nails the part he or she is working on. Its really nice to see it come together.

  What influenced you into becomming a 3D Artist?

My love of comic book art from McFarlane, Greg Capullo, Dale Keown, Steven Platt, led me indirectly to 3d. I remember recreating a panel for a comic book. Falling in love with all the details those artists put into their work. I wanted to be a part of animation and the lack of details in traditional animation led me to 3d animation.

  Favorite game? Favorite Movie? Favorite Comic Book?

I think my favorite game was Resident Evil. I remember being so captivated and actually jumping from the suspence. Movie, man, I can’t call it. Too many favorites. Spawn was my favorite comic of all time.

  What are your tips to staying focused on a large model/project?

I think 3d is a pleasure to do. I am so happy that I don’t wake up dreading going into work. I even work on personal projects outside of work. Staying focused shouldn’t be a problem in this line of work in my opinion.

We want to thank Bryan for taking part in this interview.  I personally learned a lot from his answers and by just looking at the work on his site.  Make sure you guys check out his website, and post all your comments here!

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