Cinema 4D R14 Released

MAXON unveiled CINEMA 4D Release 14, (R14) a milestone release of the industry-leading 3D motion graphics, visual effects, painting, and rendering software application. Leveraging more than two decades of 3D graphics programming innovation, R14 delivers breakthrough performance offerings including a new, fully integrated sculpting system, new camera matching functionality, the debut of exchange plugins to two key applications — The Foundry NUKE and Adobe Photoshop Extended — and improved integration with Adobe After Effects. Packed with a number of other powerful workflow feature enhancements, creative professionals – motion graphics and visual effects artists, as well as visualization designers – will benefit from features that accelerate productivity to produce spectacular 3D content more fluidly, and the ability to collaborate with increased efficiency.

NEW to R14!

Easy to Use and Easy to Learn, Stable, Fast and State-of-the-Art Technology

There’s a reason why these terms are included for each Release – and this tradition continues with Release 14! These are the qualities upon which customers have always been able to count and they continue to guarantee the satisfaction of MAXON customers and CINEMA 4D users.

Sculpting

Organic modeling is made easy with the fully-integrated Sculpting system in CINEMA 4D Studio Release 14 and BodyPaint 3D. Transform any base mesh into virtual clay, shaping it with tools like pull, pinch, smooth, knife or scrape. Advanced symmetry tools allow you to mirror a single stroke along multiple axes, and even radial fashion. Fine details can be added with stamps and stencils, and you can apply masks to limit the sculpt to specific regions. You can even organize your sculpt project in a hierarchical layer system, and modify mask and strength options for each layer. Finally, directly texture, animate and render your sculpted mesh, or easily bake it into a low-poly mesh with displacement and normal maps.

Modelling

Model faster and more accurately with new interactive workplane modes, dynamic guides and a completely redesigned snapping system. Easily align your workplane to any world axis, the camera or the current selection, then snap to the grid or adjust global coordinates based on the workplane orientation. Draw linear or planar guides directly in the view, or snap to dynamic guides generated around each component. You can also easily select objects or components by simply painting over them with the right-mouse button pressed.

Animation

Accelerate your animation workflow with enhancements to cameras, dynamics and character tools in CINEMA 4D R14. Quickly morph between camera positions and create dynamic camera animations with the Motion Camera system. Gain greater realism and control over dynamics in CINEMA 4D Broadcast and Studio with aerodynamic forces, plastic springs and breaking connectors, as well as enhanced Xpresso control over dynamics. Give life to your characters with updated rigs and enhanced capabilities of the Character Object.

Rendering

Achieve greater rendering realism and compositing control with CINEMA 4D R14. Simulate wood grain, weathering effects and normal mapping with new shaders. Enjoy faster, more accurate GI calculations with Multiple Importance Sampling and radiosity maps. And, you have even more control over your renderings with color grading in the Picture Viewer and as a post effect, and you can optimize your compositing workflow with the position pass.

Workflow

R14 offers amazing enhancements to exchanges with key applications like Adobe Photoshop, Adobe After Effects and Nuke. Now you can manipulate 3D objects, lights and textures directly in Adobe Photoshop. New options have been added for exchanging your 3D scene with After Effects. And, a new seamless connection to NUKE has been added that automatically creates your multi-pass composite, through multi-layer OpenEXR support.

Interface

Work faster and smarter with numerous enhancements to the workflow and interface in CINEMA 4D R14. You’ll enjoy the more attractive and responsive 3D view with new object highlighting and outlining, and improved OpenGL shadows. Easily access commands and add tags using the new spotlight-style Commander. New composition helpers have been added to arrange your scene based on grids or golden spirals, and you can easily choose the focal distance with the new camera focus picker. Arabic speakers will especially enjoy the CINEMA 4D interface in their native language including a specially-designed right-to-left layout mode.

 

To see more information or if you’re interested in buying one of the C4D R13 Products go to CAD Software Direct.

SIGGRAPH 2012!

Don’t forget the 39th International Conference and Exhibition on Computer Graphics and Interactive Techniques

You and more than 20,000 creators and users of computer graphics and interactive techniques, in Los Angeles at the SIGGRAPH 2012 Exhibition for five full days of world class technical presentations, creative exploration and the industry’s largest marketplace of products and services.

Booths we recommend  you visit:

Register Now – FREE Exhibit Hall Only Pass Code – sig2012…

Exhibition Floor Plan…

Rhino 5.0 Beta – New Build

Rhino 5.0 is now very stable and ready to put into production.

http://www.rhino3d.com/images/rhino.gif

Timid owners of Rhino 4.0 are now invited to download and use the Rhino 5.0 beta. We still have a few tune-ups and minor bugs to fix. Plus, the documentation, translations, and marketing materials need to be finished. New Rhino 5.0 public beta builds are available almost every week. Rhino 5.0 automatically downloads and notifies you of updates when they are ready.

64-bit Windows Supported: The 64-bit version of Rhino 5.0 allows you to open and edit models that are much larger than you could in Rhino 4.0. The 32- and 64-bit versions of Rhino 5.0 can be installed and run on the same computer at the same time.

Backward Compatible: Rhino 4.0 Plug-ins will load and run in the 32-bit version of Rhino 5.0. Plug-ins will need to be recompiled for the 64-bit version of Rhino by the plug-in developers. Until they’re ready, you may need to run the 32- and 64-bit versions of Rhino 5.0 side by side. Rhino 4.0 and 5.0 can be run on the same computer without a problem. Also, you can SaveAs 4.0 files from Rhino 5.0.

System Requirements: Windows XP (32-bit), Windows Vista (32- or 64-bit) or, Windows 7 (32- or 64-bit) Rhino 4.0 500MB of disk space 2GB RAM (4-16GB recommended for 64-bit systems and very large models)

Don’t wait to try Rhino 5.0!

Cinema 4D in Discovery Networks’ new online promos!

With the Help of CINEMA 4D mysterious marine creatures come to life in Discovery Networks’ new online promos!

3D artist Jean Marco Ruesta explains how he combined 3D and cutting-edge web techniques for the spots. They’re ferocious, vicious, dangerous and they’re headed straight for you … online. Discovery Network’s web promos for hit shows River Monsters and Shark Week offer up a heart-pounding view of some frighteningly real underwater creatures brought to life using MAXON’s CINEMA 4D.

Known for presenting informative and entertaining programming on the unusual and unseen lives of animals and insects around the world, Discovery Network looked to New York City-based 3D animator Jean Marco Ruesta to create the imaginative River Monsters promo in which creatures appear to swim out of the frame. “I like doing stuff that makes me think outside of the box,” says Ruesta, who teaches CINEMA 4D classes at the New York’s School of the Arts and works at Alien Kung Fu in Manhattan.

Ruesta had just five weeks to complete the River Monsters promo. His work began when Discovery Network gave him some reference boards, a basic YouTube page created by their in-house design team and footage of the show’s host Jeremy Wade standing in front of a green screen on a sound stage in London. With all of that for inspiration he came up with an online spot that, at first glance, looks like a typical YouTube page with one main player window and several videos from the show on which to click.

Suddenly the action ramps up when Wade steps out of a banner ad, grabs a fish net and throws it across the screen. Catching the play button for the main video with the net, Wade fast forwards to live footage of an episode of the show in which he struggles to hold on to a giant salamander as it writhes and twists in his hands.
In the promo, Wade’s toss of the net looks effortless. In fact, it was a bit of a challenge for Ruesta to pull off. Though he had green screen footage of Wade actually throwing the net and pretending to throw it, none of the shots worked well in Ruesta’s overall design plan. So he reached out to the online CINEMA 4D community for help with creating a net for the host to throw. It took a couple of tests, but soon the ideas he got from everyone came together and he was able to create a net by creating a plane and an Atom Array Object.

After applying Cloth Dynamics to the plane, Ruesta constrained points of the net to a few control objects and began animating. “Without my gurus Jack Myers and Dr. Sassi from Cineversity, I would have been lost,” he recalls.

Ruesta used a variety of approaches to create the show’s creatures. To animate the salamander, for example, he used the Spline Wrap deformer to define the path along which this creature, and others, moved. He also added a few nulls to the surface of the salamander, and with the help of the CINEMA 4D to After Effects connection tools (external tag), he was able to get the null’s position data into After Effects.

Ruesta’s work on River Monsters surpassed Discovery Network’s expectations and he was asked to create an online promo for their Shark Week show. More ambitious than the first project, this promo again used green screen footage, this time of actor Andy Samberg standing in a room talking to viewers. He’s interrupted when two big bumps shake the room just before a shark bursts through the wall, shakes his head back and forth and swims off the screen and out of sight leaving Samberg drenched.

One of the biggest challenges Ruesta faced was figuring out how the shark would break through the website interface as though it were breaking through a wall. For this he relied on CINEMA 4D’s Dynamics tools for a natural breaking and crumbling effect. Using the YouTube interface as a template, he modeled and textured a wall of wooden planks and then broke them up in the area through which the shark would. Ruesta added tags to all the pieces so their position data would be available in After Effects.


Watch the Rivermonsters spot:

http://www.youtube.com/rivermonsters

Watch Sharkweek spot:
http://www.youtube.com/discoverysharkweek

Cinema 4D’s Role in UEFA’s Euro 2012

Powerful Soccer Symbolism

When UEFA initiated the Euro 2012, a powerful symbol had to be created for the tournament and CINEMA 4D played a key role in its creation.

 Major events cast long shadows, and so it was that in the latter part of 2009 the Portuguese effects studio Bikini was contacted by the agency Brandia Central and given the job of creating the animated version of the logo for the upcoming (2012) European soccer championship.

Helder Pombinho, creative director at Bikini, and his team created dynamic animations based on Brandia’s designs. Avoiding a photo-realistic look, these animations had to capture the expression, style and feeling of the graphics they depicted.

The scenes were full of SubSurface Scattering”, remembers Helder. “It was one of the CINEMA 4D features we used the most – whereby many of the scene elements were 2D or 2.5D.

In the course of four months, the trio at Bikini developed video vignettes, clips, transitions and stills for the Euro 2012. CINEMA 4D’s MoGraph and Dynamics features were used to create great-looking animations for the wide variety of elements involved.

Bikini used CINEMA 4D’s renderer and its Sketch & Toon feature to create the desired look. The hard work paid off and the team was awarded the prize for Best Motion Graphics 2010 from the Creative Club Portugal – a prize you don’t win everyday! This is a project upon which Helder reflects with joy, because thanks to CINEMA 4D, its realization went quickly and smoothly. “CINEMA 4D is a tool for artists who want to create fantastic looking projects professionally and easily!

AIA National Convention and Exposition “BEST of SHOW awards”

Architosh, the leading online publication devoted to Mac and iOS CAD and 3D software applications, has announced its first AIA National Convention and Exposition “BEST of SHOW awards” in two categories for desktop and mobile software for architects and related AEC professionals.

“The American Institute of Architects’ national convention is the premier event for practicing architects in the US,” said Anthony Frausto-Robledo, AIA, LEED AP, architosh’s editor-in-chief, “and thousands of architects attend to see what digital tools are shaping their profession. It makes perfect sense to not only report on the show but to select what we feel are the best products at show time.” “We hope this honor will help sharpen the perspectives of our readers on what are significant developments in computer software for architecture.”

Winners of BEST of SHOW Awards

Products that are eligible for the architosh BEST of SHOW award must have been introduced within the past 10 months and be available in the market within the first 9 months of the awarded year.

Eligible products in the desktop software category must run on both Mac and Windows platforms within the release awarded. And eligible mobile products must run on Apple’s innovative and market leading iOS platform. Without further ado, the honors go to:

Desktop Winner

The 2012 architosh BEST of SHOW AIA National award in the desktop category is given to Graphisoft’s latest ArchiCAD 16. “ArchiCAD 16 introduces powerful new direct-modeling technology,” says Anthony Frausto-Robledo, AIA, LEED AP, editor-in-chief, “and explicit modeling has been clearly identified as in need in BIM market research, including Architosh’s large 2010 BIM report. In addition, the integration of Graphisoft’s EcoDesigner into ArchiCAD 16 encourages architects to design buildings with the environment in mind.”

Readers can learn more about Graphisoft’s award-winning BIM solution that runs on both Mac and Windows platforms here: www.graphisoft.com

There tends to be many excellent solutions at the AIA and we wanted to call some attention to those others with special notes below. Runners-Up are:

Runner-Up: Shaderlight

Shaderlight deserves recognition as the first cloud-based rendering solution for Google’s popular SketchUp rendering program. With this unique solution SketchUp users can produce photo-realistic renders of their models at up to 5x speeds faster than on the desktop and up to 128x faster at animations. You can learn more here.

Runner-Up: Vectorworks Architect 2012

Vectorworks Architect 2012 deserves recognition for its extremely well-balanced feature set, including integrated CINEMA 4D renderer inside its Renderworks add-on option as well as its improving interoperability and excellent modeling capabilities. We also think the 2D X-ray mode is ingenious! Learn more here.

iOS Mobile Winner

The 2012 architosh BEST of SHOW AIA National award in the iOS mobile category is given to CADFaster for its innovative utilization of Apple’s iOS-based iPad and the mobility of BIM in the field.

“CADFaster is now available for a native Mac CAD/BIM application with its latest CADFaster for Vectorworks,” says Anthony Frausto-Robledo, AIA, LEED AP, “but the company deserves kudos for its overall implementation with bringing real-time collaboration to the mobile iOS space and its utilization of cloud computing.”

CADFaster’s unique innovation partly lies in its proprietary file compression technology which enables the application to export an entire 3D model (BIM) file into a tiny executable which contains its own application. With CADFaster on the iPad a collaborator can see and navigate a model and participate in mark-up discussions in real-time. You can even host a collaborative session via the iPad. “What was really impressive to me while watching Tuomas Holma of CADFaster show me the product was not just its amazing fluidity and speed but the way in which commentary threads work,” says Anthony Frausto-Robledo, AIA, LEED AP.

Runner-Up: HP ePrint & Share for iPad

HP ePrint and Share app for iPad allows AEC professionals like architects to send mark-ups to remote HP DesignJets back at the office with ease. If you are using Autodesk AutoCAD WS on your iPad the new integration with is an extra convenience. With HP’s new tech your file are saved to the cloud for either sharing, storing and printing.

V-Ray for Rhino Upgrade Available for Limited Time Only!

The V-Ray 1.5 for Rhino Upgrade will only be available for a limited time!

Customer’s who purchased V-Ray for Rhino between September 1, 2011 and March 28, 2012 are eligible for a free upgrade. Free upgrade requires the purchase of a hardware key (licensing dongle).

The V-Ray 1.5 for Rhino Upgrade will no longer be available after June 30th. After June 30th, all V-Ray 1.0 for Rhino customers (excluding academic license holders) will have to purchase a full 1.5 license.

To upgrade your V-Ray for Rhino product or to buy click here.

Dyson Design Winner Uses Rhino to Design IWA

Design student Oscar Fernandez has used Rhino 3D for his entry into the Dyson Design Competition to create something that solves a problem.

Fernandez’s product is a motorized add-on called the IWA (Independent Wheelchair Assist) that attaches to a wheel chair, turning it into a small automobile.

People can use their manual chairs while at home, then rev up the IWA, instead of a separate motor scooter, if they need to get out of the house. Fernandez’s design may look futuristic and slick but it was inspired by a very common problem, and one that’s deeply personal for to him.


The IWA isn’t just a concept car for the geriatric set. It is the product of an intense design effort that started with a four-month-long research phase where Fernandez learned from people who lived with wheelchairs. He actually spent a week confined to one himself and says the experience was actually harder psychologically than physically and adds, “After a week or so I was pretty good at using the wheelchair, but I hated always having my neck popped back and having to talk up to people in social situations.”

He then proceeded to sketch up solutions to the problems he experienced, created rough mockups to test ergonomics, and made working prototypes to prove the functional concept. Once Fernandez settled on the basic design, he used a laser cutter and 3-D printer to create the structural elements of the model and assembled the final product with old-fashioned hand tools. The IWA has been thoughtfully considered as a medical device, but lookscool enough that even the able-bodied would take a second look.

The James Dyson Award is an international student design award running in 18 countries. It’s run by the James Dyson Foundation, James Dyson’s charitable trust, as part of its mission to encourage the next generation of design engineers to be creative, challenge and invent.

 

 

 

The brief is to “Design something that solves a problem” and there will be a number of prizes,

International Winner:
– £10,000 the student or student team (of up to four members)
– £10,000 for their university department
– James Dyson Award trophy and Certificate

Two International Runners-up:
– £2,000 each
– James Dyson Award Certificate

Fifteen International Finalists:
– James Dyson Award Certificate

National Winners:
– £1,000 each
– James Dyson Award Certificate

Up to nine National Finalists from each country:
– James Dyson Award Certificate

The James Dyson Award is open to product design, industrial design and engineering university level students (or graduates within 4 years of graduation) who have studied in the following countries: Australia, Austria, Belgium, Canada, France, Germany, Ireland, Italy, Japan, Malaysia, the Netherlands, New Zealand, Russia, Singapore, Spain, Switzerland, UK and USA. See the Terms and Conditions for full entry criteria.

The competition is judged in 3 stages,

Stage 1: A panel of leading designers, engineers and design critics in each of the 18 participating countries shortlist the top ten entries and name the national winners.
Stage 2: A panel of Dyson design engineers scrutinise all national projects selecting the top 50.
Stage 3: An international judging panel of high-profile designers, engineers, academics and journalists pick 15 international finalists. Informed by the international judges, James Dyson will name the winner and two runners-up.
To see more information on the competition click here, or to see more information on Rhino 3D go to CAD Software Direct.


V-Ray Anniversary Challenge!

We are very excited to announce the first initiative from the V-Ray Anniversary campaign – the V-Ray Anniversary Challenge!  


Chaos Group and CGSociety are inviting artists to create an image which tells the story of a Decisive Moment – a moment that changed a person’s life or the course of human history. Perhaps a knockout punch in a heavy weight championship. The first human to step on the moon. The last block placed on the Pyramids. A wrong step, a gunshot or a glance, the decisive moment that changed the big picture or had an impact on someone’s life.

Chaos Group is offering a great prize pool for the winners. Thanks to their partners the winners will get a package of prizes worth more than $25,000.

V-Ray users from all industries are welcome to participate! Visit the Challenge page to learn all about it.

Mass Effect 3 – Behind the Scenes with Pixologic!

Pixologic recently interviewed the amazing Bioware team that’s behind the spectacular game, Mass Effect 3. The artists talk about the progression within Zbrush that has helped move the process faster for them and the new and improved tools that have contributed towards these fantastic characters. Here is some of what they had to say…

Of course, the software industry moves at lightning speed, so the tools have evolved dramatically since you began work. How has that impacted you the most?

Herbert: Polygon limitation is now a thing of the past because now most software can handle millions of polygons without any major lag. My primary modeling tool for hard surface modeling is XSI and a lot of my models are millions of polygons in my XSI scenes. There is a lot of software to choose from and they all have their own strengths and weaknesses. For example there are now great tools for generating AO, UV’s, etc. It is because of this that I feel character artists spend less time dealing with technical issues, allowing them to focus more on the art creation process.

Rafael: Tools that have been developed which speed up the process affected the pipeline a lot. ZBrush tools like Decimation Master, SubTool Master and UV Master are very handy on every model. Most recently, DynaMesh is a very amazing tool that helps a lot when sketching a new idea for a character.

Rodrigue: The biggest impact was on time and quality. We can now really go to town with the details on our characters. ZBrush and 3DS Max allow us to work faster, yet also put more and more details and love into our characters with a lot of flexibility. (Layers, etc.) But of course having great high-res models is not enough and you need a good engine with nice rendering and nice shaders to really show all the hard work put into the high-res models. On that side we were very lucky on ME3; we had a very nice budget for the polycounts of our characters and I was able to re-work some of the shaders to add more reflection and sweetness to our armor. If you compare the rendering between ME1, ME2 and ME3 you can see a big jump in terms of character details and quality between each installment.

Tools and tech are very important but on top of it the biggest impact for us came from the Art Director and the concept artists. It’s a great feeling to see a new concept and think, “Wow! This guy looks awesome I want to work on it!” and you know that ZBrush and the ME3 engine give you all the tools you need to deliver it without losing quality.

You’ve also seen significant advancements in ZBrush since you first started using it. How have those changes affected you?

Herbert: Greatly! I remember the first ZBrush version that I used was 2.5. I had to sculpt my characters in pieces because of the polygon limit and there was no SubTool Master or Decimation Master at the time. I sometimes like to generate my normal maps outside ZBrush and my AO with Mental Ray. Without decimation master, getting the best results outside ZBrush was very difficult. The new selection of brushes is awesome as well. With each update, sculpting in ZBrush feels more like sculpting in real clay but with symmetry, undo and “save as” enabled!

Rafael: I kind of adapted my workflow when I first started using ZBrush, so all the changes haven’t really impacted my work. But for sure tools like the new DynaMesh, SubTool Master and Decimation Master, sped up my pipeline like crazy.

I use DynaMesh a lot to concept new characters and ideas. Decimation Master is a must now for the pipeline in all my projects.

Rodrigue: Again, speed. The workflow is getting smoother and all the new brushes and layers give us so much flexibility and creative freedom. One of my favorite parts is the sculpting feel. I don’t feel like I’m moving points around anymore. Now I feel like I’m actually sculpting. That feeling is great and because it’s so fun I try to stay inside ZBrush as much as I can.

How much were you able to carry forward from ME2? Was there anything that you significantly re-worked like what you did for the Salariens with Mordin?


Rafael: We had to re-work almost all the assets we used from ME2. I had the pleasure to re-design the Keeper and Rachni Queen. I did this by using the same base model and with ZBrush I changed all the details and textures. For other models like civilians and romance bodies we added more details on top of the existing models using ZBrush and re-working normal maps and textures.

 

How did you use ZBrush for Shepard and his squad? How was it beneficial for things like armor?

Herbert: For the humanoids armor, ZBrush was used mainly for the cloth and rubber areas.

Rodrigue: We used ZBrush on all the faces, but also on most of the armors for the cloth and leather parts. In ME1 all the folds were modeled in 3Dsmax and were very basic but with ZBrush we were able to bring greater realism to our more organic parts.

What are the advantages to using ZBrush for concept creation as opposed to traditional methods like going from a drawing to the game’s base mesh and then finally to detailing?

Rafael: With ZBrush it is really easy to play with shapes and try different designs. The best thing about doing concept creation in ZBrush is that you have a base to start modeling on top of or a 3D feeling for how the character will react later with skinning and with the other characters in the game. On the other hand, it’s really slow to do a lot of major variations. So if you don’t have a base idea to start sketching in 3D the work can become useless in the hands of the art director.

Rodrigue: I used ZBrush on some armors to quickly test designs as well as different shape and size variations. It’s really fast, especially when the team is not sure about a specific design. With ZBrush you can quickly make 3D propositions to show to the Art Director and the rest of the team. Seeing the design in 3D helps to make decisions; a 2D concept can be interpreted differently depending on who looks at it but with a 3D model it’s easier to get everyone on the same page.

With the various Reapers you really got to go all out creatively. How did ZBrush help with that?

Rodrigue: These guys were a lot of fun. We had concepts but they weren’t precise. The team really wanted us to have more room with these guys and they are the characters that the 3D artists changed the most. We really had the opportunity to just let loose in ZBrush and let the sculpt talk. After so many armors, it was great to be able to go with an all ZBrush sculpt on these creatures. The Cannibal, the Banshee and the Brute had multiple revisions based on gameplay requests. Using ZBrush, we were able to quickly make them and propose different solutions.

What techniques in ZBrush do you find work best for detailing characters?

Rafael: ZBrush has a lot of brushes that truly help the detailing process. I don’t find myself playing a lot with alphas and other tools. Only brushes and patience are needed to handle the job.

Rodrigue: Like Rafael, I mostly use simple brushes and a lot of work and patience. But I would say that sculpting layers are still my favorite tool in my pipeline. I sculpt almost everything on different layers. With that I can boost or reduce the effect of my sculpting or delete it and do something different. Or I can close the mouth of a character or re-size the arms and quickly show the difference to the Art Director. I do use alphas and Drag-Rect once in a while. Or in the case of faces I texture them and then convert the texture to a mask and use that mask to add some details. When I do use these two techniques I always do it very subtly and add most of my details by hand. It’s just the best way to get exactly what you want.

This is probably your last chance to speak as a team to the ZBrush community. Is there anything else you’d like to say while you have our attention?

Hertbert: Big thanks to Pixologic to keep updating ZBrush with awesome new features, ZBrushCentral is a great forum for people to get inspiration and feedback to keep growing as artists. So keep posting!

Rafael: ZBrushCentral for me is one of the best communities online. All the tools you need to learn are available online. Keep studying and building your portfolio because we always keep an eye on ZBC!

Rodrigue: Keep rocking, Pixologic! Every new release is amazing and the ZBrush community is huge and full of awesome artists. What you do is great, so continue doing it.

And to all the characters artists out there: like Rafael said, we always keep an eye on ZBC.

 

To read the full interview click here.

If you are interested in more information on this product or to buy ZBrush click here.