3dattack 07.10 PDF
3dattack 07.10 PDF
3dattack 07.10 PDF
October 2007
Page 37-41 Pamela Kleibrink Thompson - Resumes, Portfolios and Demo Reels
So much to do, and so little time. As of late, it seems Now Over 600 Tutorials on Cineversity!
as though the days pass by so quickly. Here I was en-
joying the days of summer and fall was, all of a sudden, As of today, there are now over 600 tutorials live on
plopped directly on my lap. This means one thing, Cineversity! At only $295 to join, that calculates out to
winter is coming faster than I care to think. Oh less than 50 cents a tutorial!
well...winter does bring some awesome things like fresh
white snow, skiing, snowball fights, and my favorite, http://www.cineversity.com/
CHRISTMAS! I think I'm getting ahead of myself.
Maybe I should just enjoy the wonders of autumn;
leaves changing color, crisp air, bon fires at night and GOODIES
trick or treating! All of your goodies for this and previous issues of 3D
Attack - The CINEMA 4D Magazine can be found here:
Just as the seasons change, so do many things in life. www.3dattack.net/goodies/
Though we may not be comfortable with all of those
changes at first, we learn to keep all of the good we find
in them. Sometimes change is needed. Soon, 3D At-
tack will be going through some changes. As I said ADVERTISING WITH 3D ATTACK
before, it may be a little uncomfortable for some at first,
but I have no doubt you will find the good and be very If you would like to advertise with 3D Attack
pleased. send us an e-mail requesting our media kit and
rate card. 3dattack@3dattack.net
As always, if you would like to leave feedback, have
questions or concerns feel free to drop us a line at Contact Information:
3dattack@3dattack.net. What you think matters! 3D Attack
158 S. Saginaw St.
KEEP ON ATTACKING! Chesaning, Michigan 48616 - USA
E-mail: 3dattack@3dattack.net
Tavy
TUTORIALS
For more information, videos, screenshots etc. visit: If you have a knack for writing and would be interested
http://www.biomekk.com/index.php?page=1&cat=107&itm=22 in writing tutorials and/or articles for 3D
Attack, feel free to drop us an e-mail at
3dattack@3dattack.net net for more information.
Interview with Jan Schoenwiesner
By Tavy Pasieka
Tavy: Hi Jan. Thanks for taking time to share a paint programs and scan software. I was only a
bit about yourself and your work with our readers. kid at the time, but I was fascinated by the possi-
First, can you tell us a little about you and what bilities. Years later (in 1998) my brother intro-
you do? duced me to Photoshop, but without a graphics
tablet, which was unheard of at that time in East
Jan: My name is Jan Schoenwiesner and I cur- Germany, I used it for photo manipulation and
rently live in Dessau, Germany. I recently gradu- graphic design only.
ated from the Anhalt University of Applied Sci-
ences (Bauhaus) with a degree in design. My field During my studies at the Anhalt University of Ap-
of expertise is motion design and illustration. plied Sciences, I became interested in Animation
and Movie Making. My drawing skills degenerated
Tavy: When did you first discover your love for by the day.
the digital arts?
A big change came in 2006. I did an exchange
Jan: I was born in East Germany. When the wall semester at the Cleveland Institute of Art and got
came down in 1989 we had the chance to visit the into the Illustration class. For the next 6 months I
western part of Berlin. During that trip my older used a Wacom every single day and by the time I
brother bought a Commodore C64. left Cleveland I knew I had to get one myself as
soon as possible. Since then I am constantly try-
It had no hard drive, so you had to write the code ing to improve my drawing skills.
for any given program every single time you
turned on the C64. There is a beauty in that sim- Tavy: Recently I viewed a music video you
plicity that modern computers lack. The knowl- worked on, "Visual Music (Amon Tobin-music
edge of BASIC came in handy when we bought video)" http://12frames.de/motion. Can you tell
an Intel 368 DX. That machine was able to run us a little about the production of this video?
5
Interview with Jan Schoenwiesner
By Tavy Pasieka
6
Interview with Jan Schoenwiesner
By Tavy Pasieka
7
Interview with Jan Schoenwiesner
By Tavy Pasieka
Jan: I use Photoshop a lot, After Effects, Pre- Jan: Norman McLaren, hands
miere, Illustrator, Indesign and CINEMA 4D. down. All his shorts are so in-
ventive, and they pushed the
Tavy: Are there any other software applications technology at the same time.
you are interested in learning and perhaps adding His use of stop motion to con-
to your workflow? vey a gripping yet witty story is
unparalleled. It is a shame
Jan: I am trying to decide whether I should learn though that some people copy
Painter, but it seems like Photoshop is capable of (or "pay tribute to", as they call
everything that painter offers and more. Adding it) ideas he had 50 years ago
zBrush to the 3D workflow will be my personal and get away with it. If you like
homework for the next few weeks. really good shorts, check out
his work! It is a 'must see' if you
Tavy: What is your dream job? are an animator.
Jan: This is the most difficult question ever. I Tavy: Do you find Internet
really enjoy developing and making short films, based forums and boards a
but drawing and concept art have also become a useful tool for learning and get-
huge influence during the last few years. ting feedback on your work?
What Internet forums do you
The ideal job would allow me to combine those frequent?
interests. In the long run, being an art director for
motion pictures would be very interesting. Jan: The Internet is a blessing for anyone who
wants to learn something. Chances are, someone
Tavy: If you could pick one person who has influ- out there has written a tutorial. I grew up in a time
enced your work the most, who would they be when the only source of information was the local
and why? library.
8
Interview with Jan Schoenwiesner
By Tavy Pasieka
That was kind of limiting. Now you can read mil- To me it's still unbelievable how far we have come
lions of papers on color theory, basic drawing, and technically during the last ten years. What we are
advanced use of Photoshop for free. You can post experiencing right now was material for science
your work on a forum or board, get critique, and fiction books when I was young. I frequent
useful comments, generate traffic, get exposure CGtalk.org, Conceptart.org and 3dtotal.com.
and put your name out there (myspace anyone?).
9
Interview with Jan Schoenwiesner
By Tavy Pasieka
10
VRAYforC4D is out! First impressions...
By Thomas Pasieka
How does VRAYforC4D integrate into CINEMA Daniele Ficini: Daniele teamed up with Renato
4D, you may ask? Well, its not just a plugin that and Stefan to help Renato on this rather large
supports access to the render engine. It is fully undertaking. Daniele has 15+ years of experience
integrated into CINEMA 4D! You can access all its with Houdini, Softimage and Renderman shader
parameters and features within CINEMA 4D. programming. Danieles love for CINEMA 4D be-
gan while working on this project. Daniele is re-
Who are those 3 guys that took the initiative to sponsible for the integration of all VRAY compo-
bring us this great render engine? Lets have a nents into the VrayBridge, such as the interface
closer look at these guys. and lighting.
Stefan Laub: He is the owner, initiator and man- It seems that more and more companies and indi-
ager of VrayforC4D. He owns and operates LAU- viduals realize the importance and power of third
Blab with his wife Sabine Laub. LAUBlab is a stu- party render engines. Over the pst years we have
dio, based in Vienna, Austria Europe, producing been blessed with render engines like Maxwell,
3D Graphics and software. You can visit their FinalRender, Fry Render and now, VRAYforC4D!
website under: http://www.laublab.com
The release of VrayforC4D is of great importance
Renato Tarabella: Renato is the chief program- to architects, product and exhibition designers
mer and project partner with Stefan. He did an and the likes using CINEMA 4D. Users of CIN-
amazing job on integrating and merging the Vray EMA 4D are always hungry for new render en-
SDK directly into CINEMA 4D. He has extensive gines. FinalRender and Maxwell are both excel-
knowledge and experience with programming for lent render engines, but the absence of the prom-
CINEMA 4D and VRay. Because of that knowl- ised version of FinalRender for OS X has shed a
edge, he made it possible that the project evolved negative light on Cebas in past months.
from a small export bridge plugin to a full, high-
end render engine for all CINEMA 4D users. Re- Word on the street is that the OS X release of
nato is responsible for the high level integration FinalRender is nearly finished. That should
and stability. His website and plugins can be brighten up the sky for those waiting on Final-
found at: http://www.tarabella.it/c4d/ Render for OS X.
12
VRAYforC4D is out! First impressions...
By Thomas Pasieka
The price for VRAYforC4D (plugin plus render renders. One thing is for sure, the faster your
engine) is 790 Euro. Thats around $1.100 if you CPU the better. Got dual or quad core? Even bet-
are located in the United States. ter! VRAYforC4D will render extremely fast on
newer machines.
We are currently testing the engine, in-house,
here at 3D ATTACK and will have an in-depth re- I did a test on my G5 Dual 2.0 Ghz (3 years old)
view on VRAYforC4D in our next issue! and my Macbook (few months old). The Macbook
($1000) was 2 times faster than my Dual 2.0 PPC
My first impression of VRAYforC4D: Mac (2 minutes 20 seconds)! I guess its time for
a new Mac.
Well, to tell you the truth, I was blown away by the
brilliant clean render results. Setting up VRAY can Speaking of which, I had my partner, Kevin
be easy and complicated at the same time. Capizzi, render the same scene on his 8 core
Mac. He rendered the scene in 33 seconds!!
The features are a bit overwhelming if you have
never used anything other than Advanced Ren- Render time on my PPC G5 was 4 minutes 40
der. However, after a short time and reading the seconds.
manual, you will be able to create some stunning
13
VRAYforC4D is out! First impressions...
By Thomas Pasieka
VRAYforC4D is very impressive and, I have to Dont miss our full review on VRAYforC4D in our
say, the team did a fantastic job! Of course there next issue! We will be testing for a month to give it
are little bugs here and there, but Renato, Daniele a fair test run under hardcore situations and every
and Stefan are basically working 24/7 to fix those day use.
issues and implement new features.
I have a lot of respect for the team who did not fail
What would a piece of software be without a fo- to deliver an excellent render engine to the CIN-
rum? If you ever have trouble or questions re- EMA 4D community! A lot of effort, time and pa-
garding VRAYforC4D, you should definitely hop tience has been put into this and I am very sure it
over to their forum that you can find here: will pay off!
14
Portrait Of A Silent Man - Making Of
By Patrick Eischen
MAKING OF
16
Portrait Of A Silent Man - Making Of
By Patrick Eischen
02
The Modeling
I usually start my 3D models with a simple cube
(box modeling). I know that many prefer point-by-
point modeling (or poly-by-poly), but I like using a
cube and 'cutting' the detail in, step-by-step.
01
17
Portrait Of A Silent Man - Making Of
By Patrick Eischen
18
Portrait Of A Silent Man - Making Of
By Patrick Eischen
10
specularity channel
has been used to
create nice sharp
specs on the edges
(e.g. the lips and on
the nose). Both
specularity channels
have been restricted
to a map. (Image
12)
19
Portrait Of A Silent Man - Making Of
By Patrick Eischen
14
12
15
13
The Lighting
The Scene
I quickly modeled a simple shirt, took it into
zBrush, divided it a couple of times and sculpted
some cloth wrinkles with the Inflate brush. I also
modeled the arms and shoulders and composed
16
everything together in CINEMA. There was no
need to use displacements on the shirt; I simply
exported the high-resolution mesh from zBrush. I
have a lot of memory, so I don't have to worry that
my computer might crash. There is almost no dif-
ference in render times between the low- and
high-resolution shirts (Image 14)
20
Portrait Of A Silent Man - Making Of
By Patrick Eischen
The Hair
Now comes the fun part: the hairstyle and the
beard. I used CINEMA's Hair Module for this job. I
created two additional maps: an alpha map for the
beard and one for the hair.
21
Portrait Of A Silent Man - Making Of
By Patrick Eischen
Keep on rendering!
Patrick Eischen
www.patrickeischen.com
22
VRAYforC4D Beginner Tutorial - Getting started
By Thomas Pasieka
So, you are new to VRAYforC4D and want to get 1. Make sure you are using VRAY Materials.
started right away. You want to render something
straight up. Well, its not really that difficult. It only Always make sure to use VRAY materials. If your
takes a few steps and you dont have to read scene is not set up for that, simply use the VRAY
through the whole manual to get a decent render- Material Converter. You can also do this by hand.
ing. Mind you though, VRAY has a lot of features Create a new VRAY material and place your exist-
and things to tweak, so one could easily spend a ing C4D Color material into VRAYs Diffuse
good amount of time getting it just right. Color Layer. Sounds complicated? Nah, its not.
Have a look at these two screenshots for a better
It will take some time to get used to the differ- understanding.
ence if you have never worked with anything
other than Advanced Render. We will go into more
detail on the render settings in future tutorials.
Right now though we dont want to worry about all
those buttons and boxes you can click on.
You also have new tags that you can apply in the
object manager. Right click on any object in the
object manager and you will see VRAY Tags.
Those tags are helpful if you want to create realis-
tic physical camera behavior or even light. Refer
to manual, for now, if you really want to dig
deeper into it.
24
VRAYforC4D Beginner Tutorial - Getting started
By Thomas Pasieka
4. Ready to render!
25
VRAYforC4D Beginner Tutorial - Getting started
By Thomas Pasieka
26
Volumetric Render - Part 1
By Rui Batista
27
Volumetric Render - Part 1
By Rui Batista
if((self_tag->GetName())=="Volumetric
Expression") break;
self_tag=self_tag->GetNext();
}
02
// if none was found, return
if(!self_tag) return;
Set the Reduce Detail parameter to on (with a
check-mark in it). // if the expression is turned off, return
if(!self_tag#ID_USERDATA:1) return;
Set the Complete parameters to 100% in all fields
(as in 100%, 100%, 100%) // clear the object count field
self_tag#ID_USERDATA:4="";
Now, select the COFFEE expression tag again
and, in the Basic tab of the Attribute Manager, // initialize some variables
change its name to Volumetric Expression. change_detail=self_tag#ID_USERDATA:2;
complete=self_tag#ID_USERDATA:3;
We can now start typing the code. Double click
the COFFEE expression tag and type the code // check to see what type of object the tag is at-
that follows. tached to
type=op->GetType();
For the ones that followed the whole COFFEE
series I wrote, the code should be simple enough. // if it is not a Sphere or a Cube, return
For the ones that didnt, I comment all the code, if((type!=OSphere)&&(type!=OCube)) return;
using lines that are preceded by two slashes. Ok,
type away we will meet again at the end of the // initialize the object counter and go to the first
last line of code. child
num=0;
child=op->GetDown();
main(doc,op)
{ // count all the childs of the main object
while(child)
// all variables needed by the expression are de- {
fined num++;
var child,num,f,self_tag; child=child->GetNext();
var type,change_detail,complete; }
var fillet,fillet_radius,fl_rd,fillet_sub,fl_sb;
var sizex,sizey,sizez; // if the object has no childs, return
var redux,reduy,reduz; if(num==0) return;
var detailx,detaily,detailz;
var redetailx,redetaily,redetailz; // load the number of childs into the child count
field
self_tag#ID_USERDATA:4=tostring(num);
// get the first tag of the object
self_tag=op->GetFirstTag(); // if the object is a sphere...
if(type==OSphere)
// cycle through all the tags until one {
//with the name Volumetric Expression is found
while(self_tag) // save the radius and the detail
{ sizex=op#PRIM_SPHERE_RAD;
28
Volumetric Render - Part 1
By Rui Batista
sizey=sizex; redetaily=float(detaily)/(num+1);
sizez=sizex; redetailz=float(detailz)/(num+1);
detailx=op#PRIM_SPHERE_SUB; fl_rd=float(fillet_radius)/(num+1);
detaily=detailx; fl_sb=float(fillet_sub)/(num+1);
detailz=detailx; }
}
// point to the first child...
else child=op->GetDown();
// initialize detail reduction values // set the fillet option of the child to
redetailx=0; // the same value of the fillet option of the parent
redetaily=0; child#PRIM_CUBE_D-
redetailz=0; OFILLET=fillet;
fl_rd=0; if(fillet)
fl_sb=0;
29
Volumetric Render - Part 1
By Rui Batista
child#PRIM_CUBE_SUBF=fillet_sub-((f+1)*fl_sb);
}
child#PRIM_CUBE_LEN:VECTOR_X=sizex-((f+1)
*redux);
child#PRIM_CUBE_LEN:VECTOR_Y=sizey-((f+1)
*reduy);
child#PRIM_CUBE_LEN:VECTOR_Z=sizez-((f+1)
You dont need to have the Volumetric Expression
*reduz);
(as I will call it, from now on) applied to both ob-
jects. You only need it in the parent, so delete the
child#PRIM_CUBE_SUBX=detailx-(f*redetailx);
Volumetric Expression of the child cube. Now du-
plicate the child a few more times until you have
child#PRIM_CUBE_SUBY=detaily-(f*redetaily);
something like this: (Image 04).
child#PRIM_CUBE_SUBZ=detailz-(f*redetailz);
If the expression is
}
working correctly,
}
you should now
see, in the editor,
// advance to the next child
something like this
child=child->GetNext();
(assuming you are
} 04
using a cube, of
}
course); (Image 05)
Experiment adjust-
Now that you typed all the code, its a good time
ing the size of the
to save your file.
parent cube. You
can use the orange
Click the Compile button in the Expression
handles, the Size
Manager window to check for errors. If any error
parameters in the
is found, go back and correct it. Continue doing
Attribute Manager
so until you get a report of No Errors!
or the Scale tool. As
you do so, all the
Now create a duplicate of the object that contains
child cubes will ad-
the COFFEE expression tag and place it inside
just themselves.
the original object (I will assume it is a cube, from
This is a whole lot
now on, but you can use a sphere, if you prefer).
easier do adjust
now. If you delete or
add additional
cubes (or spheres, if
you started using a
sphere), the whole
30
Volumetric Render - Part 1
By Rui Batista
Oh, you can also create cubes with fillets and the
Volumetric Expression will also reproduce that,
scaling down the fillet radius in the children and
even reducing the detail, if needed. The nice thing
05
about all this is that you only need to adjust the
parent and everything else will occur automati-
cally.
31
Volumetric Render - Part 1
By Rui Batista
32
Volumetric Render - Part 1
By Rui Batista
33
Simple Shading
By Bram van Gerwen
In this short tutorial I'll be showing you how you When in the texture axis tool you can edit the se-
can add specific details by stacking different ma- lected texture with the coordinates manager.
terials.
Set the H rotation to 90 and apply. You can see
Let's start with a splotch of dirt on a wall. Open the texture is projected correctly now, but is being
the file "ShaderTutorial.c4d" from the goodies tiled which is not what we want. In the texture tag
folder, the file contains a wall on which we will add properties you can disable the 'Tile' option.
the extra textures. Create a new material, name it
'Splotch', disable the specular channel and load a When done you will see only one splotch, like in
noise shader into the Color tab. Click on the noise Picture 1. This method is a quick and easy way to
to set its properties, set the noise to Luka and set add details like this. It doesn't matter what kind of
Color 1 and 2 to a Dark brown and light Brown projection the other textures on the object have,
respectively. So that our splotch on the wall will be the splotch will simply be added over it as is.
brown.
34
Simple Shading
By Bram van Gerwen
The texture tags behind the object are basically That's it or this month. Next month we will be
stacked from left to right. left being at the bottom. handling a bit more complex stacking of materials
So, if you want the splotches to overlap the chalk and shaders.
line you can simply drag the chalk texture tag to
the left and drop it between the wall tag and the If you have any questions about this tutorial,
leftmost splotch tag. Do this and you will see the please ask them on the 3D Attack forums, thank
chalk line will be covered by the splotches when you.
you render.
Bram van Gerwen
You may want the line to cover the left splotch on
the wall. Grab the middle splotch tag and drag it
left of the chalk tag, so that the chalk covers this
splotch. If you render, now you can see the line
go under the big splotch but over the small
splotch like in Picture 2.
35
Frequently Asked CINEMA 4D Questions
October 2007
Q: I'm trying to just make a simple animation of Q: What's the best file type to export from Max to
the Earth rotating, a loop of 30 frames. However, use in BP? Possibly one that retains the texture
by default C4D eases my 2 keyframes, how do I links etc. I have been using both .3ds and .obj but
disable keyframe easing so that the animation its a bit wonky, and thats probably from me not
doesn't appear to continually speed up and slow knowing enough about the product.
down through the loop?
A: Well OBJ or FBX should work just fine. I usu-
A: Select the keyframe and change interopera- ally use FBX (it has some problems here and
tion to linear from spline. there) but it works "OK".
Q: How do I render it in wireframe mode? Q: So I've been learning Dynamics, but I've been
having some problems where I'm unable to cancel
A: You can get nice wireframe rendering by turn- a dynamic after I start playing it when it's a rather
ing on the cel render in the render-settings acti- intense dynamic. In fact, I get the eternal spinning
vating the edges box. Good luck, hope this beachball and am being forced to force quit C4D.
helped! Is there an easy way of canceling out of a preview
animation when it's really slow without having to
force quit?
Q: I know I've done it before, but I cannot, for the
life of me, remember where I changed the color of A: Hold Down the Esc Key... If that doesn't work,
the points. Can someone help me? then 'Force Quit' is your only hope. You could
leave it alone for the time it needs, but that's usu-
A: Preferences > Viewport > Colors > Active ally hours if you get the beach ball while playing
Points & Inactive Points. with Dynamics.
36
Pamela Kleibrink Thompson - Resumes, Portfolios
and Demo Reels
By Tavy Pasieka
Pamela Kleibrink Thompson Her recruiting clients include LAIKA, Blue Sky
Studios, Walt Disney Feature Animation, Para-
mount, Twentieth Century Fox, the Los Angeles
Times, Macromedia, Toybox, Framestore, Digital
Domain, Simex Digital Studios, Click 3X, Lucas
Learning, and Hollywood On Line. She was offi-
cially recognized as a top recruiter by Animation
Magazine and was featured in a US News and
World Report jobs issue.
37
Pamela Kleibrink Thompson - Resumes, Portfolios
and Demo Reels
By Tavy Pasieka
38
Pamela Kleibrink Thompson - Resumes, Portfolios
and Demo Reels
By Tavy Pasieka
39
Pamela Kleibrink Thompson - Resumes, Portfolios
and Demo Reels
By Tavy Pasieka
Tavy: What format should the 3D Artist's portfolio Tavy: Do different companies have different
and demo reel be in? Should they have different portfolio requirements? If so, how do you deter-
formats available? mine what they require?
Pamela: The preferred format now is DVD. But Pamela: Research each company you apply to.
make sure that it is playable in any computer. I This includes finding out what companies want to
have received DVDs that wouldnt play. Also dont see in a demo reel and portfolio. One thing to
make a complicated menu. It should be self- note, portfolios and demo reels will not be re-
loading. You can have chapters that come up turned. Never show work that is not already
after the reel plays out. available to the public. You might be tempted to
show the latest and greatest stuff youve been
For companies in the United States all DVDs doing because this will showcase your capabili-
must be NTSC with a Region Code 1 (USA, Can- ties, but dont give in to temptation. No company
ada) or Region Code 0 (Region Free). You wants their stuff seen by others prematurely so
should check the companys website or ask their dont think that an employer will appreciate you
recruiting department what formats they prefer. showing off the top-secret work you are doing at a
For example, LAIKA, (for whom I am currently competitor.
recruiting shader writing technical directors, com-
positing technical directors, lighting technical di- Tavy: Let's say you've got an interview date. How
rectors, riggers, FX technical directors and pipe- do you prepare for the interview? What will your
line technical directors) prefers video submissions possible future employer be looking for that he or
be DVD. she didn't discover in your portfolio?
The DVD should be clearly labeled with your con- Pamela: The purpose of the interview is to find
tact information. LAIKAs web site states that all out if you are a good fit for the company. This is
images must be JPEGS and video clips must be where your homework (the research you did on
QuickTime. Some company websites indicate the company) pays off. Do research before the
that they are willing to look at web sites while oth- interview and find out facts about the company
ers mention they accept VHS reels in NTSC for- and the people you will be meeting.
mat. Look up the companys requirements and
follow them. During the interview, you must convince the em-
ployer that you are skilled (able to do the job),
Tavy: Since the advent of the Internet, more and enthusiastic (willing to do the job) but also and
more employers are hiring freelance artists that often most importantly, that you will fit in.
work remotely. Is it a good idea to have portfolio
website? You should know what projects the company has
worked on, what projects they have upcoming,
Pamela: Yes, some employers view the work on and also what their needs are. You want to show
artists websites. Build a website and make sure the employer that you are a match for what they
employers can contact you from it if they like what need.
they see. The more ways you can expose others
to your work, the better. Enter film festivals, es- Emphasize your skills and achievements that re-
pecially ones associated with large conferences late to the job you are interviewing for and explain
such as SIGGRAPH. why you want to work for them in particular. Eve-
ryone likes to hear praise for their work so if you
I know of one company who hired an intern based tell someone at the video game company that one
on the work on that artists website. If you apply of your favorite games of all time is one they
at a company and they ask for a DVD do not re- worked on; you will be viewed in a favorable light.
spond by referring them to a website. The first If you have been referred by someone who al-
test is how well you follow directions. ready works for the company, and is well thought
40
Pamela Kleibrink Thompson - Resumes, Portfolios
and Demo Reels
By Tavy Pasieka
of, be sure to mention it. Be sure to ask enough Pamela: Looking for work is hard work. Be sys-
questions to determine if you want to work for that tematic about it and stick to it. Often persistence
company. An interview is a two-way conversation makes all the difference and often its a matter of
to get to know each other. timing. Network so you hear about jobs that are
not advertised. Keep track of whom you apply to
I had a friend who went on an interview and when and when, and follow up.
the interviewer said, Tell me about yourself he
replied, pointing to his resume, Well its all right Do the very best on every job and build your repu-
there. You might think that since the employer tation as someone who is reliable, hard-working
has seen your resume and your work that he and a problem solver and develop your communi-
really has everything he needs to make a deci- cation skills. Maintain a positive, professional
sion. But the most important thing he is trying to attitude and learn as much as you can on every
find out in the interview is how easy youll be to job. Treat every job as if its important because it
work with. The employer has seen your reel and is. Stay in touch with colleagues and help them
knows your aptitude. Now he wants to assess when you can. Its likely that you will have many
your attitude. He wants to know that you will fit in jobs in your lifetime. Treat everyone with respect.
on the team. That production intern might be the producer in a
few years. Most importantly, love what you do
Tavy: After the interview should you follow up and follow your dream. Set goals and pursue
with a letter? If so, how long should you wait? them and dont give up.
Pamela: You should follow up every interview Thank you for the interview.
with a letter immediately after the interview. Fol-
low up with an email letter as well as a hand-
written thank you note.
Experience: 12 years of professional experience in Advertising, 3D Graphic Design, Architectural Design, Product and Package Design,
Pre Visualization and Game Content and Assets Design.
Software: CINEMA 4D R10, BodyPaint, Silo, zBrush, Photoshop, Freehand, Vue, VRayforC4D.
Areas of Expertise: Modeling, lighting, texturing and animation.
Clients: Nike, Crocs, Maybach, Walmart, GE Energy Products Germany, HenryGill Advertising and the Geppetto Group and more...
Website: http://www.ifreelance.com/pro/21863
E-mail: tom3d@mac.com
Experience: 6 years in Web-Programming , Flash 2D&3D. CINEMA 4D since 2003 - 3D Shockwave Games with 3DMAX and Havok
Software: CINEMA 4D , Photoshop, Flash , Director , Vegas Movie Studio,
Areas of Expertise: Environment Modeling, Texturing , Lighting and Animation
Clients: Mousepower GmbH H2K Communications Gmbh HeinGericke GmbH
Website: www.nhstudio.de
E-mail: mosahebi@nhstudio.de
If you would like to have your ad placed (free of charge) in 3D Attack - The CINEMA 4D Magazine, please e-mail it
to tavy@3dattack.net. Your ad will be placed in the next issue of 3D Attack. If you would like it to be placed in fu-
ture issues, please e-mail new ad's before the 20th of each month. All ads should follow the same format as those
above.
Artist Name: Raymond O'Doul
Image Name: Joyride
Best of Cinema 4D Country: Gallery USA
A monthly selection of inspiring
Date images
Created: July 27, 2007
Software: CINEMA 4D
Website: www.3dexplorer.net
This
This
This
This
The 3D ATTACK Team 3D Attack the CINEMA 4D Magazine and all ma-
Need to contact us? Got questions? terial contained therein are copyright protected.
You may not disassemble or distribute any part of
this publication without prior written consent from
3D Attack directly. any attempts to do so will be
Thomas Pasieka, CEO prosecuted to the fullest extent of the law as it
3dattack@3dattack.net applies in Michigan, USA. This applies for both 3D
Attack material as well as any named artists ma-
Tavy Ann, VEO terial contained in 3D Attack publications. Al-
tavy@3dattack.net though we read through all the tutorials and proof-
read them for errors, we cannot guarantee that
Chris Montesano, Site Admin/Developer they are 100% error free and therefore cannot
chris@3dattack.net issue refunds based on those errors. Copyright by
3D ATTACK 2004-2007 3D ATTACK is a regis-
tered trademark.
Rui Batista, Moderator/Writer
Rui_mac@ruimac.com
3D Attack
Mark Gmehling, Moderator/Writer 158 S. Saginaw St.
macling@braincorps.de Chesaning, Michigan - USA
48616
Darrin Frankovitz
dfrankov@gmail.com Phone: 989-845-3334
E-mail: 3dattack@3dattack.net
Bram van Gerwen, Moderator/Writer
killbots@mac.com
Website:
http://www.3dattack.net
Plugin Page:
http://3dattack.net/shop/index.php?page=10
49