New Demo Reel

by Brad Hayes

Here's my latest Demo Reel. Please click below on the video, or click on "Reels" above to see other clips and reels I have in my gallery.

So, turn up the volume, sit back and enjoy. 

The Ghost

by Brad Hayes

Still working on the Nautilus. But I made this the other day, And i couldn't wait to share it. Now I'm going to have to make a Random CGI Gallery. just for stuff like this.  

The Ghost

Modo: Color and Linear Workflow.

by Brad Hayes

So a friend of mine wrote to me this weekend, he said he was having some trouble with color consistency in modo. I have been wanting to sit down and write an article about just this subject. Maintaining proper color accuracy is extremely important and is a very basic foundation skill in any VFX pipeline, whether you are home working on your own PC or one of hundreds of people at a major studio. 

So I got a few paragraphs into it. and I remembered a video on youTube that I found extremely helpful a year or two a go. So, why listen to me about it when this guy (grid warped) has explained everything extremely well. So please take a look at this vid and you will learn just about everything there is too know. Thanks, and enjoy. 

Snakes and Scarecrows

by Brad Hayes

Paul Gehezzo, is truly one of my favorite people to work with. I worked with him while I was the CG Supe on Gotham at CosA. Here he is is talking a little bit about the pipeline we used. A lot of the shots here were from shows I supervised. Thanks Paul

CoSA VFX uses The Foundry pipeline, including MODO, MARI and NUKE, to create the dark, ominous world of Gotham. For more, visit: http://www.thefoundry.co.uk/case-studies/

The Nautilus Project Is Now Online

by Brad Hayes

The Nautilus project is now online. Both Parts 1 and 2 are now up, with more to follow. Please take a moment and check it out. 

The Nautilus project is a tutorial series based on doing the same task in two different packages. Maya, the industry standard for 3D content creation and Modo, my favorite solution for 3D content creation. This is not a biased examination, I'm not trying to say one is better than the other. It's a matter of artists being able to be fluent in multiple packages. I remember the first time I took a class in Maya back in the late '90s, and I thought to myself, "My brain can't possibly know two 3D packages at the same time." Well Times have changed. and I must have gotten a lot smarter. I work in many 3D apps. 

But these are the two I make my living with. So I wanted to set out to not only learn a few things but share that knowledge as I go. Really this is me working on fun pet projects so that I can be completely fluent in both. So my goal here is to Explain a process to myself In both packages so that I could handle it at a studio that has only one option, which ever that may be. 

I chose the nautilus because it is just one of my favorite Movie vehicles. Sure I love the Millennium Falcon and the Serenity, but the Nautilus was my first Nerd love. So please check out the tutorials I have posted. and let me know what you think. 

Coming Soon: the Nautilus Project.

by Brad Hayes

For years I have wanted to write a book, Maya for Modo artists: Or Modo for Maya Artists. The problem is that as soon as I started to write it I would find that I just ended up Griping about one program or the other. Finally, I have cracked a way, not only to be very useful to both Maya and modo  artists, I want to create a dialogue, with readers.

I'm creating a new blog, that will be a series of tutorials, done in both maya and modo simultaneously. walking you through the steps I used for each step. Sometimes it's almost identical, sometimes it's completely different, and sometimes I don't know what the best way to do something is and I will just wing it. 

I will try to keep it short and simple and concise for each step along the way. Like everything I do here. I'm doing this primarily for my own education. Basically these are my notes.and I invite you to follow along.   

New modo section

by Brad Hayes

I have just added a new modo section to the site. Finally a place to post scripts and configs, articles, and other goodies. I have already published a couple of kits that may be of interest. Mostly this area will help document my own exploration in all things modo 3D and VFX related. Hopefully soon (don't hold your breath) I'll be adding a nuke page as well.  

A couple of new spots

by Brad Hayes

Hey I just finished a stint at Laundry, here are a couple of spots I'm super proud of. The first one aired during the Indy500, and the second one aired during the Stanley Cup finals.  

These were, or at least, the vfx portions of them were, shot with camera arrays: then Tracked, then Stabilized. But surprisingly match move was never a problem.

In the first spot, "Finish Line,"  the Shot of the Car coming across the line is mostly synthetic. The car is real, the surface of the track is real, and the guy waving the flag is real, but shot separately. Otherwise it was all built in Modo, and moved over to Maya then rendered in VRay. The tress are are a mix of fully CG trees, and images on cards. all comped in After Effects. Oh and keep in mind this was a project I walked into in progress. This had been started by another artist. So I had to pick up in the middle a week behind schedule. 

In "Slap Shot," Again this is a mostly synthetic shot. It was also shot with a camera array. Once we are in the "Pro Game" the only real parts are the players on the ice, and the ref. The surfce of the ice may be blended with the CG version. Basically because of the crowd simulation, I built the entire Honda Center. Seats, riser, railings and all,  while working on the Indy spot so that we could get it to the crowd guy as early as possible.  The players in the team boxes are real, they just aren't part of the original shoot. They were shot on green screen separately.   Agin this was all build in modo, then moved over to Maya, to be rendered in Vray.

And now I'm done with CoSA, and Gotham.

by Brad Hayes

Since November, I had been working at CoSA in North Hollywood, as the CG sup on Gotham. The Season has now official been delivered. And Pilot season is over. And while their are many good people there, for the next few months, until the next TV season It will be pretty slow there. So for me it's off to new adventures. But for the time being I will most likely be back to commercials. I feel that In some ways I was quite spoiled there. Their pipeline is built around modo as the primary 3D tool, and, well if you know me you know that I love working in modo. Now I'm back out to work with Maya and Vray. 

It's been a busy year

by Brad Hayes

It's been a busy year, I have lived in New York, been the VFX sup on a pilot, and worked as the CG Sup on Both Sleepy Hollow and Gotham. which ironicly air back to back. I worked on the first half of the 2014/2015 TV season on sleepy hollow at Origin Digital studios and the second half at CoSA. It's been an amazing year 

Disney uses puffs of air for haptic feedback.

by Brad Hayes

The good folks over at Walt Disney Imagineering have come up with a new an interesting way to create the sensation of contact with virtual objects. This little device creates small puffs of air that simulate the sensation of touch. It you have ever played with an air puff gun, you know that this kind of thing can travel fairly long distances and still have a significant effect. 

I would love to see this replace the air jets on the Indiana Jones ride. Those seem to just be blast of compressed air. and they make a ton of noise.   

Source: http://youtu.be/xaFBjUJj00M