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Inner Chain

اثر اميد قطبي، برگرفته از يک رويا که با ايدههاي نوين درهم آميخته شده است

سریال جاده چالوس

زن وشوهری به دلایل اقتصادی و ورشکستگی که خودشان هم عامل آن نبودند، دچار نیاز شدید مالی و گرفتاری میشوند و ناگزیر بر خلاف میل باطنی مهاجرت میکنند. در همین

خیاط حیله گر

اثر جديد انيميشني موسسه به کارگرداني امین طالبی و کارکردانی هنری و سرپرستی امید قطبی ماجراي خیاطی رند و زیرک را بيان ميکند که

Sunset Cloud

Our new artwork that made for special effects test in Jame Jahan Nama company

Iranian actress Leila Hatami selected for French festival jury

ليلا حاتمي داور جشنواره دوويل فرانسه شد

پشت صحنه های فیلم جذاب 2012 و طریقه ساخت این فیلم

3ds max با نرم افزار

اثر جديد امید قطبي که با استفاده از تکنيک ميت پينتينگ ساخته شده است

زن وشوهری به دلایل اقتصادی و ورشکستگی که خودشان هم عامل آن نبودند، دچار نیاز شدید مالی و گرفتاری میشوند و ناگزیر بر خلاف میل باطنی مهاجرت میکنند. در همین حین به موازات قصه وکیل عموی همسر خانواده خبر به ارث بردن رستوران متروکه ای در شمال کشور را به خوانواده میدهد، خبر خوشحال کننده است و آنها به جاده چالوس میروند و یک رستوران خرابه را تحویل میگیرند و شروع به آبادانی آن میکنند سریال جاده چالوس

As mentioned earlier, Michael Bunnell's key idea was to avoid ray tracing and radiosity altogether, relying instead on a point cloud format. So how do we get occlusion and color bleeding with this method? From the point of RenderMan, it is a two step process: First, a pre-pass generates a point cloud of the scene geometry and illumination in a process informally called "baking a point cloud." Each point includes data about the area of the micropolygon and its surface normal. Once that data is generated it can be cached and reused.–Pixar Point-Base Rendering

Cebas: I think it's safe to say that 2012 is the most highly anticipated VFX movie this year. Can you tell us how you were involved in the production of 2012 Sam: On this show I had the unique opportunity to start during preproduction and work all the way through post. So I got the chance to get my grubby little mitts on many different aspects of the show. I worked on several previz layouts of the major VFX sequences, and look development for multiple large scale phenomena, including volcanoes exploding, buildings colliding, freeway collapses, and good ole general earthquake style mayhem! But our main area of responsibility was the limo ride through a earthquake ravaged Los Angeles. And the Atonov's flight through Vegas in the midst of being engulfed by a huge pyroclastic cloudMaking of 2012

In this double feature we have the great pleasure to present you with the history of 3D Studio as related by the head and leader of the Yost Group: Gary Yost himself. Gary shares his experiences of more than a decade of 3D Studio and 3DS Max development, along with many unique facts and anecdotes gained from his personal perspective as captain of the ship. In addition, he also takes a look at the evolution, current state and future of the CG Industry. For this occasion we are accompanied by the esteemed collaboration of Spanish artist José María De Espona, who had a prominent role in the creation of art that was used by Autodesk for 3D Studio’s promotion. José María shares the stories behind the production of some of the images that appear in this article, chosen by Gary Yost, which many 3D Studio / Max users will quickly recognize. Join us once again for another refreshing dive into the waters of 3D history.–The History of 3D Studio – Gary Yost interview