Octree Test

January 9th, 2010

Chart showing octree superiority

That’s mathematics, son. You can argue with me, but you can’t argue with figures.

Commentary and code follows.
Continued »

Expanding Octree

January 6th, 2010

Another visualization of an octree expanding to encompass an increasingly wide-spread array of points, coded in Python for Maya using Pymel.

Live Octree

January 6th, 2010

Normally octrees start large and subdivide. This is fine for static scenes, or scenes in which the boundaries are known, or scenes managed by reasonable people.

Being perverse, I decided to make an octree that could adapt to its circumstances, and grow extra layers if necessary to accommodate objects beyond its limits.

This, my friends, is what we are witnessing here today. The first live, growing octree ever captured on film. By me.

As locators generate, this octree subdivides to keep any node from holding more than 10 at once. If a locator generates outside of the octree, the tree grows super-nodes until the point is contained.

Random Octree

January 5th, 2010

As my cubitecture expands, brute-force collision detection becomes ever more ridiculous. Above is a test visualization of an octree space-partitioning scheme, which I’ll modify for use in my block-placement code.

Code follows:
Continued »

Sprawl

January 5th, 2010

2500 iterations, each one hand-polished and placed by skilled craftsmen in Singapore.

No overhangs, finally. I know *I’m* relieved.

Barrels and Groins

December 3rd, 2009

Vaults are just arches who don’t know when to quit.

City engine – main road|post

December 1st, 2009

A technical demo posted by Arman Yahin, vfx director and head of Moscow studio main road|post.

Fort Casbah

November 30th, 2009

A convoluted cacophony of cantilevered cubitecture.

Jelly Sunday

November 25th, 2009

Gobelins keeping it real for Annecy 2009.

Awesome bloopy 2D animation, very heavily Ren-and-Stimpified — such a relief after so much 3D. I would trade a million high-tech 3D pieces for a few more like this.

I do miss Ren and Stimpy.

[Via Motionographer.]

Fort Escher

November 24th, 2009

This outpost was poorly-constructed and very difficult to defend, and consequently was sacked repeatedly by cyan and magenta spotlights.

MTV Europe Music Awards 2009

November 23rd, 2009

Looks like Parasol Island in Düsseldorf has already taken this cube-world thing much further than I had planned to… and even in the same colors. I smell zeitgeist.

Their cubes are interesting, but they are not my dwelling.

High rez quicktime here.

[Via Motionographer.]

Floating Cubeland

November 22nd, 2009

An island of cubes floating in space.

An interesting mistake.

8848

November 19th, 2009

A student piece from 2006 Supinfocom graduates Gregory Jennings, Maëlys Faget, and Kevin Franczuk. Featured at Siggraph 2007.

The 12-head-tall figures are a strange mix of imposing and ridiculous — with his giant mountain-climbing space suit the dude looks like the Moebius warrior-priest figures in 40 Days dans le Desért. Perhaps this is how adults look to children — the heads are so far away.

Normally I’d say this is two minutes too long, but something about the solid, crunchy weight of the father, the balance of his movement, and the plodding pace makes the piece compress temporally. Everything is precarious, teetering on the head of a pin. I also like the velvety render treatment — it would be too much in other circumstances, but we spend so much time on each shot that it’s clearly not meant to disguise anything. A number of delicate balances, carefully found.

As of this posting, Jennings is a lighter at Dreamworks, Faget is an artist at Ubisoft, and Franczuk is an animator at Xbox developer Hydravision.

By the way, Everest is 8848 m high. The figure is something of a touchstone in the mountaineering world.

Obelisks

November 19th, 2009

The Lighthouse Keeper

November 18th, 2009

Wow, a lot of this looks like 3D. Some of it is, including the ship and much of the sets, but even the characters often look 3D. And it’s not the precision of the lines or the smoothness of the shading — the volume and the massing on the rotations is, how you say, parfait.

From a team of talented Gobelins students.

[Via Drawn.]