#360 animated renders

[insiteimagery0]

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[juleboo]

HIM

LOOK AT HIM LOOK AT THE LITTLE GUY I MADE!!!! First time rendering and it certainly won’t be the last wowee I could spend hours making these little guys.

Made with Autodesk Fusion 360 for free! I love me some good no-cost entertainment.

[monarchisms]

Matt and Ray trying to sleep like

he awooed too hard 😔

[knightinink]

DIP FIGURES

dip figures DIP FIGURES DIP FIGURES

(I’ll have more tomorrow!)

[ewelryrendering]

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[digitaleproducts]

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[eretouchingindia]

In this blog, dive into the transformative world of 3D rendering product animation, where your jewelry concepts come alive with mesmerizing brilliance. Visualize every detail, and precisely tailor your designs while experiencing the realism redefined by hyper-realistic representations. Engage interactively and unleash efficiency by receiving valuable feedback for perfection. Explore cost-effective innovation or future-proof your designs and achieve global accessibility.

[marketing-ninja]

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[joeriley121]

I started Banjo-Kazooie again because I never finished it, but recalled relatively enjoying it, just feeling that it ended up getting a bit too big and tedious pretty quickly in the past.

I’m probably gonna emulate the 360 version next time I give this game a shot. Had a great time up until I died in Treasure Trove cove with like 90 notes. The 360 version just remembering what notes you’ve gotten is so much better, that really is just a massive QoL thing, huh?

[ghostmothart]

July 2024 Commissions OPEN

hello everyone! happy tail end of pride month. I wanted to make another commission post to update some of my prices and feature some more recent artwork :) I'm also offering a few new things! Weapon designs will feature a full 360* turnaround of a weapon or item, and you can now get another sketch for a reduced rate, or a fully rendered background. It's also cheaper than ever to get your party portrait painted, at a flat rate of 75$ per character, no matter the base price. A fully rendered couples' portrait is now 225$!

I will be using the money raised to pay pretty much exclusively for food and rent. Even if you're unable to commission me right now, reblogs would be much appreciated so I can afford my groceries this month. There will be no limitations on the number of slots, since the workload hasn't made it historically necessary, but I would love for this to be the time I'm proven wrong.

Check the tag on my blog #ghost art for more examples of my work!

the standard rules apply: 1. Spicy content is okay, provided the commissioner and commissioned characters are both 18+. These will not be shared publicly!

2. I do not draw in a traditional furry style (obviously). That being said, I'm happy to draw anthros or mechanical designs, provided I have references to work with. I'm also happy to draw fanart!

3. No drawn references? no problem! a written description is perfectly fine. Just know that if there's a lot of back and forth about a particular design, I may have to charge more to make sure my time is adequately compensated. I may also ask for photo references, if needed.

4. Blood and minor Injury is okay. I do not draw excessive gore. I will not draw violence of any kind being done to children or to animals.

5. Commissioned art will be posted on my social media publicly, unless otherwise requested specifically by the commissioner.

Thank you for checking out my work :)

[lazer-t]

Hello! I really love ur models. But can I ask, how do you make them spin in gifs? Do you use some program, that can save it like this?

I use zbrush and nomad sculpt, but I don't know how to save to a gif like yours

Hey there, thank you!

I use blender, which is (among many things) an animation program as well as a modelling program, so I make my turnarounds by just keyframing a 360 degree rotation in blender essentially.

I don't know if zbrush or nomad have any in-built ways of rendering a turnaround (I've only used a free version of zbrush sparingly and I've never used nomad sculpt). You could theoretically export your sculpts and then import them into blender to make a turnaround gif if you're willing to sit through a couple tutorials on youtube on how to do that?

EDIT: I may have slightly misunderstood the question? If you were specifically asking how to export turnaround renders as gifs, not just how to export turaround renders in general, I usually render an image sequence, and then either compile that into a gif in GIMP, or sometimes compile it into a video with video editing software. Sometimes I make a video first, and then convert it into a gif with ezgif.com.

[bobacupcake]

hello rob! ive been getting in to 3d lately and was wondering how you make your gifs. i know blender can output as video and images, but im not sure the best way to turn my animated renders in to gifs. any help would be appreciated!

i use a program called GifCam where i just size it over the window and hit record . i have my scene set up in such a way that my object stays still, rotates 360 degrees, and then stops moving again. and then i go into the gif and find the frames where its not moving (reasonably easy with gifcam because when theres no movement itll be very transparent) and delete them. then i upload it to ezgif and optimize it some more...!! i dont know why i do this since unity does have a dedicated gif recorder . but it works .

[juleboo]

Goose

Another 3D boy to add to my collection. I love him so much and everyone else should love him too it doesn’t matter if his legs are a little small or his beak isn’t right I LOVE HIM HE’S BEAUTIFUL!!!!!

Also made with Autodesk Fusion 360.

[oddygaul]

Zenless Zone Zero

Well, I’ve been playing the shit out of this game, so fair warning, there will be significant brainrot ahead.

Overall, I really dig it. I’m a huge mark for character action games, and well-done life sims tend to suck me in; Zenless Zone Zero is nailing both those aspects pretty damn well. In fact, it’s nailing them well enough that… how do I put this… it starts to slip into the territory of being A Good Game Generally, rather than just a gacha. And while this is a big accomplishment for ZZZ, this also puts it into direct conversation with other full-price games, resulting in its gacha elements causing more friction than Honkai Star Rail’s ever did*.

*I’ll be comparing this to HSR a lot, because I play way too much of both and they’re made by the same developer. I recognize that it is pretty odd and potentially even problematic to A / B compare them when I could be looking at the game through the lens of, you know, Gaming At Large. But hey, that’s why this is a subjective journal and not a holistic review blog! It is what it is.

So, the aesthetic of this game fuckin rules - it’s like, late 90s to early 2000s VHS-core. The main characters run a Blockbuster, for Christ’s sake. Presentation-wise (and systems-wise, and, hell, music-wise), ZZZ is obviously borrowing a lot from the Persona series, but like… great? I’d love it if more things cribbed that style and made it their own, from the confidant hangouts, to the small but comfy explorable areas, to the dynamic menus with edgy character poses. The character design itself is all superb, all the way down to the crowd NPCs - some the shopkeepers here have cooler designs than the main characters of some other games. Even aside from the designs, ZZZ is doing a lot with lighting and color desaturation that really lends it its own unique vibe. They actually have a cohesive artstyle in here! wild.

The presentation of the story is also killer. Sure, a decent chunk of the conversations are just models lip-flapping at each other - although they at least emote and pose a bit here, unlike the Star Rail dialogue scenes with their demure princess waves. In the main story, though, we get not only a heap of fairly lengthy cutscenes, but also this really cool comic panel-style presentation.

I feel like there was a bit of a trend in the PS3/360 era of games to present a game’s story in this comic panel / storyboard style. I understood the motivation: games increasingly demanded a more involved, consistent storytelling approach, rather than the ‘One big rendered cutscene at the beginning and end’ they used to get away with, and the generation’s increased visual fidelity meant that doing even basic, in-engine cutscenes took a lot more resources to make something half-decent. In Spyro the Dragon on PS1 you could get away with a fun little 15-second gag with a barely animated polygonal yeti or whatever; in the PS3 era, you were going up against tryhards like Metal Gear Solid 4. Amidst this landscape, the pitch of having your illustrators pretty up some storyboards and put them in the game sounds like it’d save a lot of work - plus, consoles were finally outputting a high enough resolution that this sort of flat image wouldn’t be compressed to hell.

Thing is, I always kinda hated that approach. In some cases, I think that’s the popular opinion - I fuckin love Bayonetta, but I don’t think I’ve ever seen anyone defend its weird slideshow cutscenes. Even in games where the execution is perfectly fine, though, it rubbed me the wrong way. I think of Infamous - objectively, the art’s solid and fits the tone of the game, and the motion graphics aim to capture some of the dynamism typical cutscenes would provide. Despite all that, it still feels cheap to me - all of the panning, effects, and graphic imagery feel like they’re trying to polish up something that inherently doesn’t fit.

In ZZZ, though, I’m loving every one I come across. It’s obviously still done for efficiency reasons - there’s already a handful of characters that exist only in these panel scenes, saving the team the effort of having to model and rig them. But the freedom this allows for staging and storytelling is huge; the characters are more expressive here than anywhere else in the game, and we’re able to see situations with huge crowds and new locales much more often than would be possible in typical cinematics. And the illustrations are genuinely good, too - full of character, cool poses and creative compositions/angles.

if everything actually had to be modeled, there's no way we would've gotten Legally Blonde Nicole

Plus, the cutscenes are constant, and boy do I love the animation here. It feels so rare nowadays for a high-budget game to do stylized 3D animation of this ilk. Your biggest budget games are all going for the cinematic look, and pushing realism as much as they can - and while I know an immense amount of work and craft goes into animating something like The Last of Us, boy, I just could not care less about something so lacking in flair*. Even bigger properties that use a stylized artstyle these days, like Breath of the Wild, still tend to lean towards fairly naturalistic animation. Zenless Zone Zero’s cutscenes, on the other hand, spin and stretch motherfuckers around like we’re back on the PS2, are filled with forced perspective, and I am absolutely living for it. It’s not even reserved only for bombastic action scenes, either - we get honest to god character acting-focused conversation cutscenes.

*Seriously, take me back to the Naughty Dog that animated Jak & Daxter. Jak’s hero animation is top tier to this day

Of course, the combat animation slaps too; each of the playable agents is absolutely dripping with character. Even characters whose designs initially left me cold won me over once I saw the amount of care put into their movement and combo strings. It’s honestly shocking to me that this is the same studio that made Genshin Impact, a game I dropped after about 2 hours because of how lifeless all the animation felt*. Unique run cycles for every character, actual non-human designs, the flourishes everyone has when stopping mid-combo to snap them back to idle, the absolute synergistic audiovisual bliss of the parry… it’s really impressive stuff from a young team.

*Same studio in name only, totally different team, I know, but still

Mechanically, I have some mixed feelings about the combat as a whole. Zenless Zone Zero is, without a doubt, aiming to present complexity and depth as a team battler - that is to say, it’s more about team synergy, tag combos, and knowing who to use when, rather than soloing as any particular character. Nonetheless, I really would’ve appreciated individual characters having a bit more depth to their movesets; a jump, a launcher, cancels, anything. As outstanding as all the animation work is, there’s some characters that only have a normal attack string on square and one special attack on triangle. Like, sub-Dynasty Warriors level of complexity here. It’s rough.

This is where ZZZ’s gacha nature gets a bit ugly: so far, more complex kits and skill expression are mostly locked behind rarity, which is kind of scummy. In Star Rail, for the most part, 4-star characters are defined as such due to their numbers: they still have mechanics and complexity, they just aren’t tuned as high as the limited characters. Hell, in some cases they have more complexity. Ruan Mei is an almost incomparably stronger unit than Asta, but Ruan Mei’s play pattern is fucking boring: you use skill every three turns when it runs out. Asta, meanwhile, basically has her own risk & reward minigame that demands more thoughtful SP management.

In ZZZ, on the other hand, the lower-rank characters straight up have less going on in their kits. Nicole has like… one tech, sorta. Anby has one single animation cancel to chain her normal into her special quicker. Lucy’s only skill expression is choosing whether to tap special or hold special. Meanwhile, Zhu Yuan, a limited character, has a normal string that bounces between melee and ranged attacks, can be dodge-canceled at any point in the combo to branch into variations of the string, and a hold-normal attack string that’s completely different and has the same branching dodge-cancel tech.

It’s one thing to lock raw damage and meta viability behind a gacha, but locking the characters that are mechanically more interesting to play straight up sucks. If I hadn’t been lucky enough on the standard banner to pull exactly the two characters I find the most mechanically satisfying, I don’t know that I’d still be playing - and this is the point where ZZZ begs comparison to other, non-live service character action games. Sure, it’s probably not fair to compare a random A-rank’s moveset to Devil May Cry V’s iteration of Dante, a feature-creeped nightmare of a kit 3 console generations in the making. But what about Sengoku Basara Sumeragi, my personal character-action GOAT? By all accounts a mid-budget title, yet it offers 40 full characters chock-full of more unique mechanics and animation cancels than you can shake a stick at.

Fuck, can we please get a new Sengoku Basara? Please? I’m desperate out here. I’ll take anything, y’all.

There’s also the inherent issue that plagues every action RPG (usually deftly avoided by the character action genre), which is the delicate balance of player success depending on the numbers vs actual mechanical skill - a balancing act made even more noticeable due to the gacha genre-standard of characters taking weeks of grinding to level up. This is a topic for another day, but suffice to say, a big part of the reason Honkai Star Rail works for me as a very pretty version of Cookie Clicker is because of the Autoplay option. In Zenless Zone Zero, if you’re not willing to grind out the same mob fight for a week or two, you’re gonna hit an endgame roadblock of doing chip damage to a boss you’ve mechanically mastered because you’re underleveled, and boy, that never feels good.

For all those issues stemming from the gacha, I will say, it’s great that the story missions let you use the characters that are actually supposed to be present for those missions, even if you don’t own them. Aside from how nice it is to have an opportunity to put the whole roster through their paces, it goes a long way for actually getting invested in the story. Honkai Star Rail’s storytelling is a hot mess for many reasons, but it’s always particularly jarring rolling up to a sidequest at like, a local theater troupe with a wanted space criminal, the sitting president of a completely different planet, a ten year old child, and a shirtless cyborg cowboy, none of whom have canonically met each other; ZZZ’s approach sidesteps this issue. The proxy angle even provides a pretty valid diegetic explanation for why agents that don’t know each other might be working together.

Now that we’ve sort of meandered back to the story after talking about animation led us on a long detour - the story is surprisingly solid. In particular, I really appreciate how straightforward the writing is. I don’t know if the issue lies with the original text or the localization, but Star Rail’s dialogue, even in simple missions, tends to be incredibly meandering and overstuffed; ZZZ is a lot better about letting all its characters talk like actual humans. It also helps that the plot so far is a lot more grounded, and spends more time focusing on each faction’s group dynamics rather than the overarching plot. These games live and die by their characters, so leaning into those strengths is a smart move.

Zenless Zone Zero is, unfortunately, fully in line with Hoyo’s weird conservative politics - in particular, 1.0 and 1.1 are absolutely stuffed full of copaganda. With how many safety regulation jokes they made at the construction company, I initially hoped they’d lampoon the police faction a bit, or make a commentary on how comically heavily armed New Eridu’s police force are. In a vacuum, Zhu Yuan shouting combat lines like “Stop resisting!” or “Freeze, hands up!” while blasting someone with her gigantic, ‘JUSTICE’-emblazoned rocket launcher shotgun feels like it ought to be satire. Every time we talk to the officers, though, it’s just line after line about their solemn duty to protect the people of the city, how essential and important they are for the community, and so on and so on.

This wholehearted embrace of the world’s current power structure is something Zenless Zone Zero approaches in nearly the exact same way as Star Rail. In both games, your playable character is someone that’s sort of operating outside the law - in Star Rail, as the maverick organization that is the Astral Express, while in ZZZ you work as an illegal proxy. Despite this setup, any time the protagonists come into contact with a governing body, they are no less than thrilled to help them enforce the will of the law.

In Star Rail, you aid the local governments (one of which is an undemocratic monarchy) in committing massive cover-ups to hide their failures from the populace not once but twice. In ZZZ, you aid the police to an obsequious degree - playing along with them to not arouse suspicion is one thing, but helping them organize a fucking community day on Sixth Street? Fuck that. Hell, said community day is even shown to initially be DOA because none of the local residents trust the police - and you best believe we get two full scenes of the MCs changing the resident’s minds, resulting in them spouting shit about “Oh, it was our fault for judging the police too harshly - they really do have our best interests at heart!”

is it tho

There’s an argument to be made that the N.E.P.S. are a little different, given that they exist in a post-apocalyptic world with monsters popping up every day - and ZZZ’s copaganda is certainly a little less flagrant than something like Spider-Man helping the NYPD install civilian surveillance networks in Insomniac’s Spider-Man. And, sure, perhaps this can help excuse why they post fully armored, rifle-wielding soldiers in the Lumina Square DMV, and provides some justification that their existence is more helpful than the real world’s civilian-murdering property guards.

Thing is, though, at every turn you’re hit with dialogue and situations which make it clear that, no, they’re the normal cops. Every other sidequest seems to involve calling the N.E.P.S. in on somebody or helping with an investigation, and for every time we see them handle ethereal activity, there’s two instances of them being called in for petty property theft or something similarly minor - even the playable character has heaps of dialogue choices threatening to call the police on someone*. Much like Star Rail’s reactionary politics were strangely at odds with the ‘blazing a new path’ ideals of the trailblaze, Zenless Zone Zero’s obsession with the police puts a damper on its underground, counterculture aesthetic.

*Including a case where both options threatened this, leaving me without a non-narc dialogue choice.

illustration by Lv01KOKUEN

And finally… I don’t know where to fit this in, so I guess it just goes in its own little section at the end here. Lots of people, myself included, have touched on the Persona inspirations - and they’re certainly significant. One thing I’m surprised I haven’t seen anyone mention as a huge influence is Yasuhiro Nightow’s Kekkai Sensen / Blood Blockade Battlefront. From its sense of style to its worldbuilding, ZZZ damn near feels like fanfic to me. Hell, it’s right in the name - BBB? ZZZ? And this is on top of the dimensional crossover / big city vibe, the retro fashion, the different factions. Victoria Housekeeping might as well be Libra 2.0 - Von Lycaon is a damn near perfect 50/50 expy of Klaus and Stephen Starphase. And then Belle / Wise, who assist these powerful fighters in a noncombat role just like Leo, also turn out to have some sort of special magical eyes granted to them by untold powers from within the dimensional rift??

I’m here for it, don’t get me wrong - love Nightow. But that can’t be coincidence, right?

[popipopipopipopipo000]

CHRIS RANT!!! CHRIS RANT!!!!

I was looking through the designs of Chris in Vendetta (bc i cant stop looking at his face lol) and a question came to mind “Why is his face so different from his version in Resident Evil 8?”

Chris’s face throughout the franchise has been changing constantly, even though we all can agree that his staple look is the one from RE 5. The only time they had diverted from this was in RE7, in which they wanted to make him more “realistic looking” but it ended up looking hideous and it was an absolute flop. (rightfully so cause GOOD GOD WHO IS THAT) Then, in RE8, they tried to go back to the look of RE5 and honestly? It looks hella good. He’s an older Chris, 48, it shows a man who has gone through a lot and it was a sensible decision to do him that way.

However… The animated films approach his design in a different light. In Vendetta, they made his features look a lot softer, his eyes more obviously downturned, and his face a bit more elongated. Some people described this look as “natural” and “less cartoony” than his RE5/6 counterparts. RE7 and Vendetta got released the same year, the prior one in January and the latter in June. They both have been in development at the same time I assume, so why have they decided to do a 360 with his in-game version instead of using his render in the film?

The films have consistency; Vendetta happened a year before Death Island, and Chris looks almost exactly the same but just with better graphics and a couple of more wrinkles and grey hairs.

The animated films are canon, and even though I really like Chris in his RE8 form, I can’t help but wonder why they don’t take the film designs and integrate them into the games even though they’re well received?

Vendetta

Death Island

Village (my boy look like the MOON/jk)

[capsyst]

I’m working on trying to render out the first scene in the ancient city and… it’s times like this I wish I was a big studio with a render farm…

In order to create this scene the way I want it to look, I’m rendering out the lighting effects individually and combining them in Adobe Premiere. (Trust me, I tried rendering it all in shot and it didn’t work. This is the only way I can ensure it looks exactly as I want it to look with the limited tech I have).

First I need to render out a flat version of the scene. No lights. No shadows. Just flat textures.

Then I need to go through and render out the same scene but with just the lights on the pillars.

Then I need to go through and render out the same scene (again) for the light from the giant portal frame.

Finally I need to go through and render out the torchlight from the main character.

When I combine all of those elements together I get a single frame that looks like this:

The camera move itself is 360 frames. At 24fps that gives us about 15 seconds of screen time for this single shot.

However…

Each frame takes 3 minutes and 20 seconds to render. For each lighting effect we are looking at roughly 19 hours of continuous rendering before it’s complete. And I’m going to have to repeat this process at least 15 more times.

It legitimately might take me a MONTH to render out just this 15 second scene… and that’s before I can even start animating on top of it!

😭