KeyShot Animation Tutorial: Ticking Second Hand. In this KeyShot animation tutorial I’ll walk you through how to setup and animate a ticking second hand using a downloaded Braun Clock from modelplusmodel.com. I’ll be covering how to split separate parts using the geometry editor, how to use the center of another part as a pivot point and how to make the movements looks a bit more natural using a simple trick.
New tutorial up! In this one I’ll walk you through the process of creating the look of the fabric on the Google Daydream VR. I’ll be using a bump map sources from www.kvadrat.dk and procedural textures to create the gray color pattern.
When in need of an extra layer of depth, life, dynamic and maybe even realism in your renderings, photoshop is probably your best friend. It gives you the ability to add overlays (and backgrounds) of light leaks, floating dust particles, soft glows and so forth. Combine all these elements and get a rendering that is way more interesting to look at.
See for yourself in the pineapple rendering below. Slide left and right to show the rendering before/after photoshop.
P.S.: Apply with care. It is so easy to go overboard with this. I generally tone all effects down to something like 80% when done applying them.
The pineapple model is a 3D-scan from www.blankrepository.com. A site that I linked to a few month back in my occasionally curated newsletter of links to KeyShot related resources, models, textures and more.
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Sometimes it is not necessary to work in three dimensions to convey a message. For instructional animations like the one below that I did for Fender, using 2D animations combined with 3D renderings can be a quite effective way to go.
By combining the rendered IEM parts with animated line drawings, I helped Fender to show in a clear way how to install the newly released Pro Series IEMs.
Can I help you? Get in touch!
The great guys at KeyShot have picked the animation I did for Fender as the ‘Animation of the Week’. Here’s what they say:
“If you follow Esben Oxholm on Instagram or on the KeyShot Forum, you know he produces some amazing work using KeyShot and has done a lot of interesting experiments with different workflows that include KeyShot Animation. Recently, he shared a project done for Fender for the launch of theFender Pro In-Ear Monitors. You can see the renderings on the Fender homepage and the product page, but the animation is what took our breath away.”
Read the original article here and check out the animation I did below:
Animation created for Fender to promote their Pro In-Ear Monitors. A really great example showing the creative advantages of using computer graphics for moving product visualizations compared to traditional photography and filming.
Along with the animation I also did a couple of stills to be used on the Pro In-Ear Monitors website.
Please get in touch if you have got any questions or if have become inspired to do something like this the next time you are about to launch a new product. I’d be happy to chat with you about your project, clarify your needs and come up with a plan to meet your goals.
In this tutorial I show how easy it is to make specific parts of your rendering glow using photoshop.
Hi everyone. Esben Oxholm here. In today’s tutorial I want to show you how I use photoshop to makes things glow. Like these three buttons here. They could use some glow to look better. If you want to follow along at home you can go to my gumroad page, gumroad.com/esbenoxholm, and download this practice scene package, where this scene 3 is included. Along with the raw rendering directly from KeyShot you’ll get a PSD for the final image with all the post processing that has been done to it. You can go through all these layers by yourself and see how they affect the final image. You’ll also get the KeyShot KSP which includes this scene with all the lighting setup and material setups. You can go into the material graphs and have a look at each material and see how it is set up and so on. A lot of stuff to dig into.
Let’s get into the glow. The first step is to select the material that you want to glow… or to have a glow around. There are several ways to do that. One of them is to simply take the magic wand tool and use that to select the area which sometimes work fine and sometimes does not. You can see here it is a bit tough to get the edges totally clean. It would work but there is another way to do it, if you have outputted a clown pass from KeyShot, you can use that to make clear selections of the material.
With the selection active I go ahead and create a new layer and click this layer mask button to use the active selection as a layer mask. Then I want to fill the layer with a color. To do that I press I on the keyboard to select the color picker. I left click and go for the brightest area on this button. Then I click alt+backspace to fill the layer with the color. So far so good.
The next step is to apply some gaussian blur to the layer. This step is really just about eyeballing the look that you want for your glow. I guess that… or I’m not guessing – I think that something around a radius of 70 looks pretty cool for this purpose. You can see how it is already making a big difference. Maybe I will turn down the opacity a bit. This is actually basically how I make things glow.
Sometimes I add another layer and use a soft brush to paint on top of the glow, to create a more diffuse glow. I turn down the opacity to something like 30. Sometimes I also try out different blending modes and I encourage you to do that as well, to find the option that gives you the best look. I guess this looks pretty cool. Too much diffuse glow.
That looks pretty good. That is how I make things glow. Thank you so much for stopping by and watching this. Please subscribe and like if you think it was helpful and you want to see more of this and if you want to help other people just like you find this resource. Until next time – take care!
While scouting the web for inspiration on lighting techniques, I came across this video on how to set up studio lighting for shiny objects like silverware.
It is a quite informative video, but it also shows how traditional product photography can be a slow, tedious and equipment-heavy process. Watching it made me really appreciate the many benefits of creating product images using the computer as the only tool. I have listed three main reasons why I love computer generated imagery for product visualizations here:
It is fascinating to see in the video how much a slight angling of the light source impacts the look of the image. However, it also shows the slow process of having to run back and forth between the light sources, camera and computer every time make a change and to assess it.
In a visualization software like KeyShot the same process is done by a single click and drag procedure and the result is shown right away.
This means that you can try out far more possibilities in the same period of time, thus making it faster to converge towards the best looking lighting for the final visual.
Let’s say, in a traditional photoshoot, you have perfected the position of your product and lighting, but want to try out another ground plane. You wouldn’t be able to replace your ground plane without moving your product as well and getting it back in the exact same position would be a slow and tough process if not impossible.
When creating a product visualization on the computer it is possible to change one single attribute without affecting anything else.
Again, it is a huge time saver. A few button pushes and you’ve tried out the look of several ground planes.
3. UNLIMITED (AND FREE!) POSIBILITIES
This is probably the one that I like the most. When creating a studio setup inside the computer, everything is free. Your creativity is not constrained by a tight equipment budget. If you need any extra source of light, you just create it. And you can adjust it to have the exact color, intensity, falloff, angle, etc that you need. If you need 100 sources of light, you just create them too. Zero bucks. If you need your product to be sitting on three gold bullions, you just create them. No cost. If you… I think you get the point.
The silverware studio lighting video inspired me to create a silverware visualization myself. I wanted to try out his single light approach. I created the visualization below from scratch in roughly an hour. Including downloading the model from turbosquid, setting up the materials and lighting, the render time and a bit of post processing in photoshop.
Another benefit here is the fact that if I need to change something, at any time, I can open up the exact “studio” in a matter of seconds and do the changes within minutes. No need to set up the studio once again (and destroy the setup for the new product shot that I was working on), take new photos and rearrange the setup back to where it was.
Feel free to contact me if you want to learn more about how you and your company can benefit from using CG product visualization for your visual material.
Hi everyone. Esben Oxholm here. In this tutorial I want to show you how to create the detail layer that you will find in the post processing in all of my practice scenes. If you are interes you can go to www.gumroad.com/esbenoxholm and download these practice scenes and get the models that has been used, the KeyShot .KSP and the Photoshop .PSD used for all the post processing. Two of them are free or pay-what-you-want and this one comes with the small price of five dollars. Enough with advertising for now. Lets dig in to the actual tutorials.
I got a question about how I created this detail layer that you will find in the .PSD that comes with the practice scene. It is actually quite simple. So just follow along. Here I have the rendering straight from KeyShot and the first step we need to do to create the detail layer is to copy it to a new Photoshop document. So I press cmd+A, cmd+C, cmd+N, click okay, and cmd+V to copy it in. Then I go to image > adjustments and select HDR Toning. What I want to create here is a layer where the details sort of pop. I dont need any colors so I turn down the saturation. I want a lot of details and I want a pretty small radius. The strength – turn it up to something like this. I also want to avoid highlighted areas so I’ll turn the highlight slider down a bit and I also want to avoid completely black areas, like this and this area here, so I turn up the shadow slider just a bit. Something like this, which is what we need for the detail layer.
I click okay. Then I press cmd+A to select the entire image, cmd+C to copy it and then I go back to the original rendering. Here I press cmd+V to copy it in and you see we get it as a layer for itself. I rename it to ‘Details’ and change the blending mode to ‘overlay’. Then I hold in ‘ALT’ and press this mask button, so we actually don’t see anything of it. Then I will take a big and soft brush with the flow of something like 20, make it white and then I’ll simply draw in the areas where I want the details to show more. So around these buttons here and the cracks in the glass and the fingerprints and I turn down the size of the brush a bit and go over the area here and the area on top of this stick. Something like this. Then I will just turn the layer on and off to see how it looks without and with it. There is a huge difference as you see. Typically is a bit too much I think, so I’ll turn down the overall opacity to something like 50 or 60 or whatever you think looks good. That is actually all you have to do to create this detail layer and get your details to pop!
Thanks a lot for watching. I hope you learned something and as always subscribe and like if you would like to see more like this and to help other just like you to find this resource.
PRACTICE SCENE #3 is soon ready. The download is going to include the model as a step-file, the exact KeyShot scene used for the rendering and a layered Photoshop file with all the post processing. Check out the clay/textured renderings below and remember to sign up at http://esbenoxholm.dk/diy/ before 04.04.2016 to get the scene at half the price.
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