3DA: Why have you decided to work in 3D-field and when have you started?
VI: Since I remember I love computer graphics so I always wanted to work with 3D actually but I thought it would be just near impossible to do (no English proficiency, no information about CG in school or TV) I was just lost, but when I was preparing myself (at age 18) to ingress at University I met a guy in the school which said that was working with 3D, after he said that I annoyed him so much with questions about it hahaha. So he said where he had a 3D Classroom and I went there. It was just the basics though (one month course), one/two weeks after finishing the course Christino Baptista (Founder of the company Elo3D) gave me the opportunity to work with him. I’m extremely, extremely thankful for that!
3DA: Describe to our readers your usual workflow
VI: My first step is collecting as many references as I can, because that way I’ll be able to see how the objects, lighting, materials and imperfections interacts together in different situations and moods, after that I try to block the main concept, the rough idea and start to setup a basic lighting to work in the composition (angle, and overall color scheme and etc), after that it’s about refining, doing many tests and using my gathered references to help me out sell as much as possible the realism. The software that I’m using in my pipeline is 3DS Max, Photoshop/After Effects, Magic Bullets PhotoLooks, Frischluft and Marvelous Design.
3DA: What was most difficult for you when you just started working in 3D? And what is now?
VI: Getting used to 3DS Max interface/workflow haha, I still have a lot to learn of this software but I remember of getting lost often. Now… I would say that developing myself as an Artist, getting the artistic foundations that will help me to give ‘eye candy’ work, I’m really far from what I want to be as an Artist.
3DA: Looking back on your education process what you would have changed now? And what you consider right and would do exactly the same?
VI: I would find my way to develop my artistic/3D skills sooner, but I’m glad and thankful the way things worked out for me. Actually even the things that I did wrong I would redo, because I have no doubt that some of bad choices I did made me met the 3D guy at my school, and today I’m extremely glad that I can say I’m actually working with 3D.
3DA: Which was the biggest problem that you faced working on a project and how have you solved it?
VI: Every project was a drama, the client paying low and wanting all the technology available, countless time we slept at work to give good images respecting deadline. Besides the daily problems that we had to solve, the biggest problems that I helped to solve was about helping to improving what the company was selling or just doing better/faster work, like stereoscopic images/videos that didn’t worked out well until then, I gave an extra hand in doing more elaborated panoramic images, doing stereoscopic intro for the company, learning new softwares to speedup workflow and bring high quality work, and in the last project the challenge was to build the streets and make it possible to render, so after getting the help of my friend Patrick Guimarães to scatter the houses and buildings, I started to handpaint textures of the street and created the car rig system which was pretty simple but effective, in the end everything turned out great!
3DA: What forecast you can make about the future of 3d-world in general?
VI: I don’t have enough experience and knowledge that could answer this question properly, but I expect it to be breathtaking when it comes about the new tech that will appear eventually, I already get more excited than I should when I see CG related videos, I can’t image how it will be looking for the next years! And as for the jobs I’m sure that will have a more demand for CG work since it is being more acceptable by the companies because of the freedom that one can have.