We recently checked back in with one of our favorite PixelSquid power users, Ponte Ryuurui. Previously, we chatted with the Tokyo-based artist about his stellar speed paints for his Youtube channel. In this more recent video, Ryuurui constructs a terrifying underwater battle between a submarine and megalodon. Thalassophobia, anyone? Watch the full video below and read our interview with the artist for some insight and inspiration!
PixelSquid: Tell us about your growth in digital photography. How long have you been creating through digital means?
Ponte Ryuurui: About 10 years total, though now I do mostly 3D sci-fi hard surface modeling. I stopped photography a year ago and now focus 100% on 3D.
“Pixelsquid is literally pure gold for compositing.”
PS: You’ve been a long time user of PixelSquid. Is there any particular feature that keeps you coming back?
PR: Pixelsquid is a no-brainer plugin for anyone who is serious about compositing, mostly because models are rendered in fairly flat light, which allows for post processing. Also, the ability of rotating in 3D to fit the perspective and so on is simply too good to ignore.
PS: For your Megalodon speed paint, you constructed the background first and then placed the PixelSquid objects where you saw fit. Do you have a thumbnail or plan for where you place the objects, or do you let your intuition guide you?
PR: I don’t really use references for those manipulations. If I see an image or item, an idea hits me. Then, I just doodle away till I am happy with the results.
PS: Around the 2:10-2:20 mark, we can see you changing the angle of the missile to get it to the perfect position. Being able to rotate the object is a unique benefit of PixelSquid objects. How does this help you in your creative process?
PR: Perspective is one of a few core things that need to be spot-on for a successful composite. If color, brightness, camera angle, perspective are out of whack, it will all look fake. PixelSquid is literally pure gold for compositing.
PS: You work in 3D model creation using Blender, so I’m sure you can understand the difficulty of mastering modeling techniques. How do you think PixelSquid can aid users who work strictly with 2D to start to implement 3D elements in their works?
PR: This is actually the best question of all. Compositing is superb for training the brain to come up with creative ideas. 3D is awesomeness from a cube. Compositing is not that difficult, but it is a great step towards 3D. I learned 3D very quickly, and after a year of studies I am already creating courses and working in the gaming industry. I am sure 20 years of artistic background and about 8 of photography helped, but compositing has definitely played a huge part there. Pixelsquid simply made compositing fun as hell. I love working with add-ons, and I think whoever does not use them shoots themselves in the leg. All pros use Plugins, because we know that 1: time is money and 2: add-ons support the creative process by removing mundane tasks that take ages or are too infuriating in vanilla programs. I am a heavy add-on user in 3D.
PS: Do you have any new or exciting things you’re working on right now?
PR: Yup, together with a friend of mine, Josh Gambrell, we are working on creating educational materials for 3D artists who use Blender. At the same time, I’m working on a sci-fi game with a studio based in London.
Ponte Ryuurui is a Tokyo-based 3D concept artist, photographic artist, photo retoucher, Japanese calligraphist, educator, and author. You can follow his work on Youtube, Facebook, Twitter, or on his website. You can find a full list of links at his Linktree.
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