#Colors and shapes mac miller how to#
“Once I understood the tool’s power and logic, it took only a week or two of problem solving to figure out how to bring in the data from 3ds Max. Though Mason was new to Bifrost, he found support from a community Slack group. I don’t think this would have been achievable without Bifrost.” Rather than having to render every shot outside of our pipeline, on this project, we were able to render everything in Arnold with Maya. Mason added, “Bifrost was essential and used on almost every shot, either as a scattering tool or a method to natively bring in massive simulations from tyFlow into Maya.
Those scenes were very light in Maya, because Bifrost is incredibly good at handling instancing and scattering.” Bifrost would rebuild the scattering system and render it, and you could play effects like the massive giants back in real-time, which was pretty impressive to our team. “Instead of exporting actual objects or geometry from 3ds Max, I just exported the particle data – a point for each component that made up each effect. “Bifrost ended up being really pivotal to the entire project, because it’s not only a tool to create effects from scratch I also discovered that it’s an easy way to get data from any effects pipeline into Maya,” stated Mason. He required a method to import the effects data – including clouds, cloth, and large rigid body simulations – into Maya, where the majority of the team’s artists were working. It was up to me to actually execute it, and through using Bifrost, I ended up being able to do everything.”Ī veteran 3ds Max artist, Mason created the majority of the project effects in 3ds Max’s tyFlow particle simulation plugin. “The concept of the film relied on these effects, and when I discussed my vision with the producer, we moved forward under the provision that I would handle any aspects of the project that we didn’t have resources for. Everything from massive scatters for environments, heavy cloth simulations, smoke and all of that data added a sense of scale to the film and complexity, without necessarily requiring an army of artists to work on it,” shared Mason. “The overall concept for the film was integrated with the different types of technology available and accessible to my team.
Working with a tight-knit team, Mason leveraged Bifrost to manage complex scenes and bring the music video to life. Drawing inspiration from ‘80s and ‘90s animation, including the acclaimed “Little Nemo: Adventures in Slumberland,” Mason immerses viewers into a unique and ethereal world that follows the plight of Miller’s beloved dog Ralph, exploring hypnotic sequences, encountering giants, and floating through space. A surreal journey through a nightmarish and fantastical dreamland sets the backdrop for the late artist Mac Miller’s “Colors and Shapes” music video, released in September 2021, produced by Hornet Inc.
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