I heard that people stating that for a good vfx intensive movie the fares are 20 Million USD and for small ones goes as low as 4 millionUSD..
but in general how much it costs to get the vfx done for the movies..
Like
per sec cost?
BgPrep ( which includes rig removal and rotoscoping )
3d shots?
I saw the mill rate card…
http://www.the-mill.com/downloads/mi…_london_08.pdf
Is the fare for shake 2000 GBP per man day? is it that expensive to get work done in London?
It seems in this town, once you become a VFX Supervisor someone issues you a MacBook Pro and an iPhone. The iPhone for me has been a great tool for presenting previz and work in progress to clients on set and has proven indispensable in settling bar bets with grips and gaffers. Of course one of the best things about this little marvel from Cupertino is the applications you can put on it. Here’s my top 5 for VFX production.
So of all the things I always manage to forget in VFX kit bag, my inclinometer always ends first on that list. But you know what I never forget? My iPhone! Enter Clinometer, turn it on it’s side and it becomes a pretty darn accurate slope finder. I compared it to an old school analog angle finder and came out with the same results. The coolest thing about this app though is if you lay it flat the whole interface turns into a bubble level. You can lock the angle for easy transcription later but it doesn’t have the ability to save, catalogue or email readings.
A common question I get as a Supe is “How many stops apart should the pics for my HDRs be?”. First of all, when gathering bracketed exposures for generating HDRs (I use Photomatix but CS4 makes ‘em too) you want to make sure you change the shutter speed not the aperture. That way the depth of field won’t vary between exposures. There is no magic number to how different each exposure should be as long as the difference is consistent and travels from almost completely blown out to nearly black. I used to take test exposures, find the high and low end and do the math on a notepad to figure out what my shutter speeds should be. In HdrHelper, enter the start and end exposures and how many pictures you want to take and presto! It figures out the rest for ya.
So if you are like me inspiration and/or panic can come at any time. You may be driving or away from our notepad and need to record a specific piece of info. What Jott does is turn your iPhone into a mini dictation machine. You just talk into it and after a few moments Jott transcribes what you said (watch out for super techy words) and lets you file the written tidbits away for later. To get started you have to sign up for there website from which you can send your notes as emails, SMS and the like. That’s the good news. The bad news is, what was previously free will now be a pay service as of February 2nd. Sign up for the free now and you still may be able to get the 10% coupon code when they start making us pay.
Dropbox is a web app kinda like iDisk with two large exceptions, you can use it on the iPhone and it works. Signup for an account online and you get 2GB of disk space free and little app for your desktop. The desktop app puts a folder on your system and every time you write to it Dropbox uploads the file to your site and assigns it a url where you can access it from any web browser including Safari on the iPhone. The great thing is if you put a text file, pdf, jpg or iPhone supported movie in the Dropbox folder your desktop, you can see it immediately on the iPhone side. I use a program called TaskPaper to make my todo lists. Taskpaper saves in plaintext so I just keep the file in my Dropbox folder and I always have it with me. Oh did I mention that you can share folders and files with your iPhone brethren?
Another web app but one that can really help you with gathering data on set. As you may know Google Docs allows you to create documents, presentations and spreadsheets via a web interface that you can then share with others. What you may not be familiar with is a document type called a form. With forms, you can set up a series of questions that you can post or email. After you fill out the form and submit it, Google posts the data from the form into a master spreadsheet. The forms show up great on the iPhone and when you come home at the end of a long day on set, all of your data is nicely timestamped and thrown into a spreadsheet for you. Here’s how it works..
This is great for gathering info anywhere and also for gathering from multiple sources at once. Anyone who has access to the form can enter data into the same spreadsheet. That way you can have multiple people entering data at the same time! Who says a VFX Supe can’t have there butt in two places at once?
LINK to the VFX Data spreadsheet used in this post (you need a Google account if you want to save yourself a copy)
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Simon Hoegsberg is a 32-year-old photographer from Denmark. He has completed a photograph he spent the last 17 months making. The photograph is 100 meters long (100 m x 78 cm), and is about the uniqueness of ‘ordinary’ people.
The title of the photograph is ‘We’re All Gonna Die – 100 meters of existence’.
Attenzione: questo non è uno spot. Sì, magari vien reclamizzato un prodotto, magari si tratta delle nuove sneakers Lacoste in edizione limitata, ma questo non è uno spot. E’ piuttosto un cortometraggio, un piccolo delirio surrealista d’icone francesi: la baguette, la tour Eiffell, il can-can ed un onnipresente basco.
Regia del duo Stéphane Rogeon e Ludovic Vernhet, in arte SL Co., e post-produzione della francese Mathematics; un visual pulito e lineare, suggestivo nella sua semplicità.
Le sneakers le potete trovare da Colette, a Parigi, il video lo trovate qui.
Clicca sull’immagine per vedere il video
Cliente: Lacoste X Shoes Up Magazine
Produzione: The Ebeling Group / UFO / Les Telecreateurs
Regia: Sl-Co / Ludovic Vernhet@UFO
Animazione: Ufo/Sl-Co
Post-Produzione: Mathematic
Articolo redatto da Didier Falzone
In this project overview artist try to reproduce the style of classical black and white photographs
http://www.huffingtonpost.com/lee-st…_b_158834.html
If you haven’t seen Benjamin Button and hate spoilers, stop reading now.
Still here? Okay…
The Holy Grail of computer animation has long been to create a computer generated human character that fools the viewer into thinking they are watching a real person. I’ve been an animation and visual effects professional for about twenty years, I’ve seen David Fincher’s film The Curious Case of Benjamin Button and I’ll tell you this; the effects team at Digital Domain did it.
They get the Grail and very possibly this year’s Academy Award for visual effects.
Don’t get me wrong. I’m not dumb. I KNEW I was looking at visual effects. A bunch of them. I figured there was some 3D animation, some bits with Brad Pitt in makeup and some composite shots that combined different elements. I was wrong.
Until I spoke to the film’s Character Supervisor – Digital Domain’s Steve Preeg – I had no idea that after a small piece at the beginning, the entire first section of the film had zero real Brad. That’s 0.0% percent real Pitt for an incredible 52 minutes. No Pitt in makeup, no 2D compositing of real footage. All computer generated performance while Pitt’s Benjamin Button character appears to be in his 80s, 70s and 60s.
Preeg is a vet of films with pretty impressive character CGI work, like Lord Of The Rings parts II and III, Final Fantasy and King Kong. Preeg, Visual Effects Supervisor Eric Barba, and a few others at DD worked with director Fincher for a couple of years before the film started shooting to develop the techniques used in the final movie.
After I’d realized I’d been tricked by Button’s digital performance, I spoke to a number of other working visual effects people and almost all of them were fooled, too. The ones that weren’t fooled personally knew people who’d worked on the production, so they went into the movie knowing the trick they were seeing.
And so that’s why I gave the spoiler warning. Once you know it’s computer generated, you’ll watch the film with different eyes. Maybe you’re the kind of person who loudly brags to their friends, "See that?!? He twitched a little weird there and the head movement didn’t exactly match the shoulder! OBVIOUSLY all CGI. Big whoop, I could do it on my laptop!"
But if you do that, then you’re probably the kind of person who makes kids cry in the line for Santa with ‘the truth’ or who bugs their pals with theories about how Penn and Teller do their ‘Bullet Catch’. In other words, your friends secretly hate you and you’re going to hell or being reincarnated as a bug or whatever negative long term fate your spiritual system allows.
But for the rest of us who like to suspend our disbelief, the Digital Domain team may have pulled off the film illusion of the year in Benjamin Button.
For a technical article that goes into the specifics of how the effects in the film were done, read this excellent interview with Eric Barba by FXGuide.com
Here’s a splitscreen from the Avid with the composite and color shifted image on the left and original footage on the right.
Any Ideas what I can do to prevent this?
This is site is run by Sascha Endlicher, M.A. during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
