Hi
Im workin on a project whr i hav to comp a cg element (ball) over a drum in a footage…i modeled the drum n placed the cg ball over it but whn i tak the occlusion pass, both the ball n drums occlusion comes in it. how do i avoid the drums occlusion.
Hey. I am a student at SVA in NYC working on my senior thesis and I am not sure what to do about one of my shots.
It has composited footage as the foreground and midground, but the background is a matte painting. The foreground/midground come from the same source so there is no issue with matching grain. However, they are relativly grainy (especially in the figure’s face) and I am having trouble matching the grain on the matte painting. If I fully match it the grain is huge and looks just awful. I have tried adding SOME grain, but it just looks akward and as though I do not know what I am doing. At the moment we have no grain on it at all but we think it looks too clean. I have included a video (uploaded to vimeo… the grain really isnt that visable.. But I thought I would include it anyway…) as well as a still. If anyone has any suggestions or solutions I would appreciate it very much 🙂
Also, any critiques on the shot/piece as a whole would be appreciated as well!
If anyone is interested my Thesis Partner and I have a blog where we post updated WIP etc. the URL is gentlekillereyes.blogspot.com
Great new WIP reel from Tesia Alexandra, plus a ton of inspiration on her site to check out, for studios such as Trollback + Company, Eyeball NYC, Interspectacular, Imaginary Forces, Bigstar and Superfad.
I just couldn’t find a better place for this post!, I just finished a 3D sci-fi Indie Shortfilm “The Last City on Earth”, it is an independent project not backed by any school or studio made , the story is original but based in the movie “They Live” by John Carpenter and the shortfilm “Cannon Fodder” by Katsuhiro Otomo, I hope you like it.
Those damn Supinfocom kids do it again! Gary, a short film created by Clement Soulmagnon, Yann Benedi, Sebastien Eballard and Quentin Charillet is a unique vision of a boy struggle with his sexual coming of age. In a time when we are so used to crispy 3d animations with cutesy round beavers and big eyed rabbits as the main characters, that only emulate what Pixar churns out on a yearly basis, I find animations with this illustrative style and somewhat risque storyline to be a far cut above the rest.The Supinfocom and Gobelins students have learned a very hard and important lesson with their software and that is to not let it dictate their style. With each animation that comes out of these schools I find that style exploration is a lengthy process and then they bend the software to meet their needs.
I was able to get in touch with some of the crew and ask them some questions about their film. Its a long interview but make sure to read it, there are some gems of information and techniques about their production not to be missed. Read it here.
Make sure to go to the official Gary website to check out images of their lengthy design and research process. Also if you are wondering, Clement is in Paris working as a young director with Gary Levesque under the name, Viking & Viking. Yann is in London working as a director and illustrator. Sebastien works as a TD and lead animator for Mathematic in Paris and Quentin is freelancing as a 3d animator.
David e Ian Purchase sono due giovani fratelli registi canadesi, conosciuti come The Purchase Brothers, i quali hanno realizzato il corto The Escape From City 17 , basato sulla saga di video giochi Half-Life. I fratelli asseriscono di aver prodotto questo primo episodio, un secondo è in pre-produzione, con soli 500 dollari canadesi, senza copione o troupe. Alcuni elementi , come gli sfondi, sono stati estratti da Half-Life 2 e migliorati graficamente, incorporandoli con il girato.
Ovviamente, come in quasi tutte le produzioni a basso costo, pecca nella recitazione.
Scintillation is a remarkable experimental piece by young director Xavier Chassaing. This piece stands on it’s own purely for its visuals, but the technique and craft that went into the production sets this film apart. What looks like film is in fact 35,000 photographs with a mix of 3d mapped projections. Being a young director, Xavier doesn’t have the facilities and financial backing that a commercial piece will grant. Instead he had to work under what he calls “the classic dogma which is ‘What can you do with what you have…’” I think this sums up Xavier’s process pretty well. Here is what he had to say to me about his technical process for Scintillation:
What I have was an apartment, a small DSLR camera, a small computer and a small videoprojector. I also made a contraption who looks like a motion control but with the particularity of moving extremely slow who allowed me to take sequences of pictures with long exposure. (1frame per second, with 1 second of exposure). Even the best camera can not compete with this kind of sensitivity if they shoot at normal speed. So, I did everything myself from the 3d animation that I project on object, building the machine, the editing etc..
Built a contraption that acts like a motion control!? Yeah, wow. Xavier also enlisted Mathieu Caulet to help color grade on a flame in the end and worked closely with sound designer Fedaden throughout the entire process to score his piece.
Scintillation reveals that cash flow isn’t necessarily the foundation for a great project. In cases when you have nothing, a little ingenuity can make a diamond out of shit. This is an important thing to remember in these times when budgets are being slashed and we all have less to live under the dogma of “what can you do with what you have”?
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.
