Lost Boys Learning – Class 4 – Ghost Project Showcase

Lost Boys Learning | School of Visual Effects

Class 4 – Ghost Project Showcase

Just in time for Halloween, the third project at Lost Boys Learning is the popular Ghost project. In order to create a ghostly apparition that is subtle and believable, students worked entirely within our compositing software NUKE, as well as shooting individual live action background plates, black-screen character plates in our studio and a group cloud-tank elements shoot. Blending together the three live action elements, the students strive to create volume and cohesion between the different 2D elements – and a scary ghost.

Creating abstract, amorphous VFX can be a very challenging experience. Unlike recreating practical or physical objects the students design a look that requires subtlety and creative vision. In a real production experience, the client or supervisor will have difficulty explaining exactly what they are looking for, so it is up to the artist to analyze all their references and design a look that can be effectively sold to the client. The artist might hear “that’s not quite what I’m looking for…but I’ll know when I see it” or ”more oily-smoky, brighter but more subtle, etc.".

The Ghost project is designed to demonstrate the power of leveraging practical elements (physical effects filmed in studio) to achieve very organic looking effects in a short period of time. In our studio, we shot a variety of substances on our high definition video camera including fluorescent ink, egg whites, cream and sparkles in our "cloud-tank" – a repurposed fish tank set up with a black light.

Our students have four weeks from start to finish, including finding relevant film reference, designing their idea and scouting locations. This year, we shot in the village of Cumberland, including the museum mine shaft display, the Japanese cemetary and an abandoned mine; and at the old dairy ruins in Merville.

Lost Boys Learning is located in the Comox Valley on Vancouver Island – a community with a huge variety of accessible, free locations, including urban, rural, seaside, old-growth forest, ruins and mountains. For this shoot, we used guerrilla-style filming with our portable generator, fog machine, lighting kit and occasionally a bit of fire starter in hand.

JongJun "Danny" An

"I spent a lot of time shooting for this project because I’m interested in making movies. My story is one of an explorer who finds the abandoned "1913" building, a former research facility. He discovers an old movie camera, which triggers a "flashback" sequence, showing a scary surgical experiment that happened a long time ago on that site. The flashback reveals the true story to the explorer just before the ghost of the surgeon attempts to kill him. We filmed all of the flashback sequence in studio with costumes and props, including a juicy raw steak. The most difficult thing was making fog and matching it with the ghost."

Monica Rodriguez

"My Ghost Project was inspired by the effects in the movie "Harry Potter: The Order of the Phoenix". My character is the ghost of a bride; her unexplained murder has left her angry and she remains in this world. In order to integrate this idea with a real background I choose a Japanese shrine close to Cumberland. The hardest part in this project for me was to integrate the fog which was a practical element filmed in a cloud tank. The element was high resolution and required both time warping and mesh warping which challenged my compositing considerably."

John Lipskie

"A local museum has a coal mine exhibit which made a great location to film this project and set the scene. Many Chinese and Japanese miners worked, and perished, in the local mines. I focused mostly on integrating the black screen ghost into the cloud element but spent a lot of time rotoscoping the miner to separate him from the ghost in the background."

Clifford Green

"For the ghost project, I was inspired by the film "Gothika" starring Halle Berry – particularly the scene where a truck runs over a ghost child. My story is about a young girl (Mindy) from the Comox Valley; in 1940 she went missing and was found dead years later. Her spirit roams the area, hunting for her killer. She only comes out at night, when she can be seen walking with her teddy bear in her hand. The project covers areas such as cinematography, composition, rendering and lighting. Lighting the scene was a challenge, as filming was done at night."

Daniel Jackson

"Not surprisingly, my inspiration for the Ghost project was "dark and creepy", so I chose an abandoned concrete ruin in the forest as a location. The ghost character was a follower of the dark arts and the religious people in town burnt him alive – now he haunts the town’s church ruins. I was inspired by movies like Saw, 13 Ghosts, Silent Hill and One Missed Call. The make-up and wardrobe for my ghost were inspired by the lead character in the game Prototype. We filmed at night with practical fire, candles and fog. The hardest part of the project was painting out the pyrotechnician (igniting the fire) from the scene."

For more behind the scenes photos visit our gallery. Watch for further project posts of our Product Shot and UFO project coming in the next few weeks.

Cheers,

Mark

Lost Boys Learning is North America’s only dedicated accredited visual effects school with world-class training in photo-realistic 3D for VFX and compositing for film and television. Boasting a 94% placement rate Lost Boys Learning offers a specialized 1 year Visual Effects Diploma on Vancouver Island, Canada. Our students work with the award winning VFX Supervisor and experienced mentor, Mark Benard, in a project-based learning environment, covering VFX pre-production and shooting, 3D for VFX and compositing. We are now accepting applications for our new intake starting in January or May of 2009. Please visit our website and/or email us for further information.

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Lost Boys Learning – Class 4 – Telekinesis “Spoon” Project

Our second project in Term 1 at Lost Boys Learning is the Telekinesis Spoon project, referencing the spoon-bending scene in The Matrix. Students are required to create a three shot sequence of a character with telekinetic power bending a spoon with their mind. The first shot establishes the location, introduces a mysterious character and shows some spoons that have previously been bent out of shape. We see the character make contact with a practical spoon prop and hold it up to prepare for his telekinetic exercise. The second shot is a medium/close up with focus on the bending action of the spoon and interaction with the character. Finally in the third shot we see the bending spoon solidify through a seamless transition into a bent practical prop that the character then sets back down with the other bent spoons.

This project covers a solid foundation of common VFX integration issues such as matchmoving CG to actor movements, accurately replicating an established prop, adding environment and actor interactive reflections to a CG object, matching practical lighting, and the importance and inherent challenge to synchronize actor eye-lines and reactions to yet-to-be-created elements. We also explore better VFX Design through the actions of setting up and supporting successful illusions by manipulating the viewers expectations through subtle semantic clues, such as the mysterious character, bent spoons visible in scene and establishing the physicality of the prop.

Clifford Green

"Incorporating the CG spoon into the live background was difficult; I had to model, light, texture and render the spoon in such a way so that it blends seamlessly with the background. Setting up the lights in the location was equally difficult – a three point light setup was used with additional lights in various locations in the room to create a natural feel. Additional problem areas were reflectivity, contrast, negative space, tracking and texturing."

Danny An

"The spoon project has a tight turnaround of three weeks. On day one we hand out the real spoons, begin modeling and begin to conceptualize our ideas for location, mood and character. Fifteen working days later we are ready to screen the final sequence."

Monica Rodriguez

"In this project I posed a woman in an antique and classic kitchen, where the metal quality of the CG spoon references the metal objects in the kitchen. One of the most difficult parts for me was to match the reflection of the CG spoon with the real environment, working within a warm, ambient lighting setup."

John Lipskie

"I think the most challenging aspect for me was finessing all of the technical details required when blending CG with reality, particularly when transitioning from the bending CG spoon into the bent practical prop that the character sets back down on the table."

Daniel Jackson


"My inspiration for the character and location was "dark-creepy" so we shot in my basement. Being a big fan of the horror genre, this inspiration came from movies like Saw, 13 Ghosts, and Silent Hill. We did about an hour of filming. The hardest part of the project was using Nuke to blend the real spoons and the CG spoon. I learned more Compositing which is new to me."

For more behind the scenes photos visit our gallery. Watch for further project posts of our Ghost project and recent Studio Tour to Vancouver coming in the next few weeks.

Cheers,

Mark

Lost Boys Learning is North America’s only dedicated accredited visual effects school with world-class training in photo-realistic 3D for VFX and compositing for film and television. Boasting a 94% placement rate Lost Boys Learning offers a specialized 1 year Visual Effects Diploma on Vancouver Island, Canada. Our students work with the award winning VFX Supervisor and experienced mentor, Mark Benard, in a project-based learning environment, covering VFX pre-production and shooting, 3D for VFX and compositing. We are now accepting applications for our new intake starting in January or May of 2009. Please visit our website and/or email us for further information.

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Lost Boys Learning – Class 4 – Title Project Showcase

After one week of orientation we dive headfirst into our first project, what better way to start learning!

The Title Project exposes our students to the challenge of taking a project from concept to completion while still operating under a very limited understanding of their new tools.

We have two weeks to design and create a personal intro ID or simulated production title shot, including organizing the necessary assets, filming any live action elements in high definition video, creating 3D assets in Maya, applying materials, choreographing action, setting up lighting, managing renders and carrying out final composites in the Foundry’s Nuke.

Our time line is specifically kept tight to keep the creative decision making process rolling while at the same time demonstrating the pressures of real world production.

Without further delay, I’m proud to present the work of Class 4’s Title project!

John Lipskie

"My initial idea involved animating small objects in a live action setting to spell out the titles and evolved into cut-out letters thrown at a wall. All the letters were hand keyframed, except the ones that bounce off. Those started out as rigid bodies simulations flung at the wall, then they were "baked out" so I could fine tune the keyframes to react more like hand thrown items."

Monica Rodriguez

"The art of Delicatessen (France, 1991) and the magic of Harry Potter (England, 2005) were my inspiration to create the mood and animation of my Title Project. I gathered props, handmade the paper for the book and filmed the live-action background. I designed 2D animation and typography in After Effects, tracked the scene in MAYA and did the final composition in NUKE where I added the rays, mood, lights and color correction."

Clifford Green

"Inspiration: The inspiration for my title project came from the "animated Pixar lamp logo", which featured a jumping lamp over a 3D text. My animation was simple; the neck of the lamp was animated to highlight the text on the foreground.

Working process: The entire project was done in 3D, I decided against using a live background as this would in my opinion jeopardize the overall feel of the final composition. I used a spot light to highlight the text; fog was added to the spot light, and the intensity of the light was animated."

Daniel Jackson

"For this project, I decided to focus on creating a 3D object in order to present my name and title. I designed a tabletop mechanical device that would be found in a workshop. As I’ve worked with mechanical and robotic design in the past, I wanted to create something in this style in 3D, incorporating clockworks and wind-up toys, albeit dark and disturbing toys. The character was originally meant to be a mechanic of sorts but the final product shows a
more edgy, film noir character."

JongJun "Danny" An

"My concept was to introduce myself with my name, featuring the "A" of my last name. To highlight the "A" I used a red color, which symbolizes passion, and uniqueness. We shot the hand over green screen, and the touching finger symbolizes communication with people. I created the floating letters in 3D, using keyframe animation."

Each student in Class 4 hit the ground running with this project and achieved their goals. For more behind the scenes photos visit our gallery. Watch for further project posts of our Telekinesis Spoon and Ghost project coming in the next few weeks.

Cheers,

Mark

Lost Boys Learning is North America’s only dedicated accredited visual effects school with world-class training in photo-realistic 3D for VFX and compositing for film and television. Boasting a 94% placement rate Lost Boys Learning offers a specialized 1 year Visual Effects Diploma on Vancouver Island, Canada. Our students work with the award winning VFX Supervisor and experienced mentor, Mark Benard, in a project-based learning environment, covering VFX pre-production and shooting, 3D for VFX and compositing. We are now accepting applications for our new intake starting in January or May of 2009. Please visit our website and email us for further information.

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Benjamin wins BAFTA

This year’s BAFTA Award for Special Visual Effects was won by The Curious Case Of Benjamin Button (Eric Barba, Craig Barron, Nathan McGuinness, Edson Williams).

DUCK/Jamie Caliri: The United States of Tara

united-states-of-tara

Jamie Caliri can always be counted on to imbue a project with hand-made charm and incredible attention to detail. Ever since seeing the 2006 “Dragon” for United Airlines, I’ve been enchanted by his unique approach to storytelling.

His latest project comes through LA-based DUCK for Showtime’s new series about a single mother with multiple personality disorder, The United States of Tara. Using cut-out illustrations from Alex Juhasz, the sequence presents a series of layered vignettes populated by the show’s star. Says Caliri:

They wanted a pop-up book look. We decided to try to make as many real pop-up pages as possible and only cheat when we needed. I think it ended up being a fun mix of pop-up and animation.

Alex Juhausz really nailed a great Americana/comic book feel with his illustrations and Anthony Scott brought his usual sensitivity to the animation. The team really pulled together on this one and I think it shows. We had fun.

The United States of Tara is co-executive produced by Diablo Cody (Oscar-winning screenwriter of Juno) and Steven Spielberg.

Check out the Dragon Stop Motion Software blog for some behind the scenes action on the project. Also see Jamie’s follow-up spot for United Airlines, “Heart.”

Posted on Motionographer

DUCK/Jamie Caliri: The United States of Tara

Sci-Fi Shortfilm: High_Frequencies

Hi everyone!. I´m from Buenos Aires, Argentina. Here I leave you the links to the latest shortilm I made with a few friends. It is called High_Frequencies and it´s about an extraterrestrial invation that overcomes Buenos Aires. It´s in live action with 3D Vfx. Hope you like it.

Official website:
http://www.altas-frecuencias.com.ar

HD video on Vimeo
http://www.vimeo.com/2696010

Selecting à Nodes, with command

Hi all,

So, I would like to complete my TCL script button.

Here is the command on my button:

Code:

{nuke_to_RRender}


This command sending some writes nodes on Royal Render, but I would like to create an automation, so I just need to know what’s the command to select a node (actually my writes nodes) into a flow.

Thx a lot

have a nice day.

Visual Effects Producer (Film and Broadcast)

The visual Effects department at Pepper is expanding and we are looking for a Visual Effects Producer with 3+ years of experience to work alongside our Head of VFX. You will be preparing bids for, negotiating and scheduling Visual Effects business for both Film and Broadcast projects. Working alongside Peppers Picture and Sound Producers your role will also be to share (with vfx supervisor) the responsibility of allocation and scheduling of won business to the permanent and freelance crew with responsibility for keeping to schedule. You should be competent with an Excel and Filemaker based shot allocation workflow. Please send your CV and a cover letter to chris.mortimer@pepperpost.com ENTERING ‘vfx producer’ as the ‘Subject’ .

FREE LANCE MOTION GRAPHIC DESIGNER

I am Arun Karthik from India, Motion Graphic Designer Using After Effects, Combustion, 3ds Max,

I am in search of Free Lance works around the Globe
For show reel and further Information kindly contact arunsisha@gmail.com

Arun Karthik

Matte Painting Challenge – Feb’09

February 09 topicThe Global Warming

Win d’artiste Matte Painting book by http://www.ballisticpublishing.com/, NVIDIA Quadro, Magazine Subscriptions, TShirts and more.

Judged by – Tiberius Viris , Frederic St-Arnaud, Christian Kesler, Christer Wibert, Sedevcic Leonardo & David Luong

http://www.cgtantra.com/forums/forumdisplay.php?f=164