select channels with similar names

Hello everybody,
I want to compose my 3d scene rendered from Maya using .exr format (with several passes contained into every file).
The problem is that Maya generate the names of the passes with this format:
<SHORT_NAME_PASS>_<long_name>_<set_name>_<camera_r endered>
for example:
AMB_ambient_BG_persp
DIFF_diffuse__FG_persp
but the max lenght is 32 chars for every pass into EXR file, and I have camera names quite long (neccesary for production), so the names are truncated and filled with random numbers in order to distinguish from each other; i.e I get names like this:
AMB_ambient_set1_cam_name_truncated12345
AMB_ambient_set2_cam_name_truncated67890

so the question is:
is there any way of making a manual Shuffle taking as source channel the one which name matches with an initial substring (i.e. with the two truncated names of the previous example: if I want to select as source the pass Ambient forn the set 1, I would specify the starting substring "AMB_ambient_set1")

Thank you very much!

Nexus, Celyn : WWF

Talented Nexus director, Celyn, has created a heart-warming spot with a chilling message for WWF; Because We’re All Connected. Celyn: “The World Wildlife Fund wanted something informative and entertaining, the aim was to give the message of the animation a universal appeal but with children carefully considered. I wanted to construct a colourful and […]

HAUS

Founder of Transistor Studios, Jared Plummer has launched a new studio: HAUS. “We do mograph and live action but aslo have a strong focus on design, in particular interactive and integrated.” I can’t imagine how this is not the way of the future. Integrating broadcast talent with interactive and integrated. Great site and […]

MPC Vancouver completes VFX for Watchmen

Zack Snyder has directed ‘Watchmen’ the DC Comics graphic novel inspired release for Warner Bros Studios. With VFX Supervised by John ‘DJ’ Desjardins, MPC completed 250 shots on key sequences in their Vancouver studio. The work includes the full range of digital VFX including 3D environments and cityscapes, CG Owl Ship, digital doubles and a variety of complex fx work.
"Watchmen" is set in an alternate 1985 America in which costumed superheroes are part of the fabric of everyday society, and the "Doomsday Clock" – which charts the USA’s tension with the Soviet Union – is permanently set at five minutes to midnight. When one of his former colleagues is murdered, the washed up but no less determined masked vigilante Rorschach sets out to uncover a plot to kill and discredit all past and present superheroes. As he reconnects with his former crime-fighting legion – a ragtag group of retired superheroes, only one of whom has true powers. Rorschach glimpses a wide-ranging and disturbing conspiracy with links to their shared past and catastrophic consequences for the future. Their mission is to watch over humanity… but who is watching the Watchmen?"

Working from Yale town, Vancouver, MPC’s VFX Supervisor Jess Norman oversaw a team of 35 VFX artists. Key members, including CG supervisor Max Wood were brought over from London to join the team. MPC Vancouver utilises the same pipeline and tools as MPC London, which allowed the team to successfully achieve the full gamut of visual effects challenges. Autodesk Maya is complemented with a suite of proprietary tools written in-house by the MPC R&D department. Shots were rendered in RenderMan and MentalRay, and composited using Shake.

MPC’s invisible effects work appears in many scenes, and starts with the high impact opening sequence ‘Blake’s Demise;’ a fast-paced, hand-to-hand combat scene taking place in a high-rise condo. To add to the adrenalin fuelled atmosphere, the team created the completely digital cityscape seen outside the smashing window. Blake aka The Comedian gets thrown out of the window. As well as adding crashing glass and doing a digital double takeover MPC added a CG version of the iconic smiley pin following Blake down to his dead on the street.

During one of the key flashback sequences; ‘Riot Control,’ the superheroes deal with the civil unrest of the tumultuous 1970’s. MPC modelled and animated the CG Owl Ship, called in reinforcements under the guise of digital doubles, added CG crowds, extended the sets and enhanced the turbulent environment with smoke and light beams.

In a dramatic nightmare scene two of the main characters get atomised by a nuclear blast after ripping each others skin off to reveal their superhero costumes. With the characters shot on green screen, everything else was created digitally. The Owl ship with digital doubles also appear in the tenement fire scene, alongside CG smoke and fire elements added to enhance the fire on a miniature roof top. The surrounding environment was created using projected digital matte paintings.

For the climatic Karnak sequence the team created a realistic Antarctic environment with ice, water and snow effects. Almost not making it over a vast ice cliff, the owl ship crashes into the snow surface, spraying snow and ice everywhere. Several of the shots in the scene were fully digital and required full understanding of the way that environmental factors interact.

Watchmen goes on international release 6th March 2009.

fusion linux

hello everybody
I would like to test fusion with linux os.
Where I could find it ,as evaluation.I wrote to eyeon and there is no reponse at this time.
So, does fusion linux is a good alternative to windows? I work with a mac intel bootcamp
and I think it’s better if I worked with linux.
thank you

Help for the rotoscoping of “Kaydara”

Hello everyone,

I am Savitri Joly-Gonfard and I am finishing the post-production of "Kaydara" along with Raphaël Hernandez.
Kaydara is a sort of "Film-Thesis" of 50min based on "The Matrix" world. This film can be called an "amateur" one since we did not get any money to produce it.
"Ratrix Hero" composed the first 6min of the film: http://www.ratrixhero.com/
The film is almost done but as I am writting we still have about 300 shots that have to go under the "rotoscoping" process (it is the only thing left since the compositing is done) with the software After Effects.
Being only two working on the film, there is no doubt that there are longs weeks (not to say months) ahead of us to finish this work.

So I am calling for help to anyone who would like to give us a hand. Because if many people help us for the rotoscoping it can be done quite fast!!
A shot last for about 3sec= 75 images.

This work is not very creative and i could only thank you by putting your name in the credits since we do not have any money for this project.

If you are interested , you can reach me at : koumacwars@yahoo.fr

Kind Regards,

Savitri.

Lien making of Kaydara :

[youtube]http://fr.youtube.com/watch?v=iCL7DPxMKFQ[/youtube]

Lien ratrix sur youtube :

[youtube]http://fr.youtube.com/watch?v=f6pileozqWw[/youtube]

Lien bande annonce Kaydara :

[youtube]http://fr.youtube.com/watch?v=g8ht8E8exIM[/youtube]

Site officiel Ratrix hero :
http://www.ratrixhero.com/

Fastest retrofit to VFX for an experienced software engineer?

Hi,

I am a software engineer with 15 years of work experience, 4 of them writing tools in Python that saved one company $1M, and the rest in C/C++.

Right now I am taking a graduate course in CGI/Animation using Maya, and I find that I like it a LOT. Although I am by no means an artist (although I do decent modelling work due to some CAD background) I have noticed that studios have a use for workflow automators and tools developers.

Should I go in at intern or entry level just like everyone else? Or will I be turned away from every door for not being in my 20’s? I had even thought of being an independent vendor to plug-ins and tools, but what does the VFX/animation world need most?

Thanks in advance for your advice!

The Eternal Squire

What do you need most for Maya plugins?

Hi,

The subject says it all. I am a professional software designer with 15 years of work experience, 4 of them writing Python tools for automating business workflow. I am presently finishing a graduate course in CGI/Animation using Maya, and I have found it to be a LOT of fun. I am intending to specialize plug-ins or other software to automate studio workflow or otherwise make a Maya user’s life somewhat easier.

What do you all need most?

3D objects as comp mattes

I was trying to figure out how to matte 3D cards with 3D scene data thinking that a matte shader would be needed and getting very frustrated.

By some chance I took a look at the Merge Expression node changed its alpha contribution to -1 and piped that into the apply material node for a 3D object. It seems to work pretty well but you need to premult by the alpha channel after a scanline node to get the alpha to be used properly. And it can give some strange results at times.

I have absolutely no idea if there is a better or proper way to do this (I’m very new to nuke) but if someone has another way to achieve this I’d love to hear it.

Test script attached.

Cheers

Dave

Attached Files
File Type: zip Matte_3D.zip (41.7 KB)

VFX Artist – AE, Syntheyes, Mocha, Features, Shorts, Music Videos, etc…

VFX Artist (Burbank, Hollywood, Santa Monica, Pasadena, Glendale)

Hi there, my name is David Torno and I am a freelance VFX/Motion Graphics artist near Burbank. I am always looking for new work, willing to and have commuted to Burbank, Hollywood, Santa Monica, Pasadena and Glendale for work. Feel free to contact me and we can discuss payment and schedule.

Demo reel and work samples located at:
http://www.sydefxink.com

Skills include, but are not limited to:
– Matchmoving 3D & 2D (aka: Camera Motion Tracking)
– Compositing (Grain matching, Color correction, 3D element integration)
– Rig/Logo Removal
– Head/Face Replacements (requires onset supervising unless shot accurately prior to me handling the footage)
– Virtual set construction
– AE expression/scripting

My current resume as of 3/09/09
–––RESUME–––
David Torno
torno@sydefxink.com
www.sydefxink.com

VISUAL EFFECTS
Feature Length
"High School Musical 3" (2008) Stargate Digital
"The Lazarus Project" (2008) Visual Stimulus
"Carmen Electra Aerobic Striptease" (2007) DNA Studio
"On The Doll" (2007) Doom Inc.
"Danni’s Tales" (2007) Snowlion Entertainment
"Hallettsville" (2007) Breakthrough Pictures
"G.I.Jesus" (2006) Cineville
“Pledge This!” (2006) Pledge This Holdings
“Light Years Away” (2006) Astrolite Entertainment
“The Indie Pendant” (2005) Vision Dynamics Entertainment Inc.
“The S.I.N.” (2001) Vision Dynamics Entertainment Inc.

Music Videos
Pistol Youth – "In My Eyes" (2008) More Funny LLC
Kanye West – "Champion" (2008) Ghost Town Media
Big Boi – "Something’s Gotta Give" (2008) Ghost Town Media
Alkaline Trio – "Help Me" (2008) Ghost Town Media
Bloc Party – "Mercury" (2008) Ghost Town Media
Watson Twins – "How Am I To Be" (2008) Ghost Town Media
Angela Simmons – "Center of Attention" (2008) Ghost Town Media
MGMT – "Electric Feel" (2008) Ghost Town Media
Laura Bryna – "Life Is Good" (2008) Ghost Town Media
Flight of the Conchords – "Ladies of the World" (2008) Ghost Town Media
Lyric’s Born – "I Like It, I Love It" (2008) Ghost Town Media
Sharam – "The one" (2008) Ghost Town Media
Straw – “Fourty Eight” (2004) AOI Records

Short Form
"Vision Of Blindness" (2008) David Gelb
"The Other Side" (2008) Artemis Entertainment LLC
"RayBan-Tongue Tricks" (2008) Ghost Town Media
“Justice Angel” (2006) Artemis Entertainment LLC
“Dwelling” (2004) True Caliber
“Jungle Dave” (2003) Vision Dynamics Entertainment Inc.

Commercials
Honda – "Element" (2008) Ghost Town Media
"Sony – Reader Digital Book" (2008) Ghost Town Media

MOTION GRAPHICS
"Aaron Stone For Real-WWE" (2009) Plastic Cow
"Camp Rock Trivia Night" (2009) Plastic Cow
"Disney XD" (2009) Plastic Cow
"Sonny with a Chance" (2009) Plastic Cow
"Camp Rock – What’s What Edition" (2008) Plastic Cow
"Breakthrough Pictures" (2007) Breakthrough Pictures
"Real Social Dynamics-Transformations" (2007) Nick Kho
"10 Minute TV" (2006) TriCoast Studios
"Asylum" (2006) Hyde Park Entertainment
"Night Skies" (2006) Night Skies Productions LLC
"Premonition" (2006) Hyde Park Entertainment
"Cult" (2006) American World Pictures

COMPUTER SKILLS
• Adobe After Effects – (10 years Experience)
• Adobe Photoshop – (10 years Experience)
• Mocha – (2 years Experience)
• SynthEyes – (3 years Experience)
• Silhouette – (3 years Experience)
• Cinema 4D – (Base Interface knowledge)
• Realflow – (Base Interface knowledge)

FORMAT EXPERIENCE
• 2K
• 4K RED
• HD 4:2:2 10/8 bit
• HDV

EDUCATION
Community College of Southern Nevada – 1999 & 2000
 -Computer hardware and software study

University of Nevada Las Vegas – 1992
 -Traditional Animation study