Apr
07
GS&P, Smuggler : Sprint Anthem
Posted in: 1Goodby Silverstein & Partners and Smuggler welcome us to the Now Network, Sprint : Anthem … 26% of you don’t know what twitter is.
Apr
07
Perhaps I’m jumping the gun by asking this question, as I’ve only been using nuke for a few days, but why don’t the read and constant nodes have mask inputs? I’m coming from an After Effects/Fusion background and doing something like cutting out a solid color or an imported image with a mask is very straight forward. I was able to successfully cut out a ‘rectangle’ node with a bezier, as it does have a mask input, but it looks like any node under the ‘image’ menu is output only. Could someone describe how they might accomplish something like this in Nuke?
Thanks..
Apr
07
Look Ma, I’m King Of The Nerds! – My Fringe VFX Interview
Posted in: filmmaking, techniques, tv, vfx, visual effects
The folks over at Sci Fi Scoop were nice enough to interview me about the effects work I’ve had the pleasure of working of for J.J. Abrams’ series Fringe. Not only did they write up a nice little piece, but also posted a recording of parts of our conversation along with a nifty slide show. Check it out, and try not to get too mesmerized by my droning vfx blather.
LINK to the full Fringe article
Share and Enjoy:
Apr
07
Netdiver’s 10yr Special Issue #1. Part of their anniversary bash, they invited special content scouts to contribute 10 project reviews on the topic of their choice and do a 3 question based mini-interview.
Presenting the first in the series: Artists and their Apps by Doc Woohoo!
Apr
07
Two different questions in one here. I’m still fairly new to Nuke, and finding help on alot of things seems to be rather daunting. Anyway, i’ll hope right to it.
1. How does masking with Flares work exactly? I have a flare i need occluding from, say, a ship flying by. How exactly does one use the alpha/rgb/whatever of the ship as the mask to occlude the flare?
2. If anybody’s savvy with expressions, i’m trying to code/work out a way to automatically calculate animated blur/glint brightness/size based on, say, the size of an engine-ball tracking mark, or, maybe the distance of an axis node in 3d space from the camera.
2 is less pertinent for now and, likely, more complicated, but if anybody could help, I’d be most grateful. Cheers!
-Tom
Apr
07
Digital Kitchen: Seattle International Film Festival 2009
Posted in: acetate, film festival, General, opening, silhouette, Stop-motion
Reprising last year’s hilarious work for the Seattle International Film Festival, Digital Kitchen has again teamed up again with SIFF films to create a brilliantly inventive trailer and commercial.
This year’s rendition builds on audio sampled from previous SIFF films to create a disjointed steam-of-consciousness narrative. The visuals are lush, jewel-toned dreams rendered by hand in acetate, paper cut out and ferns(!). I only wish I could see this on the big screen.
2009 is really shaping up to be the year of analogue. Digital post-production finishing adds layers of needed polish, but analoge animation techniques are really experiencing a renaissance. Fun times!
Posted on Motionographer
Apr
07
Fast Furious coverage at VFXWorld
Posted in: Fast & Furiousdiv xmlns=http://www.w3.org/1999/xhtmla href=http://vfxworld.com/?atype=articlesid=3953Fast Furious: 4x the Cars Explosions/a, at VFXWorld./div
Apr
07
Hi Everyone,
The third edition of the CGTantra Digital Matte Painting Challenges – The Alien Civilization has recently concluded! Contestants from almost every corner of the globe took part in large number & displayed their beautiful & fantastic artworks!
We are now running the fourth edition of the challenges: Hauntings.
So here’s what we want to see: Let’s see your grittiest depictions of either real-life documented haunted places in the world, completely fictional places or a combination of both! We are looking for your ability to set the mood of a place or environment without the use of spirits, ghosts or any other cliche tricks. Try and create a matte painting that has history to it, depth and details that tell the story of something terrifying. Any era can be utilized. We want to see paintings of places, where you do not want to be…. Best of luck!
Prizes:
First Prize:
NVIDIA Quadro FX 570 Graphic Card
1 Year Subscription of ARTT – CGTantra monthly artbook of Excellence
CGTantra TShirt
Challenge Winner Badge in CGTantra
Frontpage Showcase
Making-Of Showcase in ARTT
Second Prize – 6 Months Subscription of ARTT, CGTantra TShirt
Third Prize – 3 Months Subscription of ARTT, CGTantra TShirt
To know more about the Challenges click here
Apr
07
Who does what?
Posted in: Beginners TalkHi, ive been doing some research into visualy effects in film and it seems to be an area i would really like to move into. I have a basic understanding of the relevant roles but i was wondering if someone could help by defining all the different positions that are available in film vfx today (i.e rotoscope artist, compositior, matchmover etc) and also what the people in these positions would be responsible for? My interest currently lies in Particle/ fluid effects, is there a position soley for this or does it come under a more general position like 3d Artist or compositor?
Thanks
Who's in charge here?
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.