Kids phone

High poly kids phone

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METH LAB OPENS IN SOHO. FINALLY.

black-acid-coop

All readers must immediately cancel the date night they planned with their drug dealer and high tail it over to the new meth lab at Deitch Projects. Disguised as an ‘art installation’ from Black Acid Co – Op, it’s actually a jackhammered hole in the wall that takes you through a twisted journey of underground chinatown marketplaces, trailerpark methlabs, college dorm rooms, and other discontentedly normal environments. It runs there for the month, so bring real drugs and hide out for as long as you can.

Episode 4: WMIG @ The Levi’s / FADER Fort

Click here to view the embedded video.

Back in March, FADER Magazine kindly asked us to curate the Saturday DJ lineup at the Levi’s / FADER Fort during SXSW in Austin, TX. We cobbled together a ragtag group of ruffians who’d released mixes for the absolutely fantastical mix series that FADER and WMIG produce together. Alex XXXChange, Pretty Titty, Blaqstarr, Chris Devlin, Paul Devro, and DJ Sega all through it in a hot bbq’ed blender of free booze and sunshine to churn out these little moments of glistening beauty. Here’s a little video recap. Check it out!!!

Zoic Converge Fantasy & Reality for Mountain Dew

[NEWS=”http://www.cgnews.com/wp-content/uploads/mdew_roar_thumb.jpg”]20631[/NEWS]What begins as a mild-mannered moment in a grocery store checkout becomes a havoc-filled battleground. Tension builds as two women approach the checkout counter with different flavours of Mountain Dew’s new drink ‘Game Fuel’. As they notice that they are buying different flavours, one character prepares for an attack. The first swing of the sword triggers the transition from humans to Orc and Night Elf. As the spot progresses, the characters wildly battle through the grocery store, knocking over shelves and displays.

The Mountain Dew / World of Warcraft cross-promotional spot brought together some all-star players to handle these iconic brands. The production was executed by Radical Media and lead by esteemed director Tarsem Singh. Zoic Studios, having recently completed projects for Saboteur and Killzone 2, were appointed to handle the visual effects and animation, expertly World of Warcraft game characters into a live action setting.

Using stunt performers at motion capture studio House of Moves, Zoic shot the action sequence needed for the ‘Level Up or Die’ faceoff. Zoic’s 3D team created animation for the character’s facial expressions and applied dynamic simulation for the costumes and hair, transforming the stylized beings into “living” creatures. These multilayered characters were then given to Zoic’s 2D team for final compositing and interactive effects integration.

All of this work was done with the collaboration from legendary director Tarsem, who helmed the project with “incredible knowledge about all aspects of the process and a clear and compelling vision for the spot,” comments Zoic Creative Director/VFX Supervisor Les Ekker. “The fact that the process flowed so smoothly is a tribute to his vision and expertise. It was cool to be able to work with him on such an entertaining project.”

Zoic is an award-winning Digital Studio involved in producing lauded commercials and viral advertising as well as innovative content for episodic television, feature films and the gaming industry. From visual effects, to live action production and specialty shooting, Zoic Studio’s imprint can be seen in such compelling entertainment as True Blood, Fringe and Dollhouse; spots for Mountain Dew, ESPN, Craftsman, HP and VW, as well as innovative projects for EA, Gamefly and Sony. Zoic Studios has offices in Los Angeles and Vancouver.

Credits for “Level Up or Die”
Client: Pepsi Cola Company
Air Date: June 2009
Title: “Level Up or Die”
Length: :30

Production Company: radical.media / Santa Monica / CA
Director: Tarsem Singh
EP: Frank Scherma
EP: Tommy Turtle
Production Supervisor: Susan Loncto Sullivan Head of Production: Cathy Dunn Assistant Director: Rick Lange

Advertising Agency: BBDO NY / New York / NY EVP, Executive Creative Director: Mike Smith Copywriter, Associate Creative Director: Adam Reeves
AD: Marcel Yunes
VP/EP: Amy Werthheimer
SVP, Account Director: Tara DeVeaux
Associate: Yoonie Park

Visual Effects Production: Zoic Studios
EP: Steve Schofield
CD: Chris Jones
CD/VFX Sup: Leslie Ekker
Producer: Maya Sanchez
Coordinator: Adam Reeb
CG Supervisor: Andy Wilkoff
Animator: Chris Strauss
Animator: Laura Barbera
Rigging: John Riggs
Rigging: Scott Rosekrans
Hair Dynamics: Sal Massimini
Hair Dynamics: Kevin Quattro
Model Clean Up: Kris Kelly
Tracking: Steve McLafferty
Flame: Steve Meyer
Compositor: Chris Irving
Compositor: Jason Zimmerman
Compositor: Zach Zaubi
Rotoscoping: Tyler Nathan
Engineering Support: Dmitri Gueer
Engineering Support: An Dang
Engineering Support: Aaron Llorens
Engineering Support: Saker Klippsten

Editorial Company: Rock Paper Scissors / Santa Monica / CA
Editor: Kirk Baxter
Producer: Mike Goble
Assistant Editor: Anton Capaldo-Smith

www.zoicstudios.com

John Cox on giant puppet animatronics

Animatronics ‘whiz’ John Cox tells news.com.au about giant puppet fx for Allens lollies ad shot in Brisbane.

180 nodal pan

Hi everyone, i’m working on a 180 nodal pan. It’s proving a lot more difficult than i thought. I understand the reasons *no parallax*… however, i could really use some advice. I’ve spent way too much time playing around with no *perfect* result.

I will upload the clip, (note~ this is highly compressed for purpose of fsize) please look at the shot starting at frame 348. This is the matchmove i’m referring to. In the past I had used matchmover pro for matchmoving but had not used it in such a long time and was suggested to use pftrack because it was newer and *some say* better. And so, I began watching all of the tutorials I could dig up on pftrack. Still, I’m not getting a good matchmove.

After taking a look at my footage, if you could please give me some "helpful" hints at what process I should be doing to get this to solve good.

Another somewhat sad thing is that I do not have any "camera" information from the shoot. BUT, I do have the NAME of the camera, and a website link to the camera info.
http://pro.sony.com/bbsc/ssr/product-HVRZ1U/

and then the second "hopefully" helpful part is that I have many notes on the location, distances and measurements that i took while i was there. I haven’t seen a good way to use this data however in PFtrack. In matchmover it seemed fairl easy to set up some track points and give them distances between them…

Alright so here is my start. I thank you ahead of time for the time and patience to read this. I’m looking forward to everyones input and advice.

Cheers,
Jonathan

Attached Files
File Type: mp4 Thesis_Rough_Cut_and_FX_work_tk02.mp4 (11.05 MB)

Monitor Recommendations

I just purchased a MacPro Desktop and need to get a monitor. I work mostly with Photoshop, Shake and Maya. I didn’t want to spend more to get the Apple 24" when I know there are cheaper and just as sufficient models out there. I’m looking to get a monitor size range from 20"-24." Basically, if anyone has any advice for an affordable monitor I would truly appreciate it.

Den of Geek on Benj Button

Ed Ulbrich: Behind the extraordinary visual effects of Benjamin Button, at Den of Geek.

A Marvelous Thing

Hey folks, I’m rather new to this forum, but I was wondering if you guys would be so kind as to check out my short “A Marvelous Thing” and let me know what you think.
All feedback, good and bad, is appreciated.
Look forward to hearing from you.
-Brandon, Underground Lair Productions

Mtv – restyling

Anche se non è una notizia freschissima, non potevamo esimerci dal parlare della nuova identità televisiva di MTV, che è stata ideata e realizzata da direttore creativo Roberto Bagatti in collaborazione con lo studio inglese Universal Everything e directors sparsi in tutto il mondo.

Il primo elemento che ha vissuto la “rinascita” è stato il logo, semplice, in bianco e nero, senza estrusioni, sfumature, pattern, in pratica hanno ripreso il vecchio logo del canale. Cambiata anche la tipografia (American Typewriter Light Italic, Balloon Bold, Bigcity Maxi, Cozzap Open, Flash ND, Futura SB Bold Italic, Sahara Bodoni and Signpainter House Brush, Pharma Bold Condensed) , in alcuni casi è utilizzata in un nuovo layout che posiziona il logo sempre in alto a sinistra e alla sua destra compare il titolo del programma in corso (su sfondo blu). Già come accade adesso (ad esempio durante i videoclip) si saprà il contenuto successivo (su sfondo giallo) e quello successivo ancora (sfondo rosa). Altre scritte compariranno sullo schermo, saranno dei messaggi ed in base al loro mood sarà utilizzata una font che rispecchi appunto le caratteristiche del messaggio.

Stile pop ed elementi mantra si uniscono, prendono ispirazione dal mondo che ci circonda, dall’architettura, dalla gastronomia, dalla biologia… Via libera ai video e ai vostri pareri.

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