Motion Graphics/Broadcast design

Hello,I am looking to start a career in Motion Graphics,and or Broadcast Design,what the best way to approach this,I am mediocre in after effects,where can I find some core principles for this medium?

G-Force at LA Times

Making ‘G-Force’ 3-D, at LA Times.

ask the senior artist

IN an attempt to keep vfxtalk the most useful site for noobs and pros alike Id love to start a new thread in honor to scott’s MIGHTY "ask the junior artist" thread.

Over the years Ive been in the US, which is about 4 years now, I learned a lot about the film industry, politics of the hiring game, do’s and dont’s, etc. I won’t write down my worklife’s story (use the search function i wrote it somewhere I think) here to not double up scott’s thread but instead openly Invite our readers to ask questions about whats going in companies nowerdays, why you dont get replies from the 5 companies you email, why it seem all the work goes elsewhere and why aruna’s vfxwages is so important to all of us.

So shoot away! the audience is listening. PM me if you like, IM if you feel the need for a FAST reply.

– Andreas :niceone:

NUKE and colorspace handling Issues

Hey Guys,

I wanted to ask around who used nuke in different facilities and in what way does it influence the colorspace handling.
I used it in its early (not DD early) days at The late Orphanage. We had no external color pipeline.

standard FiLm 10bit LOG DPX -> Nuke -> File in converts it into float srgb linear -> comp -> write node 10bit log dpx with cineon conversion -> final

In one shop they had to have more color continuity and linearized all LOG plates into 16bit linear exr sequences.

standard FiLm 10bit LOG DPX -> LINEARIZE 16bit linear exr -> Nuke -> File in converts it into float srgb linear (just a bit depth change)-> comp -> write node 16bit exr linear-> LOG CONVERSION outside nuke -> final

—————————————————-

I am asking because a certain big studio in culver city started to use Nuke and they have a complicated inhouse proprietary color pipeline. from off the shelf maya to LUTS in shake and nuke to film scanners and calibrated sweatboxes.

At the moment I feel my nuke is crippled. Im am getting dpx plates that are supposed to be linearized but still look log to me. we have the color IP toggle on linear (that looks wrong to me) and a Film Lut toggle to mimic the end result that looks fine.
the problem of all this is that some things break (e.g IBK) or work poorly.
this is all a temp solution as Alice in Wonderland is the first show to use nuke as far as I am aware.

Any thoughts?

SIGGRAPH ’09 and VFX

A list of the VFX/Production panels, talks, sessions and courses at SIGGRAPH ’09. Here are a few highlights:

  • Building Benjamin Button: A Blending of Technique-ologies
  • Robots, Cyborgs, and the Final Frontier: An Inside Look at Transformers: Revenge of the Fallen, Terminator Salvation, and Star Trek
  • Cloudy With a Chance of Meatballs: Making Mouthwatering 3D
  • Monsters vs Stereo: How Stereo Affected Production on Monsters vs Aliens
  • Two Bolts and a Button
  • G-Force 3D: Guinea Pigs, Gadgets, and Post-Production Stereoscopic Filmmaking
  • Coraline: The Changing Face of Animation
  • Making Pixar’s Partly Cloudy: A Director’s Vision
  • The Spine and Psychologically Driven Animation

Roto help needed

Im working on a feature film that requires some rotoscoping and Im running out of time to complete the roto. Anyone interested in helping me finish and making some quick cash? Deadline is friday. Must be based in California or India. This is a paid gig.

Thanks

Prasanna

Multiples questions …

Hello
I’m new to nuke but I like it so much and of course, I have lots of questions

1) Is there a way to change the arrow color between nodes?
I’d like to give different colors. For example, when I create a gizmo, I’d like to give a different color for each entry.

1a) When making a gizmo or when using a node with multiple entries, like a front, a background and a mask for example,
is there any shortcut to display each one?
On flame, for example, you have F1, F2, F3, F4 —> front, back, matte, result
It’s very usefull to check what the entries are.

2) Is there a way to prevent the software to open the property related to a node when inserting a node?
(imagine a pane with 3 tabs: node graph, curve editor and properties)

3) Is there some kind of collapse function for a group of node
I don’t want to make a group but just collapse visually some nodes together and if needed, I uncollapse in order to adjust some parameters …

4) Ctrl + t allows me to go from a tab to another,
is there a way to assign a shortkey to specific tabs? (imagine 3 tabs on the same pane)

5) Is there a way to display the same viewer in 2 different tabs?
If I zoom in viewer 1, it zooms in viewer 2 but I’d like to see the R on the left and the G on the right tab. (or RGB and alpha) with the same value of zoom
But zooming works exaxtly in the same way on both viewers.

6)Is there a way to increase the size of a node
I usually rename my node and it’s bigger than the node 🙂

Thanks

Syfy – House of Imagination

Moving Picture e 4Creative hanno realizzato il nuovo brand film per il Canale Syfy (in italia su Steel). Una casa misteriosa dove si sta svolgendo una festa e una coppia (i protagonisti) si aggirano all’interno dell’abitazione vivendo una serie di esperienze e vedendo “cose mai viste”. Incontrano un unicorno/origami, graffiti in 3d, il Tyrannosaurus Rex che alla fine si rivela un giocattolo e tanto altro. Ovviamente dietro a tutto questo c’è la “giusta idea” accompagnata da tanto lavoro, impegno e creatività libera di operare… troppi ingredienti che nella televisione italiana si uniscono raramente.

Loren Carpenter’s CG fractals film

Loren Carpenter (now Pixar’s Chief Scientist) made this amazing CG fractals film, Vol Libre, for SIGGRAPH 1980. Here’s some more background info from Michael Rubin’s droidMAKER blog.

Nick Meek

Levine/Leavitt introducing photographer Nick Meek