Lens flare with specular pass

i saw the ILM video of sigraph 2007 and they made lens flare with the specular pass on tranformers, and i want to do the same thing..
i rendered an iphone from max and i want to know if there is any way to apply automatic lens flares based on the brightest pixel of the image,….
i have a friend that use nuke and he told me that nuke can doit…
anyway to doit in fusion????
cherrrsssss

SCAD

Well to start off, let me introduce myself. My name’s Dayna, and I am a high school student. For the last few years I’ve been very interested in 3D and VFX and I’ve decided that I would like to study VFX in school.
I would like to attend a 4 year school because I have no experience in 3D, (besides a little over a year of modeling in a CAD program for school.) Therefore, schools like VanArts or VFS probably aren’t best suited for me. Plus, I’d like to not be completely married to my computer for a year straight.
So, I’ve read about SCAD and it sounds like a good school for VFX, (although I’m aware that you get out of art school what you put into it). However, I still don’t know much about it. I was hoping that some SCAD alumni or people who know about the school could give me some information on the VFX program.
Also, I’m a little worried about SCAD because it is an art school. The first year is foundations year and I can’t draw to save my life. Will this majorly impact me if I attend?

Any information would be appreciated.

Audi Commercial by Digital Domain

Digital Domain has teamed up with longtime collaborator Carl Erik Rinsch on a TV commercial for Audi

Script to translate moving cam into moving scène?

I have a moving camera around an object obtained by tracking. I am looking for a way to translate this motion data onto the object so that the camera is static. Any ideas?

Fabio D’Orta

A dispetto di tutti gli esterofili, noi di motiongraphics.it cerchiamo il talento italiano per dargli visibilità come nel caso di Fabio D’Orta, un giovane regista che ha realizzato dei lavori molto interessanti. Soprattutto il suo corto NEON, ancora in lavorazione, mi ha intrigato e Fabio mi ha svelato che: “Gli effetti speciali di NEON (pur sembrando digitali) sono una combinazione di modellini reali e riprese ad attori. Abbiamo ricostruito un modellino di un ufficio di circa 5m x 5m (calcola che i neon sul soffitto saranno stati non più di 20 cm), e utilizzato dei modelli in scala della creatura di cartone, mossa con le mani. Il tutto poi compositato in digitale applicando i visi degli attori (ripresi su green screen) sui cartoni. I volti degli attori ripresi su fondo blu sono stati sagomati per meglio seguire le pieghe dei cartoni, trakkati ai cartoni stessi e compositati virando il colore. Questo è stato il mio primo lavoro che per ora resta purtroppo incompiuto. Tutti gli altri miei video sono invece creati con animazioni in 3D e poi compositati.”

Tutto 3D? Strano perchè mi sembrava che il video Urban Screen fosse un misto di tecniche: passo uno, animazione 2D e poi il tutto compositato. Invece Fabio mi rivela: “Il video Urban Screen per il mega schermo di piazza Duomo è come dici tu una fusione di riprese dal vero (come quando disegno), e elementi 3d, ma non c’è passo uno.”

Il lavoro che mi ha fatto notare il talento di Fabio D’Orta è stato il video musicale To The Top per il gruppo This Grace: “Nel video THIS GRACE / TO THE TOP ho utilizzato riprese dal vivo del gruppo (su green screen) poi compositate insieme, ma tutto il resto è digitale. Il set è ricostruito in 3d attraverso un mio matte painting.”

Showreel



NEON trailer

Urban Screen

This Grace: To The Top

Articolo redatto da Sergio Damele

Motiongraphics.it su Vimeo

Motiongraphics.it su Vimeo!
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Click 3X Honors West Side Story For MTV VMAs

[NEWS=”http://www.cgnews.com/wp-content/uploads/vma_taylor_thumb.jpg”]21607[/NEWS]Click 3X has just completed a series of promotional spots for the 2009 MTV Video Music Awards that celebrate the show’s return to New York City. The videos pay homage to the theatrical classic musical West Side Story, featuring show host Russell Brand and VMA-nominated musicians performing a recreation of the signature tune Tonight throughout a series of original Manhattan sets.

The spots were produced individually and then edited together as one fully-mixed anthem. Each have a distinct look and feature some of the biggest names in the music business belting out a hope-filled tune in anticipation of the night ahead. Ne-Yo, in classic Michael Jackson-style attire dances his way through a graffiti-laced junkyard. Swanky Katy Perry hustles up an attitude in a rooftop garden.

Glamorous Taylor Swift sings in the rain out of the open window of a taxi. Cobra Starship slams through the Subway in a musical parade while Leighton Meester sings on the steps. And a cane-swinging Russell Brand sings about the awaiting night’s events through the city’s gritty backstreets. Each of the bits uses the network’s iconic spaceman statuettes, a hallmark of the VMAs since their inception.

The various shoots each required different locations, inside and outside, on-stage and off, shot at various times of day. Click 3X worked closely with MTV Director Sevi Peter-Thomas and Producer Kris Walter to create a campaign that maintained an theatrical performance without compromising each artist’s contemporary style. To ensure a successful delivery, the creative and production teams from Click 3X and MTV coordinated so that the live-action and post compositing, 3D, 2D and color correct would be consistent and clear.

Peter-Thomas utilized RED Cameras for all spots. Post Millennium edited the footage and delivered EDLs to Click 3X, who would conform by importing the footage from the Final Cut Pro projects using Crimson, creating 2K DPX sequences. The creative team then began working between two Flames and CGI pulling together a variety of elements. Each scene had a distinct set of needs, ranging from providing atmosphere, creating skyline elements in CGI, lighting changes, and even compositing shots from multiple days. The final composites were brought to a DI process at Company 3 for a final color balance.

“Our team literally had to change the world with each shoot,” noted Click 3X’s Szumski. “Katy Perry’s New York skyline was composited behind her on blue screen. The interior of a Brooklyn studio became a junkyard beneath the Brooklyn Bridge for Ne-Yo’s spot. Using HDRI imagery, we transformed a daytime shot of a downtown Manhattan back alley into Russell Brand’s nighttime jaunt to Radio City Music Hall. Taylor Swift’s stunning Times Square cab ride was shot in a Nashville studio. Each shot had a different set of compositing challenges, but MTV’s director, producer, and DP were all really easy to work with and the shots turned out perfectly.”

MTV tapped Click 3X to assist with the campaign after several successful collaborations earlier in the year, including the See You Sunday promos and packaging, and The Phone and Star Trek promotional campaigns.

“Click 3X is uniquely positioned to work on this campaign both because of our existing relationship with the pros at MTV and the unique technical and creative skill set that we bring,” stated Click 3X Executive Producer Connor Swegle. “Mark’s technical expertise enables him to work closely with the live-action team to tackle the unique challenges of throughout pre-production and on set, while his creative abilities are hands on with clients and the internal team to guide the post process. Anthony Filipakis, our head of CGI, really nailed the spots’ photo-real 3D needs, even creating an original Radio City Music Hall element to drop into a downtown alleyway, and John Budion was able to take his understanding of the creative needs from supervising on set in Nashville and bring that to his creative process on Flame.”

“This was a really high-profile project – one of the main efforts on MTV’s calendar, and we were really pleased that they selected us for the challenge,” said Click 3X President Peter Corbett. “The logistics of coordinating the talent over multiple shoot dates and locations required close collaboration with MTV’s team. Our team did a great job bringing some of the most talented musicians on the scene today together to create a memorable campaign that will not only drive interest in the network’s annual award show, but also managed to honor the legacy and image of West Side Story, one of America’s most iconic brands.”

The 2009 MTV Video Music Awards will be broadcast live from New York’s Radio City Music Hall on Sunday, Sept. 13, 2009 at 9 p.m. EDT on MTV. Taylor Swift will perform live, while Ne-Yo, Katy Perry and Leighton Meester will present awards. The artists’ VMA nominations include:

Ne-Yo – Best Male Video; Miss Independent
Katy Perry – Best Female Video; Hot N Cold
Taylor Swift – Best Female Video; You Belong with Me
Cobra Starship (featuring Leighton Meester) – Best Pop Video, Best Direction in Video; Good Girls Go Bad.

About Click 3X
New York-based Click 3X produces cutting-edge visual solutions for commercials, feature films, television, music videos, and broadcast clients around the globe. Founded in 1993, Click 3X has become one of the preeminent providers of innovative media content, housed in an environment led by artists, yet supported by one of the most technologically advanced digital studios in the industry. With award-winning design, powerful visual effects, and a visionary animation team, Click 3X has worked on array of diverse highly-recognizable projects, including a series of films from academy-award winning directors like Jonathan Demme and Davis Guggenheim, a recent multimedia package for eight HD Time Warner spots, My Home 2.0, a five episode reality TV series for Verizon Fios, and a long line of recent commercials for major brands such as Sharp, Ford, and Goodyear.

Credits
Client: MTV
Spot Title: VMA Promos
Air Date: August 2009

Agency: MTV
Director: Seyi Peter-Thomas
Producer: Kris Walter

Post/Effects: Click 3X
Creative Director: Mark Szumski
Head of Production: Jared Yeater
Director of CGI: Anthony Filipakis
Managing Director, Broadcast: David Edelstein
Executive Producer: Connor Swegle
VFX Supervision/Lead Flame Artist(s): Mark Szumski, John Budion
Flame Artist: John Ciampa
Flame Artist: Johnny Starace
Online Editor: JD Yepes
CG Animator/Lighter: Grace Hwang
CG Animator: Jong Moon Woo
CG Animator: Kristen Pederson
CG Modeler: Paul Liaw
After Effects Artist: Tom Matheu
Junior Flame Artist: Salvatore Randazzo
Junior Flame Artist: JD Yepes
Shake Roto: Sophia Avgousti
Producer(s): Rob Meyers, Jared Yeater

Related Links
http://www.click3x.com
http://www.mtv.com/ontv/vma/2009

alfa channel in abient occlusion pass

how to render alfa channel in abient occlusion pass in maya 2010 ?

maya camera under animated locator >> nuke

hi:

I have an animated camera under a locator that also has translation and rotation keys. I export the camera as fbx and load it in nuke but i dont know how to get the locator data in.

I tried baking everything in maya but the camera doesnt inherit keys from its parent locator.

any ideas?

thanks.

5′th Annual Typophile Film Festival: Opening Title

TypophileFilmFestival_OpeningTitle
If you love typography, look no further. Handmade by students and faculty at Brigham Young University (BYU), the opening-title for the 5′th annual Typophile Film Festival, is a bona fide type de force. Uniquely inspired by the 5 Senses, the designers stir up a theme that describes how sight, hearing, taste, smell, and touch inform human creativity. Like a game of dress-up, each of the senses is visually fitted in it’s own swathe of tactility – thumbing their nose at squeaky-clean CG, and relying entirely on raw materials. Its means are thrifty, but in scope, ambitious. The result is authentic.

Naturally, the common denominator is typography, and like a buffet of sorts, there is something here for everybody. From sans serifs to scripts, the contrast of typefaces are strung together so cannily that the graphical mishmash makes you feel like you’re staring into a bowl of alphabet soup. Devoid of superficial extravagance, the whole piece has a sense of frugality about it; an economy of form, that with such wide eyed (student) endeavors , makes you feel warm and fuzzy, or genuinely, proud to be a designer. Easily, that’s as good as it gets.

True, that for all its inherent qualities, a piece of such prudent and exceptional means is sure to inspire. False, that for all its inherent, accessible qualities, a work like this is a piece of cake. Frankly, in the nature of great work, the many designers who created this opening title made it look easy. In honesty, this piece is a labor of love, and born from the passion, grunt work, and elbow grease of Brent Barson (Creative Director, Faculty member), and over a dozen young designers. The team made a conscious decision to avoid CG, and in turn, conceive a work on the flip side of high-end. When the dust settles, the effect, with all the Astroturf, Play-Doh, and Jell-O bouncing typography, is unabashedly innocent, and playfully inviting; coming home to what Motion Graphics used to be all about; pure, unadulterated fun.


Creative Director & Faculty Mentor:
Brent Barson

Writers:
Brent Barson
Jessica Blackham
Analisa Estrada
Meg Gallagher
John Jensen
Regan Fred Johnson
Colin “The Pin” Pinegar

“Our dreams drench us in senses, and senses steep us again in dreams.” — Amos Bronson Alcott
“If eyes were made for seeing, then beauty is its own excuse for being.” —Ralph Waldo Emerson
“Sound conducts the symphony of life.” — Anonymous
“Everyone eats and drinks, but few appreciate taste.” — Confucius
“Nothing conjures a more vivid memory than a familiar scent.” — Anonymous
“The sense of touch adds dimension to our existence.” — Anonymous

Storyboards:
Brent Barson
Jessica Blackham
Analisa Estrada
John Jensen
Regan Fred Johnson
Colin “The Pin” Pinegar

Construction, Paint & Glue:
Brent Barson
Wynn Burton
Analisa Estrada
Meg Gallagher
Olivia Juarez Knudsen
Casey Lewis
Reeding Roberts
Deven Stephens

Brain Sculpture:
Brian Christensen

Animators:
Brent Barson
Wynn Burton
Analisa Estrada
Meg Gallagher
Olivia Juarez Knudsen
Reeding Roberts
Deven Stephens

Cinematographer:
Wynn Burton

Editing:
Brent Barson
Wynn Burton
Analisa Estrada
Meg Gallagher
Reeding Roberts

Hand Models:
Analisa Estrada
Meg Gallagher
Olivia Juarez Knudsen
Deven Stephens
Michelle Stephens

Original Music:
micah dahl anderson
www.micahdahl.com

Shot with a RED One, a Canon EOS 5D Mark II, a Canon EOS 40D, and a Nikon D80.
Stop motion created with Dragon Stop Motion.

Special thanks to Kevin “Laser” Cole and the BYU waterjet cutting crew.
Effusive thanks go to Eddie King and Rubberball Productions for the RED shoot.
Thanks to Font Bureau for the usage of their handsome typefaces.
Much obliged to Verite, Bethanne Anderson and Paul “P-Dudey” Adams for the lighting & equipment, and Adrian Pulfer for the Mark II.
Thanks to the Amanda Knight Hall for the ghosts, and lingering nagchampa smell.

Posted on Motionographer