Oct
15
October CGW
Posted in: SurrogatesOctober 2009 CGW covers Surrogates, Batman: Arkham Asylum and Pixar short and stereo films.
Oct
14
Texture and Model Artist
Posted in: Freelancer Listings
Hi
I am looking for any remote freelance texturing or modeling work. I have 4 years in the cg industry. I have worked for 2 years in South Africa as a CG generalist and 2 years as texture artist then texture lead at Huhu Studios in New Zealand.
Here are links to my cgtalk portfolio and likdin Account. If you require a resume, please contact me.
Links:
Cgtalk:http://sheblomcg.cgsociety.org/gallery/
Linkedin: http://www.linkedin.com/profile?view…US&trk=tab_pro
Oct
14
I’m fairly new to compositing, though I’ve done a handful of keys in the past. I’m working on a short fiction project wherein I need to key out the inside of an ornate box.
The finished composition will, in effect, have the main character looking into said box and seeing a miniature version of himself.
Does anyone have any tips for how to achieve this? Obviously I’ve thought about just painting the interior of the box, but I’m not sure if I could light it evenly enough for a good matte.
Oct
14
books for technical directors (TD)
Posted in: The Paddoes any one there know any books for TDs??
Oct
14
Hi everyone.
At this time im just to finish my carreer, and i want to become a flame artist.
I have advanced level in after effects and intermediate in Nuke (self training)… My plans are to go to any school/university in United States/Europe…
But, why an university/school? because i want to start from the beginning to remember a lot of theory and practice with the software, thats why im not looking to the autodesk ATC…
So, i need recomendations of schools and universities in the usa/europe please, maybe some advices, i dont know, anything related to my plans…
Thanks in advance!, and sorry for my bad english…
Oct
14
[NEWS=”http://www.cgnews.com/wp-content/uploads/fifa_closeup_thumb.jpg”]22059[/NEWS]The Mill has teamed up with Wieden+Kennedy Amsterdam and Knucklehead and has created an epic 120 second spot for the October 2nd international release of EA Games’ FIFA Soccer 10 computer game. Featuring some of the world’s leading players including Manchester United’s Wayne Rooney, Barcelona’s Xavi and Real Madrid’s Benzema, the ad kicks off a global adventure that sees gamers and footballers from around the world clamouring to play the new game. From Tokyo, to New York, crowds of players young and old assemble around screens to make their debut on the pitch for their favourite team. As the drama and excitement builds to kick off, a colourful carnival atmosphere erupts, uniting people across the planet.
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Rich Roberts, Lead Flame at The Mill explains: “The ad uses a combination of stock footage, live action, game footage and 3D elements. One of The Mill’s first key challenges was to capture the right gaming footage for inclusion in the spot, so expert gamers were asked to play the game to produce the right moves which were then recorded on to HD and edited into the final ad”. |
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He added: “To create the impressive city and global backdrops, matte paintings were combined with stock footage to extend the cityscapes and augment the stock shots and achieve the ad’s epic sense of scale. Matte paintings were also used for the stadium shots, which were then populated with Massive crowd simulation.” |
Amongst the many 3D elements in the spot, were the hundreds of CG footballs which can be seen tumbling out of a football net; footballs floating in the sea and the enormous hot air balloon football in the final scene. The Mill also filled the many screens throughout the spot with game footage as well as cleaning up several shots and removing branding from stock footage. A final grade was applied to bring together and seamlessly blend the multiple media types.
CREDITS
Agency: Wieden+Kennedy Amsterdam
Creative: Rick Chant
Producer: Cat Reynolds
Agency Post Producer: Nickie Stevens
Production Company: Knucklehead
Director: Johnny Green
DP: Joost van Gelder
Producer: Matthew Brown
Editing Company: Work Post
Editor: Neil Smith
Assistant Editor: Ben Jordan
Post Production: The Mill
Producer: Lucy Reid
Colourist: Adam Scott, Mick Vincent
Shoot Supervisors: Rich Roberts, Jimmy Kiddell
Lead Flame: Rich Roberts
Flame Assist: Adam Lambert
Smoke: James Pratt
Lead 3D: Juan Brockhaus
3D: Ed Shires, Craig Crane
Matte Painting: Dave Gibbons
Kit: Baselight, Flame, XSI, Massive
RELATED LINKS & SOURCES
Oct
14
Onesize: Playground Fest Main Titles
Posted in: 3d camera mapping, General, Jasper Faber, main title, Onesize, photography, playground fight, Playgrounds Festival, Revolver, slowmotion
The main title for this year’s Playgrounds Festival, created by Dutch design powerhouse, Onesize, offers us a first-hand look at an action-packed playground battle in super slow motion.
Shot on a Phantom, you ask? Nope. With just a little over 2 weeks from concept to delivery, Onesize had to think outside the 7000 fps box. Enter photographer Jasper Faber and two flashlights.
That’s right, it’s all photography camera mapped in 3D. To deal with the tight turnaround, Onesize brought in production company Revolver, to help produce the shoot, while Onesize stayed focused on the heavy post efforts. The 3D was executed using mainly Cinema 4D and 3D Studio Max.
Oct
14
Animal Logic’s Emerald Cities spot
Posted in: 1fxguide on Animal Logic’s Emerald Cities spot for Kaiser Permanente.
Oct
14
Hello people!
Just thought to share this. Maybe someone has already tried it, maybe not. At least I haven’t seen it done this way before.
All this because I don’t have a scanner and I’m not a Super Modeler Individual From Outer Space 🙂
No, I did not track hundreds of markers on the head and try to clean up a resulting mesh etc. Yes, ofcourse, I have tried that too, but it is too time consuming and complicated. My approach is different and more straight forward.
First of all, let’s make it clear we have different shots for different purposes. So I’m not talking about a shot in some scene. I’m talking about a short, separate clip of video taken from our talent for the purpose of modeling his head.
To model the face as accurately as possible, I make my talent turn his head side to side so that I have him facing the camera in the beginning and then he turns side to side. This is because I want a 180 degree, or so, rotation of the head.
Ok, You can also make him turn from one side to another and make sure you know the exact frame in the middle where the face is absolutely pointing straight forward. Whatever best serves your needs.
I did not have any trackmarkers on the face but You may want to have them because it can take a while longer without them. It depends on whether or not you need the face clean or not and about the level of visible detail on the skin. RED gives you face texture material as you work on. If you have the format available.
Anyway, all this stuff I do to achieve the following situation:
I want to model the head, so I want my geometry to be in the origin of my 3d scene and I need a rotating camera running around it projecting the footage back onto it.
So I track the head but use the 3d track as if I was solving for a moving camera. This means I get a stationary 3d world with markers and a moving camera.
Then I go to my 3d package (in my case 3dsmax) and bring in my moving camera.
Prior to this I had modeled a simple piece of geometry, only including the most important features and edgeloops of the face area only and I place it to one side of the face and roughly make it fit the areas of the real face as I want. Then I make the face geometry symmetrical sideways so that I get the other side as well. I don’t mind about asymmetry too much at this point.
Then I use camera mapping to project the tracked footage on the face geometry (using Camera Map Animate plugin (free)). When I hit visible edges, I can see myy fotage on the rough face geometry along with my edges.
Now I have a setup where I have a rotating camera projecting the tracked video footage on the geometry and I can scrub back and forth through mt timeline and it is showing me exactly if my edgeloops are sliding or not as I work on to refine the geometry step at a time.
When the face works, then go for the rest of the head.
It is up to you what framecounts, resolutions and formats you wish to use. I used 1024 as width and jpg sequence which makes it relatively light to scrub with, yet reasonable accurate in the viewport (and remember to customize how your 3d package shows your texture detail to get enough detail).
Ok.
So, seeing the edges along with the projected footage of the turning head made my life really much easier because I could model the head and scrub through the timeline as if I asked "my talent to turn his head" to some other position I needed.
And, most importantly, I got reasonable results in a much more acceptable time than I thought before trying this out. Thenagain, maybe it’s just me.
Oct
14
A TRUE LENSMAN ALWAYS HAS PLATINUM APPLES.
Posted in: Gallery, photography, thetruplaya, Thomas Brown
Nothing says TRUE PLAYA like having a collection of platinum apples. Truth be told, we have no idea if the bleached metal objects in Thomas Brown’s photographs are made of anything platinum at all, but we’ll be goddamned if we are going to ruin our TRUE PLAYA fantasy just to have a subjective argument about “facts”. Shit’s real. Check out the stylings of a true lensman HERE.
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