Rhino Supervises Entire Assembly Line for Mazda

[NEWS=”http://www.cgnews.com/wp-content/uploads/mazda_thumb.jpg”]22883[/NEWS]Rhino CD Vico Sharabani recently collaborated with director Jason Smith of Industry on an elegant new :30 for Mazda via Doner, Detroit. Sharabani supervised the planning, shoot and post work for all VFX, with a special focus on a detailed pre-vis to streamline the spot’s creation as much as possible.

The setting of What’s Inside is a high-tech garage where a MAZDA3 is partially deconstructed then seamlessly reassembled into a MAZDA5. As the crew of mechanics and machines finish their job, the vehicle is boarded by a family who drives the new MAZDA5 out of frame. While the spot appears to be totally live action, it is really a seamless mix of CG and in-camera footage blended to show off both the interior and exterior of Mazda5.

“Both Doner and Jason Smith were outstanding creative partners,” noted Sharabani. “They understood that making the natural flow work would require major `Frankenstein-type’ surgery, and their insight and willingness to adapt were refreshing. We used multiple layers in post to fully integrate a complex composite, a process that was considerably easier than it could have been, since we took care of as many details as possible in pre-vis.”

In order to exactly fulfill the director’s and the agency’s vision, Sharabani invested an incredible amount of time in pre-vis to determine which elements should be created with CG and which should be made with more traditional methods.

The high tech garage, for example, with its stainless steel cylinders, light fixtures, shelves, and flatscreen monitors, is built of real props, while the ceiling, which retracts to allow a giant claw to descend and remove the car’s entire body, is CG.

Since its launch in 2000, Rhino has created award-winning visual effects, design, and animation for commercials, VFX for feature films, episodic television, webisodic mini-series, and videogame cinematics. The company’s principals and artists have also led the industry’s exploration into the boundless potential of branded digital content. By cultivating extensive relationships with key brands, advertising agencies, and film/TV studios, Rhino utilizes its creative directors and artists to develop and execute powerful branded entertainment to build both identity and awareness.

CREDITS
Client: Mazda Canada
Spot Title: What’s Inside
Airdate: November 2009

Agency: Doner, Detroit/Canada
ECD: Steve Chavez
CD(s): Dan Willey, Mark Gray
Sr. AD: Jim Ward
Copywriter: Steve Chavez
Sr. Producer: Kali Kyriazis
SV. EP: Kurt Kulas

Prod Company: Industry Films
Director: Jason Smith
EP: Joan Bell
Producer: Neil Bartley

Post/Effects: Rhino
CD: Vico Sharabani
Flame Artist: Kevin Quinlan
CG Supervisor: Yuval Levy
Modeling: Brian Dinoto
Animation: Sean Curran, Goran Ognjanovic
CG TD: Ivan Guerrero
Tracking/Match Move: Bogdan Mihajlovic
Lighting: Rob Pearson, Gilad Kenan
Flame Assistant: Barry Fulano
Roto: Joshua Bush
Producer: Karen Bianca Bisignano
Production Manager: Dorit Avganim
COO/Sr. EP: Camille Geier
Managing Director: Rick Wagonheim
CEO: Zviah Eldar

Editorial: Panic and Bob
Editor: Michelle Czukar
Assistant Editor: David Findlay

RELATED LINKS
www.rhino-gravity.com

stereo image

Hello everybody!
Would you recommend me any tutorials or resorses using stereo stuff?
thank you

New CityEngine Upgrade: 3D Cities at Your Fingertips

Official 3D-Coat Training Channel

Pilgway is happy to announce the launch of the new Official 3D-Coat Training Channel , on Vimeo!

A Shot for my demoreel

Hi guys,

I am working on my demoreel and wanted to show you a shot i want to put in. This was originally made as a promo for a short film we wanted to make. The website that the presentor tells does not excist btw.

I used syntheyes for tracking. Rayfire for demolition and FumeFx for smoke and fire.

I would like to hear what you all think of it!

Here is the direct link:
http://www.youtube.com/watch?v=7Ic2Qxhi15s

Thanks already,
Maarten

After Effects Rotoscoper and Compositors needed

After Effects Rotoscoper and compositors needed

Contract work.

Need experienced After Effects Rotoscopers with some compositing experience. Ability to use Mocha/mocha shapes a plus.

Gig goes till March 1st.

Pay will be negotiated based on experience.

Please email demo reel and resume and desired weekly flat rate to:

michaelvfx@yahoo.com

inner-D
Westlake Village, CA 91362

Generic Math Problem.. Distance between 3D points…

Hey..

this is not a Nuke specific problem, but i thought of putting it here as i has the best chance of getting an answer to this here..

well.. my question is how to find the liner distance for one point to another point in 3D

for instance

[X=10, Y=21, Z=23] ——-> [X=13, Y=24, Z=44]

i can figure out the the distance equation for two 2D points

Distance= √(ΔX^2 + ΔY^2)

but can someone hook me up with a equation that results in the distance between two 3D points…. i know this is high school math but im blank on this matter..

thankx again.. :niceone:

PP

Lucky by EB Hu

Lucky is a film that was made for Twenty120 earlier in the year. Attentive readers may already have seen it, but it’s really too gorgeous and haunting to let it slip by and not give it its own full post. Its creator, EB Hu is a Director and Motion Designer based in London. We previously featured another non-commercial short of his in 2007: Josie’s Lalaland. High time then to catch up with EB and find out what he’s up to:

Q&A:
What was the inspiration behind Lucky? How did you come up with the concept for the film?

I wanted to create a short some time ago after I saw images of Japanese Whale hunting. There is a extremely haunting picture that features the corpses of a mother whale and her cub. Then comes the occasion that I was asked to think of something around the theme “Good Luck”. When I put the images of my cat against the whale hunting, I felt the irony behind. Our pets have luckily adapted to human world, while the wild animals are unluckily being hunted. On the other hand, our pets have unluckily lost their sense of freedom while begging us for food. The real lucky ones would be those wild animals that escaped our chase.

What was the process like in actually making this? The Twenty120 shorts aren’t funded, so you have to make the time to complete them on your own, right?
Before Twenty120 ’s calI, I already had the initial idea and had done a rough animatic. Once I was commissioned, I felt the topic would match my short very well.
At the time I was still assigned to my full time job, so I had to work my own stuff after work, but who doesn’t? I teamed up with my workmate Simon Graham. We usually spent few hours after work on building senses. Though we were using our own time, I still managed to set a deadline on the project which we had to stick to. The process spread into a 2-and-a-half week period, which went down pretty well according to my original art works and animatic.

We posted your short Josie’s Lalaland a few years back, and Philip Sheppard worked on the score for that as well. Each of them are so evocative and melancholy, how did you collaborate with him? Did you have the track first or did he score it to your picture?
I was lucky at the end of the project that my producer Joe Marshall found our mutual friend- musician Philip Sheppard – was willing to lend his instrumental talent on my piece, once more. Based on my rough animatic cut, Phil captured the atmosphere and recorded his piano playing, and I finalised the edit based on his music.

Can you give us a little background into your work history? How did you get involved in Motion Design and what have you been working on recently?
I started my career in Shanghai as a 2D & 3D animator. In 2004, I decided I need to find time to do more of my own concepts, so I left for UK, to study my MA degree. Upon graduation, I first briefly joined BskyB’s sport team and then BBC broadcast, lately Redbee Media. From 2008, I was represented by Redbee as a director until I left earlier this year. Now I have set up my own studio called MIE with my partners. We started up with a series of viral ads for Spinvox and some pop promos for Zero7. We recently finished George Michael’s new Christmas single promo called December Song, which is due to be released on 13th Dec. The final piece can be seen here.
Here is some additional art from December Song:

CDcover_21
concept01_22
morningbed_22

Lucky Credits:
Production Company: MIE
Direction and Design: EB Hu
Music: Phillip Sheppard
3D modelling: Simon Graham
Animation: EB Hu and Simon Graham
Producer: Joe Marshall

Posted on Motionographer

Framestore Joins the Nuke Crowd

Did anyone beat me to it?

News

🙂

feature film titles

Hi All – I did a search on this topic but couldn’t find any similar threads so forgive me if this has been asked about/discussed previously.

I’m an assistant picture editor on a very low, low budget feature film and have been tasked with creating the final main and end titles elements for our 2k DI and eventual filmout and was curious if there were any standard workflows or established best practices I should be following when doing so. These are going to be very standard/static titles over black and/or picture so nothing fancy. My plan was to use photoshop to create each title card and export 2k uncompressed TIFFs but thought it couldn’t be that easy could it? My main concerns are creating an image with adequate pixel depth (photoshop defaults at 72 pixels/in) and color space.

Any info that can be shared on this topic would be greatly appreciated.

Thanks!