Hasta La Motion!

Hi!
We’ve noticed at work that any kind of small scale up to an image (I’m talking 2k) generates a checkerboard pattern to it. Let’s say I scale up the image by 1.005, the image is scaled up but if you zoom in you can see this sort of grid or checkerboard pattern on it, it seems that some pixels are scaled up and other are left the same …
I’ve tried all filters and to get rid of the problem using all possible nodes:

-Transform
-Card3D
-iDistort
-CornerPin
-Reformat
-GridWarp
-STMap
-Card and scalineRender

Anybody knows about it?
Thanks to all,

.p!

:happydevi

Attached Thumbnails

 

I was set a challenge today to see if it’s possible to track a piece of footage of a fighter jet and then add in missiles under the wing. So far so simple, but the footage is shot with a long lens with the jet high in the sky doing a simple bank to the left. Nothing passes in the background other than blue sky.
When I track this in Syntheyes using manual placement of trackers (it’s really blurry SD footage) I can get a track that results in a fairly steady motion but not spectacular.
Is this the kind of shot with so little parallax that it won’t track at all or am I missing out a stage?
The issue seems to be that if I solve as a tripod shot I get a crazy high hpix error, or if I solve on automatic the jet stays still and the camera moves and the missile I put in spins in place. Theoretically that last option could work if I could work out the focal length perhaps, but I’m at a loss as to how to work this out. Seems advanced for a novice matchmover.

[NEWS=”http://www.cgnews.com/wp-content/uploads/samsung_cartoon_th.jpg”]24447[/NEWS]Asylum Design CD Simon Cassels, in collaboration with Smuggler directing team The Guard Brothers via Leo Burnett, Chicago, handled post, VFX, design and animation on an imaginative spot promoting the Android-powered Samsung Behold® II mobile phone. The :30 advertisement, Graphic Artist, continues Samsung Mobile’s overarching campaign to show off the innovative and practical uses for their smart phones in everyday life.

Graphic Artist stars a comic book illustrator wandering city streets looking for sites that inspire his imagination. When he sees a gargoyle poised on the side of a building or a jogger running in place, he uses his Behold II to snap photos, which then morph onscreen into fantastic graphical monsters or action heroes, showing how real life inspires the artist’s work.

“We worked closely with Leo Burnett and Smuggler to create flawless transitions from live action to the explosive comic book world,” noted Cassels. “The result is a compelling spot that maintains an authenticity in its approach to the source material.”

“Unique commercials like this really show off how we can handle any job out there,” noted Asylum EP Michael Pardee. “With a top talent roster gathered from around the world, we offer a synthesis of informed creative thinking, attention to detail, and stunning high-end VFX and animation that is second to none. This is an infinitely adaptable and versatile crew that can create memorable short or long form content, consistently exceeding client expectations.”

Asylum is a premier visual effects and design company, handling high-profile features, commercials, music videos, and emerging media content for web and mobile platforms. Asylum’s team is currently working on Sorcerer’s Apprentice, a feature slated to premier July 2010.

Past feature projects include films such as Terminator Salvation, The Curious Case of Benjamin Button, Pirates Of The Caribbean ll & lll, Master And Commander: The Far Side Of The World (Academy Award and BAFTA nominated), Moulin Rouge, Minority Report, Tony Scott’s Déjà Vu, Man on Fire & Domino and Ridley Scott’s Black Hawk Down. Asylum has done spot work for brands such as Halo 3:ODST, Porsche, Hershey’s, Nike, Sony Playstation, Coke, BMW, Gatorade and Apple.

In addition, Asylum Design has created award winning title and graphic design work for such films as Bedtime Stories, X-Men I & II, The Island, Bad Boys II and XXX, as well as Tim Burton’s Charlie and the Chocolate Factory and Alice in Wonderland.

CREDITS
Client: Samsung Telecommunications America
Spots Title: Graphic Artist
Air Date: March 2010

Agency: Leo Burnett, Chicago
Art Director: Vince Cook
CD: Colin Selikow
Producer: Matt Blitz

Prod Company: Smuggler
Director: The Guard Brothers
Producer: Jason Scanlon

Editorial: Utopic Editorial
Editor: Jan Maitland
EP: Michael Antonucci

Post/Effects: Asylum VFX/ Asylum Design
Asylum Design CD: Simon Cassels
VFX Sup/Lead inferno: Tim Davies
AD: Stanley Ng
Illustrators: CP Smith, Colby Bluth
Colorists Justin Blampied, Max Lawson
Designer: Tony Meister
EP: Michael Pardee
Bidding Producer: Cassandra Khavari
VFX Producer: Sascha Flick
VFX Coord: Christine Felman

Shoot Location: Prague, Czech Republic

RELATED LINKS
www.asylumfx.com

Read more: http://www.trustcollective.com/portf…#ixzz0hrKbJprV
Attribution: Written content created by TRUST: http://www.trustcollective.com
Under Creative Commons License: Attribution Share Alike

Hi everybody!
I’m just starting with nuke scripting and have this problem:

How can I disable autokey on every bezier node creation? It’s enabled by default and I always make mistakes when moving between different frames. I suposse that I must ovwerride the script every time I press ‘p’.

Thank you very much!

One of the big players in film currently has an opening for a Lighting Technical Assistant at their Glendale, CA studio.

This is an entry level position that will expose you to the lighting pipeline and many aspects of the overall studio production pipeline. The lighting TA will support a given lighting team to help facilitate lead lighter setup. This position takes direction from the CG Supervisor and/or lead lighters.

http://www.smoothdevil.com/index.php?page=job&job_id=1241

closes: 9 May 2010