Hasta La Motion!

Just nor sure on this I have brought a grayscale image into nuke 8 bit and want to render it out as 16 bit, so what I need to know is…….

A) does it change the bit to automaticly eg, as soon as I bring it into nuke its working with 32bit but just not all the information is there to use as a 32bit? if that makes sence

B) I heard of a method of adding a gradient to a B&W image and it gives it a full range? how does this work and how do you correct the colours back to orginal, but keeping the new range?

Thanks People!

There is a larger write up on the page about this project, but here’s the short and quick:

Each student was given a chunk of audio to animate to. They were assigned the task of creating animated textures utilizing the music, and then mapping them onto simple geometry in C4D to create a surreal and unique looking piece to match the style of the music. All the pieces were recombined and put out as the video linked above. We would love to get your feedback on your views of our latest collaboration effort! Enjoy.

I’m not very good with nuke but ill try to explain what im doing best i can.

I need to remove tracking markers from a shot. What i’ve done is the following:

1) i created a clean plate of a marker that needs to be removed.
2) i rendered out that specific frame and reimported to nuke
3) I selected just the painted area of the clean frame with a bezier, and i then projected this clean ‘patch’ onto a card.

-my 3d setup works fine in the frame that i painted (335).
-the minute i move forward/backwards in frames the patch obviously shifts away from its place.

So to solve this I need to add a tracker node, and i want to use a solve (from the 3d tracking data) which is situated exactly where the patch should be.

I want to copy the position of the solve for the entire duration of the clip and apply that to the tracker so that my patch stays in the same place as the camera moves around in the clip…

does that make sense? sorry for being long…

To create the movie’s 200 visual effects and animation shots, CFE Visual Effects Supervisor Mark Dornfeld (also the company’s founder) supervised on set in Vancouver, and brought the film’s Animation Supervisor, Mike Murphy, in-house to CFE for the six-month shot production period. There, Murphy and the CFE team worked closely with director Thor Freudenthal to develop and execute a unique technique for animating Kinney’s beloved illustrations.

While the characters are live action for the majority of the movie, they appear as animated versions of themselves as lifted from Kinney’s original drawings, against live-action sets in several sequences, and against animated pages of the book’s diary format in opening title and end-credit sequences.

“Our goal was to ground the movie visuals in the book,” said Dornfeld.
“Jeff created iconic images and this was the first time he had let them out of his own hands. We needed to respect and preserve them, and we were really pleased that both Jeff and Thor were so present in the animation process. It was a great collaboration.”

Murphy explained, “Jeff’s characters are drawn so particularly, with very clean vector art lines. If anything was off it looked completely wrong. We found that if we just brought those lines to life, as soon as a character paused, it would die.”

To keep that from happening, Murphy and Dornfeld came up with a technique they called the ‘living line,’ where they would draw lines on paper and capture them with an old-school down shooter still camera, then take the shots through a proprietary software renderer developed at CFE to make computer-based lines that looked like they had been drawn in pencil.

Characters were then animated and composited digitally using Autodesk Maya, Eyeon Fusion, Adobe After Effects and Illustrator – a faster, more efficient process that resulted in more subtle nuances in characters’ actions.

Rather than working from storyboards to block out each of the movie’s 17 animated sequences, Freudenthal and Murphy, former CalArts roommates, designed the sequences collaboratively, figuring out how each character would come to life. Said Murphy, “We know each other so well that we were able to work in shorthand, lobbing ideas back and forth – What could happen here? What’s the right acting gag that works with these characters, but doesn’t move them too much or break the model? Thor would approve the idea and we’d take it right into animation.”

In addition to creating animation sequences (including one with new characters, hand drawn by Kinney specifically for the movie and animated by CFE), CFE also created ‘invisible’ visual effects to extend sets and replace backgrounds, turn sequences shot in summer into winter, and to establish a moldy piece of cheese as a key storytelling element.

Dornfeld said, “The cheese actually plays a fairly important role. It’s woven in and out of the story to mark the passage of time and highlight important events. We applied a pseudo-time lapse technique with stop motion and motion control to transition the cheese and its surroundings into different states – from growing mold to weathering snow, rain and summer heat.”

Custom Film Effects’ team of 18 animators and artists worked on “Diary of a Wimpy Kid” for six months in the company’s Los Angeles studio.

About Custom Film Effects
Custom Film Effects is a leading feature film visual effects and animation company located in Burbank, CA. Founded in 1999 by Visual Effects Supervisor Mark Dornfeld, the company has established a reputation for its artistry, consistent execution, and flexibility in approaching projects.

Custom Film Effects’ body of work encompasses more than 300 feature films including “3:10 to Yuma,” “Eternal Sunshine of the Spotted Mind,” “Gangs of New York,” and other top features that showcase its artful’ invisible effects,’ designed to transform environments, time periods, characters and elements in subtle ways.

www.customfilmeffects.com