I have many CurveTool nodes in the script sampling Avg. Intensities of cropped areas of the same source image sequence for further processing downstream. Is there a way to:
1. execute all CurveTool nodes (make them "Go") in the script on a frame by frame basis as you scrub through the timeline, and better yet,
2. the CurveTool will dynamically re-calculate the Avg. Intensities themselves as the input data changed even for the same frame.
If there is a better node/command for dynamically sampling Avg. intensities of specified areas of an image (or image sequence) as the image being modified upstream, I would love to know.
Thanks,
Jason
I wanted to help support the site so I dutifully sent in my payment for access to the VIP area but have yet to receive said access. I have PM’d both Hugh and Jah, still no response. I’m starting to wonder if the VIP thing is just a bit of a scam.
Apparently, I’m not the only one who has paid for access to the VIP area and not gotten it. It seems some have gone weeks or months without getting the access they paid for.
I can understand a certain lack of response from administrators if they’re running the site as a hobby and just don’t have time to deal with it at the moment… BUT… once you start taking money in from users, it becomes a business and you have a duty to respond in a timely manner.
–Jud
thanks
The first spot brings Fantasy Westward Journey to life in the real-world, featuring Chou, sitting on the steps of the Shanghai Everbright Convention and Exhibition Center, playing the game on his laptop computer as others pass by.
Soon, Chou and the strangers around him transform into videogame characters and battle each other on the streets. A second “Promo” spot features the videogame version of Chou performing some of his famous dance moves. For the agency, the project was led by creative director Fei Wei and art director Kevin Huang.
Serving Wong and director of photography Terry Shen as the production company for the project, in partnership with Lunar Films’ executive producer Ken Yap and producer Ace Tan, Nathan Love’s team was involved from the pre-production stage, helping select locations, planning the shoot, and leading all the animation.
“This is our first spot involving live-action visual effects with a combination of CG characters and animation,” said Joe Burrascano, Nathan Love’s owner and creative director. “Getting more involved in live-action has been a major goal for our studio, so we were extra excited about the opportunity. This project is a great first step in that direction, and we look forward to building on the experience.”
Due to the project’s considerable challenges and tight delivery deadline, Burrascano and his colleagues jumped right into organizing the project’s workflow. Based upon the scripts and storyboards, they sorted their needs from the live-action 35mm film shoot in Shanghai, and engaged the artists from NYC-based Hopr to serve as on-set VFX supervisors during the shoot.
“By approaching this project as the VFX supervisor, we were able to better plan and control our methods for completing both spots,” Burrascano added. “Hopr not only helped us get exactly what we needed from the set, in the end, they also provided VFX artistry ranging from clean-up, sky replacements, color grading, and compositing.”
Many of the models for the animated characters were based on existing videogame designs, and Nathan Love’s charge was to take the animation and final renderings to a new level, and make them work with the real-world environment. “Because of the popularity of the game, the modeling and animation were held up to a microscope during every review, so attention to detail was very important,” explained Michael Harry, Nathan Love’s executive producer.
After packing its studio with 20 additional artists, Nathan Love’s assembled crew worked through every project detail in Autodesk Maya, striving to create a visually astounding, action-packed spot rivaling the game itself. For each character’s wardrobe and weaponry, substantial simulations were created to bridge the gap between the videogame’s designs and real world physics. The final steps in the animation pipeline involved a frame-by-frame clean-up and color grade, before the content was passed along to the artists at Hopr, who used eyeon Software’s Fusion for final compositing.
“These collaborations with our friends in China and Singapore have opened up some new opportunities for us, and for the agencies and clients we’re working with,” Burrascano concluded. “We look forward to a long and productive partnership.”
About Nathan Love
Break out the crayons and beer, because Nathan Love is ready to play! This world-class animation studio is known for creating memorable characters, detailed worlds and engaging narratives, making it a party and inviting your whole crew. Driven by a passion for storytelling, their creative, technical and production capabilities are constantly evolving. Equally at home creating sensational 2D and 3D animation, the studio’s talents span all aspects of project creation and production. They are creators of commercial campaigns, original films, super-fun web content, video game projects, merchandise and more. Besides their extraordinary craftsmanship Nathan Love is also fun and inviting to work with, enjoying daily collaborations with leading creatives, live-action and CGI directors, sound designers, composers, web developers and other artists.
About Hopr
Hopr is an award-winning design studio, creating content for commercials, feature films, installations, and video game cinematics. The studio’s principals include Chris DiFiore, Rodrigo de la Parra, and Makoto Sato.
About Lunar Films
Established in 2004, Lunar Films is regarded as a leading creative production house in China. The Lunar Films team consists of people and talents from different continents all sharing an unwavering belief that the world of film presents no boundaries. Diverse in culture but united in belief, Lunar Films seeks creations that move the heart. Experienced in local as well as international projects, our ambition, creativity and drive continue to spur the company toward greater achievements.
CREDITS
Project Name: “Fantasy Westward Journey TV”
Running Time: :30, :15
Film Location: Everbright Convention and Exhibition Center, Shanghai
Debut Date: July 7, 2010 (China only)
Agency: JWT Shanghai
Creative Director: Fei Wei
Art Director: Kevin Huang
Production Company (Shanghai): Lunar Films
Director: Willis Wong
Director of Photography: Terry Shen
Executive Producer: Ken Yap
Line Producer: Ace Tan
Production Company (U.S.): Nathan Love
Animation Director, VFX Supervisor: Nathan Love
Creative Director: Joe Burrascano
Executive Producer: Mike Harry
Producer: Dennis Samatulski
Project/Rigging Lead: Frank Naranjo
Animation Lead: Scott Douglas
3D Animators: Gordana Fersini, David Han, Kyle Mohr, Ryan Moran, Doug Litos, John Velazquez, Andrew Boccio
2D Animators: Hopr
Rigging: Silje Nilsen, Vadim Kiyaev, Zhenting Zhou, Carlos Sandoval
Lighting and Rendering Lead: Jon Lee
Lighting Artists/Rendering TDs: Isaiah Palmer, Richard Kim, Mats Andersson
Character Modeler: Bryan Eck
Additional Modelers: Youngmin Kim, Isaiah Palmer, Denis Kozyrev, Arsen Arsumanyan
Texturing: Bryan Eck, Christina Ku, Jon Lee
FX Artist: Mothana Hussein, Arsen Arsumanyan
Fur TD: Andy Guttormsson
Cloth TD: Carlos Sandoval
Pipeline Lead: Stephen Mackenzie
Pipeline TDs: Jesse Clemens, Jessica Monteiro, Mikael Spade
Editorial/VFX Company: Hopr
Editor: Hopr
On-Set VFX Supervisor: Hopr
Compositing Lead: Hopr
Music Company: Hush Studio
Sound Design Company: Studio PMPS & Hush Studio
Sound Designers: Jason Choi (PMPS) & Jeff Shen (HuSH)
Final Mix Company: Hush Studio
Mixer: Jeff Shen
Principal On-Camera Talent: Jay Chou
RELATED LINKS
www.nathanlove.com
Fantasy Westward Journey
www.hopr.tv
www.lunarfilms.tv
1 :Alignment Node to Grid is by pressing —- \ (backslach), this will align all the node withing the script to the grid. What if I wanna jus align a few nodes to grid, what’s the shortkey?
2: In shake i am able to use the Byte Node to switch between 8 ,16 and float. Am i still able to have this node in Nuke?
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