My video review on Steve Wrights new (kindle) book

Since the price of the kindle edition for Steve Wright’s Digital Compositing for Film and Video (3rd edition) was lowered, I decided to take the plunge and make the purchase. Here is my video review.

Enjoy.

http://www.youtube.com/watch?v=Qr5UkOqnfX8

And yes… this is what I did on my friday night… 🙁

UPDATE!!! I said some of the tips where missing. I was wrong. The tips were in fact there. The format on some of the tips laid it out well below the TIP icon, instead of the usual format which is right off to the side. Hence my confusion.

Olive oil material

Hello everyone,
I’m trying to create an olive oil material for an liquid simulation that I’m doing.
I’m looking for something like this:
http://www.vray-materials.de/all_mat…&Submit=Search

I’ve started with an dielectric material for the first tests and with an phong shader where I set the diffuse level to 0, reflectivity and transparency to 1…
But at the moments the results are simply a crap.
Can someone give me a tip where to start.
I would really appreciate.
Thanks

My VFX Demo Reel

Im about to graduate from Lost Boys Learning School of Visual Effects, so here’s my demo reel; I welcome any feedback – praise or critique – that may help me strengthen my reel. I’ll be moving to Los Angeles in September to search for entry level jobs. In terms of specialty, Im currently leaning towards compositing. Thanks for watching!

website: www.holbrookvfx.com

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Should I have converted to exr before offline?

Hey guys, so I shot all the footage for my thesis this last weekend using a RED. It is going to be a spec commercial and some shots have vfx and some don’t. I transcoded all the .r3d’s to MXF’s to work in avid for offline. I’m still sorting through shots and creating my subclips…still not near radio edit.

Final delivery will be rec 709, not planning on doing film out.

Question is: before transcoding all .r3d’s into mxf’s for offline…should I have exported the vfx shots into half float linear exr’s for use in vfx and transcode those exr’s into mxf’s for offline? Or is it ok I’f I just stick to the way I’m working and switch the .r3d for whatever image sequence I export from nuke as long as it has the same name as the original .r3d?

The EDL will still work since it just looks at the name of the file and timecode data. (exr’s can store timecode data right?)

Rendering issue

Well, I thought it was the best place to writte this question cause I felt really noob right now.

I’d apreciate some answer to this usuall thing…

I’ve got a problem when I want to render an object in my scene (in 3dsMax) with its lighting and shadows correctly rendered but only this one displayed, just to win many render time.

For example: I’ve got a room with many things inside, and the time it take to render it’s quite high, and what I really want is the top part of the room, (the roof I mean). I wnat to comp it later.
It would be the same as if I wanted to render a chair inside this room without with the light affecting correctly as the rest of the room to comp it later.

I tried to make the rest of the objects unvisible to camera, to make them matte, to set them vrayalpha -1, but this is not what I want.

Thanks a lot guys… :rolleyes:

Nuke & After effects Compositing Artist

Hi everyone,

My name is Mathieu Gaspard ,I am 28.

I am a VFX artist.

watch my showreel online :

www.mathieugaspard.com

Contact me : gaspardmathieu@gmail.com

ventilate 2010-08-06 14:07:11

Michael Fakesch | 7 Disco ft. High Priest. Design, Idea & Animation by Michael Titze. Enjoy…

eyeon’s August Newsletter

Hi All,

We’re back from SIGGRAPH in L.A., thanks to everyone who came out to play at the Music Box!

Here’s the August newsletter, enjoy!

Cheers,
Sue
http://www.eyeonline.com/Web/EyeonWe…ewsletter.html

BNS Aces Strategic Design for Cartoon Network Brand Expansion

[NEWS=”http://www.cgnews.com/wp-content/uploads/cn_pink_blue_th.jpg”]26725[/NEWS]To help Cartoon Network bring to life its vision of a brand expansion strategy that included a new look and tone, the international creative design and production studio Brand New School partnered with the network’s creative team to produce a look and sensibility that would allow them to have a dialogue with its audience across an array of platforms.

The network chose to embrace its brand visual heritage of the black and white checkerboard by imbuing it with new meaning, and the artists and producers of BNS were able to bring this idea to life in a fresh, compelling way using dimension, color and movement. All the new design elements began appearing in late May, and the new on-air IDs premiered on the network this week.

“Our brand expansion represents our commitment to delivering a breadth of content that our audience cannot find anywhere else,” said Senior Vice President of Creative Direction, Michael Ouweleen. “The checkerboard is in our DNA and is not only reflected in the subtle redesign of the logo but also provides a through line that connects and helps frame our diverse slate of programming from animation to live-action. The art direction and creative acumen of the Brand New School and their ability to breathe new into the iconic was invaluable and helped us achieve our goal.”

BNS founder and creative director Jonathan Notaro, along with art directors Eric Adolfsen and Mike Calvert, provided detailed insights into the conceptual thinking behind the multifaceted brand expansion project, where their approaches emphasized interconnectedness across each and every deliverable, as well as the pairing of extremely thoughtful design with animation geared toward generating specific audience responses, including laughter.

“This has been a very exciting opportunity for us to be closely involved with Cartoon Network and their continued evolution,” Notaro began. “The new on-air identity complements its diverse range of visual languages, and leverages our design expertise by incorporating specific, creative means for consistently packaging the network’s editorial humor into every second of each broadcast day.”

By combining their design ideas within the organizational approach, the BNS team is pleased to have created a meta-narrative that uses the complete visual identity system to creatively convey the interconnectedness of the channel’s content. From the promos to the menus to the bumps to the IDs, each piece tells the same story from a different perspective, where the checkerboard functions like a chessboard, with infinite moves possible.

“Because we’d created such a gridded and structured designs for the overall approach, it became imperative that the movement of these pieces felt snappy, fast-paced, and above all, playful and full of life,” said Calvert. “Our animators developed a language that’s rooted in familiar physical interactions, but caricatured and amplified into something incredibly captivating and energetic.”

It was important to Cartoon Network that each day part be distinct and branded with its own color, humor and expanding level of complexity. “We wanted to share on-air the excitement we found in the initial explorations of the checkerboard and the grid,” said Adolfsen. “From the first to the last second of each day, we looked for ways to consistently surprise viewers and build on the language of the checkerboard, eventually creating a visual shorthand the audience could embrace.”

The creation of each animated asset in the project was led by BNS’s Hyesung Park, Arthur Hur and Andy Mastrocinque. Among many elements created by various artists under their supervision is a series of 14 short, black-and-white animated IDs, each of which derives visually from the letter forms of the newly designed Cartoon Network logo.

As summarized by Calvert, “Our enthusiasm for the brand reached every pocket of this redesign, culminating in the ID system we developed,” explained Calvert. For the ID’s, Brand New School established a simple rule: make a black and white animation based on each of the 14 letters of the words Cartoon Network. “The idents are both a nod to the channel’s history as well as an opportunity to curate the artists we love. They’re a celebration of every form of animation, from hand-drawn cel to 3D.”

For HD design and finishing, as well as all elements of the broadcast package, primary artistic tools for BNS have included Adobe Creative Suite, Autodesk Maya, Apple’s Final Cut Pro and Flame. Complete project credits are available upon request.

About Brand New School
With offices in New York and Los Angeles, Brand New School is a bicoastal directing collective working in all fields of commercial art. Ever evolving, the studio continues to cultivate a sense of wonder and exploration. For its artists and clients alike, BNS represents an opportunity to play at work, to conduct experiments in image-making, and to feed the inspiration that drives the industry.

About Cartoon Network
Cartoon Network currently seen in more than 97 million U.S. homes and 166 countries around the world, is Turner Broadcasting System, Inc.’s ad-supported cable service now available in HD offering the best in original, acquired and classic entertainment for kids and families. Nightly from 10 p.m. to 6 a.m., Cartoon Network shares its channel space with Adult Swim, a late-night destination showcasing original and acquired entertainment for young adults 18-34. Turner Broadcasting System, Inc., a Time Warner company, creates and programs branded news, entertainment, animation and young adult media environments on television and other platforms for consumers around the world.

PROJECT CREDITS:

Project Name: Cartoon Network Brand Expansion

Client: Cartoon Network
Chief Marketing Officer: Brenda Freeman
SVP On-Air/Creative Director: Michael Ouweleen
VP Production On-Air: Nathania Seales
Art Director: Eric Lacombe

Design & Production Company: Brand New School
Creative Director: Jonathan Notaro
Art Directors: Eric Adolfsen, Mike Calvert
Associate Art Director: Forest Young
Logo Designers: Jonathan Notaro, Jens Gehlhaar, Eric Adolfsen, Mike Calvert, Ryan Waller
Lead Designers: Adam Wentworth, Damien Correll
Icon Designers: Mike Calvert, Aaron Stewart
Pitch Designers: Eric Adolfsen, Mike Calvert, Forest Young, Josh Parpan, Will Frohn, Pat Arrington, Philippe Intraligi, Ryan Cox, Sal Dell’Aquila, George Vincent
CG Director: Vadim Turchin
3D Animation: Walter Lubinski
3D Tracking: Han Ho
3D Modeling: Walter Lubinski, Adam Rosenzweig
Lead Animators: Hyesung Park, Andy Mastrocinque, Arthur Hur
Animator: David Rasura
Additonal Animation: Eric Bauer, David Lucido
Flicks Movie Package Design: Mario Sader, Jungeun Kim
Flicks 2D VFX Supervisor: Arthur Hur
Flicks 3D VFX Supervisor: Han Ho
Flicks CG Director: Han Ho
Flicks Movie Package Editor: Sam Goetz
Storyboarding: Will Rosado
Managing Director: Danny Rosenbloom
Head of Production: Devin Brook
Producer: Greg Babuik
Associate Producer: Michele Watkins
Production Coordinator: Ilona Klaver
Production Assistant: Madison Brigode

ID Design and Animation Credits:
“C” (Magnet): Design: Meg Hunt; Animation: Stieg Retlin, Kat Morris, Andy Mastrocinque
“A” (Roadway): Design: Mike Calvert; Animation: Freddy Arenas
“R” (Car Chase): Design: Ryan Cox; Animation: Walter Lubinski
“T” (Helicopter): Design: Ryan Cox; Animation: Walter Lubinski
“OO” (Split Eyes): Design: Travis Millard; Animation: Stieg Retlin, Hyesung Park
“N (Footjoy)”: Design: Eric Adolfsen; Animation: Freddy Arenas
“N (Teeth)”: Design: Ricardo Villavicencio; Animation: Hyesung Park, Stieg Retlin
“E” (Bubbles): Design: Mike Calvert; Animation: Andy Mastrocinque, Steig Retlin
“T” (Clothesline): Design: Stephen Kelleher; Animation: Hyesung Park
“W” (Serpent): Design: Andrew Poneros; Animation: Andy Masterson
“O” (Infinite Donut): Design: Travis Millard; Animation: Stieg Retlin, Hyesung Park
“R” (Arrgh): Design: Meg Hunt; Animation: Hyesung Park, Stieg Retlin, Jessica Milazzo
“K” (Mega Bite): Design: Ricardo Villavicencio; Animation: Andy Mastrocinque

Original Music: Mad Decent and Michael Kohler

RELATED LINKS

www.BrandNewSchool.com
www.cartoonnetwork.com

Graduate/ Trainee Artist

Arooga is set to become a leading player in the social gaming space in innovation and creativity with cutting edge games designed to connect friends and people. We aim to create a more social and connected experience for everyone to enjoy and play. Our state of the art development studios are based in Gunwharf Quays, Portsmouth Harbour. and we currently have an exceptional opportunity for a graduate/ trainee artist to become part of our team.

  • Should have a good knowledge of either Max or Maya with a strong portfolio and a passion for games.
  • Strong Flash skills.
  • Your portfolio will show work samples that show models and environments.
  • Very strong freehand art skills and good quality sketchbook content would be a plus.
  • You will be an enthusiastic team player, be able to take direction and have the ability to work under pressure.
  • Most importantly of all you will have a passion for video and social games and a desire to create graphically stunning games.

Please send your CV/ resume to sgodfrey@arooga.com