I was recently watched Bill & Ted and I figure a rock concert would be the best atmosphere. Im think ill be doing a show instead of a concert.
Will start modeling my animatics this weekend.
So basically, I can’t actually shoot on location, so I’m trying to figure out doable ways to fake it given my budget (or lack thereof) and my own skill level. My first thought would be to find some brick administrative buildings to shoot at, then use matte paintings to add the parabolic dishes, etc. So I guess, technically, we’re talking set extension (or modification?) here.
Also, the spec involves a spacecraft hovering overhead, i.e. independence day. I have three actors and am planning on shooting them from behind to get the reveal of the ship.
I was wondering if anyone has any advice as far as setting up the shots and such in production, considering the VFX that will be needed? Obviously, a lot of it will depend on which location I can find, but I was wondering if it would be easier to do green screen in front of the actors and create a new background as a whole (Including the ship) or to film the background as is, roto my actors and composite in the ship?
What can I do to make it easier on the VFX end in post?
Thanks in Advance!
Basically I want to continue the camera movement in Z space from Nuke to Maya seamlessly. How can this be achieved?
I am lost.
PS: Hope you got my problem. The final composite is a camera zoom out.
There’s a 2 input switch node but doesn’t seem to be other options. Is there something obvious I’m overlooking or do I have to get into Python, etc?
Thanks.
I can’t find a way to access the gridwarp points from a script.
I got as far as to access(print) the the grid array and value of the dstgrid or srcgrid but when I try to write to it it returns false….
to make things easy, this is what I want to do:
have a user button in a tracker or a gridwarp that automatically connects all 4 tracking points to the four corner points of a 4 point grid in the gridwarp…..does that make sense?
I know I can drag and drop the tracker curves onto the gridpoints, but it would simplify things if we could do it with the push of a button…also I could add easily some knobs for offset etc.
any help is much appreciated!
thanks guys….
another test, i set the uvproject node-> invert U. then add a scanlinerender node. in scanlinerender-> set the projection to : spherical to get my latlong back. So after comparing the output from scanlinerender vs the original latlong: everything is just the same, except the wrinkle at left edge of my latlong. If i remove/disable the uvproject node ( so using default projection), the latlong is perfect (just a bit of distortion near the edge). The question is : why this uvproject ruin it?
Can anyone explain it?
http://www.gnomonschool.com/events/mummy/mummy.php
In the "Rise of the Undermummy" (half of the video), into the many CG layers exist a "stress map" (output from Houdini or Syflex/Maya… this is another thread):
– magenta – maybe compression
– cyan – expansion??
What is the purpose of this layers, if used, inside compositing work (in Nuke especially)? Stretching the textures via warping?? Or maybe are for the Event explanation/visualization only.
Thanks in advance.
David.
‘’This is a great surprise for us, we’re excited about it and a little bit humbled,’’ Richardson says. “This was an incredible challenge for us both creatively and execution-wise, and we’re relieved to know that MTV was paying attention.’’
Director Marc Webb, perhaps best known for his feature film “500 Days of Summer” (2009) and the upcoming Spiderman reboot, came to LAUNDRY! looking to bring to life the iconic look he envisioned, which married the punk influenced stencil art seen Green Day’s ‘’21st Century breakdown’’ album cover, with the decidedly political graffiti style of English street artist Banksy.
‘’Marc came to us with a performance driven idea comprised of shooting the band against a greenscreen and on a Los Angeles rooftop. Marc had some cool storyboards and specific ideas about how the performance and typography of the song’s lyrics needed to sync dramatically,” Liu notes. ‘Beyond that a lot of the visuals were in our hands.’’
To create the look LAUNDRY! integrated Webb’s performance footage, and directed the second unit. They changed the footage to black and white, added an impactful stencil effect, which was then composited together with their own gritty live action footage shot of street life and urban decay. The footage was enhanced further in Adobe’s AfterEffects where textures, environments and sweeping camera moves were added to create the story.
‘’The sheer volume of footage we had to animate in only two weeks was by far the most challenging aspect for us,” Richardson says. ‘’Like most design studios we’re used to working in :30 and :60 intervals, this was four plus minutes of solid 2D animation. It was a challenge for our studio, and this VMA nod validates our effort.’’
In other LAUNDRY! news, the company recently completed work on M.I.A.’s ‘’XXXO’’ music video, as well as new work for HP, Nabisco, Chevy and Levi’s.
About LAUNDRY!
LAUNDRY! is a multimedia design studio based in Los Angeles led creatively by P.J. Richardson and Anthony Liu. Since launching the company in 2006 the company earned a reputation for its wide array of future forward design techniques. For more information contact Executive Producer Michael Bennett at michael@laundrymat.tv. The company is represented for advertising on the West Coast by Michael Di Girolamo of Station Film; Sue Rosen in the Midwest; and by Miss Smith on the East Coast. The Ashy Agency represents them for broadcast.
CREDITS
Client: Warner Bros Records
Project: Green Day ‘’21st Century Breakdown’’
Production: DNA, Hollywood
Director: Marc Webb
Producer: Michael Angelos
Design, Animation & Editorial: LAUNDRY!, Los Angeles
Creative Directors: P.J. Richardson, Anthony, Liu
Executive Producer: Michael Bennett
RELATED LINKS
www.laundrymat.tv
www.mtv.com/ontv/vma/2010/
www.mtv.com/ontv/vma/2010/best-special-effects/
The legendary David Shrigley takes the arts to that place of the mildly disturbing and mundane that he knows so well. The piece is in support of the Save The Arts campaign which is attempting to stop a proposed 25% cut on UK government arts funding.
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