stabilize with PFtrack – AE

What is the the method of using PFtrack to stabilize. I have used a 2d tracker and tried smoothing the curves a bit on this plate, but for whatever reason I am still getting high frequency chatter in the 2D solution. SO…I am busting out PFtrack to do a stabilize. I am familiar with pfTrack but never done a stabilization with it. Where is the inversion process and what is the method of it?
PFtracks user guide does not have the word stabilization or stabilize?

I will export my track to AE.
There must be a better way than have to 2d track a fake tracking marker from a 3D solve.

Thanks for your help!

3D Generalist — Vancouver

Leviathan Studios is looking for a 3D generalist to join our team. We are a Maya based facility located in Gastown.

3 + years experience in Maya
Modelling/texturing/lighting
MUST be a BC Resident

For inquires, please contact trevor@leviathan-studios.com

Thanks!

Matte Painter – Vancouver

Prime Focus Vancouver is looking for an intermediate to senior digital matte painter for short-term contract. Please contact roula.lainas@primefocusworld.com for more information.

beauty work

I have done a bunch of beauty work before on various commercial and music videos but I just wanted to get your guys take on any techniques that have worked out well for you.

I’m also trying to figure out the best way to smooth out someones skin on there face but somehow keep the details of their pores so it doesn’t look like a blur.

Solving Pan’s in PFTrack

So far the only solve I’ve had success with is a shot from one of Victors PFT classes.
I decided to go out and shoot my own one on Sunday, I took plenty of reference images and kept in mind having at least 1 single point for the software to use. Obviously having done Victors class last year, I know what I should be doing, so pretty much wanted to emulate what had been done.

I’ve done all of the typical stuff, undistorted the footage and reference frames, removed any rolling shutter artefacts etc

A 24mm lens was used, so I’ve put that down as ‘approximately known’ and have obviously set the camera to ‘rotation only’ in the motion type.

I’ll post up some screen shots shortly.
But in the mean time, has anyone come across typical problems which cause them to solve badly ?

eyeon’s October Newsletter

Hi,

Here is eyeon’s October newsletter! Cool artist and studio work and lots of ccontests!
http://www.eyeonline.com/Web/EyeonWe…ewsletter.html

Enjoy!
Sue

Meet FirstBorn

Meet the NY crew that makes up FirstBorn.

Randomthoughtpattern: AGI Open 2010

Working with This is Pacifica, designer/director Lisbon based Filipe Carvalho created these opening titles for AGI Open 2010.

3d modeling/texturing/animation

Experienced team of 3d artists is looking for 3d modeling/texturing work.
We can allocate up to 10 artists for any real-time game projects.
Each of our artists has got 3+ years of game industry experience and is working in next programs:

3dMax or Maya
Zbrush
Photoshop
Other tools, including UDK

We prefer handling art for massive and long-term projects and can produce everything: characters, props, weapons, architecture, environmental objects, vehicles. Prices depend on complexity of work and it’s urgency.

Feel free to contact us at info@orange-graphics.com.ua to request bid for your projects or learn more about our team.

Framestore Scores A Blinder For New FIFA 11

[NEWS=”http://www.cgnews.com/wp-content/uploads/fifathumb.jpg”]27901[/NEWS]Framestore has worked alongside director Johnny Green and W+K Amsterdam for the anticipated launch of the new FIFA 11 game from EA SPORTS. EA SPORTS host teams of global football stars and their mates, high on competitive spirit, battling it out in a vast virtual stadium.

Directed by Johnny Green, the spot is an effects-laden affair covering two-minutes, 130 VFX shots and nine edits. Jonathan Hairman supervised the shoot, overcoming the dual challenges of a vast convention centre combined with a limited amount of time with each star to capture essential shoot data and readable tracking markers.

The entire stadium was built in CG as believably contemporary architecture with the screen as its focal point. Framestore also designed a photoreal crest for each team and thanks to the gyrosphere camera, painstakingly painted out rigs from every single shot.

Additionally to help the momentum of the camera moves, Framestore created digital whip pans to help join shots but also help link opposing teams in terms of story telling. These whip pans consisted of the CG stadium with intricate graphic design elements created in flame.

With the exception of some 16mm footage, the workflow was entirely tapeless; data was taken straight from the set ready for AVID, conform and DI, as crafted by our very own Dave Ludlam.

Framestore has been working in digital film and video for over 20 years now, creating original and astonishing work that has helped make it the largest visual effects and computer animation studio in Europe.

Amongst Framestore’s notable commercial credits are Smirnoff Sea (winner 2007 VES ‘Visual Effects in a Commercial’, The Chemical Brothers The Salmon Dance, Casino Royale – Title Sequence, Vauxhall C’mon campaign , Sure Go Wild, Guinness noitulovE, Johnnie Walker Fish, Levi’s Odyssey and Guinness Surfer.

CREDITS:

AGENCY Wieden & Kennedy
AGENCY PRODUCER Jaime Tan
PRODUCTION COMPANY Knucklehead
DIRECTOR Johnny Green
PRODUCER Lyndsey Turnham

RELATED LINKS:
www.framestore-cfc.com
www.ea.com

SOURCE:
Framestore-cfc.com