Nov
17
Compositing Reel 2011
Posted in: Demo Reels!Need Feedback Please!
Thanks!
Gabriel Sitjas
Nuke Digital Compositor
Nov
17
Zdepth
Posted in: NUKE from The FoundryI have a sequence ranging from 120-240. I’m not receiving an error with the copy channel but I am not seeing the object in the focus plane setup.
I made sure that the diffuse layer had Zdepth on for render so it’s not that. Never had this problem before. Also I’m trying to figure out how to get my plate to not be affected when I do use zblur.
Nov
17
Skinning: Add Influence
Posted in: MayaHi there,
I have a completed, weighted character mesh, now I want to add a little bone under the arm to move the back very little.
I have a completed, weighted character mesh, now I want to add a little bone under the arm to move the back very little.
When I use the "Add Influence" option – I’ve tried every setting.
It puts a lot of extreme weighting on this little bone and ruins my weighting in the arms, shoulders, back, etc.
Does anyone know how to add this new joint into the influence of the mesh with just the bare minimum of weight, so I can slowly, gently Paint Weights onto it and carefully grow its influence in a small area?
Please help, I’m running out of time. Thanks in advance.
Nov
17
Stargate Studio’s visual effects for The Walking Dead
Stargate Studios is handling the visual effects for The Walking Dead, AMC’s new TV series based on Robert Kirkman’s zombie apocalypse comic and directed by Frank Darabont. Here’s my article at fxguide which takes a look at some of Stargate’s zombie enhancement and virtual set work for the pilot episode.
Nov
17
Occlutionist – Details please
Posted in: The PadHey Guys,
Hope u guys have heard screen space ambient occlusion. i wanna know how far this can be used in after effects r in some composting software like fusion or nuke.
Hope u guys have heard screen space ambient occlusion. i wanna know how far this can be used in after effects r in some composting software like fusion or nuke.
Please help me with the ideas r the news u guys know
Nov
17
CG Supervisor
Posted in: The Job LotA major Toronto based studio has an opening for a CG Supervisor in feature film production. This is a staff position and you will be involved in all stages of the production process. In addition to being a hands on CG artist capable of handling the most complex shot, you will mentor other CG artists and department leads as well as consult with the VFX Supervisor, VFX Producer and Compositing Supervisor on any technical and/or production related matters.
Requirements:
At least 5 years in either a CG Supervisor or Lead CG Artist/Lead TD role in feature films.
Programming experience in C++, python, and MEL required.
An undergraduate degree in computer science or related field an asset.
Extensive knowledge in Maya is essential and a proven generalist background in Layout/Matchmoving, Modeling, Texturing, Shading, Lighting and FX is required.
Experience using Mayaman, Renderman or PRman rendering pipelines is a preferred.
Strong and clear communication and management skills both written and verbal.
A proven sense of both artistic and technical abilities
http://www.smoothdevil.com/index.php?page=job&job_id=1498
closes: 16 Jan 2011
Nov
17
DirecTV Goes Sci-Fi For Icecream
Posted in: Industry News[NEWS=”http://www.cgnews.com/wp-content/uploads/directtv_fight_thumb.jpg”]28485[/NEWS]DirecTV goes sci-fi with their new “Ice Cream” spot directed by Rupert Sanders with MJZ for Grey New York. The film features a man headed toward the fridge to grab a bowl of ice cream who is followed by a pair of incredibly realistic cyborg robots as they fight their way through his apartment.
The spot highlights DirecTV’s capabilities of watching and pausing live TV from room to room, and was aired nationwide on the World Series Game One. MPC’s main task was to replace the arms and legs of the in-camera cyborg suits with 3D.
Legacy was hired by MJZ to design the cyborgs and build the suits. Although the suits were extremely realistic, Rupert’s vision was to strengthen the robotic nature even further. The MPC team therefore proposed a full 3D takeover of the upper and lower arms, thighs, shins and crotch areas.
MPC rotoscoped the front armor detail on the in-camera suit in preparation for the 3D robotic inner workings to be composited across 45 shots. The team also took on the huge task of restoring the background that would be visible through the limbs. This task was made even more difficult as every shot was handheld and no repeatable clean plates captured.
To achieve this, the 3D department made a proxy model of the entire set and projected photographs of the set onto the model. This projected proxy model was used with a 3D camera track to aid the 2D team with the background detail required.
The 3D matchmove department tracked the cyborgs to enable the animator and lighting department to render the robotic detail. Tracking markers were removed from the cyborgs in Nuke, and the cyborgs were replaced 100% in 3D within the second fire explosion shot. The fire explosion in the first pause moment, and the foreground crystal chandelier details, were also created in 3D. Once rendered, the 3D was composited in Nuke and Flame.
CREDITS
Client: DirecTV
Spot: Ice Cream
Director: Rupert Sanders
Agency: Grey New York
Agency Producer: Andrew Chinich
EVP Chief Creative Officer: Tor Myhren
SVP Creative Director: Denise O’Bleness
SVP Account Director: Alison Monk
VP Account Director: Tamar Arslanian
Production Company: MJZ
Production Company Location: LA
Director: Rupert Sanders
Production Company Producer: Laurie Boccaccio
Executive Producer: Eric Stern
DOP: Greig Fraser
Editorial Company: Work/Spotwelders
Editor: Neil Smith
Post Production Company: MPC
Post Production Company Location: Los Angeles
VFX Producer: Andrew Bell
VFX Supervisor(s): Franck Lambertz & Mike Wynd
Flame Artist: Franck Lambertz
Support: Brendan Smith, Saron Marcussen, Brinton Jaecks, Ryan Knowles, Ben Persons, Adam Frazier, Kim Stevenson
3D: Mike Wynd, Ross Denner, Daniel Marsh, Fred Durrand, Ian Wilson, Danny Wynne, John Cherniack, Maria Ocantos
Telecine Company: MPC LA
Colorist: Mark Gethin
RELATED LINKS
www.moving-picture.com
Nov
17
Dynamics demo Reel
Posted in: Demo Reels!hi,
This is my first demo reel. Still have to make a lot of corrections.Any feedback is greatly appreciated.
Make sure to watch it in HD.
Nov
17
Ready for the VFX Jobs
Posted in: The Job LotHi Myself Gaurav Rajoria, 😎
I am from Jaipur (INDIA)
I am a vfx artist the softwares I know are Maya 2008, Digital Fusion, Combustion, After Affects, Corel Draw, Pagemaker, Photoshop, Adobe Premiere:niceone:
I am ready to work on reasonable rates.
Thanks
GAURAV RAJORIA 🙂
:radar:
Nov
16
S-log lut in Nuke
Posted in: NUKE from The FoundryHi, I’m about to receive some s-log footage, from a f35, it was captured with a blackmagic via sdi dual link from the recorder, as far as I know not the best way to do it if you’re going to do a filmout, it’s contained in blackmagic codec 444 10 bit uncompressed .mov, and it’s supposed to have all the sensor’s data as s-log footage. Has someone used this kind of footage in nuke, I know I need to get an s-log to lin conversion, I’ve been searching the web but there is not too much info about it, what would be a good workflow? does any body have the s-log lut, or any advices, I’ve read the s-log white paper but I can’t figure out how do I apply those formulas.
thanks in advanced for any help.
Who's in charge here?
This is site is run by Sascha Endlicher, M.A. during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.