Hi All,
I have been around here for a while but haven’t had anything useful to say so this is actually my first post!
Anyway, I am writing a technical document on VFX for film and production whilst looking at specific titles. Ideally, as I am writing my dissertation for Games Design, I can focus on games related productions such as any live cutscenes that contain VFX.
I have barely made a start and as I am totally new to this subject dont know where to begin, any helpful pointers would be great. I am now off to find the answer to; the percentage of effects that are added in post production!
I have read some topic about this subject but don’t find the solution about my problem (this one : http://www.vfxtalk.com/forum/nuke-cr…de-t17068.html )
I know we can add an "if" condition into the expression node with this syntax : if ? then : else and i would like to use it to replace some pixels value.
For example in the red channel i’ve tried that :
r>=1 ? 0 : r so i just want to replace the burned value by 0
I’ve been asked by a friend/director to work on a shot for his latest short. its a vertical camera move (fixed on a jib) starting in the out of focus bedroom and ending up on a girl in bed (in focus). the girl was supposed to have some very special make up which the make up artist proved not to be able to achive (yay!) which is why I ended up enhancing the make up from a grabbed frame in photoshop (there’s absolutely no movement in the shot so thats no problem). the idea was to match move the enhanced pic from photoshop to the camera move in AE. however this proves to be quite difficult as the shot itself really isnt the best for match moving (not much parallax, no visible ground plane, very shallow focal range, dark and grainy footage).
so, I was wondering if any of you’ve got some tips n ticks for me to try out. the tools available to me are after effect’s very own tracker, mocha and the foundry’s cameratracker plugin.
Ever since releasing their first in-house short in 2008, Katelyn, the crew at Autofuss has been toiling diligently in their San Francisco offices, building a body of work that thoughftuly blends live action and CG. In this post, we review their latest output and get some behind-the-scenes goodness after the jump.
Halo: Remember Reach
Autofuss’ latest effort, a collaboration with agency AKQA, is an interactive installation promoting the newest entry in Microsoft’s Halo franchise.
Autofuss puts it nicely:
Visitors [to the Halo Reach website] were able to remotely control the robot by assigning their name to one of 64,000 points of light. The robot would then proceed to physically plot the light in a studio space in San Francisco. Through long exposure videography, a 3D monument of light depicting the game heroes emerged.
It’s one of those intriguing ideas that hinges entirely on execution. What I like about the end product is the way it presents the robotic arm and the light sculptures on equal footing. Both are the focal points, and yet one never upstages the other. Technology making art—and vice versa.
For Autofuss, the project signals a definitive entry into the world of interactive design, one that is increasingly becoming a second home to many motion design firms.
Autofuss has been steadily releasing an elegant series of spots for the University of Phoenix and agency Pereira & O’Dell. The first spot, “Thought Leadership,” presents an abstracted world of architecture and typography populated by University of Phoenix students going about the business of learning.
Still from “Thought Leadership”
The newest two spots, “Quality” and “Access” add new dimensionality and richness to the universe of “Thought Leadership.” We had a chance to chat with Autofuss about the spots, and they generously shared some making-of goodies (after the jump).
Still from “Quality.” Note the increased dimensionality compared to “Thought Leadership.”
What was your favorite aspect of these latest spots?
University of Phoenix students are all over the country, but they are all part of this bigger thing. We got really into thinking about what this thing might look like, and how we might show something that feels big, but also interconnected and approachable.
Once we decided that amazing architecture was going to make this spot cool, we created a reference library of buildings and public spaces by architects like Diller Scofidio + Renfro, Louis Kahn, Richard Meier, Santiago Calatrava, and Renzo Piano. We even brought in some architects and worked with them for a month or so to help us concept the buildings. It was also fun to think in terms of dimensionalizing our previous work. We got to finally break all the boundaries we set up for ourselves last time.
What were some of the technical challenges you faced?
For the shoot, we did a lot of worrying about perspective and lenses, measured everything we could think to measure, calibrated and re-calibrated our automotive robot, pre-vised everything in Maya with a to-scale replica of our studio, sent the camera moves to the robot, built a rig to attach the camera to the roof, built some green sets, programmed a real time compositing system in Max/MSP to get an idea of how it would look, and brought in our actors.
A Canadian based vfx studio is looking for a talented texture 3D artist with a minimum of 3 to 5 years of experience in the film industry with 3D texture skills for painting photo-realistic textures and for other surface effects to be mapped on 3D objects. A demo reel showcasing strong 3D skills in achieving texture in 3D environments and all kind of 3D materials is a must.
I recently posted a thread for my demo reel, but for some reason now its just a blank post. So lets try this again. My name is Dustin Evans. I am currently a student at the Digital Animation and Visual Effects School. I am trying to pursue a job as a film colorizing artist. I have only been doing this for a few months, but it has slowly become the biggest passion in my life. I know, alot of people have a problem with this practice. To me though, it feels like im helping preserve a piece of history as opposed to destroying a classic.
I know how to Rotoscope, Rotopaint, Composite, Dustbust, 2d and 3d track, 2d to 3d conversion, Model, and Animate. The programs i know and use are Fusion, After Effects, Photoshop, Nuke, Motion Builder, Lightwave, and Bou jou 3d tracker.
My demo reel is based entirely on Colorized black and white footage. I spent alot of time just making colorized footage for this demo reel. I hope my passion comes out in my work. Any comments would be greatly appreciated. I am always looking for new suggestions and criticism.
My name is Dustin. I am a student at the Digital Animation and Visual Effects School in Orlando, Fl. I am currently seeking work, pretty much anywhere. I am very confident Roto artist in Fusion and After Effects. I also know Nuke. However I have only been working with it for a short while, but I am getting the hang of it. I know how to Composite, Rotoscope, Rotopaint, 2d to 3d conversion, Tracking footage, Animate, Model, and Colorize.
The programs I know are Fusion, After Effects, Nuke, Photoshop, Lightwave, Motion Builder, Taffa, and Bou Jou. Although, I am fairly new in this field. I will take on just about any job to prove that I can hold my own in a field of fully experienced artists.
Below is a link to my demo reel via vimeo. It is a demo reel entirely of colorized and restored black and white footage. Colorizing is without a doubt my passion in this life. I hope you enjoy.
I’m trying to learn about all the green screen keyers in Nuke. Therefore, I wonder if you could tell me all the ways you can key off a green screen in Nuke, and what each way is good for. I would be very greatful if you will help me develop as compositor, and that although this thread may be useful for others! 🙂
When we first shared Alex Roman’s The Third&Seventh over a year ago, everyone was stunned by the photorealism of his CG worlds. With his latest commercial work, a spot for Grupo Cosentino’s Silestone brand countertops, Roman once again shows his passion for cinematography, lighting and texture.
Although this spot is 100% CG, the beauty of the shots distract the viewer from this amazing fact. Each composition is elegantly balanced: light counterweights dark, chaos challenges order. The sparse soundtrack creates a sense of lightness and wonder, and we are invited into a world that seems so real, so tangible, that we fully accept the glass-like shattering of grapes and peppers.
It almost doesn’t matter that the spot is purely digital. Sure, it’s an eyebrow-raising footnote, but Roman is simply using the tools he knows best to tell his story. He just happens to be pushing the envelope of commercial CG production while he’s doing it.
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