Maya particles

Hello folks,

I’m trying to connect a field and particles at runtime. I wrote it on a runtime expression. Its connecting but in the next frame its throwing error.

How can I stop the error or catch the error and to delete the expression?

Someone please share your views on this issue.

Thank you. 🙂

Temp Story Board Artist

A UK based games company has an opening for an experienced Storyboard Artist to work alongside our internal development team on their Harry Potter videogame franchise. The contract starts early Nov 2010 for three months. Candidate must have demonstrable experience in the games industry.
Rates are dependent upon experience and knowledge.

http://www.smoothdevil.com/index.php…ob&job_id=1490

closes: 9 Jan 2011

VFX Generalist (3D & After Effects)

A London based Post-Production house, requires several Generalists for numerous broadcast projects as they approach a busy period.

Projects last from 1 day up to 8 months dependent on requirements.

Candidates should have a skills in 3D Modelling (either Maya or Max) and 2D skills in After Effects,

You should have broadcast experience.

http://www.smoothdevil.com/index.php…ob&job_id=1492

closes: 10 Jan 2011

Roto/Paint Showreel 2010

Hi everyone

I’m currently in the midst of a career change and looking to move into 2D compositing (I started out in 3D animation and web design)

This is my first attempt at a Roto/Paint showreel.

I’m going to be applying for jobs in London. Do you think my reel is good enough for at least a runner position? Or am I just kidding myself? :p

There are 4 shots at the moment and I’m wary of keeping demo reels as short as possible. But do you think adding another shot or 2 would be a good idea? Any comments would be much appreciated.

I used Shake for the roto/paint work.

Please note there is no audio at the moment. I will be adding some music and my contact details when I start sending out to prospective employers.

Roto/Paint Showreel 2010 from Jenny Wan on Vimeo.

Rie Hosokai, aka, Daisy Balloon

Rie Hosokai, aka Daisy Balloon is a fashion designer experimenting beyond fabric, taking hand twisted balloons into a new form of fashion and art. Rie began in 2002, opening a balloon shop which led to the combination of art and decoration experimentation. Rie has won countless international competitions.

Statless – Ariel, music video

Really impressed with this; Official music video for Stateless‘ new single “Ariel” to be released on Ninja Tune Nov 22; A digital dance exploring the eternal struggle of good and evil. Animated in Houdini by FIELD.
Have a look at the making of at vimeo.com/?16619572. More info at field.io/?project/?stateless-ariel
via: Cpluv

Daniel Luna: Reel

Nice reel from Toronto based director/designer/animator Daniel Luna, showing a range of work from graphic and interactive to animation.

30i to 60p

Hi,

I have a 30fps, interlaced NTSC sequence, and i want to use all the fields. So I’m trying to generate a frame from every field: from a 30 frames interlaced sequence to a 60 frames progressive sequence

I duplicate the frames with Retime and use the FieldSelect node to separate each field, then I put each field together, one field after the other, using a switch and a simple expression (!fmod(frame,2)). I also make a slight translate of 0.5 pixel for the odd frames to avoid a slight jump between even and odd frames. Then i reformat with no filtering
(see nuke script below)

I’ve downloaded the DFielder Gizmo, that allows to do a Fields to Frame separation. I expand the group and I can see that it uses a TimeWarp and a FrameRange node before deinterlacing, but i’m not able to reproduce that solution.

What is the best solution? Should i use the Defield node from the Tinder Genarts, or generate the 60 frames outside of Nuke?

Thanks for any suggestion,
marco

———

set cut_paste_input [stack 0]
version 6.1 v2
Read {
inputs 0
format "720 486 0 0 720 486 1 "
last 129
name Read1
selected true
xpos -422
ypos -302
}
Retime {
input.last 129
output.last 258
speed 0.5
name Retime1
selected true
xpos -422
ypos -203
}
set N1b9ce540 [stack 0]
FieldSelect {
name FieldSelect_Odd
selected true
xpos -344
ypos -136
}
Transform {
translate {0 -0.5}
center {360 121.5}
name Transform1
selected true
xpos -344
ypos -112
}
push $N1b9ce540
FieldSelect {
field Even
name FieldSelect_Even
selected true
xpos -476
ypos -136
}
Switch {
inputs 2
which {{!fmod(frame,2)}}
name Switch1
selected true
xpos -412
ypos -59
}
Reformat {
format "720 486 0 0 720 486 1 "
resize distort
filter Impulse
name Reformat3
selected true
xpos -412
ypos 2
}
Viewer {
frame 80
frame_range 1-300
fps 59.94
input_process false
name Viewer1
selected true
xpos -412
ypos 49
}

Clemens Habicht – UKTV “Watch When Things Come Together”

Remember the Matrix Ping Pong meme of 2003? The kuroko stagehands of kabuki/bunraku Japanese theater helped two seemingly normal dudes defy physics and bend time for epic ping-pong-ery (and internet delight). Matrix Food Fight and many other clips found online originated on the TV show Kasou Taishou. I highly recommend checking out the highlight reel.

When working with such an eye-catching technique, how do you amp things up to the next level? I was impressed by the attention to detail in these UKTV idents directed by Clemens Habicht (who played with black costume in-camera fun on the lively Friendly Fires ‘Skeleton Boy’ music video). The steadicam takes you in much closer to the action than the usually distant stage-framing. The real physics in reverse (e.g., flying table settings, a purse emptying, frisbees returning home) mixes eerily with the supernatural stage-hand assisted action. There’s a ton of elements in play, but the choreography makes everything seem very natural as the scene almost melts into itself.

Clemens has provided production photos and a clip from their rehearsal. The rehearsal clip in particular deserves a watch and re-watch. Check it all out here.

Posted on Motionographer

BUF: VFX for Enter The Void


Gaspar Noé’s new film, Enter The Void, “will kick you in the balls”, as a colleague of mine put it. It’s a psychedelic visual ride that borders on inducing seizures; take the title sequence as a brief example of what I’m talking about. Most of the film’s effects came from the work of French visual effects studio, BUF, who also produced the film. Taking on almost 350 of the films shots over the course of 2 years, BUF added to and even rebuilt many shots to complete the spiritual and hallucinogenic vision of Gaspar Noé.

Check it

Posted on Motionographer