Hasta La Motion!

Dec 16

New Softimage Modeling Video Starring Ubisoft’s very own…

Posted in: The Pad

cmiVFX Releases New Softimage Advanced Modeling Techniques Training Video
High Definition Training Videos for the Visual Effects Industry

Princeton, NJ (December 19, 2010) cmiVFX launches its next highly anticipated Softimage Training Video. or should we say "More than just" Training Video.
This visual adventure goes way beyond button clicks and tool locations, by captivating the viewers creative side. This video creation was designed to showcase talent at work. Featuring Ubisoft’s very own 3D Modeler, Sebastien Giroux, the journey begins with a simple polygon, and turns into a complex mechanical warrior right before your eyes. Edited for time, so that your not waiting around for answers to your questions, we trimmed all the fat and added a killer soundtrack to inspire the mood even further. When it comes to training, AND entertainment, there is clearly only one choice. cmiVFX! Say it to yourself or scream it from a mountain top. It just feels right!

When it comes to high end CG and VFX training, there is only once choice… cmiVFX!

Dont forget about the cmiSubscription plan! Get one today. cmiVFX launched the most affordable subscription plan in Visual FX Training History for only $299 USD, and if you were a subscriber, this New Training Release would already be in your account. This video is also available a-la-cart in our brand new HTML5 player system. (WE JUST ADDED FIREFOX 4 beta SUPPORT!)

Softimage Advanced Modeling Techniques
http://www.cmivfx.com/tutorials/view…ing+Techniques

Blocking
Since the advent of new computer graphics tools like Mudbox or Zbrush, many new artist are missing the core fundamental principles of constructing something. The ability to solve problems when digital data doesn’t want to comply with the end user. Polygons, edges, vertices, all mucking about without purpose or proper parameterization is just not the best way to understand your job as modeler or texture artist. Sebastien takes you through a very cool way of building your objects in proxy so that you can understand the form for later retopology. Don’t mistake the fact that everything good in life comes in stages. Wether is crawling before walking, or in our case blocking before modeling details, recognize the journey for what it is and what it can do for you. Basically, DON"T PUT THE CART BEFORE THE HORSE.

Rebuilding
One a prototype is built, and tested for visual satisfaction, it can then be constructed for proper use. Just like a clay model of a car shape, it will need to go to tool and die. We show you how to rebuild your model with the proper geometrical parameterization that is required for highly detailed renderings. There is no fun in seeing jagged edges, unwanted creases, and odd moire patterns from poor surface generation. Sit back and relax while we show you how its done.

Details
It’s ALL in the details. This is what makes a Toyota turn into a Lexus luxury sedan. DETAILS. We wont be adding leather and 5 position seats, but we will show you how to increase the visual experience by detailing your models with topology enhancements. Each part should integrate accordingly and run smoothly as the eye passes over it. If you see an area that is just not as good as the rest of your model, then you know your missing detail. Watch as Sebastien solves intricate problems to detailing situations.

Accessories
Everything that humans know is accessorized. The very clothes that you wear, can be considered accessories. Our model needs some as well, and all the models you create will too. This section of the video shows off the modeling skill of a veteran production modeler as he banks every turn through to the end of the video. So many cool ideas will be popping up in your minds as you watch, that we wouldn’t be surprised one bit if you pause the video and start working on one of your projects immediately. Watch the finishing of the model and enjoy the satisfaction of seeing it completed.

About The Author
Sebastien Giroux has been working for 8 years in the field of 3D Animation field while residing in Montreal, Canada.
His career started in the movie and publicity industry and later switched to the gaming industry to give him a chance to diversify is skill workflow and optimize technical approach by changing his perspective on work with the help of his colleagues. He is currently a Modeling and Texture artist at Ubisoft Montreal and worked previously on actors/actress 3D models for movies like 2012, Surrogates and games like Dead Rising 2, Kane and Lynch 2. At a young age, Sebastien was passionate about the CG world. His main focus was to to keep a healthy balance between the technical and artistic side of his work. His love for his career made him always look for ways to push the bar higher and higher by looking for new challenges to improve is skill set.

This video is available today at the cmiVFX Store: http://store.cmivfx.com/

About cmiVFX
cmiVFX is the leader in High Definition Video Training for the Visual Effects Community. Register for FREE and receive hours of FREE content at the cmiVFX Video-on-Demand Player. ( http://store.cmivfx.com/login ) For additional information about cmiVFX, visit http://www.cmivfx.com. © 2010 cmiVFX | cmiStudios. All rights reserved.

Dec 16

A Look Inside The New General Motors with Noah Conopask.

Posted in: Brand Film, Car Design, Car Development, Cars, Design, Digitas, Engineering, Gallery, General Motors, GM, Michigan, Noah Conopask, Shilo, Technical Center, technology, Vehicles, Warren, Website

Click here to view the embedded video.

Did you know General Motors has this top-secret facility for all things awesome? In the current brand film on GM’s revitalized company website, Shilo’s director Noah Conopask gets a hall pass to document the going-ons in the Technical Center in Warren, Michigan. Catch the interview with Mr. Conopask below for some anecdotal references to GM’s sci-fi and sexy like facility.

Sheina: Hey Noah. I just wanted to start off and say great job! I really liked this piece.

Noah: Thank you, thank you.

Sheina: Seeing it on the GM website with “the new General Motors,” as the encompassing motto of the company and the film as the centerpiece, how do you think the piece compliments that statement?

Noah: It all starts with the people at GM. The employees are a myriad of multicultural individuals who bring different perspectives to the table. GM use to be seen as a traditional establishment, so they needed to communicate that that’s no longer the case. My job was to bring an artful perspective, to show the fusion of design, art, science and engineering in this revived company.

Sheina: And this particular project is different than a broadcast commercial, it’s a brand film on the web.

Noah: Right, the new media frontier for today is online. It has allowed us (Shilo) to make more cinematic commercial content and it has allowed commercial directors to break away from the confines of the broadcast format. As for the brand film part, the piece needs to captures the spirit, ethos and the guiding principle of the brand. That principal for the new GM is innovation. They have to innovate and be a force to reckon with in bringing in new ideas and turning them into fruition. So, in terms of the structure of the piece it made sense to move in a singular thread: the inception, the idea, construction, testing and realization of product innovation.

Sheina: Sometimes in these brand films the direction of the piece would include interviews with lets say, the VP of the company, a message coming directly from the horse’s mouth which can feel forced. But with this it felt more insightful.

111210_GM_SHORT_1280x720

Noah: Working with Eric Dean and Manny Bernandez, the Creative Directors at the agency Digitas, they really wanted to make something special. Eric created this vision and is really passionate about cars. Manny’s drive was to make this as cinematic as possible and the collaboration we had was great. With their enthusiasm for the piece, I wanted to make a more visceral work versus saying something directly. To make something sensitive, confidant and considered in this stylized documentary. To have a subtle dialogue with the viewer so that they can walk away with their own thoughts about it. I think commercial work is so much more powerful when you don’t have to explain to the viewer about what they’re seeing. Doing it this way is much more memorable and everything has to be purposeful enough to do that.

Sheina: Sounds like you gave yourself a tall order.

Noah: Well, this particular film incorporates so many things that Im drawn to and love, so it was a great job to work on. From the artistic aspect thats close to me in my everyday, my love for exciting technologies, and the techy machinery with it’s own integral design features. Also, given the opportunity to create these portraits of real people was incredibly interesting. There’s something special about shooting real talented individuals in their natural stage.

Sheina: So, did you stroll into the GM building and shoot?

Noah: No not at all. The GM campus is a top secret facility where you don’t just walk in and out of. The logistics of getting into their inner belly was really difficult. We had to move as one group with an escort, they tape over our cell phones and no cameras were allowed. So I couldn’t shoot my own photography which is something I usually like to do to block scenes when I scout. I had to have someone else shoot for me and approve the shots. And at one point when we passed by the garage, they had a fully realized clay model of a new vehicle which wasn’t permitted to be seen, so their team ran over and shut the doors immediately.

Sheina: Car manufacturing is no joke! Speaking of clay, one of my favorite parts in the film is seeing that giamongous block of clay-dough.

Noah: That was one of my favorite parts of the shoot as well. Roman the artist, was the coolest. Watching him work the clay was almost sensual in the way he manipulated the material and how in tune he was with it. I mean he was really into it! He was so passionate about the art form and was excited to talk about it. During that long shot of him pulling the tool down the side of the sculpture, the entire crew was mesmerized and everyone on set was silent . All eyes were glued to Roman, it was amazing. I feel like it was one of the most beautiful things I’ve ever shot.

GM_Short_04_A

Sheina: Wow, who knew clay was so sexy?! Well, I guess Demi and Patrick knew that from the get go in Ghost. But besides the seductive factor of dirt and water, there’s also a lot of cool imagery of exciting technology in the facility.

Noah: Yeah, I was psyched to get access and I requested to see things that were out of the ordinary. But it was funny, because when you talked to the people at GM, they definitely took for granted the work and technology they were so use to seeing everyday. There was this fabrication machine that would create these beautiful crystalized structures, which we dubbed the Fortress of Solitude. In front of this machine was a vat of liquid plastic where a lazer would shoot into it to fuze together and formulate a beautiful piece of lattice. As soon as I saw this I wanted to shoot it. I mean come on, how could I not?

Sheina: Oh, and that windtunnel?!

Noah: That was the crown jewel of spaces to be in, the Aerodynamics Lab. It was like walking into the Deathstar. It is so massive and so cool. You just heard this constant hum from the wind and the fan looks like a missile. It felt James Bond like.

Sheina: The last thing I want to touch up on is the time lapse. I thought that was a nice touch.

Noah: I wanted it to feel like a day in the life at GM. We chose that magic hour of the sun rising up over the entrance, representing this bright hope and promise, a day of innovation.

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Dec 16

Compositors @ Double Negative Singapore

Posted in: The Job Lot

Job Title: Compositor (Singapore)
Department: 2D
Location: Singapore
Reports To: Head of 2D
Direct Reports: 2D Supervisor

Key Purpose of the Job

To seamlessly integrate all the layers or elements of a shot, including live-action and computer graphic elements. Compositors work closely with Visual Effects Supervisors and 2D Supervisors to composite the numerous elements that complete a visual effects shot.

Needs To Do

Blue/green screen extractions
Seamless integration of live action, miniature and CGI sources.
Take part in client reviews
Follow production methodologies and develop creative approaches and problem-solving
Performing all aspects of composite fx design

Needs To Know

You must have a minimum of 2 years VFX industry experience
Experience in using Nuke
A knowledge and interest in photography and practical lighting is helpful
Critical eye for detail, and strong communication skills

Needs To Be

Pro-active
Team oriented

Please send a hard copy showreel, shot breakdown, CV and cover letter to Alice Tuxford at 77 Shaftesbury Avenue, London, W1D 5DU.
If you have any questions please contact jobs@dneg.com
We look forward to hearing from you!

Dec 16

CANADA: Scissor Sisters Invisible Light (NSFW)

Posted in: Canada, General, invisible light, music video, Nicolás Méndez, partizan, polydor, promo, scissor sisters

Barcelona-based directing collective CANADA have been rocking quite a lot of people’s worlds for the past few months, with their breakthrough music video for El Guincho – Bombay having enough iconic, Jodorowsky-esque imagery in one piece to fill an encyclopaedia!

Nicolás Méndez (from the collective) is back, with CANADA’s first piece since signing with Partizan. It’s no surprise that CANADA’s use of golden breasts got the attention of New York camp-royalty Scissor Sisters.

This jaw-droppingly epic collaboration is a joy to behold, and a perfect pairing of talents (so, massive hats off to commissioner Dilly Gent of Polydor for that one!).

Incredible cinematography by Gomez del Moral and David Valldeperez completes the high production values of this erotically charged wonder. It rounds off CANADA’s exploration of vintage-style montage work perfectly, and I for one will be very interested to see what’s more to come from these Spanish artists. Repeatedly watch-able and, for you all those that need warning, it does contain some nudity!

Scissor Sisters
Invisible Light (Polydor)
Director: Nicolás Méndez
Prod co: Canada
Representation: Partizan
2nd Unit: Luis Cerveró, Lope Serrano
Executive Producer: Òscar Romagosa
Production Manager: Alba Barneda
DoP: Marc Gómez del Moral
DoP 2nd unit: David Valldepérez
Production designer: Roger Bellés
Stylist: Carolina Galiana
Make Up: Gina Ros
1st AD: Javier Rodríguez
Special FX: Marc Velasco
Motion graphics: NO DOMAIN
Digital FX artist: Gloria Gil
Commissioner: Dilly Gent

Posted on Motionographer

Dec 16

Procedural modelling

Posted in: Beginners Talk

I’ve just been reading about Houdini’s "procedural modelling". What does this mean exactly…? What difference would this make between constructing a model in Houdini, say, from constructing the same model in a "non-procedural" system…? And which type is Maya/3DS…?

Dec 16

lead VFX artist wanted

Posted in: The Job Lot

Silkroading located in Beijing, China is looking for an lead Effects Artist to work on a dome film production. Silkroading is the only one dome film production studio in China and we are doing the production for Dunhuang the World Heritage Site in west of China. We are making the dome film for the new visitor center there right now. Currently our production team is doing the animation part for the film. We need a couple of artists to join us and make this production to be a world-class film. If you are interested, please contact us. The production is in China, any artist who wants to travel and work in China for a long period is the one we are looking for.

Duties and Responsibilities:
· Create effects for assigned shots using Maya and other necessary software, ensuring continuity and flow within and between shots and sequences
· Managing other Effects Artists to ensure that all individually assigned Effects deliverables are completed fully and in line with production schedule and Directors overall vision
· Attend Effects reviews for assigned sequences
· Troubleshoot and debug shot problems and escalate technical issues as required
· Maintain a convention of file naming structures for all shots that is compatible within the Silkroading Animation production pipeline
· Remain current and up-to-date in effects techniques through industry research and training
· Perform additional duties as required

Skills and Experience:
· 3+ years CG visual effects experience in a Maya production environment
· Feature film or animation experience an asset
· Completed post-secondary education classical or 3D animation, art fundamentals, or other relevant area of study
· Good working knowledge of Realflow, Maya FX tools, Houdini and 3dMax.
· Experience with Maya particles/dynamics and particle expressions
· Basic understanding of animation styles and techniques and the animation production pipeline as a whole
· Good creative and technical problem solving skills
· Ability to learn quickly and comprehend custom in-house production tools
· Ability to prioritize tasks, meet tight deadlines, and perform to standard in a fast-paced environment
· Compositing principles preferably using Fusion and/or Nuke
· Any scripting language
· knowledge on Imax or dome film is better.

Qualified applicants can apply through email to Silkroading at annie.ren.of@gmail.com Please ensure you attach a link to your demo reel including your reel breakdown and resume.

We would like to thank all applicants and will reply all right away.

Dec 16

Mice and Dragons in Voyage of the Dawn Treader

Posted in: Industry News

[NEWS=”http://www.cgnews.com/wp-content/uploads/mpc_dragon_thumb.jpg”]28997[/NEWS]Michael Apted has directed the latest instalment of The Chronicles of Narnia, The Voyage of the Dawn Treader, produced by Twentieth Century Fox and Walden Media. MPC completed over 700 VFX shots for the film, creating Reepicheep, Eustace the Dragon, a deadly Sea Serpent, extensive digital environments, and the ocean going ship of the film’s title. MPC also delivered 40 of the shots in full 3D stereo.

At MPC the film was supervised by Adam Valdez, produced by Marianne Speight, with CG supervision by Kevin Hahn, animation supervision by Gabriele Zuchelli, and compositing supervised by Charley Henley.

Lucy and Edmund Pevensie return to Narnia with their cousin Eustace where they meet up with Prince Caspian for a trip across the sea aboard the royal ship The Dawn Treader. Along the way they encounter dragons, strange islands, and a band of lost knights, before reaching the edge of the world.

MPC’s main challenge was to create some of the key characters for the film. MPC’s team of animators was once again performed the role of Reepicheep the mouse, voiced by Simon Pegg. Reepicheep – a courageous knight of Narnia – accompanies Caspian on his voyage in the hope of finding Aslan’s Country at the end of the world.

To make sure Reepicheep’s sword skills were unrivalled, MPC’s Animators took fencing classes to learn the moves and tricks of the trade. With over 200 hero shots, Reepicheep was upgraded to take the spotlight. MPC’s art department designed subtle changes for a wiser and more mature Reepicheep. MPC’s Furtility was once again the grooming tool of choice.

When Lucy and Edmund’s cousin Eustace steals a piece of a dragon’s hoard, he is transformed into a dragon himself, with MPC supplying this performance. Without being able to speak, Eustace the Dragon needed to convey subtle emotion through facial expressions alone. Reepicheep and the Dragon have several virtuoso acting moments in which their friendship is bonded.

For the Dark Island sequence, extensive environment and character work was carried out. The 180-shot sequence shows the Dawn Treader sailing into an island of evil mist and being attacked by a giant sea serpent.

The Sea Serpent was designed by MPC’s Art Department, down to hundreds of articulated “feelers” and blubbery skin. For the serpent’s interactions with the sea, ocean surfaces and splashing water effects were generated by the FX team.

The Evil Mist environment consisted of giant branching pillars of fog and flickering green pulses of energy, realized through intensive 3D particle simulations, with final layouts and mood established by the compositing team in Nuke.

MPC also created the Dawn Treader herself. For some scenes this entailed providing the land-based set build with a full sail and ocean surfaces surrounding it. In other shots the ship was a created completely at MPC, including the ship’s crew. Many have commented that the film does feel like a voyage at sea, a testament to the excellent planning and eye of the film’s supervisor Angus Bickerton.

RELATED LINKS
www.moving-picture.com
www.narnia.com