Hasta La Motion!

Previewed to widespread acclaim at SIGGRAPH 2010, OptiTrack’s Insight VCS virtual camera system is now available to customers worldwide. Offered at a third of the price of competing systems, the Insight VCS is ideal for previsualization and production in game and CG film projects of any scope, ranging from AAA games to independent films.

“Professional motion capture products have historically been prohibitively expensive,” said Jim Richardson, NaturalPoint® co-founder and lead engineer for the OptiTrack motion capture line. “With the release of the Insight VCS, we are proud to once again alter the CG production landscape by bringing the latest motion capture technology to market at a price that is accessible for all studios.”

The perfect tool for bringing real-world camera work into your virtual productions, the Insight VCS has already been adopted by leading previsualization, film production and video game development companies across the globe. Early launch customers include Nvizage, USC School of Cinematic Arts, Monolith Productions, Halon Entertainment, Animatrik Film Design and Spark Unlimited.

“Our previsualization teams are often put in situations where clients need shots very quickly with the flexibility to shoot as if they are on set,” said Nvizage Previs Supervisor, Faraz Hameed. “The Insight VCS allows us to do that. Shots that used to take days can now be completed in hours.”

A two-part system, the Insight VCS consists of a hardware camera rig and software interface. As the hardware rig is tracked throughout the motion capture volume, absolute 6 DOF position and orientation data is streamed live via a software plug-in, to either Autodesk MotionBuilder or Maya, to drive the virtual camera within the 3D application. Real-time reference video is streamed out of MotionBuilder or Maya back to the VCS display, creating a low-latency visual feedback loop, similar to the viewfinder of a digital camera.

“Not only does the Insight VCS allow us to service the needs of VFX supervisors and directors, but also the art department,” continues Hameed. “Production designers are finding it a useful tool to help design film sets and demonstrate ideas on the fly. It’s like virtual set building in real-time!”

To ensure complete compatibility with a variety of production pipelines, the Insight VCS has a universal option for interoperability with any existing optical motion capture system – including OptiTrack, Vicon and Motion Analysis – that can track marker-based rigid bodies and stream data to Autodesk MotionBuilder.

Pricing and Availability
The Insight VCS is available immediately, with camera rigs ranging in price from $199 USD to $5,000 USD. Software plug-ins to MotionBuilder and Maya for OptiTrack systems are $1,000 USD. The universal plug-in to MotionBuilder for other motion capture systems is $2,000 USD. For more information, please contact the company’s headquarters in Corvallis, Ore. at 1-888-865-5535, or visit www.optitrack.com.

About OptiTrack
OptiTrack™ is the leading brand of affordable, high-performance motion capture technology. The OptiTrack product line includes: ARENA™, Expression™, and Tracking Tools™ motion capture software; the S250e, V100:R2, and V120:SLIM high-speed motion tracking cameras; and the Insight VCS virtual camera system. Used by facilities worldwide in a variety of markets ranging from film and games to sports training and biomechanics, OptiTrack customers include Halon Entertainment, Nvizage, Electronic Arts, Microsoft Game Studios, Method Studios, Lockheed Martin, NASA, John Deere and other top studios and developers around the world.

OptiTrack is owned by NaturalPoint®, one of the foremost companies specializing in optical tracking technology. For more information, visit www.optitrack.com.

About NaturalPoint
Based in Corvallis, Ore., NaturalPoint® is the creator and manufacturer of the OptiTrack™, TrackIR™ and SmartNAV™ family of brands. NaturalPoint specializes in providing innovative control solutions through optical tracking technology, and has developed tracking systems for computers, video games, military simulators and unique display systems. For more information visit www.naturalpoint.com.

Hello everyone,

I’m just starting on Nuke and I would like to know can I read/write .avi files. I make some research on the user guide, and on the internet … This is what I saw :
On Windows, in order to support more codecs, the AVI reader uses the DirectShow multimedia architecture. When decoding AVI files, DirectShow tries to find the appropriate codec on the system. If the codec is not available, DirectShow and Nuke are unable to open the AVI file. Note that the 64-bit version of Nuke can only use 64-bit DirectShow codecs. If you only have a 32-bit codec installed, the 64-bit version of Nuke cannot use it to open AVI files.
So I decided to install K-lite codec Pack for 64bits, because It’s the only pack with Directshow and when I try to "open" my .avi file I have an Error : Read 1.

Can I have some help please ??

3D-Coat to Fusion AppLink

Version: 1.06

Description: 3D-Coat AppLink functionality for Eyeon Fusion 6

Author: Ilia Zaslavsky <|> Email: vfxdomain@gmail.com <|> Web: http://flavors.me/vfxdomain

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Installation:

Unzip the archive.

Copy 3dc_applink.py file to your Fusion install folder\Scripts\Comp, the path is usually:

C:\Program Files\eyeon\Fusion 6.1\Scripts\Comp
or
C:\Program Files (x86)\eyeon\Fusion 6.1\Scripts\Comp

Restart Fusion.

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Usage:

In fusion, make geometry node (usually FBXMesh3D or Shape3D) you want to edit in 3D-Coat
active (selected and active is not the same thing, selected node is blue while active is
yellow, so make sure to make geo node active in fusion), then run AppLink UI by hitting
Script -> 3dc_applink.py in Fusion menu bar. Select "Import from 3D-Coat" or
"Export to 3D-Coat" checkbox and hit "OK".

If you choose "Export to 3D-Coat", saving dialog should pop, choose location and name of
the output file (without extension, .obj is set automatically), choose 3D-Coat Identifier
in the next dialog window, then in the last "Options" dialog you can choose to skip
importing and exporting dialogs in 3D-Coat and pre-select some options. This last step
is optional, you can cancel this window and set all needed options inside 3D-Coat.
Also you should know that pre-selecting this options and skipping 3D-Coat import
and/or export dialogs should work only in 3D-Coat version 3.5.06 and up.

After exporting geometry from Fusion via AppLink script, run 3D-Coat
(or bring the focus to it’s window if 3D-Coat was started earlier), a dialog with options based on your "3D-Coat Identifier" selection in AppLink script should pop up.
Set needed options, hit "OK" and edit imported mesh to your heart content, using 3D-Coat’s
rich toolbox for Texture Painting, UV Editing etc. When done, select "File" ->
"Open in Originall App" from 3D-Coat main Menu.

Now go back to Fusion, run AppLink script and select ‘Import from 3D-Coat‘ checkbox to
bring edited mesh with textures and maps created in 3D-Coat back to Fusion. A network
of nodes should be created, with color / specular / normals / displacement maps loaders,
2D Texture / Displace 3D / BumpMap nodes for this loaders, assigned to the correct inputs
of the Blinn material, which is connected to the material input of the 3D mesh node.
You can repeat the whole process as many times as needed.

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!!!— Note about Displacement —!!!

Current version of Fusion does not allows to tessellate imported geometry.
When using Displace 3D, keep in mind that it will only displace existing vertices
and will not tessellate objects. To obtain a more detailed displacement, increase
the Subdivision amount for the geometry that is being displaced (available only for
Shape3D nodes, if you’re using geometry imported via FBXMesh3D node make sure to
pre-tessellate it outside of Fusion if needed).

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Video Demonstration:

VIMEO: http://vimeo.com/17644024

YOUTUBE: http://www.youtube.com/watch?v=vyWDEoM9UnI

Download:
Attachment 11113
Attachment 11114

Attached Files

	3dc_fus_applink_1-06.zip (27.0 KB)
	3D-Coat AppLink for Eyeon Fusion 6.mp4 (41.64 MB)

[NEWS=”http://www.cgnews.com/wp-content/uploads/cod_bop_eye.jpg”]28893[/NEWS]London design and animation studio Spov recently showcased their groundbreaking work for Call of Duty: Black Ops at the Onedotzero festival at the BFI. Spov have been working on the action game, in partnership with Activision and Treyarch, for the last twelve months. Spov creatives developed a package of cinematic sequences that reveal the cryptic narrative of the game as it unfolds across a plethora of cold war scenarios.

Spov utilised never before seen archive material, in-game capture, 2D and 3D animation, sophisticated graphical layouts and extensive post effects, to create the Call of Duty spots.

The work portrays a visual style that illustrates the tension and confusion which were omnipresent at the height of the superpowers’ hostilities.

The Spov team created a special showreel reel for the Onedotzero festival of highlights from their innovative commercial work for the multi-layer game. The edit is a compilation of fifteen in-game cut scenes that build upon the Treyarch-created game narrative. The cut scenes reflect the paranoia from the Cold War-era, as well as continuing the protagonist’s story as the story-arc progresses.

Spov’s starting point for the visual interpretation was the technology of the period in which the game is set. Featuring microfiche readers move, Nixie tubes – precursors to LED displays – and redacted text add key plot points and move the engrossing story as presented to the main character.

About Call of Duty: Black Ops
The biggest action series of all time returns. Call of Duty: Black Ops is an entertainment experience that will take you to conflicts across the globe, as elite Black Ops forces fight in the deniable operations and secret wars that occurred under the veil of the Cold War.

Call of Duty: Black Ops will take you behind enemy lines as a member of an elite Special Forces unit engaging in covert warfare and classified operations. With access to exclusive weaponry and equipment, your actions will tip the balance during the most dangerous time period mankind has ever known.

Featuring an epic campaign story filled with the heart-racing action and a signature multiplayer that only Call of Duty delivers, the only thing you can count on is that if you are killed or taken alive, your country will disavow all knowledge of your existence.

About Spov
Spov is a creatively led design and animation studio based in East London. Spov’s creative services include concept development and art direction, live action production and post production, motion graphics, branding, CGi and visual effects.

About Onedotzero
Onedotzero is a London-based moving image and digital arts organisation which commissions, showcases and promotes innovation across all aspects of moving image, digital and interactive arts.

CREDITS
Call of Duty: Black Ops
Creative Director: Miles Christensen
Production: Spov
Producers: Allen Leitch; Gemma Thompson
Editor: Yugen Blake
Audio: John Graham (Quivver)
Brand: Treyarch / Activision

RELATED LINKS
www.spov.tv
www.callofduty.com
www.treyarch.com/games
www.onedotzero.com