2011 Oscar Nominations


The 83rd Academy Award Oscar Nominations were announced this morning. Lots of great performances and films are in the running, including Toy Story 3 for Best Picture. Check out clips from this year’s nominated animated and live-action short films after the jump.

Short Film (Animated)


Day & Night
Teddy Newton
USA, 6min


The Gruffalo
Jakob Schuh and Max Lang
UK, 27min


Let’s Pollute
Geefwee Boedoe
USA, 7min


The Lost Thing
Shaun Tan and Andrew Ruhemann
Australia, 15min


Madagascar, carnet de voyage (Madagascar, a Journey Diary)
Bastien Dubois
France, 12min
*full-length film available as part of Fluxus 2010

Short Film (Live Action)


The Confession
Tanel Toom
UK, 25min


The Crush
Michael Creagh
Ireland, 15min


God of Love
Luke Matheny
USA, 18min


Na Wewe
Ivan Goldschmidt
Belgium, 18min


Wish 143
Ian Barnes and Samantha Waite
UK, 23min

Posted on Motionographer

Blind Create Motorcross Thrills For MX vs ATV Alive

[NEWS=”http://www.cgnews.com/wp-content/uploads/motorcross_thumb.jpg”]29874[/NEWS]Blind recently launched a concept-to-completion thrill ride of a trailer announcing THQ, Inc.’s new MX vs ATV Alive videogame. The expert crew at Blind handled all production, editorial, post, and oversaw the sound design on the direct-to-client project.



Inspired by classic Hollywood chase sequences, MX vs ATV Alive Announce is a thrilling, :60 ride through a stylized Motocross race course. From the throttle-twisting, gear-adjusting starting line to the ramp-jumping, airborne finale, the spot follows a pack of adrenaline-fueled riders as they tussle through the spiraling, bumpy course, knocking one another off one by one until a lone hero – Supercross champion James Stewart – remains as the victor.



Drawing from work-in-progress box art and website design concepts, Blind created the trailer’s distinctive look. “Even though the final piece is very stylized, we had a mandate from THQ to maintain a foundation of Motocross authenticity,” noted CD Erik Buth. “From the outfits the riders are wearing, to the motion of the bikes on the course, we carefully studied every element of the sport with the goal of creating something that even the most hardcore fan would view as authentic. If they wanted to, fans could go out and actually buy any of the gear featured in the spot.”

To create this realistic effect, Blind focused on two main elements: modeling and animation. The studio modeled and textured the riders and bikes to look as real as possible, recreating actual Motocross gear – helmets, goggles, shirts, pants, boots, even the gloves. Once those assets were in place, animation began.

Infusing the sport of motocross with drama and over-the-top action was an inherent aspect of creating an entertaining game trailer, but Blind stayed loyal to the underlying look and feel of the sport throughout. “The dynamics of Motocross are very specific,” continued Buth. “We studied hours of race footage to get the signature moves right.” Blind incorporated Maya, ZBrush, Cinema4D, Photoshop, Illustrator, After Effects, Avid and Flame at various points in the three-month production process.



”Since this was client-direct, rather than through an agency, we had a lot more responsibility to manage the story and the look of the piece than we normally would,” stated Blind EP Dave Kleinman. “Early on the guys at THQ made reference to a Russell Athletic piece Erik had done a couple years back, so that set us up right away with a great working relationship. It felt like a true partnership, in which we were equally engaged in making the trailer as strong as possible.”

About Blind:

Blind, a multi-disciplinary design, motion graphics, animation, visual effects, live-action, editorial, print and broadcast design studio with offices in Santa Monica and NYC, taps into diverse intellectual and creative resources to come up with compelling results. Since 1995, Blind has been pushing beyond the expected, offering clients a new way to see with award-winning design. A few things remain constant amidst this design/production powerhouse’s constant drive to reinvent itself: the abilities to engender surprise and produce projects from conception to reality.



Blind’s creative team has built an uncommon level of respect in the advertising and entertainment communities via cutting-edge campaigns for brands such as Xbox, Showtime, Bright House Networks, DirecTV, OppenheimerFunds, McDonald’s, Scion, and recording artists including Gnarls Barkley, The Raveonettes and Justin Timberlake to name a few. In 2010, Blind took home a Creative Arts Emmy for their work on The Raveonettes’ Heart of Stone music video, as well as a Gold London International Award for the stunning Dr. Martens motion graphics piece, Lilac Wine.

CREDITS


Spot Title: MX vs ATV Alive Announce


Air Date: Jan. 17, 2010
1/8/11, AMA 2011 Supercross, Anaheim 1



Client: THQ, Inc.


VP Creative Dev.: Evan Hirsch


VP Creative Services: Bob Benjamin


VP Global Brand Mgr.: Mike Lustenberger


Global Brand Mgr.: Ali Bouda


Project Manager: Mike Kelleher



Prod/Post Company: Blind


CD: Erik Buth
EP: David Kleinman


Producer: Brad Herbst


Head of Production: Amy Knerl


CG/FX Supervisor: Hatem Ben Abdallah


Art Director: Steve Pacheco
Lead
Animator(s): Diego Seferian, Christian Argueta

3
D Animator(s): Steven McClellan, Tony Castro


Particle Animation: Jason Kim, Raymond King, Pasha Ivanov


3D Lighting Artist(s): Pasha Ivanov, Raphael Protti


Modeler(s): John Ployhar, David Mooy, Pasha Ivanov, Ryan Taylor


Texture Artists: John Ployhar, Ryan Taylor, Justin Young, Jordan Carroll


Rigging: Tony Castro


Rotoscoping: Lin Wilde


Compositor(s): Lawrence Wyatt, Ryan Kirkwood, Daniel Chang, Chris ONeill, Jason Lowe, Joe Todoran, Maithy Tran, Eric Zunkley, Ivan Cruz


Pre-viz: Diego Seferian, Chris Marcet

Designer(s): Erik Buth, Steve Pacheco, Lawrence Wyatt, Hatem Ben Abdallah, Kate Mrozowski


Storyboard Artist: Vincent Lucido

Writer(s): Erik Buth, Rick Spitznass


Researcher(s): Rick Spitznass, James Kim, Kate Mrozowski, Eric Zunkley



Editorial: Blind


Editor: Erik Buth


Assistant Editor: Lin Wilde



Audio Post: POP Sound



Sound Design: Hest, Kramer, Van House & Weber


Sound Designer: Jim Weber

Producer: Christy Van House

RELATED LINKS
www.blind.com

www.mxvsatv.com

Read more: http://www.trustcollective.com/portf…2;Attribution: Written content created by TRUST: http://www.trustcollective.com
Under Creative Commons License: Attribution Share Alike

Fantasy CGI Planets

Hi Guys,
Im from Germany and I new here! This my first movie here!
Soory, my English is bad;)
so, lets take a look of my Video!
3D`s Max 2010, After effects, photoshop:cool:
please, give me some Feedback;)

Ouat Media Celebrates Our Filmmakers at the 83rd Annual Academy Awards!

Ouat Media celebrates their filmmakers at the Academy Awards

Toronto – Ouat Media Inc. (Ouat) announced today that two of their short films have been nominated for the 83rd Academy Awards.

MADAGASCARis a 12-minute animation by Sacrebleu Productions, that brings to life a traveler’s journey diary of his travels in Madagascar. The stellar animation technique acquaints the viewer with the Malagasy culture and Famadihana customs.

THE LOST THING is a 15-minute animation by first-time directors Andrew Ruhemann and Shaun Tan. It is a modern fable where a boy discovers a bizarre looking creature and tries to find out who owns it or where it belongs, and then sets out to find a ‘place’ for it.


Both films have been nominated under the Best Short Animation category.

The Academy Awards will take place on February 27, 2011.

Ouat Media continues to represent the best short films from the world’s top filmmakers in both the short and feature film programs.

About Ouat Media Inc.
Created in 2006, Ouat Media [pronounced "what"] is a global media distribution specialist. Ouat Media’s mandate is to be the premier multiplatform content aggregator and provider of short film content for broadcast, Internet, mobile devices, and all other newly-developed media.

Ouat Media is based in Toronto, Canada and is part of the Channel Zero Inc. family of companies which also includes Silver Screen Classics, and Movieola- the Short Film Channel.

– 30 –

For press information please contact:
Brad Horvath
416-979-7380 ext 2115
brad.horvath@ouatmedia.com

For sales information please contact:
Fred Joubaud
416-979-7380 ext 2112
Fred.joubaud@ouatmedia.com

cmiVFX Releases New Houdini Smoke and Dust Simulation Training Video

cmiVFX Releases New Houdini Smoke and Dust Simulation Training Video
High Definition Training Videos for the Visual Effects Industry

Princeton, NJ (January 25, 2011) – cmiVFX launches its latest full feature training video on SideFX’s Houdini, premiere Visual Effects Animation Package called "Smoke and Dust Simulations". This video covers topics in producing large scale simulations within Houdini using the latest tools and custom techniques in the industry. The learning structure used in this video, gears all users up to be able to follow its contents from start to beginning. This is one of the few videos made that allow a novice or experienced Houdini user the ability to learn on the same level. The degree of quality, of the produced results only vary by a few settings in the software, so we created this entire video with the learning addition of Houdini, called "Apprentice", so that even the Master Magician himself could learn this technique if he were still alive today! We leave no man, woman, or child behind! With cmiVFX nearby, EVERYONE can learn the answers to the most complicated problems in the visual effects universe.

Here at cmiVFX we maintain a current training library for the latest versions of popular software titles. When it comes to high end CG and VFX training, there is only once choice… cmiVFX! This video is available today at the cmiVFX store for a Special Introductory Offer Price!

Don’t 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.

Houdini Smoke and Dust Simulation Training Video
http://store.cmivfx.com/tutorials/vi…Smoke+And+Dust

Layout – Preparing Collisions and Emission Objects
The Pyro material’s interface may appear intimidating at first, so we will help reduce it down to its basic components, smoke, fire, and scattering. The first chapter will explain of the preparation of emitters and collisions objects before plugging them to the dynamic world. It will cover key points that needs the attention before starting your simulation.

Basic Smoke Simulation Set-up
In this section of the video, we insert a dynamic smoke solver simulation, tweaking the different elements for the desire chimney smoke effect. Adding Custom forces and overview the key aspects of the simulation. This will allow for the artist to start visualizing what our system will look like. Its important to run these systems in a lower resolution to get the basic fluid moment working in the way that is desired from you or your supervisor.

Basic Up Res Simulation
To "Up Res", is a technique used to increase the detail of a low resolution simulation. This is where you take a basic smoke design fluid motion and start adding the detail in order for it to look more like a smoke cloud and less like the hot steamy shower you might have taken this morning. This chapter covers each step from a low-res behavior to an Up-Res Smoke Volume cached to disk.

Auto Resize Fluid container
This section of the video will discuss the technique of Auto Resizing the boundaries of your simulation based on density of it self. This method will optimize any simulation to its quickest simulation time and will set you free with no need of simulation boundaries container. The Smoke will only occupy as much space as needed to help reduce overall calculation of a formerly larger dynamic field.

Large Scale Pyro Simulation in depth
Up until now, we have been working with a smaller scale, atypical "enhancement scene" in which the hero of the shot would not be the smoke. However in this Blockbuster Film style, large scale hero smoke effect shot, we take what you have learned so far to the next level by increasing everything! Below is a simple breakdown of the steps used in the project. For more information, you will need to watch the video itself!

========= Large Scale Project ===========

PROJECT: New Mexico Dust Storm Project
The shot for this project was taken at our New Mexico Studio Lot location in Albuquerque. This particular plate was acquired during the production of "Book Of Eli" during our LIDAR scanning collection for the movie.

1) Layout – Creating a layout HIP file based on the image of our New Mexico facility background, matching the ground and camera as well as adjusting scene scale for simulation a large scale dust storm effect.

2) DustStorm Driving Simulation Setup – Setting up the initial pry simulation and implementing the AutoResize technique to it.

3) DustStorm Pyro Tweaks – Tweaking the initial simulation Turbulence forces, Custom Forces and movement behaviors.

4) DustStorm Advect to Particles – Advecting the movement of the initial dust simulation on to a particle network, copying velocity attributes on to points and prepare them to be imported back to DOP’s

5) DustStorm Driven Simulation Pyro Setup – This chapter will show you how to lay down a secondary pry objects and solvers, as well as importing the advected particles as a custom velocity field onto this driven secondary simulation.

6) DustStorm Driven Pyro Tweaking – Adjusting the methods of affecting the driven simulation, using micro solvers, turbulence and custom forces in order to increase the detail level of the Driven Low-Res Pyro Object.

7) DustStorm Driven Pyro Caching To_Disk – Firing the driven by particles Pyro Low Res simulation to disk.

8) DustStorm Driven Pyro UP-Res – Tweaking Up-Res Turbulence forces and voxel resolution to achieve the desire level of detail movement in the Up-Res stage, as well as matching boundaries to the Low Res method object and caching to Disk the final high resolution volume for rendering.

9) DustStorm Shading And Rendering – Lighting, Shadow Map Generation, assigning volume shaders and rendering of the final Up-Res Volumes on disk, also covering quick compositing overview in Houdini and IPR shader tweaking workflows.

=====================================

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.

Spot: Barclays Tracker

Framestore had the mighty task of creating a photoreal CG environment where the Tate Modern meets Battersea Power Station

Production @ MPC London

Description

MPC’s dynamic production team is always looking for new talent to join their team, if visual effects is your passion we want to hear from you. Currently we dont have any live positions for the below but we would still love you to get in touch for any future positions in which will come up.

* Production Assistant
* Production Coordinator
* Production Manager
* Producer

With a full schedule of exciting shows for 2011 if your interested in joining the team please apply and we look forward to hearing from you.

Please apply below:
http://www.moving-picture.com/index….jobslondonfilm

Software Developer @ MPC London

Description

MPC is one of the world’s leading post production facilities creating high-end digital visual effects for the television and feature film industries. Working at the cutting edge of visual effects requires the research and development of new techniques and this is the responsibility of our Software team.

We now seek to appoint a Software Developer into this team in our London facility to develop new tools for some exciting upcoming feature film productions.

Primary Responsibilities:
• Working with artists to understand production needs
• Researching new techniques to meet those needs
• Developing new artist tools to fit into MPC’s VFX pipeline
• Maintaining and updating existing tools
• Technical and end user documentation
• Supporting artists during shot production.

Skills and Experience:
• Degree in Computer Science or equivalent
• Previous development experience in a production environment
• Good understanding of physics, 3D math, simulation technologies
• Excellent knowledge of C++
• Experience with Linux-based debuggers and profilers
• Development experience using Maya’s API
• A good knowledge of Python is an advantage as is knowledge of other 3D software packages
• Evidence of a good eye for aesthetics is desirable.

This is an ideal opportunity for an experienced VFX developer or someone looking to break into VFX from the games industry to work on some of the most exciting major feature films in production today. If you are interested please apply online.

http://www.moving-picture.com/index….jobslondonfilm

Compositor @ MPC London

Description

* Tackling the Compositing of shots effectively.
* Briefing junior compositors when dividing of shots into tasks (e.g. rotoscoping) is required.
* Delivering final shots that are creative and technically excellent.
* Attend daily progress reviews to obtain feedback from supervisors.
* Work to improve knowledge of MPC’s Compositing pipeline.
* Work with production to create Compositing schedules and project targets.
* Work with the Compositing HOD to define the Compositing pipeline required for the show and identify any additions or modifications to our existing toolset required to realise this pipeline.
* Supervise compositing of CG elements to match live-action footage to maintain consistent shot quality and look.
* Report on the progress of the lighting work on the show to the Lighting HOD, with particular regard to the following:
* If the team are meeting deadlines
* Technical issues
* Production issues
* R&D requests
* Team morale

Requirements:

* Previous experience with a high-level film based Compositing system using Shake and Nuke.
* Excellent understanding of techniques and technologies related to CG rendering and compositing.
* Excellent understanding of the whole digital film pipeline from scanner to film recorder.
* Proven technical and creative ability in a broadcast or feature-film production environment.
* General understanding of linux/unix-based operating systems.
* Ability to take direction and structure working practices so that design changes can be efficiently made.
* Desire to learn from other and to take on increasingly challenging shots.
* Excellent team building, communication and problem solving skills
* Excellent knowledge of node-based compositing software
* Proven technical and creative ability in a large feature-film VFX production environment

Please apply to the link below:
http://www.moving-picture.com/index….jobslondonfilm

Have a read node play backward – how?

I’m new to Nuke and am working hard to get a feel for it. So far I like it very much.

I stumbled onto something for which I haven’t found a solution yet:

I have smoke footage which needs to be sucked into something instead of being blown out.
So in short: Is there an easy way to have a read node play backward?

Regards,

Rove