INSPIRED- by Jo Wand and Nick Hurst

Hello,
We are a pair of third year students studying our final year of a VFX degree at the University of Hertfordshire. We are making a short film and would like to post our progress here in order to take on valuable critique from others outside of the University.
We will be tackling challenges which would benefit from the advice of those who are more experienced and hope that posting our progress here will ultimately improve the quality of our film.
We are at the stage where we have shot the film now and are in the editing process. Once we have got the edit locked down we can progress with keying, tracking, modeling, texturing and all of the other jobs which need to be done.

I’ll add some of the work we have done prior to shooting the footage to give an idea of the process we have gone through and the style of the film.

Here is the treatment we wrote for the film:
The character in the film is a mature man, around 50-70 yrs old (depending on what happens with casting). He is an Artist. He is working on a painting in his studio which he completes, then takes it to hang on the wall. He takes a look at his other paintings and finds there are elements he is not pleased with. As the Artist raises his hand to the painting he is able to interact with the content there and move things around. He takes a boat from one painting and straightens up the sail before returning it to the canvas again. As he moves around his work, he comes across one painting which he is particularly pleased with.. he steps inside. The painted world is swirly and oil painted. There are moving elements in there such as birds in the sky, blowing leaves on the trees and possibly a car or some other moving vehicle in the foreground.

There will be nice effects in place for the interaction with the paintings and the painterly world will feel alive and ‘swirly painty’. The studio environment will all be rendered realistically and as the artist enters the painting, he may become painterly also. The shots which contain any interaction with the painting will be a massive focus for us, we will be working on some pretty VFX techniques to make it all look fancy. The title of the film is Inspired.

Also, there will be some nice camera moves in there. We have tracks and dolly shots in some places so it should all look very glossy and polished.

Here is a link to the pre-viz for the film. It is VERY basic! It was done to give us an idea of how things could work.

http://vimeo.com/17641312

Here are some images from the footage we shot:

And I’ll have to work out a way to display our pre-production work on the thread nicely.

Thank you for looking over our film and I hope it holds a few peoples interest.

Jo

Previsualization and virtual production conference in Toronto

Hi everyone,
I work as a researcher for Screen Industries Research and Training Centre in Pinewood Toronto Studios.

We are having a 2-day conference about previsualization and virtual production on Feb. 24th and 25th.

Guest speakers and companies presenting include Autodesk, Vicon, Mr. X, Keyframe Digital, American Society of Cinematographers, Art Directors Guild, Visual Effects Society, Proof Inc, and the Previsualization Society.

Various fields will be covered including visual effects as well as directing, cinematography, production design, and producing for film, television and video games.

If you are in the Toronto area and have an interest in motion capturing and previsualization technologies and workflow you may be interested in attending.

The website is http://www.sirtcentre.com/events.html.

Thanks for your interest!

Mato Atom for WWF: We Are All Connected

A brilliant idea finds a comfortable home in a beautifully crafted spot, brought to you by Mato Atom. This work doesn’t require any comments, as it’s subtle simplicity speaks for itself.


Title: We Are All Connected
Length: 60 Sec
Client: WWF – World Wildlife Foundation

Agency: Ogilvy & Mather Mexico
VP Creative Director: Jose Montalvo
Creative Directors: Victor Alvarado, Fernando Carrera
Agency TV Producer: Juan Pablo Osio

Production Company: Troublemakers
Director / Art Director: Mato Atom
Producer: James Hagger
Assistant Producer: Mélanie Aguilar Fauconnier
Storyboarder: Leonardo Weiss

Post Production: Digital District
Post Producer: Peggy Tavenne
Managing Director: David Danesi
SFX: Thomas Marqué
Animation: Romuald Caudroit
Modeling: Jimmy Cavé, Kevin Monthureux
Lighting / Renders: Nicolas Belin
Compositing / Flame: Seif Boutella
Assistant Flame: Amandine Moulinet

Music: Human

Posted on Motionographer

DOF & Motion Blur

Hey all,

I have a problem that I have been messing with for a while and haven’t found a fully acceptable solution across the board. There may not be one.

When producing Maya renders I have found it extremely difficult to nail down a good pipeline for motion blur and DOF. I usually prefer to render with Mental Ray. It has better anti-aliasing, filters, outputs and the obvious additions of GI and Final Gather. However, the motion blur and DOF renders are murder on render times! The sampling rates go through the roof if I want a nice smooth render. Maya software seems to handle DOF as a post effect and is beautifully smooth for almost no additional cost to the render. But its maya software. MS motion blur is pretty crappy as well.

I have experimented with motion vector passes and Depth passes to use in compositing and have received mixed results. When using the mr passes system to output motion vectors I get weird results as 3D objects pass in front of one another moving different directions. I have briefly used Toxic and RSMB for AE. Would using something like Nuke handle MV passes better?

Also the Lens blur filter in AE is decent, but pretty slow as well.

What are the processes you all use to achieve DOF and Motion Blur that doesn’t totally swallow up chunks of time and resources?

Thanks all!

Brad

composition Demo reel

Hi
I am searching sponsorship for working in canada..

This is my first composition demo reel, software used nuke 6.1v1,photoshop, Air render and massive prime..

http://www.vimeo.com/19371855

New VFX Short: Anomaly

Hi People!

We are 3d computeranimation and visual effects students from the HKU in the Netherlands and we are pleased to announce our graduationproject ‘Anomaly’. We are making a short movie that takes place in and around the nuclear wasteland Chernobyl.

This are the first images of our project:


For more information about the story and film please check our website:

www.anomaly2011.com

On our website you can find our first teaser, breakdowns and our blog.

Da Vinci System

Hey everyone,

I have been working in 3D animation and effects for companies for about 9 years now. Most of the work I have done has involved 3D work in Maya and simple(ish) compositing in After Effects. Recently I began working on VFX gigs on my own and have quickly realized that what works really well for 3D alone, doesn’t necessarily work for the best for Compositing, Editing etc.

At the moment I am a one man shop and would like to purchase a system that (While not fully optimized for any one task) works pretty well for the main hit points of a VFX pipeline. I have read quite a few posts on this site (Awesome!) and have a decent idea of what works well, but couldn’t really find anything that describes my Da Vinci needs. Mainly that I am doing a bit of everything and need a system to do it pretty well across the board.

Here is my understanding of what I should be looking at.

3D:

1. Best Processor I can afford and a mobo that supports it.
2. Good Graphics card (Quadro FX?) Any other recommendations?
3. at least 16 of RAM?
4. Enough fast storage to handle HD mult-channel EXR render passes.

Compositing:

1. I would imagine the Proc from the 3D side will work here as well, though probably not as required as is for 3D rendering.
2. Obviously the more RAM the better?
3. What part does GFX play in something like AE, Nuke?
4. Fast eSATA drives with hardware raid 5?

Capture / Editing:

For Editing I imagine that having fast hard drives is the way to go for real-time playback. What in the way of cards do I need to get those kinds of data rates. I will likely be using Premiere for editing or (if I go Mac Pro) Final Cut.

I don’t do much in the way of capture at the moment, but will be doing more soon. What is the best setup for capturing from something like RED, Cannon DSLR’s, Cannon HD DV tape? For tapes I will need a deck of some kind but how does Processor, Hard drives, GFX, RAM play into this.

I will likely be building my own 64bit Windows 7 Box as the cost of doing so will be much cheaper than a Mac Pro. However, I do really like OS X and wouldn’t mind going that route if the cost point/ return actually makes sense.

I have also read about using SSD drives for the OS drive and cache drive. Would I use this for all (live) projects copied from other fast storrage drives? Or simply use this for doing complex nuke/AE/Maya cacheing?

I hope what I am looking for makes sense to everyone. Overall I am not looking for the best 3D, best Compositing, best Editing system out there. Just a system that will do all three as well as I can for a decent price.

Thanks everyone!

I look forward to hearing what everyone has to say.

Brad

how do i make a 2d track to a 3d track??

how do i make a 2d track to a 3d track in nuke??

Read Nodes: Auto name & Filename

I’m trying to make an "autoread node" or something like that…, which:

1.-Autoset its name sequentially: TAKE_000, TAKE_001 (3 or variable digits padding)
2.-Autoset the knob ‘file’ setValue to a constant and variables folders, for example:

Z:/PROJECT/Material/SCENE_002/TAKE_014/CHARACTERS/char/%vCam/Sce02_Take14_%03d.exr’)

The red characters should be taken from the node name, and increase with this. So, it shol look like this:

for Read named TAKE_011

Z:/PROJECT/Material/SCENE_002/TAKE_011/CHARACTERS/char/%vCam/Sce02_Take11_%03d.exr’)

I’m reading the nuke PDF…, but I think it’s not enough..

r=nuke.createNode(‘Read’)
r.setXYpos(0,0)
r.setName(‘TAKE_000’,uncollide=True)
nuke.toNode(‘TAKE_000’).knob(‘file’).setValue(‘Z:/PROJECT/Material/SCENE_002/TAKE_014/CHARACTERS/char/%vCam/Sce02_Take14_%03d.exr’)

because when I create the next node, the number change to one digit…

In few words, what I need is a number sequencer python command… and a character catcher like:

[lindex [split [lindex [split [metadata input/filename] /] 8] ._] 1]

Or something like that…

Is it possible? or just need sleep much? 😀

Thank you in advance…

I don’t want you resolve my life, i’m not a coder…, but i’m interested in learn python. Just show me the way, please!:p

Onesize – Showreel

Abbiamo parlato più volte di questa agenzia… iniziando dal 2006. Oggi vi proponiamo l’ultima showreel, molto interessante. Buona visione!