Mar 18

3D prpjection (to UV and back) technique Issue

Posted in: NUKE from The Foundry
Hey guys

So im trying to put a wound on a girl in my shots face using the following technique:

Track a camera to the face to stabilize it
Make a rogue model of the face
Read in the geometry, and project 3d with your shot as the image (essentially keeping everything the same, jsut projecting the original image back onto that geometry)
Then use a scanline rendere set to uv to get the UV view of your footage
Then you merge over your wound or whatever it is you are tracking to the face, place it on the UVs, and project it back.

My problem is when im projecting the original image back onto the face model, everything looks okay in 3D view through the projection camera (ie i can see her face placed on the model, not perfectly tracked, but decently, thats not the problem), but when i use a scanline render in UV mode im getting nothing but black in my viewer. Its not outputting the UVs… im not sure where ive gone wrong, but obviosuly i have.

Ive attatched a picture of my nuke script (with the viewer on my scanline render so you can see the blackness) and also a little picture form my 3D view through the projecting camera so you can see that it IS infact projecting onto my model.

Anyone know what the problem could be?

Uploaded with ImageShack.us

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Mar 18

My 2011 showreel

Posted in: Demo Reels!
Just finished my 2011 showreel, let me know what you think

Attached Thumbnails

Click image for larger version Name: Concrete_Intro_01.jpg Views: N/A Size: 1.40 MB ID: 11539
 

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Mar 18

Calculate Nodes Connected Upstream of an Input

Posted in: NUKE from The Foundry
I want to have an expression that will return the number of nodes connected to an input.

Then, toggle the disable based on that number.

i.e. if there are 2 nodes connected to THIS node, enable this node, but, if there is only 1 node connected, then DISABLE.

Anyway to do that?

Thanks so much

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Mar 18

Treyarch is on the hunt for a Lead Lighting Artist!

Posted in: The Job Lot
The Lead Lighting Artist is responsible for managing our team of lighting artists and works with the art leadership team and level design team to maintain a cohesive vision of the game’s look and feel. The ideal candidate should have achieved excellence in lighting on AAA game titles or in film and understand design/game play considerations, and technological constraints. This position has large impact on multiple departments and drastically effects the look and feel of the game, the individual should be highly collaborative, passionate, and have a strong ability to motivate others.
Responsibilities:
· Work closely with the Art Director to establish the aesthetic and technical standards for lighting on the project.
· Establish a well-organized, focused work environment for the lighting team.
· Oversee the work of the lighting artists on a daily basis, effectively communicating art direction, as well as delivering constructive feedback to work in progress.
· Manage, mentor and coach staff, including writing and delivering one-on-one performance evaluations to all direct reports.
· Supervise regular team meetings.
· Provide clear articulated goals and expectations to team members.
· Communicate technical guidelines for lighting and runtime implementation to the team.
· Partner closely with Art and Engineering leadership to help deliver an efficient and stable pipeline.
· Work directly with department Directors and Producers to construct schedules and production plans.
· Have the ability to creatively problem solve and consistently present sound solutions to technical issues related to the creation of real-time game environments.
· Must be able to resolve timeline and artistic discrepancies promptly and professionally.
Requirements:
· 5+ years of experience in game development and at least one shipped AAA title in a Lead or Senior lighting role.
· Demonstrated expertise working with lighting in a game editor required.
· Prior experience leading and supervising a team of artists is required.
· Proven management skills and ability to motivate, coach and mentor artists.
· Ability to provide needed direction, guidance, assistance, and day to day feedback, ensuring that the team members understand their tasks in relation to the overall project.
· Able to monitor consistency of style and quality and regularly evaluate the performance of the art group.
· Can proactively obtain feedback from the Art Director on matters of look and feel and defer to the Art Director on suggestions for improvements.
· Ability to work in a self-directed manner and to make timely well-thought out decisions.
· Meticulous and organized approach to tasks, files and storage of the materials.
· Ability to work cooperatively on a team spanning artists, programmers, production, and designers, and to compromise when necessary to achieve overall best results for the project.
· Must have ability to quickly learn and adapt to well-established art and production pipelines.
· Must have a thorough understanding of art pipeline processes and be able to discuss in detail other benchmark game’s artistic styles, processes and techniques.
· Able to assist production to develop accurate time estimates for scheduling, tracking art resources and the development of art assets; verifying that art assets are completed on-time and meet technical requirements.
· Maximizing the productivity of the environment art team by avoiding redundant development and utilizing the specific skills of team members.
· Must be responsive to deadlines and work well under pressure.
· Must be willing to work overtime.
· Must provide a portfolio through a webpage or other digital media to be considered.

Plusses:
· A significant contribution as a lighting artist on a significant number of titles strongly preferred.
· Traditionally skilled artist with an exceptional understanding of color theory, materials lighting and have a great understanding of form, volume and structures for both exteriors and interiors.
· Having photography skills is a big plus.
· A passion for fps gaming is a big plus.
· Experience with the Quake based level editor Radiant is a big plus.

For immediate consideration, please apply online: https://activision.taleo.net/careersection/10020/jobdetail.ftl?lang=en&job=ART0000HP

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Mar 18

Types of texture maps and render passes?

Posted in: Professional Talk
Hi everyone, I am currently doing a research paper into the different types of texture maps and render passes. Besides the standard bump, colour, spec, normal maps and the standard colour, spec, occlusion, ambient, shadow and reflection, could you tell me other types?

I know that the types of passes that are used, are shot based but I would like to know how many of them exists and their purpose.

Thank you!

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Mar 18

Сamomile-Tale

Posted in: Gallery
Hello everybody!
After a couple of times of hard work, let me show you The Camomile-Tale

… thanks to the many folks who help me in this work and lit the fire under my booty to finish the video )))

You can find the whole Camomile-Tale story & makingoff here… http://camomile-tale.blogspot.com

:):):)

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Mar 18

Digital Asset Manger

Posted in: Freelancer Listings
Vancouver, Canada based DAM / Archivist / Librarian available to tele-commute for all of your content organization requirements.
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Mar 18

Noise

Posted in: Uncategorized

Quirky / trippy teaser for the short film Noise by Kijek/Adamski.

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Mar 18

Copy

Posted in: Uncategorized

Some cool work from Japan
Direction,Graphic,Motion – Yasuda Takahiro

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Mar 18

Kultnation + Audionerve: Graphic Taxonomies

Posted in: audio design, cg, Design, directing

Kultnation teamed up with Audionerve to create this animated spot for the Mexican design school Centro – Diseño, Cine, Televisión. Graphic Taxonomies exhibits the relationships within graphic and new media design depicted by a living art installation. Nice work!

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