BlenRig 4.0 is Available

BlenRig is an Auto Rigging & Skinning System for Blender 2.5+ series. It features an adjustable rig which proportions can be c…

5ters: Castile of Darkmaster

www.5ters.blogspot.com

plz check and comment plzzz

New Houdini Tutorial – Drama Cam

I have a new intermediate CHOPS tutorial available on my site for Houdini. I call it Drama Cam, because the goal is to adjust the level of apparent velocity change as the camera moves closer to the ground. It allows for the optical illusion to be removed entirely or amplified as needed. Let me know what you think and as always, C&C is very welcomed.

AdamFerestad.com

Stereo EXR from Nuke

Hi
Is it possible to render stereo EXR from Nuke?
I mean One file containing Left and Right eyes.
Thanks.

Maya Generalist/Nuke Compositor

Hi,
I’m looking for freelance work as Maya 3D generalist /Nuke Comper.
I also have experience in Syntheyes for matchmoving.

My reel is on my webpage: www.lazrek.com

Thanks for watching.

Best way to flip group of cards

I have 5 or so 2d cards that I want to flip horizontally.

I want to do it on a group basis and not an individual basis (the reformat node has a flip function that is exactly what I want, but it doesnt work on 3d objects and I need to flip them before they hit the scene node.

I guess I could add a reformat node onto the 2d image before I pipe it into the card… but is that the best/most efficient way to do it?

Any tips are welcome. Thanks.

Elements of Good Compositing Demo Reel?

Hi guys,

I am stage of planning my final demo reel at school.

My main idea is to composite cg modelled umbrellas flying around city.

I wish to make fantasy look&feel in the demo reel as well.

However I am not quite sure if this is "right" demo reel for a person looking for

a job in the industry.

Should I go more "normal" rather than fantasy look and feel? And if you are to

hire a person in compositing position, what aspect would you

try to find in the reel?

I will be looking forward for your help.

Thank you ahead and have a great day.

merge setInput in python

Hi everyone,

I’m having an issue trying to figure out how to connect the mask input on a merge node to connect to a rotopaint node in python.

I want the A input of the merge attached to a read node. B input connected to nothing. Mask connected to roto.

Right now I have this:

#create merge
mergeroto = nuke.createNode(‘Merge’, inpanel=False)

#create roto
roto1 = nuke.createNode(‘RotoPaint’, inpanel=False)

#input roto as a mask into merge
mergeroto.setInput(0, roto1)

With this, the bg input of the roto gets connected to the merge. It seems like the input wants another index number. Is there a way to set empy inputs? So the bg gets connected to nothing?
I’ve have been searching around here, tutorials and the Python documentation to try and find the answer to this. I know the answer is close.

Thanks so much,
Jackie

dramatic camera – a houdini tool

This is a concept that I have been working on for a few weeks now in response to a thread on the board that sparked some very technical discussion. The concept is fairly straight forward. Modify the actual speed of a camera along a path based on the height of the camera above the 0 plane. The goal is to adjust the apparent velocity of the camera to become constant.

The way I wrote it, it allows for fine tweaking and inverting the effect so you can make it go faster when it is low to the ground. Here is an example I output. The first clip is the default linear progression, the second is with the speed adjusted to remove the apparent velocity shift. The effect is very subtle in this example, but I should be able to put together a better example once I get the tutorial writing done. C&C welcome, though i know there isn’t much here to look at just yet.
http://www.youtube.com/watch?v=p_JQ03b25JY

F5 RE:PLAY FILMS 03

Another week, another great batch. We have RE:PLAY films from James Copeman & Sam Renwick and Peppermelon with music/sound design from David Kamp. Two wildly different approaches to happiness, but both focusing on singular protagonists who yearn for the understanding of the world around them.

JAMES COPEMAN – “THE TELL TAIL”

“The brief was really open, all it said was “happiness”. It got me thinking about an interview I’d read with actor Christopher Walken a few weeks earlier. In it, he had mentioned his desire to have a tail. ‘It would be so great to have a tail. It would be like.. Look, get back, don’t fuck with Chris today, look at his tail, he looks pissed.’

This got me thinking, I thought how it would be to have a tail that expressed your basic emotions that were subconscious and you couldn’t control it. I pitched this idea to my good friend Sam Renwick, we then sat down and started writing funny scenarios and problems caused by having a tail.The protagonist would struggle with it, and ultimately find happiness in hacking the tail off with some DIY cosmetic surgery. I knew Sam could play the lead character. It was great to get Ed Rutherford on board to shoot it and Caroline Story was really excited about making some prosthetic dog tails. I was concerned about getting the narrative across in under 2mins but somehow it works, and people seem to get it. Sam and I are now working on our next short.”

PEPPERMELON – “fIRST”

FROM PEPPERMELON: “This is PepperMelon’s first approach to classic storytelling, but with the ol’ characteristic pink colors, tweaks and quirks of Garcia’s style…Happiness is to inspire and be inspired; it is the result of connecting with someone else. fIRST represents happiness as something that needs to be shared with someone to actually lift our hearts. True creations, true happiness cannot be achieved while being alone; it is something shared in a crowd, or in twos. Happiness is not about smiling, but about connecting. And, there’s always a first time for all of us to experience this. This is the story…of a fIRST.”

FROM DAVID KAMP: “The piece was a lot of fun to work on, especially since its quite different from my usual musical endeavours. I collaborated with a friend back from my university days. He is a trained Cellist and played the Cello parts on the piece, which i think really brought it to life. I feel like the cello really helps to connect you to the main character and his feelings. An inspiration in that regard was the Cello Theme in Wong Kar-Wai’s great Film “In the mood for Love”. Its been a while that i saw the film, but the melancholic feeling i remembered from that movie was what i wanted to express in my score. The project was a great challenge in the limited amount of time and in between other jobs, but i think the result is a nice little short.”

Posted on Motionographer