Hi,
I’ve just finished tracking a shot in PFTrack and have exported it as a Nuke Python file. Everything imports perfectly into Nuke, I also exported the undistorted plate from PFTrack too, so things are lining up nicely.
My question is, how on earth do I re-distort the final output? I’d normally track and un-distort everything entirely inside Nuke, so I’d simply reapply the same lens distortion node at the end of my tree.
I’ve just no idea how to transfer the low order distortion information from PFTrack to Nuke?
I’d be over the moon if anyone could shed some light on this for me.
Yet another crazy papercraft video for Dan Deacon appears, with artist Jen Stark creating amazing paper swirls and vortexes to Mr. Deacon’s hypnotic track.
I was wondering if someone can point me in the right direction here. Ok I’m trying to achieve effect where turn and you get to see the side view of it. So maybe if someone is staring right at you and the move there head to the left you’ll see the left side. I’m not even sure where to began and whatnot. If someone can help me out, and if there is a technical name for it. I’d greatly appreciate it.
An environment artist is required in the VFX department of a high profile Auckland based television series with international acclaim. Spartacus Season 2 has commenced production and urgently requires a matte painting/concept artist to start immediately.
The successful applicant will have at least 5 years of production experience in concept art and matte painting.
This position supports the VFX Art Director and requires the successful applicant to creatively contribute with look development and producing final matte paintings.
Main creative strength must be in photo-real environmental design (2D and 3D).
Please do not apply if you have no previous production experience.
The pace of the work is fast turnaround and the successful applicant must be able to maintain consistency of quality while under pressure. The ability to work unsupervised is essential.
The contract is for approximately 6 months and the artist will need to supply their own gear.
Key responsibilities include:
-Creation and management of art assets
-Support for VFX Art Director
-File handling
Abilities required: -Highly proficient in the use of Photoshop, 3D and 2D packages (Nuke, Maya, 3D Max)
-Able to follow a written or verbal brief
-Remain professional in a high pressure work environment
-Good eye and creatively motivated
-Good knowledge of composition and light
-Understanding of the VFX and entire production process
-Ability to learn new software or packages
-Ability to use a stills camera
-Data management
-Interpretation of file formats and pipeline workflow.
Please send CV and relevant examples of your work to spartacus.vfx@gmail.com no later than Friday 26th May 2011.
Personally, I’m excited that Milk and Koblin are emphasizing how the open-source nature of these tools can help grow a community that will create even more experiments in the future. On the tech end, it does require Google Chrome and not all graphics cards are supported, including the desktop I first tried this out on :(. There’s still a lot of goodies and documentation on the website, so go explore.
HTML5 “experiences” seem to be popping up more and more, for example the new desktop version of Smith & Foulkes’ The Chase. As we move forward, will learning how to work with dynamic systems, rather than locked thirty or sixty second films become a necessary part of our workflow? Also- what does it say about us when the first thing someone does, after finding out that they can contribute to a landscape, is create a 1-up mushroom?
Based in Los Angeles, with locations in London and New York, Method is a leading post production facility providing a full range of visual effects services.
As an artist driven company Method is built around an exceptional team of VFX professionals who have created award winning visual effects for Feature Film, Commercials and Music Videos.
Recent feature credits for Method include; Nightmare on Elm Street, Sorcerers Apprentice, Let Me In, Life as we Know it and Gullivers Travel.
Current shows in production include, Captain America, X-men, Cristiada, This Means War and Wrath of the Titans.
Required Skills & Experience:
Expert working knowledge of photoshop
A minimum of 3 years VFX industry experience as a digital matte painter in a feature film, tv or commercials environment
Experience creating digital paintings of photo realistic environments based on concept art and/or photo reference
Demonstrable experience integrating matte paintings into 3D environments using Maya and/or Nuke is beneficial
Possess a strong understanding of light, colour and perspective
Possess excellent artistic communication skills as well as an excellent eye for detail
Sound knowledge and understanding of visual effects pipelines, production and implementation, as well as the ability to work well in a team
A good understanding of 2D and 3D workflows within a feature film environment
Knowledge of Vue software a plus
Maya and Nuke software a plus
All candidates must be able to demonstrate prior experience working on high-end VFX projects with the submission of a show reel and detailed shot breakdown.
This is site is run by Sascha Endlicher, M.A. during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.