cmiVFX Releases The Blender 3D : Massive Mammoth Masterclass Rigging Parts 1 and 2

cmiVFX Releases The Blender 3D : Massive Mammoth Masterclass Rigging Parts 1 and 2
High Definition Training Videos for the Visual Effects Industry

Princeton, NJ (June 03, 2011) – cmiVFX launches its latest training for the Open Source Blender 3D Community. It’s been about 2 years now since the frost Blender Mammoth training came into the world during the release of Blender 2.49. A lot has changed and it’s a new era, the age of Blender 2.5! That’s why we are stepping up and finally bringing the Mammoth to life! This resurrection will happen in a series of videos, recorded by some the most talented and famous Blender Artists around. That’s why we are extremely proud to introduce the Massive Mammoth Masterclass!

The first, dual video kit, will cover rigging and weighting and will be presented by Nathan Vegdahl, the lead rigger of the Blender Foundation’s open movies Big Buck Bunny and Sintel. In over 6 hours you will learn the secrets of perfect weighting, efficient control rigs and shape keys. This is the perfect foundation for the upcoming sequels of this tutorial series, which will cover animation and scene-setup.

Because of the sheer length and amount of information this tutorial is split into 2 parts. The first part will cover some essential rigging concepts, the setup of the deformation rig and creating an animator-friendly control rig with custom bone shapes. The second part of this tutorial has originally been a part of the first video and covers weighting, corrective shape keys and non-corrective shape keys. That way you can decide if you are only interested in the actual bone setup and controls and just watch video 1 of this tutorial. Or, if you are only interested the weighting process, you can watch only video 2. But if you want to learn the whole thing, get the bundle and watch both!

http://www.vimeo.com/24616856

Rigging Video 1: Controls
http://store.cmivfx.com/tutorials/vi…%3A+Rigging+V1

Every model has it’s own challenges! With careful planning you can save yourself a good amount of work. Before you even start rigging you should familiarize yourself with the model. Think about where you can skimp a little bit and where you might have to come up with some more advanced solutions.

Divide And Conquer
You don’t have to go and do everything at once. By dividing your rig into different sections and finding solutions for one problem at a time you won’t run the risk of getting confused and loosing overview.

Twist Bone And Parent Switch
In this divide and conquer approach, Nathan shows you how to setup arms with convincing twisting deformations by making use of the damped track constraint. Being able to choose whether a bone should rotate with its parent is an important option for animators, but with Nathan’s Parent Switch that will be easy to control!

IK/FK
One of the most important concepts of rigging is the setup of forward and inverse kinematics. A lot of times the arms of a character will be animated using forward kinematics, while the legs are being controlled with inverse kinematics. But especially on a quadruped like our Mammoth you need to be able to use both and dynamically choose between FK and IK. In this tutorial you will learn how to use custom properties and driven constraints to create an easy to control IK/FK Switch.

Spline IK
One obvious challenge you have to deal with when you are rigging an elephant or a Mammoth is creating controls for the trunk that the animator can use efficiently. This is where Blender’s SplineIK comes in handy. Bezier Curves are used to guide the inverse kinematics of this special constraint. Combined with an IK/FK switch this will allow you to setup a comfortable trunk rig.

Brining It All Together
After you have solved the different problems of the Mammoth rig one by one, you can bring it all together by creating the actual rig. First you create the deform-rig that will actually deform the mesh and that the animator won’t touch. When that is done it’s time for the weighting. There are different ways to do that, automatic weights, weight-painting and manual weighting, with automatic weights being the quick and dirty way and manual weighting the most precise albeit tedious. We went for the precise way which takes a lot of time and is a challenge of it’s own, that’s why we decided to put that in a separate video and focus just on the bone setup in this one.

The Control Rig
Finally we assemble all the different rigging methods we learned in this tutorial and create the control rig for the animator: IK/FK switch, SplineIK, isolate controls with switchable parents, and driven constraint setups with custom properties. And to polish the whole thing Nathan shows you how to setup custom shapes for the bones.

Rigging Video 2: Deformations
http://store.cmivfx.com/tutorials/vi…%3A+Rigging+V2

In this second part of the Mammoth rigging tutorial Nathan Vegdahl will show you how to create good looking deformations.
Even the best rig and control setup won’t help if you didn’t setup proper deformations. Unnaturally deforming skin, weird wrinkles and intersecting faces can destroy every rig.
There are different ways how you can assign weighted vertex groups to your mesh: automatic weights, weight-painting and manual weighting, with automatic weights being the quick and dirty way and manual weighting the most precise albeit tedious way. We went for the precise way which gives you a lot of control over the weights of every vertex but takes a lot of time and is a challenge of it’s own. That’s why we decided to separate it from the other part of the tutorial, where we cover bones and controls, and only focus on the deformations in this one.

Segment Weighting
For a clean start we’ll weight the mesh in segments. Even though the resulting deformations will look horrible it will give you a lot more control over what exactly which part of the mesh is assigned to which bone. With the smooth automatic weighting it would really be hard to keep track of which vertices are being deformed by which bone.

Test Poses
This is the point where you will finally see the Mammoth moving! Setting up test poses after the segment weighting will help you to check out the actual deformations without having to constantly move the bones manually.

Cross Sections
The most tedious and difficult part of the whole weighting process is getting the vertex groups to deform exactly the way you want it. To have the maximum control over the deformations we will literally weight every single point manually. But don’t worry, there are ways to make this easier, and that is working in cross-sections.

Mirror Weights
Just like in modeling you probably only want to do this whole weighting process o one side of the mesh. Blender has some great tools to help you with this and mirror the weights. However, that works only with perfectly symmetric models, which unfortunately is not the case with our Mammoth. Due to some inaccuracies during the sculpting process of the first tutorial from the Mammoth series there are some slight asymmetries in the mesh. Luckily Nathan has written an add-on to overcome these problems!

Patch Weighting
Another add-on that comes with this tutorial lets you interpolate weights between different vertices. This allows us to fill in the weights between the cross-sections.

Corrective Shape Keys
Although we now have some pretty darn good looking deformations there are some areas that could still be improved. Here’s where we will use Blender’s sculpting and modeling tools to create corrective shape-keys. Once set up you don’t have to care about them any longer, with the help of drivers they will automatically be triggered by the according bone-movements.

Facial Shape Keys
Not everything has to be animated with bones. Some facial movements like eyebrows and lids can be animated with shape keys, that you control with animatable custom properties.

Project Contents
All cmiVFX videos come with all the training materials you can need right from our website. No matter what time of day, your location, or how your feeling, cmiVFX will be there waiting for you!

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. © 2011 cmiVFX | cmiStudios. All rights reserved.

“Cars, Clones, and Insanity.” – Short Film

Hey guys, FIAfilms just released our first film short for the summer and want to what people think towards it. The film is itself is an HD cover and has an akward twist to it that you don’t see in most films these days. The cloning effect takes place quite a bit however editing, and effects along with the main plot blend quite well together.

Plot:

Steven is just an average guy having a normal day until he receives “special” visitors.

Enjoy!






http://www.youtube.com/watch?v=zfwxNVnedWI

Deep compositing in NUKE

I recently came across an article on deep compositing in NUKE.. How do i use it in NUKE ? Does it use openEXR ? Here is the link http://www.deepimg.com/

VFX Supervisor for Method Studios NYC

Based in Los Angeles, with locations in Vancouver, 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; “Tree of Life”, “Captain America”, “Nightmare on Elm Street”, “Sorcerer’s Apprentice”, “Let Me In”, “Fast Five”, “Life as we Know it” and “Gulliver’s Travel”.

This is only for Method Studios NYC
Description:

Work in partnership with the VFX Producer to manage the client relationship and internal team of VFX artists with the aim to deliver the highest quality of work
In conjunction with the CG supervisorand VFX producer create realistic plans for the timely delivery of work. This will involve considering the budget and time frame when selecting the techniques and establishing the flow and pacing for the work.
Must possess an understanding of/creative eye for photography/film-making, lighting, design and [animation] timing/storytelling
Must be able to communicate ideas and VFX requirements to the production VFX supervisor, director and other key department heads of the production (Director of Photography, 1st Asst Director, Production Designer, Special Effects, Stunts, etc)
Have expert knowledge of, and experience in, dealing with a wide range of visual effects techniques
Lead and motivate a team through changing and often pressured times
Be able to juggle and prioritize shots, working within limited resources.
Must have excellent communication skills in order to manage client expectations and ensure client satisfaction
Should have a minimum of 5 years experience as a VFX Supervisor with feature film credits
Resumes/Reels can be sent to: method-ny-recruiting@methodstudios.com

Symposium on Computer Animation – Call for Posters

Greetings,

I am here to solicit submissions to the Posters program of the Symposium on Computer Animation (SCA) 2011. SCA is the premier international forum devoted exclusively to computer animation, and regularly attracts contributions from leading animation researchers in both industry and academia. For example, the proceedings from recent years have included papers from ILM, DreamWorks, Rhythm and Hues, and Disney. This year, SCA will be co-located with and precede SIGGRAPH from August 5th to 7th in beautiful Vancouver, BC.

The Posters program is an excellent opportunity to present technically interesting animation work that you have done over the last year. The submission deadline is July 1st, and the requirements are fairly minimal, as only a one-page abstract is necessary. If accepted, you will have until July 15th assemble your final poster.

For more information on SCA itself, please see our website,
http://www.siggraph.org/sca2011/

and for information on submitting a poster, please see the full Call for Posters:
http://www.siggraph.org/sca2011/posters.html

If you have any questions, please do not hesitate to contact me at sca.posters.chair@gmail.com.

Thanks, and hope to see you in Vancouver,

Theodore Kim
SCA 2011 Posters Chair

Rotoscope Artists

Location: Vancouver, BC
Open Positions: 3

About Gener8 3D:
G83D is an industry leading developer of stereoscopic 3D solutions and technologies. We have developed advanced proprietary software and patented technologies, resulting in a highly economical and superior quality stereoscopic 3D solution. With endorsements from James Cameron and Lightstorm Entertainment, we believe that converting existing 2D films into 3D versions will give movie lovers an enhanced experience viewing their favourite films.

General Duties and Responsibilities:
· Communicate and collaborate with lead compositors and other members of the conversion team.
· Foresee, troubleshoot and communicate potential problems.
· Communicate new techniques and processes to increase efficiency and enhance the overall look of a shot.
· Photo-real element integration.
· Tracking and rotoscoping duties.
· Provide matte extractions.

Qualifications:
· Post-secondary degree or diploma.
· Roto and painting skills including experience with hand painting and "procedural" painting.
· Excellent Silhouette, Nuke and Mocha skills.
· Experience in production of photo-real visual effects for feature films.
· Must possess excellent communication skills
· Extremely detail oriented.
· Ability to prioritize multiple tasks in a fast paced/deadline driven environment.
· Fluent in English.

Submission Process:
If you are interested in this position, please submit your resume and a link to your demo reel to recruiting@gener8.com. Demo reels attached directly to e-mails will not be accepted; please use a website like Dropbox.

Junior Compositor

We are currently looking for a Junior Compositor to join our team here in Vancouver.

Duties and Responsibilities:

· Tackling the Compositing of shots effectively
· Taking direction from Senior Compositors when shots require breaking into tasks
· 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
· Collaborate with Production to ensure Compositing schedules and project targets are being met
· Take direction from Compositing Leads in relation to the pipeline required for the
· Ensure that the compositing of CG elements matches live-action footage and work to maintain consistent shot quality and look

Requirements:

· Previous experience with Nuke
· General understanding of linux/unix-based operating systems
· Proven technical and creative ability in a large feature-film VFX production environment
· Completion of University and/or at least 1 year of relevant industry experience

Details:

· Duration: Project based
· Location: Vancouver, Canada
· Start Date: Immediate

If this position sounds of interest then please apply via our website.

We look forward to hearing from you!

Method Helps Inspire Ron Howard’s Imagin8ion




Method artists create a VFX-laden spot/trailer to promote Howard’s Project Imagin8ion


Visual effects company Method Studios recently completed work on a :30 commercial entitled "Parade" for Canon via agency Grey NY. The :60 version is set to air early June. This visual effects-heavy spot, directed by Dante Ariola for MJZ, stars director Ron Howard and features a fantastical city landscape filled with astronauts, floating firefighters and a diamond-skinned dog to name a few unusual sights. The spot serves as a trailer to promote Howard’s "Project Imagin8ion," which is the first user-generated contest in history to inspire a Hollywood short film. Eight imaginative photos will be selected to set the stage for his next production.


The Method team was tasked with bringing the contest itself to life, which was no small feat. "Dante has a big imagination himself," commented Method CG Supervisor Jason Schugardt. "The spot is about Ron’s imagination, so we researched movies from his past for inspiration and we really went for it."

Inevitably, the sheer number of resulting CG elements posed challenges to the team. "There are so many whimsical creatures and objects, some reflective, like the 70-carat diamond dog," said Schugardt. "Fitting all of them in was definitely challenging."

Method’s Alex Cannon worked with Production Designer Christopher Glass and Ariola to storyboard the spot in Pre-viz, which helped them to block the myriad characters out as well as help shape the tone of the spot.

The plates (all shot on Canon equipment) were shot on a particularly overcast day, which led to flat lighting, prompting the Method team to make lighting enhancements throughout the spot. "We did sky replacements and separated facets of building, adding light in places to tell the story of where the light was," offered Schugardt. "Once we did that, the spot really popped."

Animation for the spot was created in Maya, effects were created in Houdini and fire was done in Fume FX (a plugin for Autodesk’s 3ds Max). The spot was rendered in V-Ray.

Says Schugardt, "It was great working on such a VFX-heavy project and especially cool bringing Ron’s imagination to life. We’re all really pleased with how it came out and I can’t wait to see the short film."

CREDITS

Title: Parade

Client: Canon

Director: Dante Ariola

Agency: Grey NY
Producer: Lauren Tuttman

Creatives:
Ari Halper – SVP Creative Director
Steve Krauss – SVP Creative Director
Stu Mair – Associate Creative Director
Eric King – Associate Creative Director
Elinor Buchler – Art Director
Kent Koren -Copywriter
DOP – Christopher Soos

Prod Co: MJZ
Producer: Natalie Hill
Editing co: Peepshow Editorial
Editor: Andrea MacArthur

Post Production: Method Studios
Sr. Creative Director – Dan Glass
Sr. Executive Producer – Gabby Gourier

Visual FX Supervisor – Phil Brennan
CG Supervisor – Jason Schugardt

Producer – Darcie Muangman
Coordinator – Anastasia Von Rahl

Lead Compositor – Tim Davies
Compositors:
Jonathan Lagache
Jeff Allen
Caitlin Content
CG

Modelers:
Masa Narita
Lim Bunupuradah
Alex Whang
Toshihiro Sakamaki

Texture Artists:
Brian Ripley
Josh Frontino
Ryan Reeb

Riggers:
Rick Grandy
George Saavedra

Trackers:
Fabio Zapata
Lauren Van Houten
Tom Stanton

Animators:
Steward Burris
Alex Cannon
Les Major
Jonah Austin

Lighters:
David Lo
Alex Lee
Kris Cabrera
David Chan
David Godwin

FX:
Brett Angelillis
Hiro Okubo

About Method Studios
Based in Los Angeles, with locations in New York, Vancouver and London, Method Studios is a leading post production facility providing a full range of visual effects services including conceptual design, look development, 3D animation/CGI, matte painting, compositing and finishing. Method Studios also provides an array of services to stereoscopic film productions, including the creation of stereo 3D content. Method’s sister company, Company 3, maintains a full stereoscopic color-grading suite in the same building as Method’s Los Angeles facility, most recently used for Disney’s Pirates of the Caribbean: On Stranger Tides. www.methodstudios.com

# # #

Media Contact:
Jeremy Monsayac
jeremy.monsayac@bydeluxe.com
818.260.6267

Working abroad

Hi, everyone my name is Thana from Thailand

I’ve done my bacheolars (international university) in multimedia design (3d animation). I have been doing freelance works for about a year (3d animation and composition job mostly). And I’m thinking of working abroad like in London or LA. If anyone has any suggestion or question for me to get a job in London or La please feel free to comment.

many thanks

Thana nabadalung

my skill
Software: Autodesk MAYA, Zbrush, Renderman, Adobe Photoshop,
Adobe After Effects, Adobe Premeire

VFX & 3D artist needed

Commercial for PlayStation

video you can see here
http://vimeo.com/24520127
(password: ps3)

We’re looking for some talented artist who can do black bird and logoshot in the end of this videoclip which we did. Girl in the end running behind column. This moment where she’s transforming (we not see transformation) we see only result – the bird flying forward from the frame. When one feather falling down forming logoshot PS3 and slogan.

References how bird can look

http://vimeo.com/734237
http://www.youtube.com/watch?v=1j7zvzEZgLY

attached pictures is about shape and feathers of the bird which can be discussed

it’s for people who looking to do something for their showreel, this project without payment but with good chance to be on festivals

so we’re looking for somebody who realy interested

thanks and waiting for your answers

mail@alexmart.ru
skype: alexmart_ru

Attached Thumbnails

Click image for larger version

Name:	Screen shot 2011-06-03 at 6.22.09 PM.png
Views:	N/A
Size:	85.6 KB
ID:	11846
 

Click image for larger version

Name:	Screen shot 2011-06-01 at 9.49.28 PM.png
Views:	N/A
Size:	393.6 KB
ID:	11847
 

Click image for larger version

Name:	Screen shot 2011-06-01 at 9.49.51 PM.png
Views:	N/A
Size:	409.9 KB
ID:	11848
 

Click image for larger version

Name:	Screen shot 2011-06-01 at 9.50.16 PM.png
Views:	N/A
Size:	387.1 KB
ID:	11849