I’m working an old Renderman project and retuning it for my website. I’m using Apple Shake as a compositing program, Maya my animation software, and Renderman Studios my renderer.
I’m trying to implement my z depth pass in my final composite. Unfortunately the z depth pass workflows I’ve found regarding Shake aren’t working for me.
The footage is good, as I’ve gotten the z depth data to work in Nuke, but for purposes of this project, I must stick to Shake.
I have a 32bit float Tiff z depth AOV.
The filein node describes the AOV as : BW float 640×480 :
I’ve tried FileIn > ReOrder (zzzz) > mult (local parameter that works as brightness to bring the -1/Z ratio into viewer range)
Most workflows I’ve read recommend this. From what I understand scene size differentiates how much ‘brightness’ is needed to bring the pass into viewable.
However in my case: No amount of ‘brightness’ local variable brings the rgb of the AOV into view. Leaving me scratching my head.
the RGB of the mult node are R [-1 * brightness) G [R] B [R]. Even with brightness variable pushed up to unrealistic amounts like 1,000 the AOV on the viewer remains black.
Am I missing a step? Has anyone had similar frustration with Rman z depth?
I gratefully appreciate all feedback~
Salute.
Experience/Skills:
5+ years experience with Final Cut, Compressor, DVD Studio, etc.
Experience creating titles and editing sound.
Experience working with tapeless workflow.
Knowledge of Motion, After Effects, and Photoshop a plus.
Must be able to work positively in a team environment
Must be able to work quickly and efficiently under the pressure of very tight deadlines.
Please send links, reels and resume to: jobs@ieeffects.com
Thank you.
www.shanesaddiction.com
http://www.imdb.com/name/nm2709369/
shanewicklund@gmail.com
310-909-3846
Rising Sun’s Green Lantern hi-jinks
For Martin Campbell’s Green Lantern, Rising Sun Pictures created the visual effects for the film’s dogfight sequence between two F-35 jets and unmanned combat air vehicles (UCAVs). In this fxinsider interview, Rising Sun’s VFX supe Dennis Jones talks about the work.
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I’m looking for the best way to achieve MotionBlur on a 3D-matchmoving-render. It’s rendered in cinema 4D without motion pass. i want to simply "fake" it a bit.
It’s in a shot that gets pretty shaky at some time.
Oflow, Timeblur… are there any other possibilities?
I’d need a fast way (low rendertime on a Macbook pro) with good results. Is there something like that? 🙂
best regards!
Marc 🙂
As the title says I have started to use NUKE and I would like your help with some work im doing. I can easily do this in AE but I want to start learning the standard
Below is an image of what i’m aiming for. I’ve figured out how to roto in NUKE but not how to achieve the look im after in the image. I want to keep the guy in colour and the background b/w with maybe some motion graphics inbetween. In AE i would have rotoed out the guy, duplicated the layer and desaturated the layer underneath with the shopping centre. What I want to know is how do i go about achieving the look in NUKE. i know its probably noob stuff but this is literally the first thing ive tried in NUKE.
any help would be appreciated guys
IMAGE
It was only a matter of time until OK GO got into the Chrome experiment game. They’ve partnered up with dance company Pilobolus, longtime collaborator Trish Sie, and Google Japan to create All Is Not Lost – a music video and love letter to Japan that allows you to send messages using either roman characters or katakana.
The HTML5 version is a bit processor intensive (took a couple false starts on my machine), but worthwhile for the window movement and typographic play. The regular music video still features their trademark clever visuals. Making of here.
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.
