blue screen circular tracking

Hi,
I’m curently working on a circular tracking shot and i have some difficulties to have a good solution. I have a better solution at the end of the shot than in the beginning.
I have trying different appraoch like user, automatic, tracking. mixed of both. I have extract some clean (without motion blur) frame fome differents takes to use as references.
The only info i have is the film back.
I think my bigest isue is the size of motion blur and the lake of marker at the font of the shot. But it’s like that :cool:.

I ‘m coming to know if maybe someone have adifferent approach. and to have some answere for those questions:

– In this case is it better to set the auto track as a free move or maybe something else (none).

– in this case where do you put your initial frame?

– is it an obligation to undistord the picture before tracking (and how can i undistord this picture (where are the straightline for y))?

– in Pftrack, when you use a user track and it failed, is it a good idea to use the hide function and later replace the tracker and continue. Or simply create a new tracker

– In pfT solver do you change the camera Translation and/or Rotation?

Thank you for all ideas

B

or http://vimeo.com/27285752

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digital noise for Alexa, Red, D5

Hi
I was looking some gizmos that reproduce the digital noise from alexa, red , d5 cameras …

any idea?

Technicolor Beijing: Lead Compositor

Job Description

Lead Compositor

Location: China, Beijing

Job Summary:
Reporting to the VFX Supervisor the Lead Compositor is responsible for leading the team
of Compositors throughout the VFX process. The Lead Compositor is also responsible
for developing looks and compositing processes required for individual projects.
Works within a very collaborative team environment that encourages open communication and
knowledge sharing.

Job duties and Responsibilities:
– Participate in the bidding process estimating time and resources required for VFX shots.
– Allocate shots and tasks to appropriate compositing artists.
– Communicate and collaborate with the VFX Supervisor and other members of the VFX team.
– Develop looks and techniques required for each project.
– Seek out new techniques and processes which help to increase efficiency and enhance
the overall look of a shot.
– Collaborate with the VFX technical staff to develop and enhance pipeline tools.
– Act as a mentor and teacher to the more junior staff.
– Integrate CG and live action elements seamlessly with background plate.
– Enhancing, extending and duplicating elements in a photo-realistic manner.
– Work together with the VFX Supervisor and Senior VFX members scheduling staff
during production and also during downtime.
– Assist in covering the responsibilities of Senior VFX staff when required.
– Foresee, troubleshoot and communicate potential problems.
– Other duties as required.

Required Skills / Experience:
– 7+ years experience, preferably on feature films.
– An eye for composition, lighting and color with respect to photo-realistic integration.
– Ability to work and lead in a collaborative Team environment.
– Strong problem solving skills.
– Highly detail oriented.
– Demonstrated ability working with Shake, Nuke and/or Combustion.
– Strong communication skills, with the ability to take and apply direction.
– Effective individual time management skills with respect to sensitive deadlines.

Desired Skills:

– English speaking definitely an asset
– Fine Arts and or photography background a plus.
– Willing to relocate.

If you are interested in this position, please feel free to contact at technicolorbjhr@technicolor.com

ZBlur for DoF on Particles

I’ve made some stationary particle ‘strings’ and trying to a get variation in the depth of field through the shot using Zblur.

Testing Zblur on a card rotated 45 degrees through the scene is giving me a nice gradual blur around the focal point … but all my particles seem to be blurring by the the same amount from from-to-back / start-finish.

The particles do actually have depth in 3D space, but I’m not sure if I’m actually getting depth information from them to ZBlur. Apologies if this is a dumb question, still new to Nuke 6.3’s particle system.

D

Shake crashes when compositing at 6K?

Does anyone have a set of cache / diskCache settings that tune up shake 4.1 to work with 6K images? I’m currently crashing about every 20 seconds or so with the following errror:

shake(1511,0xa0338540) malloc: *** mmap(size=104861696) failed (error code=12)
*** error: can’t allocate region
*** set a breakpoint in malloc_error_break to debug
error: memory allocation failed

I have a new 12core 48G RAM OSX 10.6 machine.

I made an attempt to create a custom memory.h file (see below):

diskCache.cacheMemory = 512;
diskCache.cacheMemoryLimit = 1024;
diskCache.cacheSize = 51200;
diskCache.cacheMaxFileSize = 16*8192*4320; //8K 16bit Holds 8K 10bit image
diskCache.cacheLocation = "/scratch/shake";
cache.cacheMemory = 256;
cache.cacheMemoryLimit = 512;

Shake still crashes. W/O the memory.h file.

Any help would be appreciated…

thx

So Long and Thank You!

Well it’s now been 10 years since I started the first version of Heavy Backpack. This little website for all things creative has inspired me and many others over it’s course but it’s now time to say farewell. I have learned so much, made great discoveries, and seen many creative talents along the way. I have enjoyed the experience and give a big thank you to all visitor new and old.

The site will remain online for archive purposes but will not be updated. You may have noticed that the updates have been much more irregular since the start of the year as I’ve been trying to shift my focus to my own creative work.

Thank you for travelling with me and my Heavy Backpack.

Rhett Dashwood

http://twitter.com/rhett
http://rhettdashwood.com

Tracking an object behind the actor

Hello all,

I looked around for solution to this and I didn’t see one, so if this was asked before,I didn’t see it, sorry.

I need to attach 3D wings to the back of actress, she moves around in the shot quite a bit, and the wings are normally behind her relative to the camera.

Using Syntheyes how would best do this?
My current though was to tape dowel rods to her back with markers on them. I am thinking there must be an easier way.

If it matters… I am using Lightwave 9 to model the wings and render them, Syntheyes to track, and after effects / premiere for the final product.

thanks for any help.

— Xil

Houdini FX Artist – for Method Studios LA

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”.

PRINCIPAL DUTIES AND RESPONSIBILITIES:

· Design and animate high quality, photo-real effects (dust, fire, smoke, explosions, debris, clouds, etc.) that meet all technical and aesthetic standards for the project
· Work within the show structure and production deadlines to complete all tasks
· Integrate created elements into scenes with lighting, shadows, reflections, etc.
· Work closely with Lighting Artist and Compositors to ensure all effects will work smoothly within the show pipeline
· Produce look tests based on provided reference materials
· Has good communication skills and is able to take direction from FX Leads and FX TDs
· We are looking for enthusiastic, dedicated team players who are looking to start their careers in Feature and Commercial VFX

EDUCATIONS, EXPERIENCE AND SKILLS REQUIRED:

· Degree in Animation, Arts, Fine Arts or equivalent production experience
· Working knowledge of Houdini
· Knowledge of any and/or all of the following: rigid body and particle dynamics, volume modeling and rendering, procedural geometry generation and fluid dynamics
· Strong understanding of physical dynamics and natural phenomena
· Experience with one or more other professional software packages such as Maya, Nuke is a plus
· Proficiency in shading and rendering techniques, ideally both Mantra and Renderman
· Requires strong technical knowledge and organizational skills
· Python scripting is a plus

PLEASE INCLUDE DETAILED BREAKDOWNS WITH ALL SUBMITTED REELS.

Reels/Resumes can be sent to:
method-la-recruiting@methodstudios.com