One more great example of using SketchAR app to paint a murals.
Roman Muratkin is one of the famous mural artists in Russia.
He used a smartphone (Lenovo Phab 2 Pro) with Tango technology to paint this mural. Special extra cameras of Tango technology allow you to detect the environment and fix a virtual sketch on a real wall.
Download SketchAR for free http://sketchar.tech
App/technology – SketchAR.tech
Video curated and artist support – FGA.art
Artist – Roman Muratkin
Artist Alexey Kio demonstrating how to do a geometric style in graffiti using SketchAR.
You need:
– A smartphone with Tango technology such as Lenovo Phab 2 Pro or Asus ZenFone AR, because they have special extra cameras to detect the environment.
– Download SketchAR for free.
– Upload your sketch to the app.
– Use a brick wall because a with current phone technology, virtual images don’t fix as easily to smooth walls (this will be changing soon with ARkit and ARcore).
– Draw dots at every intersection to prep your sketch, and then connect them.
Show us your masterpiece using the hashtag #SketchAR
Also, you can try SketchAR on paper using the app for iOS and Android http://sketchar.tech
Directed by Murat Saygıner www.muratsayginer.com https://www.facebook.com/muratsayginerpage Music & Sound Design by Zenthing / Jochen Mader www.zenthing.tv https://www.facebook.com/itsazenthing/ Thanks to Infinite-Realities for the head model.
Today MPC’s Bangalore based studio announced a new partnership with specialists Trace VFX. MPC’s film division have created a matchmove & rotoanim ‘dedicated unit’ at Trace’s Mumbai studio to work on their growing list of exciting feature films.
“MPC Film has seen incredible success and growth over the past 10 years, driven by a rise in the film industry’s demand for high-end photoreal visual effects.” said MPC Bangalore head of studio Kranti Sarma, “In order to keep up with this appetite for complex CG work, we’ve partnered with Trace VFX, to create a dedicated MPC unit to work on our studio’s MM and Rotoanim work. The Mumbai based unit will benefit from specialist training, both from MPC and Trace and a fantastic slate of movies.”
The post MPC Film partners with Trace VFX to create dedicated matchmove and rotoanim unit appeared first on AnimationXpress.
Toonz Media’s Animation Masters Summit 2018 is all set to kick-start on 4 May. The much awaited event called down the curtains last year with the audience wanting more. This year, the event seems to be making a comeback with even better and creative prospects in line.
Speaking to AnimationXpress, Toonz Animation India CEO P. Jayakumar talked about what this year’s summit has in store.
P Jayakumar
“Animation Masters Summit is conceived with the sublime vision of creating a unique platform for the young and aspiring Indian artists to learn about the latest trends in the art and industry of animation from the legendary masters from around the “”globe. ”
Further talking about the event, Jayakumar briefed, “this year the theme for the Summit is ‘Animation And Beyond’. Through this, we explore the limitless possibilities of the medium of animation beyond being a TV series or a feature film. This immeasurable potential to branch out into games, apps, licensing & merchandising, AR, VR, IR is what makes this medium universal. Hence this year we have invited experts from all these fields to instill in the young minds this holistic purpose when they think about creation.”
“At Toonz, we believe that India has the potential to create world class brands and franchises for kids & family. This year’s Summit is our humble attempt to bring in this great belief into as many young Indian artistic minds as possible,” Jayakumar concluded.
AnimationXpress will be present at the event to bring you live coverage of the summit. Are you geared up for Animation Masters Summit 2018?
The post What’s in store at Toonz Media’s Animation Masters Summit 2018? appeared first on AnimationXpress.
2014 Oscar-winning animated feature Big Hero 6 generated so much fanfare upon its release, that at the New York Comic Con last year it was officially announced the franchise would be getting its very own comic treatment.
Now IDW Publication has further released statements revealing that the comics would be debuting this year in July, supposedly when the Comic Con event gets underway.
The hilarious sextuple of Hiro, Wasabi, Fred, Go Go, Honey Lemon and Baymax are returning for their second series of Big Hero 6: The Series, as Disney renewed the popular show after garnering rave response.
The comic version will be written by Hannah Blumenreich (Spidey Zine) and illustrated by Nicoletta Baldari (Star Wars: Forces of Destiny). The covers for the first issue have been illustrated by Gurihiru (The Unbelievable Gwenpool) and Sophie Campbell (Jem and the Holograms).
Walt Disney Animation studios propelled the series to new heights by clinching the Oscars, but the series is inspired by a 1998 comic miniseries of the same name by writer Scott Lobdell and artist Gus Vazquez.
IDW’s publication would be out in July, although the exact date of the release hasn’t been disclosed yet.
The post ‘Big Hero 6’ comics by IDW Publishing to debut in July appeared first on AnimationXpress.
VR Animation studio, Baobab has roped in Academy Award-winning actress Lupita Nyong’o (12 Years a Slave, Star Wars: The Force Awakens, Black Panther) to lend her voice to Jack: Part One, an animated virtual reality (VR) version of the Jack and the Beanstalk fairy tale.
The studio said the decision was inspired by “the social movements of today” and to defy preconceived notions of the Giant and present the character as “a dynamic and powerful woman.”
Lupita Nyong’o
“When casting the key role of the Giant, we were inspired by the social movements of today to dismantle all preconceived notions of who should play the part. It suddenly came to us that we wanted a dynamic and powerful woman to voice the role and we are overjoyed that Lupita saw the experience and decided to lend her incredible talents to Jack,” said Baobab chief creative officer Eric Darnell.
An equally excited Nyong’o added: “I was incredibly intrigued by the concept of Baobab’s Jack, which brilliantly incorporates the best of both art forms through mind-blowing VR technology. When I experienced Jack firsthand this week and met its revolutionary director Mathias, I knew I had to be a part of this innovative project.”
Directed by French filmmaker Mathias Chelebourg, the project combines immersive theater with VR technology and animation in a vibrant reimagining of the classic which is going first of its kind.
Mathias Chelebourg
The experience brings a new dimension to the 5,000 year-old story by putting viewers into Jack’s shoes, and helping them grasp the magic beans and feel the thrill of adventure in the realm of the giants.
Each audience will get a VR headset before stepping onto a physical stage that is magically transformed into animated scenery. Once inside, they’ll able to roam freely, completely immersed in and interacting with a fantastical world and its characters (played by live actors) using sight, sound, smell and touch.
“The opportunity to bring Jack to life with Baobab Studios has been an exhilarating experience for me and my team. The daily response at the festival is truly overwhelming and humbling. Adding the sheer brilliance of Lupita, a renowned star and exceptional talent, has propelled me straight through the clouds and into the land of the giants,” Chelebourg quoted.
The first installment of Jack: Part One is being shown at the Tribeca Film Festival at the Virtual Reality Arcade. The second installment of Jack will also be built on Baobab and Chelebourg’s successful collaboration introducing viewers to the land of the giantess.
The post Baobab Studios signs Lupita Nyong’o to voice the Giant in ‘Jack: Part One’ appeared first on AnimationXpress.
The suite of texture tools is compatible with Cinema 4D (R17, R18, and R19). You can quickly and easily generate colors, reflections, and materials with ease. These texture tools are not compatible with third-party renderers.
Get these free texture tools send to your email by clicking the button below. The download includes a video on installing the tools in Cinema 4D.
First, let’s dive into the color generator tools. These will allow you to generate a series, or random, colors or values. Included are rainbow, value, warm, cool, and fresnel generators.
First, I’m going to create a bunch of materials. I’m going to select all my materials, then hit the rainbow button. Now you’ll see it makes a rainbow, BIG SURPRISE!
This tool creates a random series of colors throughout the color spectrum. It applies them in order based on the total number of materials you have. So if you select them all, you’ll get a complete rainbow.
Then you can select a smaller amount and it will create a new spectrum based on the selected materials. It will also keep regenerating random colors, so if you aren’t pleased with the selection, just hit the button again for a new series of colors.
Alternative options are also available. So if you hold down the Alt key when pressing the rainbow button, now it will apply random colors to your textures.
This texture tool will create a black and white value range, very similar to the rainbow tool, but for black and white.
Again, hold down the Alt key and click the icon to get random generated black and white values.
You can also use these two tools together. Hold Alt and hit the rainbow button to get random colors, and with the material selection still selected, hold Alt and hit the value button. This will now give you different values of the colors that we just generated.
While we showed these examples in the Color channel, both of these tools also work with Luminance.
The warm color tool pushes the color values into a warmer tone. By default, it moves towards red. If you hold the Alt key, it will move towards orange on the color spectrum.
The cool color generator pushes towards blue, while Alt moves you toward purple and dark blue.
After you’ve generated the colors you want to use, you can use the Fresnel button to create a gradient going to white.
The Alt key will remove the gradient and return to solid colors.
The second series of free texture tools for Cinema 4D allow you to add reflections to your materials. Included are reflection, brighter, dimmer, kill reflection, and kill specular.
The reflection tool adds a reflection. Easy enough. If you open up your material editor, the tool is actually adding a new Beckmann layer and Dielectric fresnel in your reflections.
It’s a one-click solution to give you a nice and shiny gloss.
The brightness + tool makes the reflection 10-percent brighter with each click. The more you click the button, the brighter the reflection.
The opposite for the brightness -, or dimmer, tool. That moves 10-percent into a negative brightness space with each click.
The kill reflection tool removes every reflections type that is applied. Every type of reflection will be removed from the material editor, meaning Beckmann, GGX, Phong, Ward, Anisotropic, Diffuse, and Woven.
This does not remove the specular reflections, hence we made…
This texture tool removes all specular channels. This will leave your materials with pure luminance values.
This series of texture tools help you quickly map textures to your materials. Included are the scale up, scale down,
The utility materials button opens up your textures folder. By default, I have mine setup to open Texture Kit Pro, but you can navigate to any of your folders and fine the texture you need for this project.
This tool will automatically add a texture to your material and adds a filter, so you can easily adjust color, saturation, gamma, etc. It also adds reflection and a bump filter so you can adjust those values too. The texture is also added to the alpha channel, but that’s not turned on by default.
The materials scale up and scale down buttons adjust the tiling and length settings.
You continue to click the button to scale the textures size.
This might be my favorite tool of the bunch. With this, you can select multiple objects then add multiple materials to those objects with the click of a button.
The materials are added in order, so if you had a series of colors, they would be applied in order to the objects from top to bottom. If you don’t have enough materials for the objects, the colors will automatically loop. Holding down the Alt key will make the materials apply in random order.
Hopefully you find these tools helpful. If so, let us know down in the comments.
Looking for more free stuff? Check out our free downloads page for some free scripts, layouts, 3D models, and more!
The post 14 Free Texture Tools to Add Colors, Reflections, and Textures in C4D appeared first on Greyscalegorilla.
Tension mounted during Mark Zuckerberg’s congressional hearing…
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MARAMEOFILM and European Film College presents: “LZ 129 – A Zeppelin Odyssey” is a found footage documentary that explores the industrial power and magnificence of the German Zeppelin airship. The film is a portrait of the Zeppelin – from its construction, to flight, to its eventual demise in the Hindenburg disaster. LZ 129 evokes an emotional response from the viewer whereby underneath an aesthetic celebration of the Zeppelin as object, a darker correlation is made between the Zeppelin and the Nazi regime. The Zeppelin is treated as a living thing – from birth, to life and ultimately death. An innocent eye is placed onto the Zeppelin during its construction period, whereby the seemingly innocent relationship between the German people and the Nazi government is also called into question. The flight of the Zeppelin at the centre of the film conveys an ethereal moment of spectacle, a spectacle that is grimly shadowed by the presence of Nazi propaganda beneath the surface. The demise of the Zeppelin, most notoriously through the world famous event of the Hindenburg disaster, brings this correlation between Nazi rule and the Zeppelin to its apocalyptic conclusion. The film wishes to enact a feeling of complicity to spectacle and as a result, bring into question the political issue of spectacle as propaganda. The Zeppelin, removed from its context, becomes a creature that soars and invites awe as the audience become swayed by its aesthetic brilliance. But as we become aware of Hitler’s shadow beneath the image, we interrogate the danger of spectacle to avert the eye.
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.
