Hasta La Motion!

Sry for the placement of this thread. Not sure where to post it.

I’m keen to know what techniques people use when the default setting for moblur in SFX simply don’t work. I refer really to the more pronounced moblur shots which often leaves the soft edges far too exaggerated and the hard edges way too eroded. I find you can compensate for one of these but not both (well not with only one shape).

At present the method I am adopting is roto’ing initially to the soft edge (which basically leaves the hard edge hideously eroded). I then duplicate my shapes. With these duplicates I remove the moblur and give them a slight inner blur. This has the effect of bringing back the hard edge with a hint of softness to blend with the soft edge. With this method I get reasonable results.

However, is there a simpler way? If the shot demands 40 shapes then my current workflow of having to duplicate all these and fiddle with the settings is convoluted. I find messing with the moblur setting is fruitless because they apply to your shapes globally. So you may be able to line them up correctly for one shape but it puts all your others out of alignment.

(Perhaps I should mention I’m using V2.3. I don’t know if the mblur settings for v4 are improved or not).

I just wondered if people could share some of their techniques for combatting this…

This scene from Erin Brockovich – Forte Come La Verità

http://www.youtube.com/watch?v=T-IufBeE0SM

02:47 to 03:40

HOWWWW????

I doubt on 03:27… or even the whole thing is really shot and some little compositing and awesome sound design to make it look real???

:thanks:
Raghul Sridharan
Visual Artist

562-682-7339
mailrgl@yahoo.com

http://rglpictures.blogspot.com/

Hi every one i am zohaib self taught character animator from Pakistan.
I have been animating for 4 years now in Pakistan but don’t feel like improving my skills there r not much jobs opportunities for character animators here, and like any artist i want to improve and work in better studios. but so far i am unsuccessful to break in as animator out side Pakistan, so i am wondering to become a match move artist and follow this path to break in and then find a way to become animator because there are lot more match move jobs then entry level animators.
what do u guys think, is it possible.

This is my animation reel if u want to see.

http://www.vimeo.com/20701015

Hi, I’m currently studying Computer Games Development at Abertay University, working as an artist hoping to specialise as an environment artist.

Currently I’m doing some research for a module (Professional Specialisation) and looking into how I can differentiate myself from other applicants and was wondering if there was anyone with experience in the industry that could give me some advice.

My undergraduate degree was in Interior Architecture so I was looking to use this as my starting point. As that goes here are some questions I have been asking.

1. Is it possible to specialise in purely creating interior spaces or are environment artists expected to work on all aspects of the gaming environment?

2. What is the true value of architectural knowledge when it comes to games?

3. With games becoming more advanced and the environments more believable is there any scope for someone to be employed to design the spaces in an architectural manner or is it still very much the level designers job to block out the spaces and then tell the environment artists to make it look like an airport/church, etc?

4. Primarily I imagine an architectural knowledge will be extremely useful in the concept design/research stage but is it something which could have weighting all through out the development cycle.

thank you for taking the time to have a look at this for me.

Matt

Hey guys,

Im currently working on a movie for a company, Ive already done a few shots, and this ones not particularly hard, i just want some suggestions on some ways to go about doing it.

The movie is a zombie movie.

THE SHOT:
A zombie is chasing the main character into some water – either the make up artist missed some, or the zombies pants got lower from the weight of the water – but he is shirtless and is covered in makeup to make it look like his flesh is green and decayed and dead… zombie-like. The problem is that there is about an inch band around his waist before the pant line that has no makeup, and is just regular skin.

My job is to extend this decayed flesh look down.

USED:
Nuke 6.2
Pixel Fudger gizmos

Unfortunately i cant post any pictures or footage etc for obvious reasons… but heres what ive tried.

I love the Pixel Fudger plugins – I tried using the filler (basically just blurs in the edges of a mask. for this shot. As a 1 frame test i rotod the area that needed to be covered, used the edge blur inward, did some sharpening and color correction, and added a procedural noise to texture it like the surrounding flesh. This worked BEAUTIFULLY… for one frame. The problem is no matter how tight and specific you roto, even if its every frame, you get this ugly crawl in the blue because of the colors its blurring in. ANOTHER problem with this is that the noise, being a full project sized still, and the zombie is moving across frame, it animates through the flesh. Obviously this can be fixed somewhat easily but i didnt bother to put in the time, as this method Doesn’t seem to work well enough, thinking on a result to time consumption basis.

Anyone have any other suggestions?
I would just be interested to hear them and see what i can work out.

ALSO before someone suggests it 0 I tried using a luma key for a matte, but the flesh isnt much brighter than anything else, and changes color, so despite color correction and luma level tweaking, it doesnt cover the whole area i need, without introducing stuff i dont want.

(applicable software at my disposal – Maya, Nuke 6.2, syntheyes, pf track, mudbox, photoshop. We have more but i dont think things like houdini are particularly useful here xD)