If any of you guys know some great techniques in creating environment maps, could you let me know? Thanks.
The picture below is what I am trying to achieve.
I am working on television series that filmed at hd, (at the is res the moire patterning is visible) but when its downsized to standard def the effects is horrendous.
please help
I have been recently been asked to re-create this sequence at home and am trying to get some opinions on how best to tackle it?
http://www.youtube.com/watch?v=VrVdCkKxty4
I’m guessing that the nightcrawler is on a seperate plate then composited onto the live action of the guards and backgroud so when the crawler vanishes there isn’t just a hole in the background. What I’m not sure how to acheive is the camera matching so they both run in time together? I’m sure they used some kind of automated camera control rig… I can’t think of another way to acheive this with home equipment?!?!
Any advice wold be great,
Cheers
..they talking about a technique named Theatre foile.. or Folyle..
I don’t know how it’s spell down (couse I’m not ENG)
I seemed to understand that must shoot the subject on a white background..
but I found nothing on the net..
anyone know something more about this technique? :magnify:
I’m Balendu. I’m a UG final year vfx student. I’m doing a dessertation paper about the topic "The history methods and significance of match movin in virtual set production and set extension".
I want to know the history of match moving in virtual sets and set extension and What are the factors to be considered on that. ?
Pls Help me..
Regards,
Balendu
Cinema 4D | Xpresso Volume 1
High Definition Training Videos for the Visual Effects Industry
Princeton, NJ (September 24th, 2010) cmiVFX launches its latest training video in Cinema 4D, Xpresso Volume 1
This tutorial is designed to learn the basics of accessing Cinema 4D’s backend with Xpresso and C.O.F.F.E.E. (Cinema’s own programming language). Opening up the backend of a program as fee as Cinema can be like entering a whole new rabbit hole, an intimidating task to say the least, but we this video will help you to make sense of all the nodes and networks and get you on your way creating complex animations controlled by a single slider, or even time itself. cmiVFX breaks down each tool one by one with fast and easy chapter references designed for even faster muscle memory. cmiVFX continues to deliver the training and content you need, quickly, efficient and affordably.
When it comes to high end CG and VFX training, there is only once choice… cmiVFX! This video is available today at the cmiVFX store for a Special Introductory Price!
Cinema 4D Xpresso Volume 1
http://www.cmivfx.com/productpages/product.aspx?name=Cinema_4D_XPresso_Volume_1
First Things First
Cinema 4d is an incredibly powerful tool on the front end, but its potential is limitless once you embrace the ability to access its backend with Xpresso. Creating time-based procedural animation is a great way to learn these techniques and covers everything you’ll need to know to get started with this infinitely expandable tool. This video will be the first in a series devoted to Xpresso and C.O.F.F.E.E. and will help to fill the gap in high-end Cinema 4D training related to these incredibly powerful master keys.mbling sequence that does not require a team of people, or weeks to put together.
The Math Node
Possibly the most invaluable node in the system is the math node; addition, subtraction, multiplication, and division are the most basic mathematic operations and are used constantly inside of Xpresso networks.
Periodical Proceduralism
Learn to combine the output from a time node with mathematical functions, driving continuous animation. We’ll then look at using trigonometric functions to create continuous oscillating animation which will be the basis of our project.
Gearing Up
Learn to modify and tie parameters together using just Xpresso nodes at first, and then graduate to using the C.O.F.F.E.E. node. We’ll learn to input a simple line of code instead of using networks of nodes to accomplish the same task. This can be a huge time saver and a way to optimize a network by eliminating excess. Even simple arithmetic can be cumbersome when it requires 5 or 6 nodes. Code can really streamline the process by minimizing the amount of setup necessary to perform a given operation.
Escapement
We will create a basic clock escapement mechanism using a dynamic motor and a collision object animated with our time based sinus function. Combining dynamics with animation allows us to create the realistic look of a mechanical second hand without having to simulate the entire pendulum and gear system (a potentially massive undertaking). By reverse animating the clockwork (the escapement wheel driving the gears) we can create a true to life animation without all the extra time spent calibrating dynamics.
Take Your Time
We will now put together what we’ve learned by connecting the two systems of gears together to gear up or down, and then connect them to the clock escapement animation we created earlier. Though we are creating a specific animation, the concepts and techniques used can be applied to a multitude of uses, and as the ideas scale, digital assets and even plugins can be created using Xpresso and C.O.F.F.E.E. With these basics under your belt, you’ll be well prepared to tackle the more difficult tasks in the tutorials to come.
About the Instructor
Paul Agostinelli is a Brooklyn, NY based artist. A recent graduate of the Rochester Institute of Technology’s Metalsmithing and Jewelry program in the School for American Crafts, he specializes in large-scale, interactive installation work. His undergraduate thesis spanned many different media, from fabricated steel, to hand-built interactive electronic and digital devices. He is currently working as a freelance artist specializing in Cinema 4D for the motion-graphics and VFX industries.
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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. For additional information about cmiVFX, visit www.cmivfx.com . © 2010 cmiVFX | cmiStudios. All rights reserved.
I am a recruiter who is currently looking for a VFX TD for a client in Toronto Ontario Canada. Please let me know if you are interested in such an opportunity.
Stephen Perry
This question doesn’t really have a right or wrong answer. This question is theoretical, logical, emotional, psychological and heck, even theological for some.
I wanted to get everyones opinion on pursuing what you love vs. what is currently marketable in your career.
What you feel is your true calling vs. what jobs are out there on the market.
Let me see if I can explain it this way. Lets say for example that you are in my current situation. You work as an Art Director now and for the last 15 years in traditional graphic design but you are trying to push your career in another direction. Now I got in to graphic design out of default. VFX/Animation/MotionGraphics weren’t taught when I went to university in the early/mid 90’s. So I studied art and design. I like what I do, but have always felt it wasn’t my true calling (if you believe in that kinda thing). Over the years I’ve taken the work because it’s what was offered and we all have bills to pay. The older you get the more responsibilities you accrue. Wife, Kids, House, Care of elderly parent, etc.
So now I’m in school, taking any extra time I can find to learn/study/practice.
Now back to my example… Lets say that you felt like your "true calling" was to be a Character Animator, or a TD, or Compositor, or whatever, insert speciality VFX job here. But you know these jobs are difficult to get. They go to the best of the best. They usually require relocation, which can be very difficult for some with the list of responsibilities listed above. Since you are basically an entry level you’d most likely have to take a pay cut to get started as you transition, which again can be difficult with the list of responsibilities listed above. Granted, a lot of these might not be the case for many. Say a 21 year old with no wife, kids and mortgage. But for someone 36 like me, they are the reality and please don’t think I’m complaining, that’s not the case at all. But they do have to factor into your decision.
Now your other option, while not a slam dunk, maybe more a smooth transition and may be slightly easier to obtain. So, you’re like me and you see many job listings in your own back yard for something like Flash animation or MoGraph. You know people, have connections. Not your first love, but maybe more of a logical choice? Maybe the more natural progression of what you currently do?
I’ve heard many arguments both ways. Some say, do what you love. If you love it and are passionate about it then you’ll be good at it and they rest will take care of itself if it is your true calling. You’ll be happier as a person.
Then the other side says you have to do what you can get paid for. You have bills to pay. And even if you are good at something, that never guarantees anything. You might truly be happier doing the other, but no one is happy if they can’t get a job and put food on the table.
I’ll admit that I struggle with this based on history. I’ve had a good career and have made a good living, but there are times it’s been a struggle. Designers are always the first to get cut when layoffs come. And I’ve been downsized/rightsized more times than most. As a result I might find myself being more cautious, maybe trying to play it safe still knowing that nothing is guaranteed in any career. If you were a TD, Compositor, MoGraph artist, Character Animator, etc. You’d still be just a vulnerable to layoffs, especially in this economy.
I struggle with this almost daily. It effects my studies, my ideas, my creativity, the classes I take or don’t take, etc.
I know the answer is somewhere in the middle – a balance of the two.
Thoughts?
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.
