I’m looking for a London based VFX assistant to work with me on a british feature film. The successful person will be an After Effects wizard and be happy to work for 4-8 weeks in London on all aspects of the VFX of the film. This is a paid position, although budget is tight and dependent on experience. It would suit a recent college graduate or 2nd job animation / VFX artist. IMDB credit and excellent experience assured!
aarontrinder1 AT me DOT com
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I’m planning to upgrade my Mac Pro in order to archive a "almost real time" playback in Nuke (HD ucompressed 10bit and maybe 2k). I currently have an external hdd enclosure with 4 HDDs in Raid 5 connected via eSata so I thought it could be a good idea to get a 32GB OCZ ssd for cache and 3 WD caviar blue in Raid 0 for the files I’m working on (living the OS in another ssd on the optical bay and the external as "backup").
Do u guys have any experience with this kind of setup? Any suggestions?
Cheers
From your experience, what’s the best file format to convert HD footage (ProRes 422 or uncompressed 10bit) to work in Nuke? DPX or EXR? If EXR, what kind of compression?
Cheers
I’m a little confused about the colorspaces in Nuke and hope u could help me out.
As far as I know, Nuke linearizes every image data from the Read nodes. When we read in a file, the colorspace setting on the Read node is telling Nuke what to convert FROM to get the image data into linear light space. Since the vast majority of monitors in use today are calibrated or have a preset for displaying images in sRGB space, we can choose sRGB (default) or Rec709 in the vLUT. This performs a conversion of the data in the viewer and not actually changes the image. It just puts a "filter" between us and the image data so you can view it correctly.
A lot of times a noticed that the colors on my output render doesn’t match what I had on Nuke’s viewer. For example, If I read in a Gamma 1.8 footage it looks more washed out on the viewer (in sRGB) than it looks but if I flipbook it (also in sRGB). The flipbook always shows more saturated colors. If I play this same footage with quicktime it looks washed out but if I play on whatever other playback option (even on the web browser or FCP) it looks more saturated. This gamma shift Is not a big deal if I don’t need to grade the final cos I can make all the images match (the ones in different colorspaces that need to be added to the comp), but it can be a little annoying otherwise.
How do you guys deal with this kind of situation? How do u keep the colors u see on the Nuke viewer consistent to the colors on the output render? Should I change the colorspace on the Write node to sRGB? But then wouldn’t it be inconsistent with the colorspace of another non-vfx clips in the editing app? Or it should be fine if all of the clips on time line have a final grade before finishing? What would be the best workflow?
Any help will be appreciated!!!!
Cheers
I’m pretty new to Nuke – so hope u don’t mind a Beginner-Question.
I can’t make up how to key it out:
1. I got a Clean-Plate, an image-sequence without the Actor (no green-/ or bluescreen)
2. The Actor in front of the same plate. Nothing changed, Lighting is the same, camera angle the same.
I have different plates with the Actor, want to mix them together into one (like this "multiple-personality-thing" 🙂 )
I saw that IBK is capable of bad greenscreen-keying, but there is no greenscreen – but it should be "image-based". It’s more like a difference key – while the difference key doesn’t bring up a good result.
Is there a way keying this footage without rotoscoping by hand? 🙂
best regards,
Banqo
There are two big action scenes and some other small bits of action throughout. We shot on Super 16mm film, cut on Avid, colored in Lustre and did all of our muzzle flashes, blood effects, debris hits, etc. in After Effects. We then brought it back into Lustre and rendered to our final output from there. I mainly just used a ton of stock footage to get the look of a practical effect I was going for. Let me know what you think!
Distinctions game is looking for talented FX artist. We’re using the wonderful UDK tool set and the game itself is a team based online shooter with competitive edge. We build on the brilliant heritage of Quake & Unreal that feels long lost. "There has been severe lack of a solid competitive shooter in the vein of those classics for years now," says project leader Andrew Lona.
Various guns of mass destruction are back in fast-paced environment that rewards teamplay and throws many unique mechanics to the mix. Game includes trickjumping and adds all the candy any modern player could want (character customization, classes, choice of abilities or achievements).
There is already some great talent on the team and we’re looking to further expand. The team needs a person skilled in visual effects related to games. Experience with UDK isn’t necessary. Suitable candidate should be able to demonstrate examples of previous work. Your job will consist of creating various particles such as weapon or abilities effects.
Distinctions is a noncommercial game with no budget but everyone on the team is very talented and passionate. Some of the members already have experience from the industry or various high profile mods. If you’re gamer and you’d like games related portfolio this might be the chance for you.
You can apply by sending an email to shaftling@distinctions-game.com. Candidates without examples of previous work aren’t going to be considered.
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