I noticed some great new works up for Marcos Chin over at Behance, under a well written essay titled Why I Draw, which is as inspirational as his incredible drawings themselves imho. If you don’t know who Marcos Chin is, he is a talented illustrator raised in Toronto and currently living in NY. […]
A beautifully shot trailer for the Snowboarding film featuring Travis Rice. The Art of FLIGHT follows Travis Rice, John Jackson, Mark Landvik, Scotty Lago, Jake Blauvelt, Nicolas Muller, Gigi Ruf, DCP and Pat Moore as they dream up new global adventures and progress the sport to unimaginable levels.
Brain Farm has gathered an arsenal of the […]
Making-Of
Marco Iozzi is an Italy based VFX designer with some serious skill. He has worked for the likes of The Mill, Psyop, Method, The Moving Picture Company and several others. Here is his 2011 VFX reel and subsequent Making-Of
I decided to improve my skills in Matchmoving (and reel) and try learning Stereoscopic Matchmoving.
However, shooting my own stereoscopic footage isn’t possible. So, I was wondering… Is there any source online where I could download Stereoscopic footage for free (3 or 4 second long shots would do!) to practice steresocopic matchmoving?
I found some websites with really good matchmoving footage, but most of them aren’t particulary cheap so…
So, if anyone can help me out with this one that would be brilliant! Thanks 🙂
This is my first post here at VFX talk, Been browsing it for a while and learnt a lot from it.
I’m currently at University and am working on visual effects for a friends graduation film. The film is about two people on the way to mars and they run into problems meaning one of them has to sacrifice themselves in order to complete the mission.
We have already shot all the interior spaceship shots in a studio, all that is left is to shoot a miniature against a greenscreen. This will be keyed out so the ship appears to be floating and rotating through space.
Does anyone have any tips and tricks for shooting the miniatures. I’m hoping to add reflections, lights, dirt etc.. onto the miniature in post. I have been watching ‘Moon’ behind the scenes and its incredible how much they improve upon their miniatures in post production.
Is their anything I should set up on the space ship when we shoot them, tracking markers etc.. Should I shoot it with a locked off camera. It was suggested that I build a CG version of the ship to map reflections onto the miniature.. Would be great to hear some tips and workflow ideas,
Thank you
James
i just did a script using a pythonPanels interface.
all worked fine until i did a small chande in one procedure.
i am not able to use "nuke.toNode("xxx")" in a procedure that is called from the python panel.
here a script that demonstrates the problem.
-> create a Blur node named "Blur1" before starting it.
import nuke
import nukescripts
class testPanel(nukescripts.PythonPanel):
def __init__(self):
nukescripts.PythonPanel.__init__( self, "testPanel")
self.forwardButton = nuke.PyScript_Knob(">>")
self.forwardButton.setCommand("test()")
self.addKnob(self.forwardButton)
def test():
b =nuke.toNode("Blur1")
print "b is currently: ", b
tp = testPanel()
tp.showModal()
after you press the button in the new panel, you see the return value "None". that means the command nuke.toNode("Blur1") thinks that the node "Blur1" is unknown..
it works, if you call it without the pythonPanels interface.
cheers
alex
(nuke 6.0v1)
edit:
if you add:
print "check exist: ", nuke.exists("Blur1")
in the test procedure, you will get the result "False"
but if you add:
print nuke.allNodes()
you will see the node exists..
strange to me.
p.s.: using "knobChanged" inside the class declaration does the same.
I am preparing some render passes for a compositor in mental ray for maya 2011.
The compositor would like the maximum ammount of control in the comp so I have rendered diffuse raw, diffuse levels, indirect raw etc etc using the multiple outputs of the mia_x_passes materials.
Using the architectural and design visualization shader library white paper information, these should be composited to match the beauty pass with the equation:
Beauty = Diffuse_level * (diffuse_raw + (indiect_raw * ao_raw)) + (spec_level * spec raw) etc etc
The passes are outputted as linear 16bit float exrs as specified.
The problem occurs when the comparing the beauty pass and the reconstructed beauty pass. There is a antialiasing/filtering artifact where objects of high contrast intersect.
I have attached a picture of a test beauty pass, the reconstructed beauty pass and also a picture of the difference between the two with a slight increase in gamma to emphasize the result.
Is there anybody that regularly uses mental ray passes at this deconstructed level that encounters the same issue? is there anything that I could be doing in maya to avoid this??
Any help would be appreciated.
Thank you for your time
james
With Maskarad, you now only need a video file featuring an actor’s performance to get started creating lifelike facial animations.
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