PFTrack tracking/solving problem…

Hi, I dont know if anyone has had similar problems when using PFTrack but I recently shot something quickly as a test for matchmoving with my Canon HV30 with a Wideangle lens (quite proud of owning that Raynox 0.66 :D) in 50i and whilst I’m aware of matchmoving software (motionblur being its enemy) I thought I would give it quite a test and be abit ambitious when shooting.

The shoot was very simple and short, it was just me holding my cam and filming the road outside my house, panning from left ro right and a couple of zooms but nothing drastic I believe. When I created an image sequence of this simple shoot and imported it to PFTrack, I adjusted the parameters alittle inorder to give me a good track and deinterlaced it so I would get 25p. However after the tracking, to my surprise the solving proved to be difficult once again for me despite how simple it was, it kept failing at certain frames where the camera pans from left to right resulting the most motionblur but even I wouldnt consider it that bad and there was still some tracking points on it, especially when I even manipulated the image of the footage like the contrast and sharpness to get more of a solid track for complete solving, but to no avail.

After trying this and after and many trackings later, I went and seperated the fields of the footage, thus I would get 50p. I tracked with this and to my surprise the tracking result was MUCH more solid and the solving actually solved the footage, the downside to all of this that it took waaay too long. Because of this, I dont understand why is became so successful, despite there being more frames, but the place where the track was weak and solve fails, there was a big improvement. This now questions me on how will I ever work with matchmoving footage of this kind if shot progressively (24p or 25p)?

On a final note, even with the 50p track and success solve, when playing back the footage within PFTrack, I have a feeling that there is some drift, how would I fix this if it ever was the case?

I hope you understand what my problem is and I would really appreciate it if someone helped me on this. Thanks and look ofrward hearing back guys (and gals hopefully) :thumbsup:

Fusion 2010 Demo-Reel

Updated 2010 Demo reel.
Everything done in the reel was composited using Fusion.
www.brokenimagevfx.com

Feature Film Needs Some Help..

Hi, we’ve just finished a low budget feature film and we need some help.

We’ve done all of our vfx in house with our director doing all of the vfx. At this point it looks like we’re going to be short about 10 shots for our delivery date of Mid-January. The 10 shots are varying in scope but we are looking for some vfx artists or a vfx company to come in and help us finish off the film with these 10 shots while the director finishes the other vfx.

The vfx shots vary in scope from compositing, to a bit of roto and 3d. The exact shots can be discussed with the director.

The film was shot for very little money and we have a sale that looks like it will be pending with Lionsgate. We can only offer credit on the film. We are going to be able to finish this ourselves but it will take us an extra month which we’d like to avoid if possible.

The project is very cool and we’re looking for VFX artists and/or companies for future work we have coming up. We have a couple projects in with large studios right now that look like they’ll be greenlit shortly and can’t do that stuff in house anymore so it’d be good to set up a relationship with a new company and something relatively easy.

Let me know if this interests you.

Thanks for everything this year VFXTalk!

Its been a while since I’ve had a chance to check in with this community! I checked in once maybe back in late October, and decided to come back quickly before the year is up to wish everyone happy new year, and thanks for all the input from all the professionals here adding in their two cents and guiding each other.

I originally started on this site back in school, learning compositing, and coming here for extra critique, and adding my own views to others with questions. It was such a wonderful community, and being able to talk to so many professionals actually in the industry first hand and to pick their brains about everything vfx related was such an amazing opportunity, I had to become a sponsor.

Since then, I now am a professional in the industry (by definition), I work doing motion graphics and visual effects together in a nice oreo cookie of awesomeness at Electronic Arts, making a good wage (and making sure of it thanks to VFXWages), and getting able to explore my creativity. I would consider myself a success story to VFXTalk as through this community I have taken the knowledge passed down to me from the greats on this site, sifted through all of it, applied what I’ve gleaned to my own career and have made something awesome of it.

So it was most discouraging to have this site brought to my attention:
http://vfxsoldier.wordpress.com/2010…cg-censorship/

These are costly mistakes that I feel will ultimately ruin this site. I hope that from the ashes of this though, a new site will be created after the apparent merger with sputnik and that we have all learned valuable lessons from this incident.

I will continue to be a member of this site, and continue to provide critiques and guidance where I can despite these recent incidents, as I feel an obligation to give back what I took from here and hope others do the same. 😎

Positioning lights and camera

Hello ,

is it possible to postion lights and cameras by means of looking through them and then move the camera or light (like Maya)?
thanks,

bern

Roto/Paint Artist

Good Day to All,

I’m an experienced artist for almost three years and my contract with a company just expired, I am now searching for a job abroad, and will be needing a job this coming January. If any Employer have read this and will be needing extra hands, I am more than willing to be of service, Roto is indeed my specialty and Paint, like wire, and rig removal is my forte.
Thank you so much, you may all have a wonderful day.

Truly Yours,
Gray.

Once a Week Online Film Festival call for entries

Once a Week online film festival is a weekly showcase of short indie films under 15 minutes. All films showcased come directly from submissions. Every Wednesday at 10pm eastern time the highest rated film will be shown on the homepage and will remain for an entire week. Each selected film will stay on the channel forever and as the festival grows will receive more and more views. No Entry Fee. Any genre accepted, no completion date. For more information on how to submit please visit.

http://www.youtube.com/onceaweekfilmfest
http://www.onceaweekfilmfest.weebly.com
http://www.twitter.com/onceaweekfilm
http://www.facebook.com/pages/Once-a-Week-Online-Film-Festival/134351336588810?ref=ts

Eagle Modeling

Hi,

I require some guideline to model an Eagle.

This is first time going for organic modeling.

where can i find blue prints for eagle and how render feathers to get a photo realistic look.

I need to model some sea animals also.

Your replay be a great support.

thanks in advance.

TRON – Game Developers Go Hollywood

TRON was the first movie to have a hit video game tie-in at the arcade, which seamlessly connected the film universe with the real…

Daft Punk & The Mill Bring Excitement to TRON

[NEWS=”http://www.cgnews.com/wp-content/uploads/daft_punk_thumbnail.jpg”]29261[/NEWS]Excitement was at a fever pitch for the premiere of Walt Disney Pictures’ TRON: Legacy on December 17th, and it is thanks in no small part to Daft Punk’s new video, “Derezzed.” The first track off the French electronic artists’ TRON: Legacy soundtrack, “Derezzed” features the retro bling—light cycles, black-and-neon grids, gladiator games—of 1982’s TRON classic brought to life by modern-day VFX accoutrements. The Mill NY team worked closely with Partizan’s Warren Fu to create the hypnotic landscape.

“We are all big Daft Punk fans and fans of the original TRON, so the project was a must!” says Rob Petrie, our Lead CG Artist. “We had a lot to accomplish in a small window of time—63 shots within four weeks.”

Working closely with Warren Fu, the Mill team set about creating a look that pre-empted the original film: meaning CG circa 1979. “With CG today we have all the latest technology at our disposal, something which was not the case when the original TRON was being made,” Petrie explains.

“So we took an almost simplistic approach when it came to the rendering and lighting of the CG elements and kept referencing back to the original movie to keep a retro feel throughout.”

The video was shot over one day in L.A. on green screen. A mechanical horse was shot on gimbal. And Olivia Wilde, who stars as Quorra in TRON: Legacy, was on hand for her cameo.

All composition was done in Nuke, a popular tool for handling CG in feature films. “Because of the volume of shots, the Nuke pipeline was very appropriate,” explains Andrew Proctor, Lead Nuke Artist on the promo.

Co-Heads of CG Ben Smith and Yann Mabille, who VFX Supervised the project, add, “We had up to 10 people working on shots simultaneously, so we could see many shot iterations fast. We had a great team jumping on shots and blasting them out for review.”

That team rolled up their sleeves and spent a week getting rid of green screen and compositing new backgrounds into the shots. Petrie notes, “We decided to create certain shots in full CG to help make the edit—the offline was done in-house—as dynamic as possible, and really build tension leading in to the final impact of the joust.”

“‘Derezzed’ was a huge team effort,” say Smith and Mabille. “Warren was amazing to work with as both director and designer. He practically lived at The Mill for three weeks, and did a lot of 2D elements himself. He was formerly Lead Concept Designer at ILM so he was very hands-on and really understood the process. We couldn’t be happier to have been involved!”

RELATED LINKS
www.themill.com