Noah Conopask, Director at Shilo, NY. Also check out his personal photo diary. Enjoy…
Eyeon’s next generation of the GPU Supercomputing framework in Fusion® 6.1. This is not just an acceleration technology; this is unprecedented productivity advancement.
Exploiting the power of low cost GPU graphics cards with hundreds of cores, coupled with an expanded feature set, makes this release much more productive. The need for network rendering becomes greatly reduced, keeping the studio’s infrastructure manageable and cost effective.
3D scene importing via FBX has been greatly expanded, streamlining the process between 3D animation and rendering to directly have the same assets working in Fusion. Produce passes and layers on the fly directly on the GPU at breath-taking speed. Cutting reliance on other applications and departments simplifies the production process.
Fusion 6.1 accelerates from the starting line with astounding GPU optimizations, local file caches and particle solution caching. The creative horizon expands with new tools for managing grain, color correction and handling metadata. Scripters will rejoice at the inclusion of native python support, and everyone benefits from the many enhancements to particles.
Fusion 6 $3,250.00 obo Retails for $4,995/$5,390
Fusion License Transfer $195.00 $195.00
Please send any reels, resumes, breakdown sheets and salary aspirations to hr@makutavfx.com. Please no large attachments – links to reels only.
Thanks
I am rendering an environment out of Vue and putting the passes together in Nuke. Vue will render all the passes as OpenEXR files except the velocity pass. The velocity pass has to be an .RLA file. When I bring in the .RLA file into Nuke it cannot view the velocity data. In fact, the only channels viewable in the RLA in Nuke are RGBA, The 3d Channel Extract effect in After Effects can see: Z-Depth, Normals etc from the same RLA file.
How can I get Nuke to view the .RLA’s velocity data? or How can I get Vue to render velocity in OpenEXR?
Nuke versions 6.0v3 and 6.1v1
Vue versions 8 and 8.5
Thank You
Cam
“The stunt work in the film is fantastic, and in keeping with Phillip Noyce’s brief for realism, our VFX team worked heavily with the stunt crews to achieve key shots that would blend seamlessly within the stunt sequences,” said VFX Supervisor Ivan Moran.
Framestore NY was the lead VFX house on Salt and was responsible for key creative direction, technical CG and compositing. This is the first feature film to come out of the recently established film division in the company’s New York offices.
“This was a great film to come out of our new film division at Framestore NY, building on the Framestore legacy for VFX,” said Executive Producer VFX Sarah Dowland. “We knew how key the VFX work would be to the success of the film. There were many scenes and stunts that could not have been achieved without VFX involvement, and if those VFX moments were not realistic, the viewer would not believe the story. The demand for realism and transparency from Phillip Noyce was a challenge, but we were confident we would meet his expectations and we did.”
Salt focuses on the thrilling hunt to uncover the truth behind the identity of Evelyn Salt (Jolie), and that hunt takes the moviegoer on a wild ride. The film features countless stunts, explosions and car chases, each propelling the narrative forward and providing Salt with a number of narrow escapes.
Framestore worked with the Director and DP to carefully map out what could be captured in camera and then partnered with the film’s crew to ensure that the suspense never lets up due to a lack of realism. As the lead vendor on the movie, Framestore worked on over 300 shots.
“The real challenge was to realistically recreate objects and effects that people see every day,” said CG supervisor Theo Jones. “People are so familiar with some of the objects and experiences that we were building in CG and animation, so we needed them to be spot on or people would immediately sense that something was off and the believability of the scene would be in jeopardy.”
Framestore created a variety of CG crowd extensions, vehicles and set extensions to achieve the scale that the Director was after. Framestore’s VFX and animation work was vital to several key moments in the film, assisting the storytelling as well as making the action more compelling. Framestore even built, cracked and eventually disintegrated the floor of St. Patrick’s Cathedral using advanced CG and VFX techniques.
Framestore also oversaw one of the most impressive stunts in the film, when Salt drives off the 59th Street Bridge. A rigged SUV was actually pulled off one of the bridge exit ramps, smashing spectacularly into the taxi’s below.
“Multiple cameras were placed to film the stunt,” said Moran, “With perhaps the most ambitious being a camera rigged inside the vehicle itself, to be used as the backplate for a composite shot of Angelina seen from inside the vehicle on impact.”
To achieve this, the impact camera was later matched on a bluescreen stage, with vehicle seats and rigged airbags built for Angelina to perform against. Framestore was able to quickly comp Angelina’s takes on set to provide invaluable feedback from the director as to how the performance was matching the inside footage of the real SUV crash. For the final shots, CG dust and debris were added to blend the plates together and combined with the surrounding stunt work, the result is a stunning sequence of Salt’s escape.
Columbia pictures presents, in association with
Di Bonaventura Pictures, and Sony Pictures Entertainment
DIRECTOR Phillip Noyce
PRODUCERS Lorenzo di Bonaventura, Sunil Perkash
VFX Framestore
RELATED LINKS
www.framestore-cfc.com
www.sonypictures.com/movies/salt
Per promuovere il nuovo cellulare LG dLite è stato realizzato questo pixel spot tutto incentrato e animato sul display digitale del cellulare. Il video racconta una storia d’amore i cui ritmi seguono il tempo della colonna sonora “White” di Lights. […]
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