Apr
21
Sherwin-Williams Color by Buck
Posted in: UncategorizedReally fun and energetic spot for Sherwin-Williams paint, courtesy of Buck.
Apr
21
Hi all,
I’ve tracked some footage and now want to export the camera data to Maya. However, once imported into Maya the baked camera animation stops at frame 312. Anyone know why this is happening?
The footage is 1920×1080 interlaced at 25fps, and I deinterlaced it using field separation so I could track it better. This changes the frame rate to 50.
I’ve tried changing the frame rate back to 25 and exporting it, which does actually allow the animation to continue for more than 312 frames but it still stops at the exact same point in the footage. I’ve also tried changing Maya’s playback speed to 25 and 50 with no success.
Any help is appreciated.
Thanks
Apr
21
grip limited relaunch
Posted in: UncategorizedToronto based agency Grip Limited has just relaunched their site. It’s looking great!
Apr
21
Update: Buck kindly created a making of video for Motionographer to break it down for yall. Also, I sat down with creative leads Orion Tait, Benjamin Langsfeld & Joshua Harvey and asked them a few questions about the project. Watch and learn.
Buck’s latest animation explores a world created by color swatches for paint manufacturer Sherwin-Williams. The first part of a bigger campaign, Buck plans to release two more spots to follow this, which according to creative director Orion Tait, has allowed “a bit more story-telling, which is a natural evolution for the campaign and has officially made this job an office favorite. We love working in the space where storytelling, design and animation meet.”
One of the things I dig the most about this animation is a technique they utilized to pull the spot off within the considerable time constraints they had. I asked Orion if the color grading for the spot was a nightmare since Sherwin-Williams would be considerably more picky then most client on the accuracy of their color choices (imagine color comments along the lines of, “this looks more like Husky Orange than Rave Red”..real names by the way). Orion told me that in order to relieve some of that pressure on the 3d end of the pipeline, Buck decided to render their scenes in grayscale and handle all the color and paint names completely in comp. Making for a much more interactive and controllable color correction experience for Buck.
This technique also accidentally lead to a more unique, illustrative look to the entire spot. A happy accident that creates a gray under-painting to the entire spot leaving it looking..well, more painted then most cg spots would otherwise.
Directed By: Buck
Production House: Buck NY
Creative Director: Orion Tait
Executive Producer: Kate Treacy
Producer: Kevin Hall
Lead Art Director: Ben Langsfeld
Art Director: Joshua Harvey
Design: Ben Langsfeld, Joshua Harvey
Storyboards: Pete McDonald
CG Supervisor: Joshua Harvey
3D Modeling: Arvid Volz, David Soto
3D Animation: Joshua Harvey, Pete Hamilton, Chris Hendryx, Arvid Volz
3D Character Animation: Jordan Blit
3D Rigging: Lee Wolland
3D Lighting/Shading: Kevin Couture, Lars Holmgren, Chris Hendryx, Hanwei Wu
Composite: Daniel Oeffinger, Conrad Ostwald, Joshua Harvey
Additional Design: Jon Gorman
Agency: McKinney
Producer: Josh Eggleston
GCD: Ellen Steinberg
Copywriter: Jenny Nicholson
Art Director: John Hagerty
Color Grade: Company 3
Colorist: Tim Masick
Apr
21
Berlin-based, Christen Bach, has tapped into the aesthetic and vernacular of David O’Reilly’s smash-hit “Please Say Something” to bring us another dark tale of love and loss between animals.
As Christen puts it in his blog post: “David figured out quite early…that there is something amazing about emotional conversations acted out in ice cold monotone voices. He has been able to get under the skin and display true emotions on very synthetic characters in very synthetic universes.”
Enjoy this fitting tribute and my second attempt to start your Monday with tears.
Apr
21
Hi everyone!
I’m facing this problem: I have hundred of 2D points created in other tracking package and I need to import them to Nuke to aid with roto – probably as Transform nodes.
To be clear: I don’t mean any 3D pointcloud or any camera track. I’m talking about pure 2D tracks.
I can export them out of my tracking package in any way you can imagine, so exporting is not a problem.
Problem is how to get this to Nuke without manually creating 100 Transform nodes and manually importing ascii text files into them one at a time.
I guess it will need creating a python script that goes through text file with all my 2D tracks (formatted in example like Track1 framenumber Xpoxition Yposition), creates Transform nodes for all trackers and copies the XY position information to them…
Any suggestions on what to use as a starting point? I actually can’t do any python for Nuke at all so I will have to find someone to do it for me 🙁
Somebody got any other ideas? Some alternative approach?
Somebody willing to help please?
Thanks very very much guys.
Petr
Apr
21
12 Beautiful Girls painted by Artists
Posted in: 1Here are the collection of 12 beautiful girls painted by digital artists using 2D softwares like photoshop, painter. Hope you enjoy.div class=”feedflare”
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Apr
21
Short Film: Bad Luck
Posted in: 1Bad Luck ! is a student short film created by Eric Hao NGUY for master graduation at ATI (Arts et Technologies de l’Image) Paris 8div class=”feedflare”
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/divimg src=”http://feeds.feedburner.com/~r/Cgarena-GetAttentionInCG/~4/iwA6h1hPYdY” height=”1″ width=”1″/
Apr
20
Weve evolved from penguins to owls!
Consolidating on our success with Happy Feet, we are now in full production on our next animated feature Legend of the Guardians, directed by Zack Snyder. Legend of the Guardians is a 100% keyframe animation project, containing a fascinating diversity of challenging photo-realistic animal characters, with heavy performance acting requirements.
Animal Logic attracts highly talented people from all around the globe, who are drawn both by the impressive style and quality of our work and the opportunity to live in Sydney one of the most beautiful, cosmopolitan cities in the world. Though now a relatively large company, Animal Logic prides itself on providing artists with the opportunity to spread their wings creatively in a collaborative group environment.
We are currently seeking a Senior Creature Animator to join us on this groundbreaking project.
Key requirements of the role:
5+ years experience in animating for feature films.
A demonstrated passion and ability in animating naturalistic creatures.
High-level knowledge and proficiency in XSI would be a definite advantage, but not mandatory.
Ability to lead teams by motivating and supporting others in the group toward realising the directors vision, while taking an active role in providing creative input and solutions.
A flexible approach, while setting and maintaining consistent high-standards within the group and staying focussed on deadlines.
A fervent desire to produce the best quality animation on the planet and to keep raising the bar!
If you are interested in applying for this position then please complete our online application form via our website at http://www.animallogic.com
Apr
20
Established in 1991, Animal Logic quickly earned a reputation as one of the worlds leading design, visual effects and animation companies.
Animal Logic attracts highly talented people from all around the globe, who are drawn both by the impressive style and quality of our work and the opportunity to live in Sydney one of the most beautiful, cosmopolitan cities in the world.
Our facility is situated fifteen minutes from Bondi Beach, (one of over 150 beaches in the Sydney metropolitan area), bordered on two sides by substantial areas of parklands and only ten minutes away from the Central Business district and iconic Sydney Harbour. With its temperate climate and outdoor lifestyle Sydney is both a fantastic place for families and an exciting destination for those who enjoy adventure and a spot of nightlife.
We are looking for Senior Lighting Technical Directors who are available now to work on our current Animated Feature Legend of the Guardians: The Owls of GaHoole directed by the visionary filmmaker Zack Snyder. The estimated contract length is approximately 14 weeks.
Ideally candidates will have:
4 + years experience in a production environment
Experience in lighting for feature films and/or TVC
Production experience in Maya and Renderman
Experience in MEL, Python and C++
Experience in Shader Writing
Experience compositing with a node-based compositing package
To be successful in these roles, the following is required of all candidates:
Excellent attention to detail
Ability to work to deadlines
Strong technical and visual skills
Strong communication and interpersonal skills
Ability to multi-task, prioritize and problem solve
If you are interested in applying for this position then please complete our online application form via our website at http://animallogic.com
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