has anyone before has set up wings animation using nuke?
I’m trying to figure out what should be the best way.
Thanks for advice,
JJ
I was wondering if there is a way to resize the shapes tree in the rotopaint panel to see more shapes at a time if it is a long list. Maybe there is a way to access it through python and then change its size?
Thanks 🙂
The chase is on as a Chris runs for his life in The Raven, a sci-fi thriller by Ricardo de Montreuil set in an alternate and futuristic Los Angeles.
struggling at the moment to composite passes out out of Vray, can’t seem to get it close using my fairly limited knowledge on compositing passes.
Straight out Pass vs Composite
Passes
at the moment Ive got no windscreen or lights (do I need a refraction pass for this), tyre and wheels are off and the shadow isn’t seperated at all with the alpha channel including the shadow, and ive had to use a Raw pass out with floor removed to get it even close. Its a matt shadow floor and Im using HDR lighting. So im not sure if its the passes out that are not right.
Heres the animation so far as a straight out pass, however really need these passes out to adjust more.
any help would be massively appreciated.
thanks
edit: also does anyone have experience with using EXR in after effects, would this be easier? I gave it a go with the proexr plugin, and couldn’t find out how to adjust each layer without affecting the entire composite.
Firstborn and EVB teamed up to create this dramatic social media campaign for Wrigley’s new 5React Gum. How I only wish I would have gotten my own black envelope.
Really fun and energetic spot for Sherwin-Williams paint, courtesy of Buck.
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
Toronto based agency Grip Limited has just relaunched their site. It’s looking great!
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
This is site is run by Sascha Endlicher, M.A. during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
