Changing Existing Node Parameters, using Python in Nuke

Hello there,

I’m attempting to streamline my work flow in nuke by using Python to change existing node parameters globally. In this case I have laid out various "Card3d" nodes and I want to change all the motion blur parameters in one fall swoop.

So here is what I’m inputting in the script editor:

c = nuke.allNodes( ‘Card3D’ )
c["motionblur"].setValue (2)
c["shutteroffset"].setValue (0)

this is what the script editor outputs:

c = nuke.allNodes( ‘Card3D’ )
c["motionblur"].setValue (2)
c["shutteroffset"].setValue (0)
# Result: Traceback (most recent call last):
File "<string>", line 2, in <module>
TypeError: list indices must be integers

I’m a noob when it comes to python so I’m in a bit over my head. What I gather from this is that my syntax is wrong and I can’t give allNodes a variable… atleast not the way I’ve written it. Any thoughts or suggestions would be greatly appreciated!

Gently Gently

In the music video for Gently Gently, a story unfolds into a snow globe in a haunting way that reminds me of some classic ghost story. Directed by Salazar for Christopher Smith.

CIS Acquires Postmodern Sydney

CIS VISUAL EFFECTS GROUP STRIKES LANDMARK DEAL IN SYDNEY – ACQUIRES POSTMODERN.

Deal enhances local capabilities and opens Australian shop for CIS.

Sydney, Australia, April 15, 2010: CIS Visual Effects Group announced today that it has acquired the assets of Postmodern Sydney. CIS, based in Hollywood (USA) and Vancouver, Canada, is an award-winning brand in the international visual effects industry.

Postmodern, established in 2001, is a fast growing design and visual effects business servicing high-end feature, commercial and television clients in Australia and throughout Asia. Recent projects for Postmodern include VFX for the Proyas/Summit Entertainment feature, “Knowing,” and the Spierig Brothers/Lionsgate feature “Daybreakers”. Recent commercial projects include McDonald’s “McHappy Day” for DDB Sydney and Macquarie Bank’s “Out of the Box” for Leo Burnett.

Andrew Robinson, Managing Director of Postmodern Sydney said, "We’re at a point in our business growth where we’ve got some amazing work under our belt but for some time we’ve been looking for a strong partner to help us spread our wings. For us that meant finding someone with great creative and technical credentials along with global recognition,“ he added.

“The CIS guys reached out to us late last year to talk about joining forces with them on an Australian shop,” explains Robinson. “We hit if off immediately with Don and his team, and their understanding of the Australian market. We look forward to bringing CIS technologies and capabilities into our creative pipeline for film studios, commercial production companies and television networks in addition to the independent feature market,” added Robinson.

Don Fly, President and General Manager of CIS, said, "We have been impressed with the quality of visual effects work coming out of Australia for many years. The depth of Australian creative talent and strong governmental support for the industry make entering the Sydney market very attractive. The Postmodern team has done some great work. They are a design led boutique company with a lot of talent and energy. We’re all very excited about working with them,” adds Fly.

The business will continue to operate as Postmodern from its existing premises with all key personnel remaining in-place. Plans are underway to build a new purpose-built Sydney facility later this year to house an expanded CIS-Postmodern operation.

###

About Postmodern

Postmodern Sydney, a visual effects and design company for Australian and international television commercials, drama and feature films, is based in Sydney, Australia and is renowned for its high-participation in the creative process. The management team is headed-up by Andrew Robinson together with Visual Effects Director James Rogers and Facilities Manager Angus Reid. The key staff has a long history in the film and television industry and active roles in the company. Their hands-on approach to each job forms the philosophical backbone of the company.

Recently, Postmodern has completed visual effects for the features “Australia”, “Death Defying Acts” starring Catherine Zeta-Jones, “Knowing” with Nicolas Cage, as well as “Daybreakers”, a major sci-fi feature starring Ethan Hawke and Willem Dafoe. Television and cinema campaign clients include: Samsung, eBay, McDonalds, ANZ, NAB, Coke, Toyota, Telstra, Lenovo, Citroen, and award-winning commercials for Kelloggs. Its operations are based in the historic Sydney Rocks district of Sydney.

www.postmodern.com.au

About CIS

CIS Visual Effects Group is an award winning international visual effects entity with facilities in Hollywood and Vancouver. The company services high-end feature film, television, commercial and gaming clients in the global marketplace. CIS Hollywood, founded in 1984, is one of the industry’s most respected visual effects facilities. In early 2008, the company launched CIS Vancouver. With its boutique accessibility, the company has the capacity to service its clientele wherever production is situated. CIS Visual Effects Group is a division of Deluxe Entertainment Services Group Inc., a wholly-owned subsidiary of MacAndrews & Forbes Holdings Inc.

Current and recently completed CIS Vancouver work includes “Salt,” “Marmaduke,” “Invictus,” "Angels & Demons," ”Zombieland,” "The Uninvited," "Aliens in the Attic," "Changeling," “Tropic Thunder,” “Tooth Fairy,” and "Space Buddies.” CIS Hollywood’s current and recent project list includes “Sex and the City 2,” “Red Dawn,” “Green Hornet,” “Killers,” “Eclipse,” “The Men Who State at Goats,” "Watchmen," "Ghosts of Girlfriends Past," "G.I. Joe: The Rise of Cobra," "The Goods: The Don Ready Story," "The Informant," "Beverly Hills Chihuahua," “The Express,” "Meet Dave" and "Mummy: Tomb of the Dragon Emperor."

www.cisvfxgroup.com

Postmodern Contact: CIS Contact:
Andrew Robinson Rita Cahill rita.cahill@roadrunner.com
akro@postmodernsydney.com Ellen Pasternack epasternack@pacbell.net

Stroke Beziers?

Is it possible to use a bezier as a stroke path in the RotoPaint tool and animate said bezier?

VFX artists wanted

For my short film, http://www.facebook.com/home.php?#!/…8862028?ref=ts

i need a vfx wizard to create title and credits.
send me a portfolio and we can talk work.
filmmaker.vinod@gmail.com

MPC is Recruiting for Upcoming Projects!

MPC is one of the world’s leading post production facilities creating high-end digital visual effects for the television and feature film industries.

We are seeking the following:
Production Manager
Production Coordinator
Animation Supervisor
Senior Animators
Animators
Roto Animator
Senior Lighting TD’s
Lighting TD’s
Senior Compositors
Compositors

These are exciting opportunities to work in the dynamic world of visual effects. If you are interested please apply online at:
http://www.moving-picture.com/index….svancouverfilm or via e-mail: mpcvancouverrecruiting@moving-picture.com

Production Manager
Primary Responsibilities:
·Responsible for working with Producers, Supervisors and Heads of Department in creating delivery schedules for both small and large scale film projects. This includes creating status reports and reporting to Producers and Central Production team with project updates.
·Planning reviews and assessing the progression of established project plans.
·Maintaining production databases and mentoring other production staff in the shot planning processes.
·The line management of some visual effects sequences.
·Liaising with clients and vendors.

Skills/Experience:

·Proven experience coordinating on feature film projects in an established VFX facility.
·You must be diligent, resourceful, meticulous and able to thrive on pressure.
·Thorough understanding of CG production pipelines and post production in general is essential.
·Outstanding organisational skills and attention to detail coupled with exceptional people skills and the ability to work within a team environment.
·Strong project management skills and a sensitivity towards deadline related deliveries
·Must be able to handle a variety of multiple changing priorities in a dynamic environment. An enthusiasm for effective planning would be warmly welcomed.
·Able to communicate effectively across multiple teams with excellent written and oral communication skills.
·Good general computer skills are required with particular emphasis on Filemaker Pro and Microsoft Project.

Production Coordinator
Primary Responsibilities:
·Supporting the Producers and Supervisors in implementing project plans and meeting deadlines
·Assisting in both the creation and maintenance of show/department schedules
·Working with artists to implement scheduled deliveries and milestones, along with reporting back status of tasks and milestone targets
·Scheduling meetings and daily reviews, note taking and database management.
·Organizing reference materials and tracking incoming and outgoing deliveries to and from clients.

Skills/Experience:

·The ideal candidate will have experience coordinating on at least two significant projects of 80+ shots in an established VFX facility
·A solid understanding of CG production pipelines and post production in general is needed, though a willingness to learn and adapt would be greatly beneficial
·Excellent people skills and a proven ability to work in a team environment
·Strong project management skills and a sensitivity towards deadline related deliveries
·At a technical level a familiarity with standard Microsoft office applications is essential, especially Excel and Word, with further knowledge in Filemaker Pro and Microsoft Project being advantageous
·An ability to handle multiple tasks under varying degrees of pressure is a must. Essentially someone who is dynamic, resourceful and organised is very much what we are looking for.

Animation Supervisor
Experience and skills required:
– Experience in feature film production.
– A track record of leading teams. The successful candidate must thrive in a team environment and enjoy teaching other artists. This skill is as important as any other.
– Ideally, experience working directly with clients/directors.
– An understanding of the computer graphics production process: on-set, camera work, and animation’s cooperation with other disciplines/departments.
– Knowledge of 3D animation tools (preferably Maya).
– An understanding of animation principles and work methods.
– Demo reel illustrating strong character based performance animation and solid understanding of realistic body mechanics

Primary Responsibilities:
– Provide leadership for the animation team on your project.
– Creatively develop animation scenes, characters & performances.
– Animator coaching and hands-on collaboration.
– Work directly with clients.
– Deliver the animation for a project, being mindful of schedule & budget.
– Collaborate with other supervisors on the project.
– A willingness to develop tools and routines to better the company’s animation practice.

Senior Animator
Primary Responsibilities:
·To create high level animation for realistic creatures/characters.
·To bring a creative and proactive attitude to the task of animating performances
·To organize their time, collaborate, and effectively communicate with their supervisors and team mates
·To work quickly and clearly, ability to take direction as well as help drive character performance/development.

Experience and Skills:
·Knowledge of Maya
·5+ years professional experience in VFX
·An understanding of animation principles and work methods
·Animation and drawing/sculpting training a plus

Animator
Primary Responsibilities:
·To create animation for realistic creatures, and talking characters.
·To bring a creative and proactive attitude to the task of animating performances
·To organize their time, collaborate, and effectively communicate with their supervisors and team mates
·Do their best to stay positive and creative in the chaos of the production environment

Experience and Skills:
·Knowledge of Maya
·At least 3 years of professional experience in VFX
·An understanding of animation principles and work methods
·Animation and drawing/sculpting training a plus


Roto Animator

Primary Responsibilities:
• Frame by frame 3d asset matching to live action plate elements
• To bring a creative and proactive attitude to the task of matching performances
• To organize their time, collaborate, and effectively communicate with their supervisors
and team mates.
• Do their best to stay positive and creative in the chaos of the production environment

Skills and Experience:
• Must posess a strong understanding of human anatomy and posing
• Must have technical understanding of a 3d software package such as Autodesk Maya
• An understanding of animation principles and work methods

Senior Lighting TD
Primary Responsibilities
·Using an array of commercial and proprietary lighting tools to match CG lighting to on-set lighting
·Producing test and final renders of all CG elements
·Creating working comps for review by the supervision team
·Assisting and developing the look of a shot or sequence with the supervision team
·Helping establish suitable work techniques for other team members
·Working with the producer and co-ordinator, lighting supervisor and CG
·Supervisor to establish schedules and technical requirements
·Working in partnership with compositors to ensure shots are delivered to the very highest standard.

Requirements:
·Proven production lighting experience
·Thorough understanding of techniques and technologies related to CG rendering and compositing
·Excellent communication skills
·Proven technical and creative ability in a large feature-film VFX production environment
·Strong problem-solving skills
·Very good understanding of shading, lighting and rendering terminology
·Very good understanding of production pipelines
·Very good knowledge of a production renderer
·Very good knowledge of node-based compositing software
·General understanding of linux/unix-based operating systems
·Python and MEL scripting experience an advantage


Lighting TD

Primary Responsibilities
·Using an array of commercial and proprietary lighting tools to match CG lighting to on-set lighting
·Producing test and final renders of all CG elements
·Creating working comps for review by the supervision team
·Assisting and developing the look of a shot or sequence with the supervision team
·Working in partnership with compositors to ensure shots are delivered to the very highest standard.

Requirements:
·Proven production lighting experience
·Thorough understanding of techniques and technologies related to CG rendering and compositing
·Excellent communication skills
·Proven technical and creative ability in a large feature-film VFX production environment
·Strong problem-solving skills
·Working knowledge of Shake
·Very good understanding of shading, lighting and rendering terminology
·Very good understanding of production pipelines
·Very good knowledge of a production renderer
·Very good knowledge of node-based compositing software
·General understanding of linux/unix-based operating systems
·Python and MEL scripting experience an advantage


Senior Compositor

Primary responsibilities:
·Tackling the compositing of shots effectively
·Briefing junior compositors when the dividing of shots into tasks (e.g. roto-scoping) is required
·Delivering final shots that are creatively and technically excellent

Direct reports
·Visual Effects Producer
·2D Supervisor

Skills and experience

·4 years of experience with Shake
·Strong film showreel.
·Good understanding of photography and film, and how the interactions of light, lenses and film emulsions make up the image.
·Some understanding of the whole digital film pipeline, from scanner to film recorder.
·Ability to take direction and structure working practice so that design changes can be efficiently made.
·Desire to learn from others and to take on increasingly challenging shots.


Compositor

Primary responsibilities:
·Tackling the compositing of shots effectively
·Briefing junior compositors when the dividing of shots into tasks (e.g. roto-scoping) is required
·Delivering final shots that are creatively and technically excellent

Direct reports
·Visual Effects Producer
·2D Supervisor

Skills and experience
·Experience with Shake
·Strong film showreel.
·Good understanding of photography and film, and how the interactions of light, lenses and film emulsions make up the image.
·Some understanding of the whole digital film pipeline, from scanner to film recorder.
·Ability to take direction and structure working practice so that design changes can be efficiently made.
·Desire to learn from others and to take on increasingly challenging shots.

Reach Out

Reach Out is an interesting new PSA campaign by the Ad Council through DDB New York that attempts to raise awareness of teen suicide prevention with short films based on the stories of teens themselves. These four spots also showcase the work of several directors working in very distinct styles of film-making and animation. Who-Fu and Mirrorshade working with Guru Studios, both use their own takes on stylized animation; while Santamaria and Pandapanther explore live-action in new methods that aren’t typical of their commercial work. It’s great for us to see the wide range of expression in this campaign as well as compare the various approaches to the material by the different teams. Nice work, all!

Update: So we just got sent all 11 films in this campaign, and the rest are just as worthy of a look: including great cel animation from Steve May, marionettes from Boolab, graphic illustrations from Lesley Barnes and more from Adam Pierce, Jo Lawrence and Cal Brunker. Great to see all these different styles of work, done for a great cause as well.

Take a look at all 11 films here.

Posted on Motionographer

Mekanism Takes Roadtrip For Ann Arbor Film Festival

[NEWS=”http://www.cgnews.com/wp-content/uploads/roadtrip_car_thumb.jpg”]24996[/NEWS]Mekanism director Michael Langan created a brilliant promo for the 48th annual Ann Arbor Film Festival, held recently at the end of March 2010. The spot was created in slow motion and illustrates … literally …. how the world revolves around film. The Ann Arbor Film Festival is the longest running independent and experimental film festival in the world.

Mekanism have created a ‘making of’ video which explains, in Michael Langans own words, the detailed production process for this vivid and fun animation. Langans initial idea was to create three separate rows of scenery, with the items in the back row built smaller to look further away, whilst moving past the camera more slowly than those in the front.

The process then evolved into taking the scenery onto three cylinders, as a circle creates a seamless loop which is easier to animate. Michael then had the inspired idea to create the core of the cylinders from a stack of giant movie reels – showing that figuratively, the world revolves around film.

To hold all in place, a wooden support structure was built with bike wheels mounted on to a steel dowel, and then the wheels were wrapped in chicken wire to create a base. The road, countryside and general terrain were created from crumpled newspapers, plaster soaked paper towels and a collage of green foam, dirt and lichen.

The building designs were mostly lifted from pictures from the internet, then photo shopped into foldable printable cut-outs, mounted on chipboard and then painted.

(Road Trip Promo For Ann Arbor Film Festival)

A projective geometry trick was used to create the titles, whereby the cut-out letters are skewed if you look at them straight on but appear correct from a different angle. A piece of foam core was held in the position on the set viewpoint that the letters would eventually hang from. A photograph was taken and the letters were positioned onto the foam core in the computer.

The letters were then stretched out digitally to the same dimensions of the actual foam core sheet. The stretched letters were then printed out, mounted and then hung with fishing line in the exact place that the foam core square had originally been placed.

The total shoot took 6 hours and included 800 slow motion ‘burpees’ through the set. The majority of the effects were created in camera with little post production work required, although Langan did shoot a girl on green screen to sit within the travelling car.

The sound track is a song called Campfire by Starling Electric, a group that hails from Ann Arbor.

(Road Trip – The Making of Video)

About Mekanism:
Mekanism is a San Francisco and New York based creative production studio, housing film, animation and digital content creators. We sprinkle our love of good storytelling on viral campaigns, commercials and branded entertainment to inspire measurable brand loyalty.

About Ann Arbor Film Festival:
The Ann Arbor Film Festival is internationally recognized as a premiere showcase for creative, inspiring, and influential films of all types: avant-garde and experimental, story-based narratives, documentaries, and animation. As the longest-running independent and experimental film festival in North America, the AAFF is steeped in a rich tradition of ground-breaking cinema. Thousands of influential filmmakers have showcased early work at the AAFF, including luminaries such as Kenneth Anger, Agnes Varda, Andy Warhol, Yoko Ono, Gus Van Sant, Barbara Hammer, Lawrence Kasdan, Devo and George Lucas.

The 49th Ann Arbor Film Festival will take place March 22-27, 2011 in downtown Ann Arbor, Michigan. The Festival will open the call for submissions July 1, 2010.

RELATED LINKS

www.mekanism.com
www.aafilmfest.org

Vectorblur within composite

I have this sequence of a creature that I want to add motion blur to it. The thing is I don’t want to use the beauty pass I want to create the passes in post and edit them till I am satisifed.

The motion vectors are rendered out of Maya using the toxik preset I have no problem with this as I have had correct results with beauty pass and motion vectors straight out of Maya.

But here lies the problem, the majority of vectorblur solutions are very simple usually rendering to exr in the same file, and considering that the beauty pass that also contains the motion vector file embeded in it.

But I have a composite that I have created from scratch and have added all the layers together creating my own beauty pass but when I add the motion blur using the vectorblur node and shuffle copy it cannot find the toxik motion vectors, not sure what to do?

My motionvector is rendered into my color pass, motionvector is toxik preset with correct shutter settings.

Looking for advice on this matter of integrating vectorblur wihin the node tree of my composite.

Thanks

ShopVon

HelloVon has opened up ShopVon, adding original paintings as well as limited edition prints. Some truly gorgeous work here.