The always impressive Timothy Saccenti updated with a new site. Whether you’re familiar with his work or not, this is a great way to navigate his entire collection of photography and film and will undoubtedly take up much of your free time.
I’m not very good with nuke but ill try to explain what im doing best i can.
I need to remove tracking markers from a shot. What i’ve done is the following:
1) i created a clean plate of a marker that needs to be removed.
2) i rendered out that specific frame and reimported to nuke
3) I selected just the painted area of the clean frame with a bezier, and i then projected this clean ‘patch’ onto a card.
-my 3d setup works fine in the frame that i painted (335).
-the minute i move forward/backwards in frames the patch obviously shifts away from its place.
So to solve this I need to add a tracker node, and i want to use a solve (from the 3d tracking data) which is situated exactly where the patch should be.
I want to copy the position of the solve for the entire duration of the clip and apply that to the tracker so that my patch stays in the same place as the camera moves around in the clip…
does that make sense? sorry for being long…
Now THIS is how you do a reel! From Stephan van den Brink, a Motion Designer located in Utrecht, the Netherlands.
To create the movies 200 visual effects and animation shots, CFE Visual Effects Supervisor Mark Dornfeld (also the companys founder) supervised on set in Vancouver, and brought the films Animation Supervisor, Mike Murphy, in-house to CFE for the six-month shot production period. There, Murphy and the CFE team worked closely with director Thor Freudenthal to develop and execute a unique technique for animating Kinneys beloved illustrations.
While the characters are live action for the majority of the movie, they appear as animated versions of themselves as lifted from Kinneys original drawings, against live-action sets in several sequences, and against animated pages of the books diary format in opening title and end-credit sequences.
Our goal was to ground the movie visuals in the book, said Dornfeld.
Jeff created iconic images and this was the first time he had let them out of his own hands. We needed to respect and preserve them, and we were really pleased that both Jeff and Thor were so present in the animation process. It was a great collaboration.
Murphy explained, Jeffs characters are drawn so particularly, with very clean vector art lines. If anything was off it looked completely wrong. We found that if we just brought those lines to life, as soon as a character paused, it would die.
To keep that from happening, Murphy and Dornfeld came up with a technique they called the living line, where they would draw lines on paper and capture them with an old-school down shooter still camera, then take the shots through a proprietary software renderer developed at CFE to make computer-based lines that looked like they had been drawn in pencil.
Characters were then animated and composited digitally using Autodesk Maya, Eyeon Fusion, Adobe After Effects and Illustrator a faster, more efficient process that resulted in more subtle nuances in characters actions.
Rather than working from storyboards to block out each of the movies 17 animated sequences, Freudenthal and Murphy, former CalArts roommates, designed the sequences collaboratively, figuring out how each character would come to life. Said Murphy, We know each other so well that we were able to work in shorthand, lobbing ideas back and forth What could happen here? Whats the right acting gag that works with these characters, but doesnt move them too much or break the model? Thor would approve the idea and wed take it right into animation.
In addition to creating animation sequences (including one with new characters, hand drawn by Kinney specifically for the movie and animated by CFE), CFE also created invisible visual effects to extend sets and replace backgrounds, turn sequences shot in summer into winter, and to establish a moldy piece of cheese as a key storytelling element.
Dornfeld said, The cheese actually plays a fairly important role. Its woven in and out of the story to mark the passage of time and highlight important events. We applied a pseudo-time lapse technique with stop motion and motion control to transition the cheese and its surroundings into different states from growing mold to weathering snow, rain and summer heat.
Custom Film Effects team of 18 animators and artists worked on Diary of a Wimpy Kid for six months in the companys Los Angeles studio.
About Custom Film Effects
Custom Film Effects is a leading feature film visual effects and animation company located in Burbank, CA. Founded in 1999 by Visual Effects Supervisor Mark Dornfeld, the company has established a reputation for its artistry, consistent execution, and flexibility in approaching projects.
Custom Film Effects body of work encompasses more than 300 feature films including 3:10 to Yuma, Eternal Sunshine of the Spotted Mind, Gangs of New York, and other top features that showcase its artful invisible effects, designed to transform environments, time periods, characters and elements in subtle ways.
Great work from Deepu Sasi Kumar, a Self Taught Designer, Interactive Art Director, Digital artist and Visual Enthusiast. Presently, residing and working from Bangalore, India
Years ago, as a student, I read Stefan Sagmeister’s list of personal goals. There were heaps of silly ones, but one has remained with me ever since. ‘Touch someone’s heart with a piece of design’. I think that’s a very important goal, and am glad to see so many of us in Motion Design field have achieved it.
That’s precisely what Spike Jonze has done with this. I cried buckets! So I want to make sure you, dear readers, don’t miss it. Hence the upgrade from quickie status.
Similar to ‘Where The Wild Things Are’, this film carries the narrative with a youthful tenderness, a touch of naivete. It may not be subtle or complex, nor intellectual, but that’s exactly why it deeply moved me. Andrew Garfield (of Dr Parnassus’ fame), was brilliant as Sheldon, our protagonist. I have seldom heard such mixture of sincerity and bashfulness come across so clearly in a character’s voice.
Now, about the release format itself. Could this be the future for independent films? Most of us at HQ agree the ‘limited seats’ thing is an unecessary gimmick, but we’re a little divided on the presentation side. I personally like the cinema-going virtual experience (although I can only put up with it on first viewing). while some others think it’s pretentious and unnecessary. What about you, readers? What do you think?
Regardless, sit back, relax, dim the lights, and snuggle up to enjoy ‘I’m Here’.
Avatar – With 9 Oscar Nominations and 3 Academy Wins for "Best Art Direction", "Best Cinematography", "Best Visual Effects" and a mind boggling Box Office Collections that broke all records, the world of Pandora has captured the imagination of moviegoers worldwide.
CGTantra Team recently caught up with Rob Powers, who originated the Virtual Art Department (VAD) for James Cameron on AVATAR. Rob recently joined NewTek as Director of Entertainment and Media Development, and tells us all about his start in the industry, working his way up to a successful career in 3D visual effects and working with James Cameronand his latest new job at NewTek to participate in the future of LightWave 3D.
Read the article here:
http://www.fxguide.com/article604.html
Project begins immediately, you can work remotely.
-Jeff
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.
