Dec
11
Official 3D-Coat Training Channel
Posted in: 1Pilgway is happy to announce the launch of the new Official 3D-Coat Training Channel , on Vimeo!
Dec
11
A Shot for my demoreel
Posted in: GalleryHi guys,
I am working on my demoreel and wanted to show you a shot i want to put in. This was originally made as a promo for a short film we wanted to make. The website that the presentor tells does not excist btw.
I used syntheyes for tracking. Rayfire for demolition and FumeFx for smoke and fire.
I would like to hear what you all think of it!
Here is the direct link:
http://www.youtube.com/watch?v=7Ic2Qxhi15s
Thanks already,
Maarten
Dec
11
After Effects Rotoscoper and compositors needed
Contract work.
Need experienced After Effects Rotoscopers with some compositing experience. Ability to use Mocha/mocha shapes a plus.
Gig goes till March 1st.
Pay will be negotiated based on experience.
Please email demo reel and resume and desired weekly flat rate to:
inner-D
Westlake Village, CA 91362
Dec
10
Hey..
this is not a Nuke specific problem, but i thought of putting it here as i has the best chance of getting an answer to this here..
well.. my question is how to find the liner distance for one point to another point in 3D
for instance
[X=10, Y=21, Z=23] ——-> [X=13, Y=24, Z=44]
i can figure out the the distance equation for two 2D points
Distance= √(ΔX^2 + ΔY^2)
but can someone hook me up with a equation that results in the distance between two 3D points…. i know this is high school math but im blank on this matter..
thankx again.. :niceone:
PP
Dec
10
Lucky by EB Hu
Posted in: 2D animation, 3d animation, black and white, EB Hu, General, Lucky, monochromatic, twenty120Lucky is a film that was made for Twenty120 earlier in the year. Attentive readers may already have seen it, but it’s really too gorgeous and haunting to let it slip by and not give it its own full post. Its creator, EB Hu is a Director and Motion Designer based in London. We previously featured another non-commercial short of his in 2007: Josie’s Lalaland. High time then to catch up with EB and find out what he’s up to:
Q&A:
What was the inspiration behind Lucky? How did you come up with the concept for the film?
I wanted to create a short some time ago after I saw images of Japanese Whale hunting. There is a extremely haunting picture that features the corpses of a mother whale and her cub. Then comes the occasion that I was asked to think of something around the theme “Good Luck”. When I put the images of my cat against the whale hunting, I felt the irony behind. Our pets have luckily adapted to human world, while the wild animals are unluckily being hunted. On the other hand, our pets have unluckily lost their sense of freedom while begging us for food. The real lucky ones would be those wild animals that escaped our chase.
What was the process like in actually making this? The Twenty120 shorts aren’t funded, so you have to make the time to complete them on your own, right?
Before Twenty120 ’s calI, I already had the initial idea and had done a rough animatic. Once I was commissioned, I felt the topic would match my short very well.
At the time I was still assigned to my full time job, so I had to work my own stuff after work, but who doesn’t? I teamed up with my workmate Simon Graham. We usually spent few hours after work on building senses. Though we were using our own time, I still managed to set a deadline on the project which we had to stick to. The process spread into a 2-and-a-half week period, which went down pretty well according to my original art works and animatic.
We posted your short Josie’s Lalaland a few years back, and Philip Sheppard worked on the score for that as well. Each of them are so evocative and melancholy, how did you collaborate with him? Did you have the track first or did he score it to your picture?
I was lucky at the end of the project that my producer Joe Marshall found our mutual friend- musician Philip Sheppard – was willing to lend his instrumental talent on my piece, once more. Based on my rough animatic cut, Phil captured the atmosphere and recorded his piano playing, and I finalised the edit based on his music.
Can you give us a little background into your work history? How did you get involved in Motion Design and what have you been working on recently?
I started my career in Shanghai as a 2D & 3D animator. In 2004, I decided I need to find time to do more of my own concepts, so I left for UK, to study my MA degree. Upon graduation, I first briefly joined BskyB’s sport team and then BBC broadcast, lately Redbee Media. From 2008, I was represented by Redbee as a director until I left earlier this year. Now I have set up my own studio called MIE with my partners. We started up with a series of viral ads for Spinvox and some pop promos for Zero7. We recently finished George Michael’s new Christmas single promo called December Song, which is due to be released on 13th Dec. The final piece can be seen here.
Here is some additional art from December Song:
Lucky Credits:
Production Company: MIE
Direction and Design: EB Hu
Music: Phillip Sheppard
3D modelling: Simon Graham
Animation: EB Hu and Simon Graham
Producer: Joe Marshall
Dec
10
Did anyone beat me to it?
🙂
Dec
10
feature film titles
Posted in: Beginners TalkHi All – I did a search on this topic but couldn’t find any similar threads so forgive me if this has been asked about/discussed previously.
I’m an assistant picture editor on a very low, low budget feature film and have been tasked with creating the final main and end titles elements for our 2k DI and eventual filmout and was curious if there were any standard workflows or established best practices I should be following when doing so. These are going to be very standard/static titles over black and/or picture so nothing fancy. My plan was to use photoshop to create each title card and export 2k uncompressed TIFFs but thought it couldn’t be that easy could it? My main concerns are creating an image with adequate pixel depth (photoshop defaults at 72 pixels/in) and color space.
Any info that can be shared on this topic would be greatly appreciated.
Thanks!
Dec
10
[NEWS=”http://www.cgnews.com/wp-content/uploads/tetrapak_thumb.jpg”]22867[/NEWS]Lovingly hand-crafted sets merge flawlessly with lifelike CG in Tetra Pak’s latest spot, directed by Bent Image Lab’s Rob Shaw in collaboration with the Philipp und Keuntje agency of Hamburg. The playful :30 animation showcases Bent’s ability to handle challenging projects with multiple angles – in this case developing an approachable spokes-character to deliver a serious environmental message and designing detailed, super-productive landscapes to create a humorous overtone.
Raw Materials stars Bob, goodhearted CG rabbit and expert on renewable resources. He discusses the benefits of Tetra Pak’s use of paper over plastic in its innovative food packaging as he travels through three landscapes.
During his journey, Bob compares paper’s sustainable source (trees) to the merits of grain and wool. He earnestly seeks to communicate the virtues of well-managed resources but has to contend his extremely abundant environment, which seems to have a mind of its own.
In order to find just the right person for the job, the Bent team undertook an in-depth creation process to discover how Bob ticks. They began by writing a history including the rabbit’s appearance, background, age, personality quirks, and interests. The result was personable rabbit character inspired by Bob Newhart’s “everyman vulnerability” with a dash of Kermit the Frog. From there, the team drew sketches, which were the basis for the detailed CG model of the character. Bent then built, animated and composited the model it into the spot.
“If our spokesman is your solid, educated straight man, then the environment is his loony, vibrant, comic partner,” said Shaw. “Philipp und Keuntje’s script was brilliant. It called for more than just repeating that renewable resources are good for the environment. They wanted to let the landscape demonstrate that properly managed resources can create so much abundance it’s almost funny.”
In the opening scene, Bob praises grain’s renewable nature as the entire wheat field around him is harvested by an invisible force and launched skyward. The wheat returns to earth as a shower of bread, burying the jolly rabbit, and grows back before Bob can recover. To achieve the fluid performance of the magic wheat field, Bent designed a 3D particle system made up of tens of thousands of digital reproductions of paper-art wheat stalks which were composited into a handmade set of rolling hills.
The spot then shifts to a bucolic meadow, another practical set, where the wool literally leaps off of a CG sheep in the background before reappearing and weaving itself into a sweater on the ebullient Bob. As he speaks, a fresh coat of wool grows on the embarrassed grazer.
The final scene finds Bob amidst a vast, hand-crafted forest as stop-motion animated trees are sucked into the ground and reappear as Tetra Pak products. In order to create this lush setting, the Bent team created a 25-foot-deep practical set which included clay mushrooms, 14 types of fabric for ground cover and more than 200 model trees. The CG spokes-rabbit seamlessly interacts with these practical surroundings, explaining the company’s commitment to paper packaging while he dodges the new trees sprouting up rapidly around him.
Bent Image Lab is a Portland Oregon-based production company and creative laboratory, known for melding art, design and storytelling. It is a place where the brightest ideas are driven with an artist’s passion and realized through the use of cutting edge technology.
Established in 2002, BENT specializes in wildly creative spots and videos that range from the frenetic to the deeply moving. Saturday Night Live, Coca-Cola, Zune, Lux Soap, Aflac, Budweiser, FOX, Guitar Hero, HP, PBS, Radiohead’s Thom Yorke, Live Earth, and film directors Todd Haynes and Gus Van Sant, are just a few of the high-profile clients that have called on BENT for some of their quirky, highly-original work.
CREDITS
Spot Title: “Raw Materials”
Airdate: July 2009
Client: Tetra Pak GmbH & Co. KG
Advertising Agency: Philipp und Keuntje GmbH // Hamburg, Germany
Creative Director: Diether Kerner
Producer: Axel Leyck
Production Company: Bent Image Lab // Portland, OR
Director: Rob Shaw
Executive Producer: Ray Di Carlo
Senior Producer: Tsui Ling Toomer
Producer: Kara Place
Coordinator: Ryan Shanholtzer
Director of Photography: Bryce Fortner
Gaffer: Arron Burr
Stage: Jim Birkett
Art Director: Solomon Burbridge
Set Designer: Curt Enderle
Art Department: Greg Fosmire, Mary Blankenburg, Jen Prokopowicz, Kimi Kaplowitz, Evan Stewart, Marty Easterday, Daniel Miller, Kate Fenker, Brett Superstar, Jayme Hansen, Christina Owen, Justin Warner, Sarah Hoopes, Brandy Cochrane
Storyboard Artist: Steve Hess, Monique Ligons
Character Design: Brett Superstar
Principal Animators: Max Perleman, Eric Urban
Additional Animators: Dennis Rivera, Melik Malkasian
CG Technical Director: Fred Ruff
CG Crew: Eric Durante, Steph Kaufman, Galen Beals
Composite Artists (After Effects): Orland Nutt, Eric Gorski, Brian Kinkley
2D Artists: Dave Manuel, Traci Cook
Additional Production: Annex Films // London, England
Producer: Gerald Berman
Editorial Company: Bent Image Lab // Portland, OR
Editorial Supervisor: JD Dawson
RELATED LINKS
www.bentimagelab.com
Dec
10
Prologue: Ninja Assassin
Posted in: Design, directingPrologue recently completed main and end titles, studio logos and vfx for Ninja Assassin.
Dec
10
Resent Film
Posted in: Discreet CombustionHi guys,
Is any body know, which is the resent film did by combustion ?
Who's in charge here?
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.