knob message [frame]
with a TCL script button.
but only the result (f.e. 384) and NOT the command itself gets pasted into the message knob. this means that its no longer updated when moving the timemarker.
this should only be a simple syntax error.
any help?
thanks,
payton
ps: any python suggestions are welcome too
first up is:
Night_Defocus.gizmo
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Attachment 8608
We had to work with dark backgrounds with lots of lights…so i needed to be able to brighten and harden the lights in a defocus. So this is matrix based. Due to the current matrix limitations this is as big as i had the patience to make…lol, I was told this issue is fixed in Nuke 6, at that time I might go back and make a larger range.
Here are some examples.
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Attachment 8610
Attachment 8611
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And a new light wrap node…since I can’t stand nukes stock lightwrap. It works pretty much the same as the standard wrap, but it just deals with colors a little better and isn’t so uniform that you get wrap around dark areas. Enabling glow doesn’t just mirror the lightwrap effect on the outside it actually glows the hot areas based on the edge, so it can bleed hot areas into outlying bg colors. So far I’ve only used this on a dark scene with bright lights in the bg…works well. Give it a shot and see what you think 🙂
BoingBoing Video brings the N.A.S.A. goods again, this time featuring Tom Waits and Cool Keith, with visuals by Montreal-based Fluorescent Hill (previously featured on Motionographer for their 2008 New Pornographers promo). SCAD professor Jacques Khouri also lent a hand modeling and rigging the 3D star of the project.
Basically you would have to compute vectors based on gradients in the image. At first I thought maybe a matrix filter could be used to create a hacked normal map.. but I just don’t know enough about it to make it happen.
Any nuke wizards out there? 🙂
N.A.S.A., feat. Tom Waits + Kool Keith: “Spacious Thoughts” from boingboing (thnx Jason!)
Columbus, Ohio based painter Eric Fortune has some fantastic work … “Currently Eric is focusing his efforts on personal paintings and upcoming gallery shows” … Eric also has a new print available at Paper Tiger.
Santa Monica based design studio Elastic’s, latest artistry; director Andy Hall and his colleagues just created the first of several spots for the all-new Honda Accord Crosstour. This first spot is entitled “Instruments.” Noteworthy music, a remix of “Fever,” helps the spot reveal how lifestyles and experiences, as well as the stuff needed […]
The mountaintops, prairies, and mid-ocean landscape that the observers watch from are stunning panoramas created in Maya, Terragen, Renderman, BodyPaint, and others, and then composited in Nuke using multiple floating-point, linear light passes.
The pods explode into the ground – an effect achieved with a combination of live action and Flame composite. The contraptions survive in one piece, however, and when the live-action pod spins open, a shimmering CGI backdrop outlines the glowing Droid phone, also done in CGI.
Asylum packaged all of this footage into a custom interface that controlled the comp process and guaranteed a consistent look from shot to shot. They created an additional custom UI tool in Nuke to create the lens flare and lighting effects that incorporate realistic camera motion, reflections, and light leaks. Previsualization was built as a combination of 3D animation and reference footage taken from multiple sources.
Asylum is a premier visual effects and design company, handling high-profile features, commercials, music videos, and emerging media content for web and mobile platforms. Asylum created the visual effects for such films as the upcoming Terminator Salvation, The Curious Case of Benjamin Button, Pirates Of The Caribbean ll & lll, Master And Commander: The Far Side Of The World (Academy Award and BAFTA nominated), Moulin Rouge, Minority Report, Phantom Of The Opera, Mel Gibson’s Apocalypto, Tony Scott’s déjà vu, Man on Fire & Domino and Ridley Scott’s Black Hawk Down.
Asylum has done spot work for brands such as Hershey’s, Nike, Sony Playstation, Coke, BMW, Gatorade and Apple. In addition, Asylum Design has created award winning title and graphic design work for such films as Tim Burton’s Charlie and the Chocolate Factory, Bedtime Stories, X-Men I & II, The Island, Bad Boys II and XXX.
CREDITS
Client: Verizon
Spots Title: Stealth
Air Date: November 2009
Agency: mcgarrybowen, New York
Executive Creative Director: Mark Koelfgen
Executive Creative Director: Warren Eakins
Copywriter: Tiffany Smith
Art Director: Michael Cannova
Head of Broadcast Production: Rosanne Horn
Production Company: MJZ, Los Angeles
Director: Rupert Sanders
Executive Producer: Eric Stern
Director of Photography: Alwin Kuchler
Line Producer: Laurie Boccaccio
Editorial Company: Spot Welders
Editor: Neil Smith
Post/Effects: Asylum
Visual Effects Supervisor: Robert Moggach
Executive Producer: Michael Pardee
Producer: Jason Cohon
Coordinator: Diana Cheng
CG Producer: Jeff Werner
CG Supervisor: Jens Zalzala
Compositing Lead: Miles Essmiller
Lead Modeler: Greg Stuhl
Music: Q Department
Sound Designer: Brian Emrich
Sound Design Company: Trinitite Studios
Mix: Lime
Mixer: Loren Silber
RELATED LINKS
www.asylumfx.com
The creative forces of Shilo strike again, this time to simulate extreme cold weather conditions for Under Armour, with Dicks Sporting Goods as the testing grounds.
With the goal of promoting Under Armour’s ColdGear product line, Shilo enlisted the talents of its growing creative arm, We Make It Good, and its creative director, Clayton Vomero, who co-wrote the spot’s script with Shilo Creative Director Andre Stringer.
Stringer and Vomero built a narrative around a Cold Abuse Simulator, which tests ColdGear under harsh downhill ski racing conditions. Two-time World Cup champion Lindsey Vonn, one of the most successful American ski racers in history, was enlisted as the ultimate test subject.
To film the action of Vonn facing the Cold Abuse Simulator as realistically as possible, Shilo’s crew found a factory location in Los Angeles and worked with Vonn for two days, filming her on a jostling rig before a giant apparatus that simulated the conditions she’d face on the mountain.
Seemless vfx integration and a solid storyline makes this a campaign to keeps your eyes on. Be sure to check out the making of video via the ski channel, as well as more behind the scenes production stills, courtesy of NBC Olympics.
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.