I hate hearing about this sort of thing happening: Journey 3D, FX Artists of Former Meteor Studios have, after more than 1 yr, not been paid for an incredible amount of work put into the film. “During October, November and December of 2007, artists worked without pay; some put in 100-hour weeks and stayed loyal […]
The Art of the Title Sequence and Forget the Film, Watch the Titles both feature a bunch of interviews and updates about film title sequences.
Vancouver ACM SIGGRAPH is hosting a presentation on MPC Vancouver’s visual effects for Watchmen on 17 June 2009.
70’s NYC is soooooooo hot right now! MOMA rolls out part 2 of it’s uber popular Looking at Music series to celebrate the return of plummeting rents and dwindling subway service. The primary focus is on the good parts of economic scariness and the crack addled shitstorm that was the remaining 70% of the story is largely ignored. But the good is GOOD. Jean Michel Basquait and Patti Smith doodle together on Public Access Cable while familiar characters like The Mudd Club, Blondie and Sonic Youth brush up alongside lesser known pieces like Bob Gruen’s film “New York Death Cult”. Overall it’s a very impressively detailed exhibition and the whole thing kicks off on June 10th. Paper bags, flasks, and a proper mugging should all be included in the price of admission.
Tomas Mankovsky è un giovane pubblicitario nato a Gdansk in Polonia ma cresciuto in Svezia dove si è laureato al Beckmans College of Design di Stoccolma. Dal 2004 lavora presso l’agenzia pubblicitaria Fallon a Londra e da poco tempo lavora come regista per la casa di produzione Blink. Il suo ultimo lavoro è il cortometraggio Sorry I’m Late realizzato con la tecnica a passo uno utilizzando una macchina fotografica: scattando le foto dall’alto e riprendendo ciò che avveniva sul pavimento. All’interno del sito del corto troverete anche il making of.
Director of photography : Trevor Forrest
Post production : Moving Picture Company
Articolo redatto da Sergio Damele
This video tutorial shows you one of the ways of speeding up renders of glossy surfaces in 3ds max using Vray
If I have a image sequence rendered @ 720×405..
then apply the camera shake node..
will excessive shake cause the 720×405 edges to become visible?
how does this node calculate shake?
Thank you,
So plz comment if it is going in the right direction or should i introduce more scenes in between . . . . or should I change the camera angles ?
. . . . . . .. . a . a.a . .I m using Maya’s Soft Bodies & Rigid Bodies for the collision and some manual animation for some part.
the link – –
http://www.youtube.com/watch?v=Ji30x39Kr3I
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