i have done an Explosion using Maya Fluid’s and a separate Explosion using Particle Clouds… now i need to blend both my Fluid’s and Particle… i need actually the Fluid’s to interact with my Particle.. i tried blending in after effect’s but its not happening the way i need.. ether Fluid come’s in front or Particle come’s in front… How will i blend both in such a way the both are interacting and Exploding
The film is slated to hit select theaters in March, and will be available at – www.WeRPoliticsthemovie.com – Powered by Amazon.com.
Check out the trailer – any feedback is welcomed.
YouTube – http://www.youtube.com/watch?v=QhYiWhxQ9Zs
HQ – (fast stream) – www.WeRPoliticsthemovie.com
-www.WeRPolitics.com
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“The Ladders is a job search service for people making over 100K per year,” explains Alex Frisch, Method’s VFX Supervisor and Flame Artist on the project. “They are exclusively dedicated to finding people with the ‘monster-size’ talents that will ensure big jobs are completed the right way. The spot was very challenging, but also played to the strengths of our team, particularly when it comes to the seamless integration of CG characters and live action. It was also a lot of fun working with Guilala.” |
Opening with an imposing, reptile-like creature lumbering towards an oncoming truck, the spot looks like a typical 1960’s era monster movie. As the creature emits what should be an earth-shaking roar, however, we quickly discover things are not quite what they seem. In fact, this monster is so small that the truck passes over his head. As the mini-monster slouches dejectedly, many more like him are revealed, all of them vainly attempting to frighten the townsfolk.
One heaves pebbles at a store window, prompting only a bemused smirk from the woman in the window. Another spits a tiny fireball into a businessman’s newspaper, only to be unceremoniously shooed away. No less than five of the creatures team up for the attempted destruction of a compact car, only to be overwhelmed by its hubcaps. Just when all seems lost, the tiny creatures look up to see a suitably immense version of themselves laying appropriate waste to the city. A wry voiceover then reminds viewers that “some people are ready for the big jobs… and some aren’t.”
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“The agency selected Guilala from a range of potential creatures,” says Andy Boyd, Lead CG Artist and VFX Supervisor on the project. “What made this commercial really funny and special from our perspective was that we did a studio shoot of an actor in the Guilala suit and took high resolution photographs of the suit itself, all of which turned out to be a fantastic resource for our animations. All the subsequent animated characters in the spot were rotoscoped from the actual rubber suit, so we were able to imbue these very complex contemporary animations with a campy 1960’s feel. We even created a rubber system to make the fingers and toes wobble appropriately.” |
On “Monsters,” Method continues to display their skill integrating CG animation with live action. According to Frisch, achieving that seamless blend required that the Method team combine its full arsenal of talents with a meticulous attention to detail.
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“We pulled out our entire bag of tricks for this one,” he says. “From miniatures and puppets to blue screen compositing and 3D animation, this spot used it all. Andy and I also attended the three day shoot in Cape Town, South Africa, and Dante got a fantastic performance from the actor in the rubber suit which helped a great deal. We did the entire job at 2K resolution, and went back and forth with Company 3 to achieve a truly pristine color correct and composite. In the end, we were able to create 3D monsters that are absolutely identical to the practical one.” |
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“What is most impressive for me was the combination of skill sets on this spot,” says Boyd. “If you look at the final scene with the explosions and the huge monster, for instance, there is a studio shot monster in the background, multiple 3D monsters in the foreground, a CG car, and a bunch of other elements in one seamless scene.” |
CREDITS:
Production Company
Director: Dante Ariola
EP: Jeff Scruton
Producer: Natalie Hill
DP: Philipe Le Sourd
Agency
Agency: Fallon Minneapolis
Agency EP: Vic Palumbo
Agency Producer: Amanda Revere
Editorial
Editorial: Rock Paper Scissors
Editor: Kirk Baxter
Producer: Mike Goble
Method Studios:
VFX Supervisor and Flame Artist: Alex Frisch
VFX Supervisor and Lead CG: Andy Boyd
Flame: Katrina Salicrup, Noah Caddis, Andy Davis
CG: Matt Hackett, Floyd Raymer, Jonathan Vaughn, Jack Zaloga, Alex Lee, Todd Herman
Assist/Roto: Andy Mower, Ryan Raith, Craig Hilditch, Amanda Burton, Edgar Diaz, Jay Robinson, Pam Gonzales
EP/Director of Production: Helen Hughes
PM: Moylene Boyd
Transfer:
Facility: Company 3
Colorist: Stefan Sonnenfeld
Related Links:
www.theladders.com
www.methodstudios.com
www.fallon.com
www.company3.com
i was just wondering about something i dont have a camera nor do you i have
the money to rent one to shoot material for my reel
so i was thinking about using stock video for my reel my question is how is that looked upon in the industry i mean would recruiters prefer to see something
you shoot yourself or will no one mind i bought the footage i used
my thinking is i am not demonstrating my cinematographic skills but rather my compositing skills so it should not matter
what do you guys think
thanks
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I have a SGI Octane2 for sale. The machine has been used for Maya 6.5 and Shake 3.5.
Here is the setup:
Octane2 – Later motherboard, supports 8GB Ram.
Dual 400Mhz R12k processors.
XBow 1.4
2Gb ram (All banks used, includes memory clip)
128mb VPro V12 card + 13W3 VGA adapter.
2 x 36Gig 10K drives. The machine comes installed with IRIX 6.5.26m + latest Nekoware software. Second disc contains loads of software which I haven’t yet installed such as Flame, Smoke, SoftImage3D & Jaleo.
SGI Keyboard and Microsoft Mouse.
External SCSI enclosure with Yamaha 8x4x24 CD-RW + SCSI cable.
I will include the means to re-install the OS if required on backup CD. I’ve primarily used the machine for Maya6.5 and Shake3.5, so it’s perfectly suited for that line of work.
I have replaced the PSU & drivebay fans with near silent ones. I can include the original fans if required.
I’ll ship to the UK and EU, please e-mail me for shipping costs. Offers over 600 GBP / 650 Euro / US$ 800 please. If you really want me to ship it to he US I could but it would cost a lot! I’m not parting the machine out. Please note this machine sells for over £1200 at resellers. Payment via bank transfer. Software licensing is the responsibilty of the purchaser.
Any interest please let me know. Photos and hinv on request. Many thanks.
-Jacques
div xmlns=http://www.w3.org/1999/xhtmlpa href=http://www.variety.com/article/VR1117998061.html?categoryid=3247cs=1Films merge old hammers, new pixels/a, at Variety./p/div
Digital Domain has a break-down reel for The Mummy: Tomb of the Dragon Emperor on its website under ‘Behind the Scenes’.
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