I’m trying to track down the proper code to read the version number of a script and plug that automatically into a write node file path. Ex. Filename_v01.nk. Does anyone have an idea what the expression is for this? I’ve been messing around with variations of the file.tail syntax. But no luck so far.
Thanks in advance,
Doug
In Motion : an homage to ping pong, a conceptual study of ball and racket, in motion (moving > ping pong). From creative Australian studio 21-19.
I was originally going to match a 3D character (in Cinema 4D) to my actors movement in the footage I shot, but that was taking forever. A few people have mentioned that this effect was probably done in post, but I am unsure as to how they do it. I believe the studio is EntityFX.
Here is some footage showing what im wanting to recreate.
http://www.youtube.com/watch?v=X9UXjWDi6G0
The effects starts around 3:15. Its a reoccuring effect in the show, so im sure most of you will know what im talking about.
At first I thought there might have been green screen involved, but the directors cut of that shot doesnt show any green screen.
Anyone know how this effect was done? I e-mailed EntityFX a while back to see if they would explain it, but I never got a reply from them.
Any suggestions or ideas would be appreciated.
Thanks
Director/illustrator/designer Carolina Melis (with Nexus Productions) has been quietly tinkering with her site for a while now, but we recently got the green light to share it with the world.
Carolina’s portfolio—and I mean all of it, not just the motion work—is a sheer joy to behold. By following her muse through whatever medium it dictates, Carolina has developed a distinctive voice that’s as playful as it is sophisticated.
Characters are both the stars and the medium of Carolina’s work. They trot about the screen while simultaneously acting as design elements, pleasantly blurring the line between figure and ground.
Carolina’s background in dance and choreography is evident in her work. Through repetition and rhythm, simple forms coalesce to form complex compositions that augment the soundtracks in nearly all her projects.
With that in mind, don’t miss Carolina’s abstract video for Efterklang’s “Polygyne.” (It’s only mentioned in the News section of her site.) And keep an eye on Galinanova, a fashion and design project that draws on Carolina’s Sardinian roots.
Posted on Motionographer
Get your plane fix on … Cinematic trailer for Stormbirds game from Realtime UK.
Autodesk has provided a non-binding, verbal assurance to The Foundry that may be sufficient to enable The Foundry to continue supporting Autodesk plug-in products (Sparks). Due to the uncertain nature of this assurance, The Foundry can only guarantee ‘best effort’ support to its Autodesk plug-in customers at this time. The Foundry is also unable to predict whether it will be able to develop or support future releases on Autodesk systems platforms.
The Foundry, formed in 1996, was the first developer of Sparks on Discreet Logic’s® Flame® systems and has continued to bring its Academy Award®-winning technology to digital artists worldwide through a variety of highly regarded and popular plug-in products including Tinder, Furnace and Keylight.
|
Simon Robinson, The Foundry’s chief scientist and co-founder, said: “The Foundry was originally established to develop Tinder on Discreet Logic® so it is particularly sad that this relationship is altering so significantly. We’d like to thank our loyal Autodesk customers who helped us build The Foundry into the successful company it is today.” |
|
The Foundry’s CEO, Bill Collis, aded: “Our customers always come first and we will, of course, continue to support them to the best of our ability. However, without a legal agreement in place, we cannot guarantee how long we will be able to continue to provide this service. Many of our Autodesk customers are key industry players who have strongly influenced our development path and we are committed to keeping them informed about any changes in service or development.” |
REDUCED PRICING ON NODE LOCKED AUTODESK® PLUG-INS
Effective 1st January 2009
Furnace GUI = $1000 / £650 + VAT
Tinder GUI = $1000 / £650 + VAT
Keylight GUI = $500 / £325 + VAT
FREE BURN LICENSES
For more information on Autodesk plug-ins, please visit www.thefoundry.co.uk, where you’ll also find examples and client testimonials.
Notes to Customers:
The Foundry cannot guarantee to make any new builds after 1st January 2009. Bug fixing or upgrades to future versions of Autodesk systems may not be possible.
About The Foundry
The Foundry is a world-leading innovator of visual effects and image processing technologies that boost productivity in motion picture and video post production. On February 10th 2007, the Academy of Motion Picture Arts and Sciences awarded a Sci-Tech Award® to The Foundry’s development team for the Furnace image processing suite. The company now holds two products with Academy Award® winning technology including high-end compositing system Nuke.
The Foundry’s products support a wide range of host platforms including After Effects, Autodesk® Media and Entertainment Systems, Avid DS, Baselight, Film Master, NUKE, Scratch, Shake and Final Cut Pro. The company has also driven OpenFX, an open standard for visual effects plug-ins, now broadly adopted by host and plug-in developers such as Autodesk, Assimilate, FilmLight, Digital Vision, eyeon Software Inc, Grass Valley, Soluciones Graficas por Ordenador (S.G.O.), Photron and others.
Customers include: Digital Domain, The Moving Picture Company, Sony Pictures Imageworks, Warner Bros and Weta Digital Ltd.
The Foundry is headquartered in London, and has offices in Los Angeles. For more information please visit The Foundry’s website at www.thefoundry.co.uk, or call +44 20 7434 0449.
© The Foundry, its logo and product names are registered trademarks in the UK, USA and and/or other countries. Academy Award is a registered trademark of the Academy of Motion Picture Arts and Sciences. All other trademarks contained herein are the property of their respective owners.
Happy 2009 to everyone! The folks at 1st Ave Machine and Passion Pictures are ringing in the new year with “Unboxed“, an imaginative commercial for the Audi Q5. Not your typical car advertisement, the spot effortlessly combines traditional and 3D animation. I’m particularly a fan of nice touches like the camera racking focus from the character’s face to his hands and back to his face.
The two co-directors, Aaron Duffy (1st Ave Machine) and Russell Brooke (Passion Pictures), divided their roles on the project. Duffy took responsibility for the overall vision for the spot and the transformation of the car, and Brooke for the 2D drawn character.
Aaron was kind enough to answer a couple questions:
How did you coordinate between the cel and 3D animation?
The first step was to choose a design for the character. Russell Brooke, who co-directed the spot with me, did dozens of designs for the folks at BBH to look at. It did not take us long to settle on our final character, whom we decided was a good balance between charming and industrious. As I built the story boards I worked with Russell to make sure that our character would feel “comfortable” performing all of his tasks as he builds the car. As we went into 3D design the 2D animators were able to use printed frames of the animatic to estimate how the character would look on the form. When a piece of the 2D animation was finished we would UV map it onto the 3D animation and move it around until it fit appropriately.Were any elements shot or was it all 3D? What software was used?
The final spot is a combination of live action (filmed) environment, 3D animation and 2D cel animation. Nothing in the final product was shot practically. However, I did shoot a lot of little stop-motion tests along the way to figure out how to manipulate the cardboard properly.The software we used was XSI and Nuke.
How many cardboard boxes were sacrificed for the cause?
My space at Passion Pictures was a constant cardboard mess. But that was the best part. It was very important to me that the construction of the car felt like real tactile moments. I made paper and cardboard models of every stage of the animation so that the translation to 3D would be accurate. In the end it was extremely important to work from cardboard models because it is impossible to make all the unpredictable wrinkles and bends from scratch. Having the bending cardboard mechanisms in front of us dictated how the 3D forms were animated and textured and how the character’s face and arms would bend with it.The collaboration involved in this project was particularly fun. It was our first project as 1stAve UK and working with the folks at Passion Pictures was like a dream. There was a lot of good input and good times all the way through and I can’t wait to do it again.
Title: “Unboxed”
Length: 1 x 60
Client: Audi
Product: Audi Q5
Agency: BBH
Creative Directors: Nick Kidney, Kevin Stark
Creatives: Maja Fernqvist, Joakim Saul
Producer: Olly Chapman
Music: “The Car Song” Woody Guthrie
Production Co: Co-produced by Passion Pictures + 1st Ave Machine
Co-directors: Aaron Duffy (1st Ave), Russell Brooke (Passion)
Creative Director: Arvind Palep, (1st Ave)
Producer: Belinda Blacklock, Anna Lord
Exec Producer: Serge Patzak (1st Ave), Michael Adamo (Passion)
Animation: Passion Pictures
Posted on Motionographer
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.
