I met up with Jon Wadelton at The Foundry a few days ago and we had a chat about what's new in NUKE 6.3. Here's what he had to say.
A great artist died yesterday and whilst his death has nothing whatsoever to do with the world of CG and VFX, I thought many of you would be mourning the death of this great artist.
It wouldn't be right to let Potter go by and not say a word about it?
Personally I loved it - the early days especially and finally HP7 which was amazing, even in 3D!
And for all our friends in Soho, it's also an end to something which has played a major part in the rise and growth of VFX in the UK. The Industry would have survived and prospered without it but I am not sure it would have had the meteoric rise it did if ILM had not passed the work over to this side of the Atlantic...
We’re going to be hosting an event with The Foundry and Hewlett Packard called An Evening with NUKE and MARI in London on August 18th. The event is designed for professional artists who want to take a peek at the new features of NUKE, NUKEX and the newly launched bridge between NUKE and MARI. It will definitely be exciting to see first hand all that’s new in these products.
The Foundry just released NUKE 6.3 and there’s a lot of new stuff in the product. They’ve taken product development in a direction that allows users in all VFX industries to partake in the benefits of the product. NUKE is no longer just built for artists in the film industry, it is built to create highly visual commercials with the functionality that it now has.
I have just finished a great week teaching MARI to our new Compositing Professional class. I took them through UVing in Maya, and then taught them how to get to grips with MARI. As part of the curriculum, I also included for the first time the brand new NUKE to MARI bridge which makes the process of taking camera projections from Nuke to Mari and baking projections to UV space much quicker and more flexible.
Chris Mulcaster is a great example of someone who got to where he wanted to be through hard work and determination. Chris studied our VFX Production course and it gave him all of the skills he needed to secure a job in the VFX Industry. But he didn't just study the course, he poured his heart and soul into it. This is the sort of dedication which pushes you to achieve great things and which sets you apart in a very competitive industry.
How VFX artists can seize the opportunities of this changing landscape
Those of you starting out in the CG industry may be interested to know that the Sydney Opera House is currently running an animation competition.
His films certainly divide modern critics and audiences alike, which is perhaps no surprise. In a Hollywood saturated with formulaic product for multiplex audiences, his films are an anomaly, breaking from a conventional narrative and featuring extended, languid shots of the natural world that often serve to emphasise his character's - and therefore Man's - insignificance in the face of events.
If you want to replicate the complexity of real world objects, you need to create materials that mimic them and this month's free tutorial will show you exactly how to do that. A car body is made up of lots of materials or layers, like metal and paint. If you want to create a rusty car you'll need more materials to create the common signs of deterioration. Many Maya users will be familiar with the 'layered shader' and 'layered texture' nodes. This tutorial asks what happens if you are using the MIA material and rendering in Mental Ray.
Most compositors out there want to be using NUKE, and those who are would love to be using NUKEX. Now's the time to update your workflow and take advantage of these special promotions by The Foundry for their award winning NUKEX and MARI products.