Giuseppe Candido is not only a recent character animation course escapee, but now also a very talented animator and a skilled Maya Generalist. He has put together one of the most charming demo reels we have seen here at Escape Studios. Giuseppe combined many of his student exercises into a circus project - creating a stunning short film in the process, and all completed from scratch in just six weeks.
Here is a bit of Friday eye candy for you...
Our friends at Autodesk have just announced that from 27 September 2011, selected 2012 versions of Autodesk software will be available for download for subscription customers. Autodesk Subscription Advantage Packs offer early access to new product enhancements, giving you the very latest in Autodesk software. Subscriptions are available to contract managers, software coordinators or anyone who has been granted access to Autodesk product extensions.
Both animation enthusiasts and novices alike, will be delighted by The Barbican Centre's brilliant animation show Watch Me Move. From Winsor McCay's 1914 classic Gertie the Dinosaur, to Steven Spielberg's T Rex in the 1993 blockbuster Jurassic Park, the exhibition educates and entertains in equal measure.
There is one television series that got us all excited here at Escape Studios this year. I am sure you can already guess which one it is... Yes, you got it, it was The Game of Thrones. There have been many discussions and debates about it over coffee in our office. So much so, that I decided it was time we featured BlueBolt on our blog.
In honour of the recently released Autodesk Entertainment Creation Suite, Escape Studios are hosting a webinar to highlight some of the nifty tools in this 2012 version. Maya guru Lee Danskin will be walking through how these artist driven tools can assist with multiple pipelines without compromising on creativity. With one click solutions that give faster results, this new edition promises to increase creativity, flexibility and productivity, and won’t burn a hole in your wallet.
If you want to create a seamless finish for your CG scenes, this is the video tutorial for you. This month, I've created a tutorial that explores how paint effects can be used to embed models into backplate environments simply and easily.
What's in this Tutorial?
First off, we'll take a look at paint effects and will explain how you can paint onto geometry. In order to do this, you’ll need to understand the importance of an object's UV which we will discuss as well. You'll then learn how to access a host of preset paint effect brushes that you can find in Maya.
My walk down memory lane continues...
I went on a simulator ride called 'Slot Car Boogie' at the weekend. it was actually made by some old friends at Rocket Films in Bournemouth quite some years ago. 1996 I believe! Rocket Films are sadly no longer trading but it lead me to wonder who makes these kind of films today? It's hard to find any reference of it in the UK, which is a shame as we were obviously quite good at it.
This work would have been done on a Silicon Graphics machine running PowerAnimator. To put this into perspective, this would have cost around £60-80K for the SGI hardware and the software for just one artist... Oh, how lucky we all are now!
If you know of any companies that do this type of work in the UK, do let me know.
As with most of my memory lane trips, the memories were normally pre Internet revolution. I have however found this on YouTube, Slot Car Boogie by the originator Ian Williams.
Dom, Mark and I were delighted to play hosts to Ed Vaizey – the UK Minister for Culture, Communications and Creative Industries – yesterday.
I had an email reminder today that Siggraph is less than two weeks away. It got me thinking about travel and how many of us probably miss the good old days when we would all go to Siggraph on our annual trip. These days, we are not only too busy, it's also harder to justify when all the information we could only find in trade shows is now available at our finger tips on the Internet.
For some reason 'Digital Media World' popped into my head. Is anyone old enough to remember DMW? It was THE show to be at in Europe and was held in London every November. It was the trade show part of an awards ceremony called LEAF. I did a quick Google search, but couldn't actually find any links to DMW that I could point you towards - it's obviously that long ago!
I’ve been looking at the latest version of IKinema, and I reckon those of you out there who work on game animation might want to take a look at it. If you don’t know what IKinema is, the official marketing description is “A full-body animation technology that allows effortless run-time control of characters during game play to achieve full adaptation to a scene giving users a new game animation experience”.
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...
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.
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.