MARI is a relatively new piece of software, and is becoming more popular with artists as its reputation for efficiency and adaptability becomes more widely known. As with any piece of new software there is a period of trial and error before you really get to know its full capability. It is in light of this that Henry South, lead texture artist at Framestore, is offering to share his top 23 tips when working with MARI.
Here is a bit of Friday eye candy for you...
I felt a little bit like an old-school headmaster last week, taking our latest set of compositing students to MPC where they were to have their work critiqued for the second time. Lots of worried faces trudged behind me - nerves apparent and laughter a little thin on the ground. As usual, all of their concerns were completely unfounded and they all actually left the place beaming and proud of their achievements. But I do understand how showing your work to a bunch of seasoned professionals can be very daunting - despite the team at MPC doing their best to make the experience a relaxed one for our students.
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.
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.
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.
Dom, Mark and I were delighted to play hosts to Ed Vaizey – the UK Minister for Culture, Communications and Creative Industries – yesterday.
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.
How VFX artists can seize the opportunities of this changing landscape
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.
Here's another escapee reel for your viewing pleasure.