I recently went to see the Lucian Freud Portraits exhibit at the National Portrait Gallery. Wow! Intense, raw paintings that reflected his relationship to his sitters. I actually quite liked his early portraits that were very flat in dimension and lacking perspective in a stylised way. He painted the eyes of the faces quite large and dominant in the frame. But in most cases looking away, or 'blankly' towards the painter. This created for me a disturbing yet intriguing relationship between the viewer of the painting, me, and the personality of the person he is trying to portray. When we look at portraits or a picture of a person, we tend to look at the eyes first to connect in some way. Not being able to do that created a whole new approach of portraiture that I do not see often. Their eyes were wide, but not allowing a connection. The faces were rarely smiling and this one is a great example.
Pixomondo has expanded their impressive global network of VFX studios yet again. Recently they established their twelfth facility at the Celtic Media Centre in Baton Rouge, Louisiana to service local film and commercial productions as well as provide support to the other international studios. With over 150,000 square feet of design-built stage spaces, the Celtic Media Centre is perfect for meeting the demands of any production. This is the largest studio facility in Louisiana state, and with the generous tax incentives currently in place in that region, this looks to be a great move for the Oscar winning VFX company.
For any 3D system to work efficiently, a sufficient camera solve is essential. This is a virtual representation of the real-world camera move shot on scene. After downloading the assets, I attempted to follow the tutorial video only using the track pad. Regardless of the system, as a NUKE user, the Wacom pen and pad have become second nature when navigating the interface. As anticipated, it was straight away confirmed that the lack of a Wacom pen and tablet made the task extremely awkward and I've found myself falling behind. Therefore, plugging in an external to my Air has been far easier than being constrained to a track pad. Connecting the tablet allowed me to finish the task efficiently, even ahead of the tutorial.
Following on from yesterday’s post, I want to continue the discussion of why NUKE has revolutionised the industry and is an incredible asset to any compositor. The popularity of NUKE is largely down to its advancements in 3D integration, not only with its own user interface (UI), but also its ability to communicate with other packages such as MARI and AtomKraft. Being acutely punned as NUKE's 2.5D space, the 3D system has sped up the conventional 2D workflow in areas such as paint and roto, as well as depth compositing. This 2.5D space allows users to build rudimentary geometries, which can then be projected on, textured, lit, shaded and rendered as complimentary 3D assets or as part of a standard 2D workflow.
When it comes to catching recruiters’ eye, it’s all about looking good. And this is when only the best showreels will cut the mustard. You have 10 seconds to impress and there is no room for error or work that you're half hearted about.
Every month, Develop review the brightest and best courses and colleges in the world of Computer Graphics. And this week, we've found ourselves in the spotlight!
Those smiles pretty much tell this story! On 28th of March 2012 one of our Compositing classes had the exciting opportunity of having their work critiqued by two of MPC's finest: Christine Troianello and Doug Larmour and they loved every minute of it. The project they were asked to complete was a 115'" shot requiring both roto and keying which is taught on the course. The assignment was not without its challenges though! They had to deal with heavy motion-blur, integration of the key and the roto, as well as the amount of detail certain parts of the shot required. Toya Drechsler took the time to explain what the whole experience was like.
Moving on from the presentation by Kevin Jenkins we turned our attention to Ben Morris who gave us the low-down on his role as a VFX Supervisor. As we watched the end sequence of War Horse, which is the part where we discover the fate of our hero’s horse, we all became a little misty eyed, but were quickly reassured by Ben that no horses were harmed during the making of this film. Needless to say, we were all very impressed with the great VFX work done by the guys at Framestore and how realistic the horse looked. Surely Mr Spielberg wouldn't have it any other way.
Last Friday, 23rd March, the students at Escape Studios had a much deserved break from the studio in Soho. It was nice to finally catch a bit of sunlight as all of us have been cooped up indoors, out from this amazing weather. However, the blast of sunshine was short lived as we were to enter one of the largest VFX studios in Soho.
A compositing tutor who previously taught here at Escape Studios, Klaudija Cermak, has just published a great little book all about the post production industry. It's called “How to get into and survive Film, Advertising and TV post-production.” Rather impressively it made the Kindle Art and Reference bestseller list on Amazon within 24 hours.
A few friends of mine have posted the Nike 'FlyKnit' commercial link on Facebook and I can't help but share it with you all because it's so cool. Nike is showing off its latest technology for the upcoming 2012 Olympics in London. It was created at Digital Domain, and is directed by David Rosenbaum and VFX supervised by Aladino Debert.
The whole shoe weighs a mere 160g (5.6 ounces) for a size 9 and has been worn by the first, second and third place athletes in the men's marathon at the 2011 World Championships. Nike released the Flyknit HTM Racer in London on Saturday 25th of February, to much anticipation.
I think you'll agree that the commercial looks amazing and stylish. It just makes me want a pair of these bad boys! Well done to the guys at Digital Domain!
Here is my usual jumble of news to start off this week. There are tutorials, news of various software releases, a cool "Making of Rango", and really sweet advert for Twinnings tea, and lots more. Feel free to add anything I may have forgotten.
It's the time of the week when I share with you the news that picked my interest over the last seven days. This time, there are the following goodies on offer: a cool making of from Framestore, some great new tutorials, a trailer of Pixar's "Brave", a new trailer for Spiderman and lots of education news related to Michael's latest announcements regarding education reforms.
After an absence of a week, I am back again with my usual digest of news. This week, we have some great showreels from the likes of Pixomondo, a great trailer from Spiderman and even some tutorials.
Flipbook, the Manchester based animation and VFX boutique studio, are celebrating a second year in business this week. Quite literally two years ago to the date (February 8th 2010) they took on their very first job. Since then Flipbook have grown from strength to strength, and look forward to a prosperous future as they make some significant upgrades in the company’s workflow.
There's all sorts of goodies in this week's edition of my News Round Up: we have free sofware from DAZ3D, some cool VFX breakdowns, the usual Oscar related stories, and lots of lots of news on the state of the UK education system. Hope you enjoy it, and as usual, I welcome your feedback.
James Sindle first studied design at Kingston University, before training in CG here at Escape studios. Upon completion of his course James joined The Mill in 2007, he quickly then became a senior 3D operator leading multiple award winning commercials, before branching off last year with Lee Pavey, Dan Stanhope Marum and Giles Cheetham to form their own power house, the Electric Theatre Collective.
This week, my round up of CG news features software and hardware announcements, interviews with VFX professionals, and some cool new VFX breakdowns. Hope you enjoy it!