San Jose University, California came up trumps at the recent Interior Design Association of Northern California (IIDA) Student Design Awards and have their 3D visualisation toolkit to thank for their success.
Doing a VFX course can lead your career in many directions. For many of our students it has been the launching pad for a career in post-production, for film, TV and commercials. Many students have also gone on to work in other areas such as games and architectural visualisation. We teach the fundamentals and practicalities of working in CG, paving the way for what you will eventually specialise in.
You may or may not have heard about a recent preview, so to speak, of Peter Jackson’s The Hobbit, a movie due in cinemas at the end of this year. This has created some concern and confusion over the film. Now before I continue, the aim of this blog isn’t to go into depth about these concerns specifically, because to be honest there are many websites already talking about it and I simply want to suggest some of the potential repercussions.
Welcome back everyone!! I hope you all had a cracking weekend. Right now we are going to pick up where we left off on Friday with FG Maps.
Ladies and gents, welcome to another Studios Assistant blog. Today's topic: Final Gather Maps.
We would like to be one of the first to congratulate Assimilate for their success at the Cannes Festival 2012. Although the winning films are yet to be announced, several films on the competition's roster have been created using SCRATCH, Assimilate’s digital workflow and post-production tools. SCRATCH has been used on recent screen successes like The Artist, Thor and Underworld: Awakening as well as the films nominated at Cannes 2012.
Welcome back to part two of our series on effects that you thought were CG.
Special effects with computer graphics are all the rage recently. There are very few films produced these days without jaw dropping stunts courtesy of the digital department. But a lot of directors still prefer to shoot the real thing if they can as it nearly always looks better than the CG equivalent.
As we all know the countdown to the 2012 Olympics is on, in fact it is at 77 days to be precise. The buzz of the Olympics is infectious and seems like a time for us to celebrate all things British, especially when it comes to VFX. So thankfully I found this in little beauty in the VFX news this week, the final version of Studio AKA’s introduction sequence for the BBC and their Olympic Torch Relay Coverage.
I have found that there are many advantages to studying at Escape Studios. Aside from the obvious vast amount of knowledge that you acquire, you also get to visit and meet some very cool places and people. Last Friday we had the pleasure of visiting Framestore for a presentation with Ben Frost and Chas Jarrett to hear about their experiences working on the second Sherlock Holmes movie - A Game of Shadows. In particular, they discussed with us the typical hurdles and constraints they came across and what we as VFX artists may expect to experience working in the VFX industry.
2D or 3D - which camp are you in? This age old fight is battled out by two of our studio assistants and it seems, there is a rather heated argument for both. I'll leave it up to the guys to convince you either way. If however, we can't resolve it in this post, a mud wrestle might be the only answer.
Scott Squires, of Industrial Light & Magic, has a blog called Effects Corner. Scott talks everything VFX, from artistry to wages. If you are looking to read the frank ins and outs of the VFX world then Scott’s blog is the place to go. Scott has 35 years’ experience in the industry and has work on film projects like Van Helsing, Fantastic Four: Rise of the Silver Surfer and Stars Wars: Episode I – Phantom Menace.
His articles are well written and packed full of industry top tips. He talks you through key skills like camera tracking and 3D match-moving as well as providing links to some of the latest visual effects news.
As of last month Autodesk released the 2013 update of their 3D software, and with that you’ll find a variety of enhancements and new features that make these versions pretty special. In our competitive industry, having the latest and greatest tools to complete the job is always a bonus, and the 2013 versions may well set you on your way to creating work that stands out from the crowd. Of course for many of you, the cost can make upgrading a tricky business and that’s why we want to make sure you’re all aware of a promotion that could help stretch the pennies a little further.
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.