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.
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.
I’m sure you’re all aware by now that upgrades to Adobe CS6 will be available soon, and with this new version we can all look forward to accelerated performance and interactivity. Yes, now you can feel safe in the knowledge that Adobe Creative Suites now support NVIDIA Quadro and Tesla GPUs, opening a whole world of enhanced efficiency for their programmes.
This is just a little reminder that the release of Adobe CS6 is just around the corner, but for those of you itching to upgrade, you should think about getting round to it soon. Adobe are currently running a pretty good upgrade promotion that will keep you up-to-date with the latest and greatest features in Adobe Creative Suites. When you buy a full CS5.5 license between now and May 6th, you get an upgrade to CS6 absolutely free. Just to be clear, this will also save you money, as the CS6 price will undoubtedly be significantly higher. That’s a good incentive if ever I heard one, for upgrading now!
The current VFX Professional class were assigned The Mill as part of the ‘Industry Coaching’ scheme, which is a new initiative for us here at Escape Studios. The main idea behind the scheme is that we invite established post-production houses in Soho to mentor our students as they prepare to enter the industry as VFX artists. The VFX Professional course is our more advanced course for students who have completed the VFX Production course or artists already in the industry who are looking to further their knowledge in the field. For these students, getting advice from professionals working in the industry is golden, helping them prepare better for what is to come. Emmy Castelain was among the group during this visit, and this is what she had to say about their time at The Mill…
Our friends at Hoxton Redsox recently completed a very fun job for one of their clients, Fox. This is the viral video for the upcoming release of Ridley Scott’s latest feature, Prometheus. Happy Birthday David was designed and directed by Johnny Hardstaff and shows the unboxing of Weyland Industries robot David 8, played by Michael Fassbender. A great addition to a range of teasers produced for the lead up to this film, we recommend you all take a look.
A recent venture undertaken here at Escape was to invite established post production houses in Soho to coach our students, to offer them direct feedback on their work here at our studio, and subsequently helping them prepare for what is expected once they enter the industry. On Thursday, 12th April 2012, the alumni class of Studio 5 attended the final coaching session with Framestore commercials, where they got to present their ‘end of course’ project to the VFX producers for feedback. Charles Downman was among the group presenting work that day, and here’s what he had to say about the experience...
So we have a new class of students for the Visual Effects Production course and I thought I’d quickly run through what this class has been up to recently and where they’re at now in their studies. We are currently on week four and they have just started their first major project after covering the ins and outs of Maya (the industry go-to package in VFX). So far, we have covered modelling, UV’ing, texturing, some lighting and rendering and a bit of Photoshop just to mix it up a bit. To put all they have learnt into practice, they have been asked to create a CG object, integrate it into a backplate and to make it look photo-realistic.
Welcome to the Studio Assistant workshop, with Ashley Miles and Brad Collier-Brown, and here's our debut issue. As studio assistants, our main job is to make sure both students and escapees are getting the most out of the Escape Studios experience, which involves answering a lot of weird and wonderful questions. We thought it'd be a good idea if we blogged a few of the most common queries and solutions every week, so you guys at home could learn a little something from us too.
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.
Here is an amazing chap called Michael Hansmeyer. Michael studied as an architect and programmer. He explores the use of algorithms and computation to generate architectural forms for artistic and commercial purposes.
The images of the forms that he creates are very intricate and beautiful...check them out.
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.
Last week Claire Anderson, Talent Manager at The Mill divulged some of the greatest tips and tricks young artists need to apply in order to cut it in the VFX Industry. I have to say; I couldn’t help but feel a little awestruck listening to our Training Manager and Claire chat away during the 40 minute webinar because of the room we were stationed at. It was like something from a bond movie – check out the pictures! Filled with The Mill’s previous conquests (let’s be clear that I’m talking about Oscars and Bafta’s here….) I kept expecting a drinks cabinet and a man with a white cat to appear from behind one of the walls. One thing’s for sure, The Mill certainly know what they’re talking about and have the awards to prove it.
Being relatively new to CG and to Escape Studios I am still astounded by the standard of work that comes from our students. Despite studying Media Production at University, where I majored in Scriptwriting, I never knew the actual amount of effort that goes into creating CGI. It gives me a completely new perspective on everything that I watch in the cinema and at home on TV.
Every year Sci-Fi London runs a competition inviting Sci-Fi fans and filmmakers to take part in a 48hrs film challenge. Armed with a title, a line of dialogue, a scientific theme and a specified prop, competing teams have two days to develop and make a 5 minute short film. The winning film is premiered during the London Sci-Fi Film Festival, and also benefits from a promotional platform through The Guardian newspaper website, as well as a development deal with independent UK production company, Vertigo Films.