I don't know a good way to introduce this. It's one of those great videos that you just need to watch simply based on the title alone. It's called Visual Effects: 100 Years of Inspiration - a "5th-grader-friendly" collection of clips and making-of footage from notable visual effects films of the past century
YouTube user bengraphics says it was "originally intended for educational use as an introduction to a classroom lecture." It's pretty damn awesome to see and will definitely be nostalgic for anyone that loves great visual effects. I first found it on Awards Daily but apparently it also came from Cinematical before that. Watch this now!
Ryan of Awards Daily puts it best: "It's a reminder of a simpler era when pulling a top hat out of a charcoal sketch was so pants-shittingly awesome genies had to wear adult diapers." It is also reminds me why I'm so excited to see James Cameron's Avatar - I think he's taking us into a new era with that movie just as he did before with The Abyss and Terminator 2, two movies which were featured in the video. Oh and the music was awesome too - it was "Rods and Cones" by the Blue Man Group. As great as it is to always look back at so many wonderful visual effects, it makes me excited to think about what's coming up next in the future.
Related links:
firstshowing.net
This video tutorial is created by artist Mahmoud Keshta Web: www.m-keshta.net in 3ds max 2009. This tutorial is divided in two parts and the total lenght of this video tutorial (without sound) is 70 minutes. This will explain you how you can model this stylish modern leather sofa inside 3ds max. This is very detailed and step by step shown video tutorial which will explain you everything without the need of sound.
Part 1
Part 2
If you are on slow internet connection or want to keep this video tutorial for future viewing then you can download the video tutorial from CGArena forum. You need to register (free) to download this and many other video tutorials. Don't forget to leave your comments and critiques which help us in improving the future videos and artist also like to hear your likes and dislikes of the tutorial. Download Video
Bigger video can be found here
Related links:
cgarena.com
08.24.2009 – Vancouver, BC, Canada—The Embassy Visual Effects dove deep into alien territory with high impact effects for the Sony Pictures blockbuster "District 9," which opened at No. 1 in its opening weekend and has currently grossed over $73M (estimated) at the U.S. domestic box office. The film was co-written and directed by Neill Blomkamp, who was an original founding partner of The Embassy Visual Effects prior to embarking on a full-time film-directing career.
Having just come off of completing the Mark 1 sequence for Iron Man, the Exo-suit scene in "District 9" was a perfect fit for boutique facility The Embassy. The Exo-suit is a very sophisticated piece of alien weaponry, essentially a larger-than-life mechanized suit of armor controlled by its wearer. The Embassy co-founder Winston Helgason spent one month on set in Johannesburg, South Africa supervising the sequence shoot.
The Embassy key-frame animated, rendered, and composited the Exo-suit for seamless scene integration. In total, The Embassy worked on just over 100 shots, mostly in the film’s 12-minute climactic battle sequence. The company also created small lobster-like alien creatures used by both the Aliens and Humans in a type of cockfight.
The Exo-suit sequence was shot primarily with RED Cameras, all handheld, so the Embassy team tracked and dropped the robot-like suit into the plates and used HDR lighting to match the hues on set. The CG in the scene was animated and rendered in Autodesk Softimage and composited using Shake.
The scene is very action-oriented and involved a lot of interaction between the CG Exo-suit with actors and set pieces. “This was a very complex sequence to work on. There were soldiers shooting, and each shot has composited bullet hits, dust on the ground for the suit’s feet movement, and smoke added into the environment on top of the hero CG,” said Helgason.
“This was our first time working with RED Camera footage for a feature, and while there were distinct advantages, such as no film grain and the ability to generate 4K versions of plates in-house, we were very mindful of the rolling shutter issues especially with the heavy compositing involved in reconstructing background plates,” explained Supervising Compositor Stephen Pepper.
There was a lot of collaboration on this sequence amongst facilities, as extensive visual effects work was completed both at Image Engine in Vancouver and WETA in New Zealand, and there were assets from both facilities integrated into the final composite of the Exo-suit battle.
About "District 9"
Over twenty years ago, aliens made first contact with Earth. Humans waited for the hostile attack, or the giant advances in technology. Neither came. Instead, the aliens were refugees, the last survivors of their home world. The creatures were set up in a makeshift home in South Africa’s District 9 as the world’s nations argued over what to do with them.
Now, patience over the alien situation has run out. Control over the aliens has been contracted out to Multi-National United (MNU), a private company uninterested in the aliens’ welfare – they will receive tremendous profits if they can make the aliens’ awesome weaponry work. So far, they have failed; activation of the weaponry requires alien DNA.
The tension between the aliens and the humans comes to a head when an MNU field operative, Wikus van der Merwe (Sharlto Copley), contracts a mysterious virus that begins changing his DNA. Wikus quickly becomes the most hunted man in the world, as well as the most valuable – he is the key to unlocking the secrets of alien technology. Ostracized and friendless, there is only one place left for him to hide: District 9.
"District 9" is directed by Neill Blomkamp. The screenplay is by Neill Blomkamp and Terri Tatchell. The film is produced by Peter Jackson and Carolynne Cunningham.
About The Embassy Visual Effects
The Embassy Visual Effects, Inc. is based in Vancouver, BC, Canada and is best known for its photo-real visual effects work for the film “Iron Man”, and high profile commercial projects for clients including Nike, Citroen, Verizon, Volkswagen and more. The boutique facility specializes in visual effects for commercials and feature film that blend anything from futuristic robots to precocious lizards seamlessly into real world environments. For more information, visit www.embassyvfx.com.
Source:
cgchannel.com
Juan has created a tutorial outlining all of the steps he used to create his award winning image from this year's CGarchitect 3D Awards competition. A PDF has been attached to this post. [You'll need to be registered on the forums and logged in to download it] Enjoy!
Download the PDF HERE
Related links:
cgarchitect.com
This week The Gnomon Workshop is pleased to announce the release of two new DVDs by veteran Gnomon instructor Kevin Hudson. In these two titles, Kevin covers UV Layout for 3D models in Autodesk Maya, thoroughly breaking down the process and demonstrating tips and tricks for working efficiently in a production setting. In the Advanced UV Layout DVD, Kevin also introduces Headus UVLayout which is a great tool for speeding up the task.
UV Mapping 101
In this DVD, Kevin guides the beginning modeler through the concepts and complexities of the UV layout process in Maya. It is essential that UVs are laid out properly so that 3D models can smoothly proceed into the texturing process. Starting with the fundamentals, Kevin prepares the viewer to take on a project as complicated as laying out the UVs for a house.
He covers editing the UVs in the UV Layout Window, projecting and editing on a stretched cube, cylindrical and spherical projections, and the principal of using “material splits” as a means of organizing different parts of a model. Intended as an introduction to production UV layout techniques, Kevin’s many years of expertise inform this clear and precise lecture.
Advanced UV Layout for Production
In this DVD, Kevin guides the more advanced modeler through the steps of laying out UVs on more complicated organic objects, where no single simple projection will work. Kevin provides a clear approach to breaking down objects into pieces that can be laid out and reassembled. Starting with a dollhead model, Kevin covers how to combine different projections and use the Relax and Unfold tools to get the desired results. He then discusses UV layout solutions for clothing and more complicated objects like a horse skull. Kevin then shows how to utilize his favorite tool, UVLayout by Headus, which can really speed up your workflow by automating the process of cutting up the model and projecting onto it, while maintaining a consistent scale.
Finally, Kevin explains why in production it may be necessary to have multiple UV sets and what the specific requirements are for programs like ZBrush and BodyPaint. Intended as an advanced tutorial on production UV layout techniques, Kevin’s many years of expertise inform this clear and “holistic” approach to modeling and UV work.
Read the Press Release: click here
Details are available by following the link below:
UV Mapping 101 – Maya UV Techniques with Kevin Hudson
Advanced UV Layout for Production with Kevin Hudson
Related links:
thegnomonworkshop.com
G.I. Joe: The Rise of Cobra is a movie where big screen heroes leap through moving trains, freefall from the stratosphere, and unleash an ongoing stream of destruction and debris. To help bring this summer blockbuster to the big screen, Digital Domain was called in to execute a wide range of visual effects shots –320 total. For many of these shots, Digital Domain chose Houdini to bring down the house, or in the case of G.I. Joe, the Eiffel Tower.
Crushing steel
In one of the most challenging effects sequences in the film, the villains shoot the Eiffel Tower with a missile filled with small nanomites designed to eat away at the metal structure until it crumples into the Seine. An attempt was made to animate this sequence by hand but Digital Domain wasn’t getting the right level of detail in the motion.
Digital Domain saw an opportunity to use Houdini’s cloth solver to create plastic deformations as part of this elaborate effect. Working with Side Effects, Digital Domain helped define brand new crumpling and tearing tools which are now included with Houdini 10. Digital Domain was able to test early versions of these tools in production to topple the tower.
“One of the strongest qualities of Side Effects is their willingness to support us every step of the way,” says Phillip Prahl, CG Effects Animation Lead, Digital Domain. “It is always great to see Houdini benefit from this partnership as new tools are production-tested and then packaged up to accommodate artists around the world.”
To set up the plastic deformations, a dynamic system was built by combining an elaborate sequence of Houdini Digital Assets which all shared information with each other. The overall effect started with a nanomites missile asset which passed off attributes to the tower geometry on impact. Hit points were calculated on the tower geometry and the nanomites were birthed from these points. The nanomite cloud asset then passed new attributes to the tower geometry in order to influence the plastic deformation cloth sim being run on the structure.
From there, a single Python command would trigger a cascade of simulations that added individual supports, or mini-beams, between those that were being influenced by the cloth solver. Special geometry solvers would deform them and get them to snap at the right time. The results were influenced by various parameters such as elasticity and the rate at which they sprung back to their rest or bent position. There was also extensive particle work to create the green nanomites that eat away the tower. These ended up painting a value on the beams as they moved up the tower which defined which objects would deform. If a piece became isolated from the rest of the geometry, it would be added to a separate RBD simulation and would then fall off. The painted value was also used to determine the opacity of the beam so that eaten away bits were not visible.
Apache Helicopter Shot
At Digital Domain, Houdini was used for the majority of the effects shots including a variety of particle effects, RBD sims, and volumetric effects. These tools were used to shatter glass, create debris, procedurally crack roads, and shoot down an Apache Helicopter. About 90% of these effects shots were also rendered in Mantra. Glass, wood and shattering roads were also shaded in Houdini and rendered with Mantra.
In one shot, an Apache Helicopter is shot down by a concussion canon and squashed like an aluminum can. The helicopter model was brought into Houdini and run through several RBD simulations. These sims included the bending of a rotor and the compression of the fuselage. The window panes were also shattered using procedural cracking tools and RBD simulations. After the RBD simulations were calculated, they were often used to drive separate particle simulations to create smaller debris chunks and glass fragments.
Thomas Reppen, CG Effects Animation Lead, explained, “Houdini's Digital Assets allowed us to split the Apache helicopter into several sections which meant we didn't have to re-sim the whole helicopter each time we had to make a small change."
“One of the strongest features of Houdini is how easy it is to navigate and coordinate different contexts such as dynamics and particles,” says Prahl. “We were able to use proprietary software to acquire impact data from the sims then use this information to drive a variety of other effects in the shot. The fact that we were able to write our own tools and access Houdini’s data so easily speaks to the openness of Houdini’s architecture.”
Rooftop Shattering
At one point in the film, Digital Domain had to shatter a massive glass rooftop. The sequence contained six or seven challenging shots and it soon became clear that Houdini would offer the only real solution to the problem. Impact points were selected on the glass geometry and procedural noise, such as voronoi noise, was used to generate cracks that spiraled out in a radial pattern from the impact point.
The shattering glass effect was bundled up into a Houdini Digital Asset which could be passed around amongst the many effects artists on the film. It is common for Digital Domain to create their own Houdini tools to achieve effects that will be repeated throughout a film. The concussion canon, which appeared several shots, was also turned into a digital asset.
Reppen noted, “The concussion effect was made up of many layers, but with the setup being 100% procedural and packaged up in a Houdini Digital Asset, all the artist would have to do was to specify where and when the concussion effect should occur in a shot."
“It was very valuable to us to be able to package up all of our stock-type effects and pass them around to the artists since the assets did most of the work automatically,” added Prahl “This kept the quality high on the bread-and-butter work while offering us more time to focus on the most challenging shots.”
With G.I. Joe: The Rise of Cobra, Digital Domain was given the chance to create a visual effects showpiece where the audience can revel in all of the destruction. Houdini provided the perfect platform for their VFX artists to meet production challenges and deliver maximum impact.
more article : Prime Focus VFX Helps Elevate G.I. JOE: The Rise of Cobra
Related links:
sidefx.com
Archmodels volume 68 gives you 50 professional, highly detailed objects of hoods, refrigerators, microwaves, washing machines, panel heating and gas stoves. Why waste costly time for making something that you can have from the best at Evermotion?
Formats:
fbx
-
simple object without materials (with mapping and textures included)
mxs
-
object prepared for Maxwell Studio Renderer v.1.7
obj
-
simple object without textures and materials (with mapping included)
Fryrender *.max
-
with textures and shaders
Maxwell *.max
-
with textures and shaders
Mental Ray *.max
-
with textures and shaders
Scanline *.max
-
with textures and shaders
V-Ray *.max
-
with textures and shaders
*. max 2008
-
or higher
Download PDF Sample
Check and buy here
Related links:
evermotion.org
His fan video for Grizzly Bear's song Two Weeks has for the past weeks been receiving a lot of praise in communities such as the Chaos Group forum, Vimeo and Motionographer. We've asked Gabe Askew to tell us a litte bit more about himself, and the video.
Read the Interview here
Related links:
vray.info
Contributes 124-Shots, Including Building Complex Nanomite Animation Pipeline and Orchestrating Finale Aerial Sequence
Hollywood, CA Prime Focus VFX--formerly Frantic Films VFX--announced that it has contributed 124 visual effects shots for the Stephen Sommers-directed movie G.I. JOE: The Rise of Cobra from Paramount Pictures. Prime Focus Los Angeles, Winnipeg and Vancouver visual effects studios most notably provided expertise in previz, digital environments, fluid simulation and high-volume particle rendering for the movie's action-packed finale sequence involving a complicated aerial scene. G.I. JOE: The Rise of Cobra starring Channing Tatum (Duke), Sienna Miller (Baroness) Marlon Wayans (Ripcord), and Rachel Nichols (Scarlett) premiered in theaters on August 7, 2009.
Prime Focus contributed roughly 70 visual effects shots for the finale's aerial sequence, which features a plane being eaten away by Nanomites, a U.S. developed bio-weapon usurped by evil forces that disintegrates metal on contact. Said Chris Bond, senior visual effects supervisor and president of Prime Focus VFX, This sequence was particularly challenging because we weren't relying on any aerial photography, which would be nearly impossible to shoot at these speeds, but instead created nearly everything digitally the plane, sky, clouds and the destructive Nanomites that eat away the plane.
In addition to developing a custom toolset to generate 3D cloud and sky environments, Prime Focus built a Nanomite animation pipeline and a hybrid matte painting, environment and 3D animation pipeline. The company also dedicated extensive R&D to improving its in-house scene collaboration system that allowed its LA and Vancouver offices to work seamlessly together.
We created a system whereby no single shot lives as a whole, but rather as a collection of project, sequence or shot assets, explained Chris Harvey, visual effects supervisor for Prime Focus VFX in Vancouver. Assets could range from models, shaders, animations, scripts, light rigs and anything in-between. These assets would then be assembled on the fly based on the specific requirements. This facilitated a number of important aspects to our pipeline - artists would always have the latest approved assets regardless of their global location, and we could make changes en masse and have them propagate through various levels of the show, shot, sequence and even across the entire project.
In addition to providing previz for the aerial sequence, Prime Focus artists, with VFX supervision from Bond and Harvey, built a Nanomite animation pipeline using Prime Focus proprietary volumetric particle renderer Krakatoa, along with Autodesk 3ds Max, to render out the billions upon billions of particles that make up the Nanomite cloud. Functioning as an intelligent swarm, the Nanomites are able to track their movements to avoid retracing their steps, leaving no metal untouched until whatever they're consuming crumbles and collapses. To produce this complex destruction, Prime Focus created a series of particle systems, shader networks, and procedural level set tools that would all talk to and affect each other. This created a true geometric volume with thickness and surface properties that would be eaten, rather than paper-thin transparency texture maps.
Using footage of actor Wayans shot on set in a chair with only the practical cockpit around him, Prime Focus artists digitally built the Night Raven plane, including its inner-workings and engine, which are revealed as the Nanomites eat away the metal. Ken Nakata headed up the digital matte painting department in Los Angeles to create the CG sky and clouds using a combination of fluid dynamics, matte painting, CG simulation and particle simulation. Prime Focus also created missile contrails and built the White House and Potomac River entirely in CG. In addition to the finale, Prime Focus also contributed to the opening sequence in which a tank is destroyed by Nanomites and provided interior shots and set extensions for the Cobra base. Autodesk 3ds Max and Maya were the tools-of-choice; eyeon Fusion was the compositor.
About Prime Focus
Prime Focus is one of the world's largest Visual Entertainment Services groups, specialising in providing creative and technical services for the film, broadcast, commercials, music, gaming, internet and media industries. With a market capitalisation of $140m USD, it operates nine facilities in India, four in the UK and four in North America, offering clients access to a talent pool of over 600 visual effects artists worldwide.
Over the last 11 years, Prime Focus has played a pioneering role in embracing digital entertainment technologies, and today offers an end-to-end service deploying robust, best-in-class technology platforms to create a delivery pipeline that lets its customers effectively manage the creative process.
Prime Focus is a market leader in its field, ranked number one in India and number four in the highly competitive UK market. Part of its success has been due to the care and attention it pays to clients at a local level (running studios in London, Mumbai, Chennai, Hyderabad, Goa, Bangalore, Los Angeles, New York, Winnipeg and Vancouver) whilst leveraging the talent, resources and cost advantages of its global infrastructure.
Prime Focus is a public stock company with shares traded in the Mumbai and National Stock exchanges in India (Symbol - PRIMEFOCUS). Prime Focus also owns and operates Prime Focus London plc (Symbol - PFO), which is publicly traded in the LSE�s AIM market. For more information, please visit www.primefocusworld.com
Source:
cgarena.com
Michael Paul Young has designed a nice gorgeous video commissioned by U2.
From their website:
In February of 2009 we got a call from Catherine Owens, the long time super creative director for the uber-famous band U2. Catherine came across our work and knew she found the team who could help with U2’s 2009 world tour (titled 360).
After a quick stint of meetings in New York, we came back to the Bangkok studio and begin work for the following two months on numerous ideas.
We began our development on the videos for the tracks Beautiful Day, Ultra Violet and The Unforgettable Fire. The first series of works involved filming small fish common in the canals of Bangkok for very fluid and dreamlike sequences. For the second series we explored mapping the films into a 3d space and further distorting them for an enhanced depth and perspective. Then for the last series of works we explored more solid colors, 2d and fast paced clips to stimulate lighting effects and screen energy during the performance. In the end we created over 100 different sequences, with over 300 total clips delivered in various formats, colors and speeds.
The concert opened in Barcelona on June 30, 2009 to a sold out crowd of 90,000 fans. The screen that displayed this work was designed by Willie Williams, Mark Fisher, Chuck Hoberman, and Frederic Opsomer. The screen was composed of 888 individual hexagonal panels that support 500,000 Barco LED pixels. It can transform from seven meters to 22 meters high and move up and down. To sum it up, this is the most massive and badass screen ever and we were mega-amped to have worked on such an intense project.
Music track Beautiful Day is copyright © 2000 U2 & Universal-Island Records Ltd.
Related links:
REPLACE THE SOURCE LINK HERE
A small frontend to the vray physical camera, for faster access to basic controls....sort of
Additional Info:
A couple of "presets", f-stop, shutter, wb, iso, zoom, a sorry attempt on autofocus and a rough create-vcam-from-view.
Intended as a DSLR ui for use with vrayRT.
Usage:
Press "cam" to create a vraycamera from perspective view, the rest is cake.
Unrar in max dir, find it under category kilad - assign to shortcut etc
I`m no scripter, so strange thing will most likely happen.
Nothing fancy, just for fun ;)
Version Requirement:
3ds max 2008
Other Software Required:
vray, (vrayRT)
Download here
Related links:
scriptspot.com
A new video demonstrates some of the new features in Softimage 2010.
Related links:
area.autodesk.com
Autograss is your one-click grass solution for V-Ray
Select your object, click Autograss, and you're done. You've got photorealistic grass that renders in V-Ray for 3ds Max.
Advanced multi-threaded memory management
Autograss uses Happy Digital's advanced memory management system. That means Autograss uses only a fixed amount of RAM no matter how much grass is in the scene, whether it's a one-acre lawn or an entire golf course. No crashes, no nonsense. And it's fully multi-threaded, so all your cores are driven to their full potential.
Realistic grass presets
Autograss includes eleven preset grass types covering the most commonly used grasses. You don't need to model any grass. The scientists at Happy Digital studied radiometrically calibrated photographs to ensure the grass presets have true-to-life shape and color when used with V-Ray's physical cameras and sun / sky system, from sunrise to sunset. In addition to these presets, Autograss provides you with mapping and variation to produce special effects like worn-out trails and lawnmower paths.
Easy. Fast. Realistic.
Finally you can have it all.
Read more about the performance, view the gallery and movies, and watch the tutorials to see Autograss in action.
Then try the demo version to experience just how easy it is!
Feature summary
Eleven grass type presets
Twelve grass material presets
Four earth material presets
Adjustable variation
Unlimited grass in your scenes
Density mapping
Length mapping
Cutoff mapping
Thatch mapping
Direction mapping
Related links:
happy-digital.com
V-Ray for Maya: The Countdown is over! One of the most eagerly expected products in the 3D world is officially released to turn over a new leaf in the rendering processes.
V-Ray for Maya revolutionizes rendering times, stability and ease of use to achieve remarkable pipeline efficiency.
Chaos Group team is excited to announce the official release of V-Ray for Maya. The comprehensive set of features provided by V-Ray for Maya includes true 3D Motion Blur, Sun & Sky procedural lighting system, Physical camera for matching life footage, Environment Fog, a set of Sub-Surface Scattering shaders and many others. V-Ray for Maya is supported on Microsoft Windows, Apple Mac OS X, and Red Hat Enterprise Linux and Fedora operating systems in their 32-bit and 64-bit versions (other distributions also work). V-Ray runs with Autodesk Maya 2008, 2009 and 2010 versions.
Aimed at improving quality and efficiency in the production processes of the VFX and Film industry, V-Ray for Maya now enables the rendering of larger scenes with greater complexity while at the same time artists can rely on a faster rendering stage without compromising on the quality side of their work.
“Having used V-Ray in production for many years, and having been involved in large Maya centric pipelines, it was great to finally put the two together. Now that V-Ray can work inside Maya in virtually the same way that it operates in 3ds Max, it allows for a more flexible pipeline that would allow for the same high quality output that you expect from V-Ray. Being centered on a solid V-Ray Standalone pipeline allows you to use V-Ray within Maya, and have your whole renderfarm operate outside of Maya. It also operates nicely within a Windows or Linux or Mac pipeline which allows for even greater flexibility regardless of the size of your project” says Christopher Nichols – VFX Supervisor.
“I evaluated V-Ray for Maya by running it through the pipeline and with an intense VFX schedule where we are sometimes required to render hundreds of thousands of frames. V-Ray had proven itself to be most reliable, we had little to no issues with it during the productions, and when we did have challenges Chaos Group's Development Team was more than willing to help us out, which made us feel very much a part of the whole process” explained Dmitry Vinnik, Technical Director and founder of Silhouette Images Inc.
V-Ray for Maya Advantages and Key Features:
Faithful to its ultimate vision for extraordinary speed and quality, Chaos Group empowers users to improve render times by taking advantage of the V-Ray for Maya licensing. Each V-Ray for Maya license allows the usage of up to 10 additional render nodes, running either in Maya batch mode or as standalone render servers through the V-Ray Standalone application. The Standalone application allows rendering to occur independently of Maya and is considered as an outstanding option to boost the speed for both standard and distributed rendering.
Robert Nederhorst, VFX Supervisor at Radium/ReelFX in Santa Monica, explained his experience with V-Ray for Maya "Working V-Ray as a fully adaptive system allows our VFX team to deal with every glossy calculation as an antialiasing issue which makes setup so much easier and render times actually faster! It's the ease of setup and simple methods to deal with common problems that are great for VFX. All of us in the industry have less and less time to work on things these days so being able to rapidly get to our vision is important. V-Ray absolutely helps in that."
“I personally love the simplicity and some of the key factors in V-Ray which sets it apart from other renderers in Maya:
1. DMC sampler;
2. Easy to use and very well developed GI system;
3. True 3D motion blur, which works with transparencies (a key to fast rendering with accurate results without major headaches and cheats);
4. Very simple and powerful baking system;
5. Powerful multipass architecture,”
added Dmitry Vinnik, from Silhouette Images Inc.
The beta version of V-Ray for Maya has been used in numerous productions and VFX studios, and the feedback received during the development stages enabled Chaos Group to create a product focused on real needs and challenges in everyday rendering operations.
Pricing and availability
The suggested retail price(SRP) of V-Ray for Maya is USD 999 or EUR 719 per license, depending on the region of purchase. Purchasing one V-Ray for Maya license gives a lot more than just a single rendering license. It allows the rendering in interactive Maya environment of 1 computer and another 10 computers running as render nodes. These render nodes can run in Maya batch mode or as standalone render servers through the V-Ray Standalone application, independently of Maya. These can also be used for the simultaneous rendering of a single frame across 10 computers through the Distributed Rendering mode. If the users require having more than 10 rendering nodes – additional licenses can be purchased for V-Ray Standalone which can be used as standalone or through the Maya batch mode. It does not get any more flexible than that, does it?
And remember! We license full computers, not CPUs! The more CPUs you have per computer, the better you utilize our single license!
V-Ray for Maya is distributed through electronic download only. A hardware lock is required for the licensing system and is provided upon purchase.
Additional V-Ray Standalone licenses are available for purchase with suggested end user price of USD299 / EUR249 per computer. Outrageous volume discounts are applicable for all V-Ray products. Order prices in US Dollars or Euro is applied depending on specific country of order placement. Please, contact our sales representative or distributor for pricing information at sales.software@chaosgroup.com
Trademarks and copyrights
V-Ray and the V-Ray logo are registered trademarks of Chaos Software Ltd. in Bulgaria and/or other countries. Autodesk and Maya are registered trademarks or trademarks of Autodesk, Inc., and/or its subsidiaries and/or affiliates in the USA and/or other countries. Microsoft, Windows and Windows XP are either registered trademarks or trademarks of Microsoft Corporation in the United States and/or other countries. Apple, Mac and Mac OS are trademarks of Apple Inc., registered in the U.S. and other countries. Linux is a registered trademark of Linus Torvalds in the U.S. and other countries. All other brand names, product names, or trademarks belong to their respective holders.
Features:
Core Architecture
Multi-platform object-oriented API
Fully multithreaded core
Unified sampling system based on Schlick sampling
Distributed rendering
Efficient shading system specifically optimized for raytracing
Modular architecture - many components of the system can be replaced with custom ones
Geometry
Efficient geometry handling
True instance rendering
On-demand dynamic geometry creation (.vrmesh files, converter for .OBJ, .PLY, .GEO files included)
On-demand geometry loading from disk files
Displacement mapping
Catmull-Clark and Loop subdivision surfaces
Extensible with custom geometric primitives through the V-Ray SDK
Particle rendering & particle istancer
Image Sampling
Three different image sampling methods
Full-scene anti-aliasing
Progressive path tracing
Support for additional render elements (diffuse, reflection, GI, etc)
Advanced color (tone) mapping controls
Extensible with custom image samplers through the V-Ray SDK
Illumination
Physically accurate full global illumination solutions
Different GI algorithms: path tracing, irradiance cache, photon maps, light cache
Reusable GI solutions for accelerated rendering of walk-through animations and animations with dynamic objects
Physically accurate area lights
Efficient illumination from HDR environments
Procedural sun & sky models
Extensible with custom lights through the V-Ray SDK
Shaders
Physically plausible materials
Blurry reflections/refractions
Accurate hilights
Set of fast Sub-surface scattering shaders
Support for efficient material layering
Extensible with custom shaders through the V-Ray SDK
Camera Effects
Depth-of-field with bokeh effects
Accurate motion blur
Physical camera model
Extensible with custom cameras through the V-Ray SDK
Extras
Extended matte/shadow capabilities
Texture baking of any render element (GI, lighting, etc)
Frame buffer
V-Ray specific frame buffer with integrated color corrections and display of multiple rendering elements
Direct rendering to disk for extremely large images, either as OpenEXR files or as .vrimg files
Integration with Maya
All features accessible from within Maya (no external applications required) Standalone version included (10 licenses)
Support for many of the standard Maya shaders, lights, materials, procedural and utility textures
Supported Autodesk Maya platforms
Autodesk Maya 2008, Autodesk Maya Complete 2009, Autodesk Maya Unlimited 2009, Autodesk Maya 2010 (32-bit and 64-bit)
System Requirements
A computer with Autodesk Maya 2008, Autodesk Maya Complete 2009, Autodesk Maya Unlimited 2009, Autodesk Maya 2010 software;
Supported OS: Microsoft® Windows Vista® Business (SP1 or higher), Microsoft® Windows® XP Professional (SP2 or higher), 32-bit or 64-bit versions (64-bit is recommended); Red Hat® Enterprise Linux® 5.3 WS (64-bit) ; Fedora™ 8 operating system (32-bit and 64-bit) ; Apple® Mac OS® X 10.5.7 or higher operating system (32-bit and 64-bit);
Intel Penium III or compatible processor at 400 MHz minimum (dual Pentium IV or AMD Opteron or later recommended);
Minimum 128 MB RAM and 350 MB swap. For best performance are recommended 4 GB or more RAM, 4 GB or more swap file.
Intel Penium III or compatible processor at 400 MHz minimum (dual Pentium IV or AMD Opteron or later recommended);
Minimum 128 MB RAM and 350 MB swap. For best performance are recommended 4 GB or more RAM, 4 GB or more swap file.
Download
Related links:
chaosgroup.com
Autodesk Applications Engineer Marcel de Jong shows us how to work between Maya and Mudbox.
Related links:
area.autodesk.com
Meet the community, and speak with other companies that are active inreal-time 3D visualization Have a chat with the Quest3D Development Team, hear the latest news and enjoy presentations and workshops. This is the absolute number one opportunity to watch the latest how-to presentations and discuss questions and answers regarding Quest3D and real-time 3D!
Explore the world of real-time 3D software.
* Architecture visualization
* Interactive interior and exterior visualizations
* Real-time 3D product and design presentations
* Serious games, simulations and training applications
Meet
Meet other members of the Quest3D community, chat about projects, experiences and business! Meet the Quest3D staff and feel free to discuss all interesting Quest3D topics.
Speak
Share your knowledge, expertise and experience with other members of the Quest3D community! The Quest3D conference wants you as a speaker! Tell us about your Quest3D project or teach others about specific Quest3D topics.
NEW: Q&A Session
Send your questions to info@quest3D.com.
We will pick the best questions and answer them live on the conference. This is your chance to get your questions answered by the Quest3D team.
Experience
Learn from the others during the conference sessions, experience Quest3D during hands-on workshops and experience the innovative and varying Quest3D community.
Join!
Join the one and only official annual real-life meeting of the Quest3D Community. Visit the conference website, order tickets and join the 4th Quest3D Conference inthe hometown of Quest3D, Leiden, TheNetherlands.
Register before October 4, 2009!
Tickets must be purchased online here: http://conference.quest3d.com/tickets
Related links:
quest3d.com
Autodesk Applications Engineer Marcel de Jong shows us how to quickly lay out a concept for an environment in Sketchbook Pro.
Related links:
area.autodesk.com
Focus Features has provided AWNtv with an exclusive clip from Shane Acker's 9. In the clip, "9" meets his new friend "2." The film arrives in theaters Sept. 9, 2009.
View the clip at AWNtv.
You can also check out exclusive images at The AWN Showcase.
Focus has already launched an online prequel story on the Facebook page of the 9 scientist. Through the “9 Scientist” Facebook page, readers will be begin their journey into the back-story of the 9 film, while actively participating in the development of the prequel story.
Visit the "9 Scientist" Facebook page.
Related links:
awntv.com
vfxworld.com
facebook.com
According to the slides leaked at QuakeCon 2009, AMD is gearing up to launch its Evergreen family of DirectX 11-supporting graphics cards next month. Actually, AMD showcased it to some lucky guys a few days ago.
Not many details were given yet, but anyway, AMD should be the first to deliver DX11-compliant hardware, while NVIDIA will catch up later in Q4 or in early 2010.
Related links:
en.expreview.com
Fort Lauderdale, FL., August 17th, 2009 — cmiVFX | cmiStudios launches a brand new video for Advanced Digital Scuplting. This new video is a part of a new style of training that will allow viewers to learn more then just software and clicking buttons. In the Artist In Focus Series, artists from all over the world will be sharing their knowledge and achievements in a very exciting way. Sharing their techniques and workflows that evolved trough time and production experiences.cmiVFX is concerned on bringing real life projects for real artists. Understanding how these great artists create their art is what makes this series so precious.
This video is available today at the cmiVFX store. cmiVFX Video Player Online Store http://cmivfx.com/store/
Product Announcements — ZBrush "Beyond Digital Sculpting"
http://cmivfx.com/
Beyond Digital Sculpting
This video will talk through the process of creating a high-detailed character model in ZBrush. We will have a look at how to adjust the ZBrush interface, how to work with brushes and how to adjust them. You will learn some useful tricks about how to use reference material and how to focus on the main shapes of the figure.
Brushing it!
Using six different types of brushes: the standard brush for adjustments on a low and medium mesh resolution level, the clay brush for adding mass or material to the model, the move brush for moving parts of the model, the flatten brush for flattening out certain areas, the pinch brush for sharpening folds, creases and wrinkles and of course the smooth brush for creating a smooth surface. An important aspect is that you can change the brush behavior by tweaking the brush curve, the Z intensity, the alpha and last but not least, the brush mode.
Poly-Groups
In this section the user will learn how to use Poly-groups properly as an art of its own. Understanding the principles of them and how to use them to speed up detailing. General sculpting will be the difference from a "Great" model and a "Just Ok" model.
Preserving Core Details
Smoothing out your model preserving the details you recently added is a powerful method of high resolution object creation. Learn some interesting sculpting techniques to preserve details and characterize your model to be presented. Production proven workflow techniques have been applied in a totally intuitive way to make sure all details are preserved.
Curls, Beard and Pores!
Learning how to use ZBrush layers to unleash powerful detailing techniques. While witnessing this outstanding workflow you will learn how to use this tool in your favor to enrich your models.
Hands
Since the beginning of time, artists struggle with creating Hands and feet! No doubt it is one of the most detailed areas of the human body. We will have a look on how to create hands with ZBrush intuitively. You will see that you don’t need many polygons and special edge-flows to get the nails right.
Feet
Finding the right workflow when modeling body parts is the best thing that can happen to an artist. Revealed in this section, a proven workflow to achieve great quality with feet modeling. These techniques will be a staple for all of your models to come.
Shoes
Conceptualizing shoes is an exciting and challenging task. Sculpting a concept of a shoe directly in ZBrush is not only possible but completely rewarding specially if you are not sure yet what style fits best to your character. Use this shoe design instruction with characters or product design for advertising. We begin our models from the very start so that you don't miss a minute of action.
Clothing
Creating believable clothing can be one of the final tasks for an artist to figure out. The shapes can sometimes stray from the contours of its host. learn how to interpret that natural collection of folds and creases to help sell the look of your model.
About Bejnamin Leitgeb:
Benjamin Leitgeb is a young Italian 3D-artist and digital sculptor who is working as a freelancer for a few years. He is specialized in high-poly modeling and sculpting of human characters. He discovered his interest in computer graphics as a teenager and never stopped producing CG art since then. He constantly try to improve my skills and workflow. For Benjamin, making drawings, paintings and sculptures is a simple and direct process of giving emotions form.
About cmiVFX
cmiVFX is the leader in High Definition Video Training for the Visual Effects Community. To test drive the new cmiVFX TVOD © system, visit http://www.cmivfx.com/cmi_vod.
© 2009 cmiVFX | cmiStudios. All rights reserved.
Designed for architecture, media and entertainment
purposes, use this nextgen 3D game engine with its graphical
editor to create your applications and games.
Entertainment:
NextGen 3D engine with advanced features such as depth of field, distortion, real time shadows...
Stream-lined WYSIWYG editor with easy-to-use tools for AI, Particles, GUIs, Terrains, Scripts, 3D Navigation...
Publish for Desktop (Windows, MacOS, Linux), the Web and the iPhone/iPod, for an all-inclusive, one-time price!
Media:
Create cross-browser Web3D applications for Windows, MacOS and Linux.
Use XML to easily exchange data with your web server.
Create multi-user applications with the ShiVa Server
Architecture:
Create Civil & Structural Engineering applications
Easily export from Autodesk Products, 3dsMax, Maya and XSI using the Collada or DWF file format.
Built-in lightmap compiler, reflection and First-Person View Framework.
The ShiVa Editor runs under Windows and can publish to any and all supported platforms.
Stonetrip will donate 5€ to ActionCarbone.org for each ShiVa license purchased.
Try the free, non-expiring trial version of ShiVa Now!
Learn more ...
new technical demo : The Hunt
New feature:
Download trial
Related links:
stonetrip.com
Pokedstudio shares some techniques for creating multi-layered vector-based images that also have a textured, collaged look
In this tutorial we will learn to create 3D elements in Illustrator, and layered elements that we can group into objects.
Using texture and layer effects in Photoshop to build up an illustration with these creations, I’ve created a monster from the depths of the earth intent on destroying all life as we know it – and having a party doing so.
While I’ll guide you through how I created my image, you can of course take these skills to use with your own elements, composing any image you want in your own style. Using the skills that you pick up in this tutorial, you will be able to add interesting effects to your vector-based images, whatever they are.
Free Download support files and tutorial file here
Related links:
computerarts.co.uk
The release of GIMP 2.7.0 is a first step towards GIMP 2.8, the next stable release. Please note that this is an unstable development snapshot and read the GIMP 2.7 release notes. The source code can be downloaded from ftp.gimp.org
GIMP 2.7.0
UI:
- Change the Text Tool to perform text editing on-canvas (GSoC 2008)
- Add support for tagging GIMP resources such as brushes and allow
filtering based on these tags (GSoC 2008)
- Separate the activies of saving an image and exporting it, there is
now an 'File->Export...' for example
- Port file plug-ins to new export API which gets rid of many
annoying export dialogs
- Add a simple parser to size entry widgets, images can be scaled
to e.g. "50%" or "2 * 37px + 10in"
- Arrange layer modes into more logical and useful groups
- Added support for rotation of brushes
- Make the Pointer dockable show information about selection position
and size
- Get rid of the Tools dockable and move toolbox configuration to
Preferences
- Add status bar feedback for keyboard changes to brush paramaters
- Add diagonal guides to the Crop Tool
- New docks are created at the pointer position
- Add support for printing crop marks for images
- Move 'Text along path' from tool options to text context menu
- Change default shortcuts for "Shrink Wrap" and "Fit in Window" to
Ctrl+R and Ctrl+Shift+R respectively since the previous shortcuts
are now used for the save+export feature
- Make Alt+Click on layers in Layers dockable create a selection from
the layer
- Allow to specify written language in the Text Tool
Plug-ins:
- Map the 'Linear Dodge' layer mode in PSD files to the 'Addition'
layer mode in GIMP
- Add JPEG2000 load plug-in
- Add X11 mouse cursor plug-in
- Add support for loading 16bit (RGB565) raw data
- Add palette exporter for CSS, PHP, Python, txt and Java, accessed
through palette context menu
- Add plug-in API for getting image URI, for manipulating size of
text layers, for getting and setting text layer hint, and for
unified export dialog appearance
Data:
- Add large variants of round brushes and remove duplicate and
useless brushes
- Add "FG to BG (Hardedge)" gradient
GEGL:
- Port the projection code, the code that composes a single image
from a stack of layers, to GEGL
- Port layer modes to GEGL
- Port the floating selection code to GEGL
- Refactor the layer stack code to prepare for layer groups later
- Prepare better and more intuitive handling of the floating
selection
- Add File->Debug->Show Image Graph that show the GEGL graph of an
image
- Allow to benchmark projection performance with
File->Debug->Benchmark Projection
- When using GEGL for the projection, use CIELCH instead of HSV/HSL
for color based layer modes
Core:
- Make painting strokes Catmull-Rom Spline interpolated
- Add support for arbitrary affine transforms of brushes
- Add support for brush dynamics to depend on tilt
- Add aspect ratio to brush dynamics
- Add infrastructure to soon support vector layers (GSoC 2006)
- Rearrange legacy layer mode code to increase maintainability
- Drop support for the obsolete GnomeVFS file-uri backend
- Allow to dump keyboard shortucts ith File->Debug->Dump Keyboard
Shortcuts
- Prepare data structures for layer groups
- Remove gimprc setting "menu-mnemonics",
"GtkSettings:gtk-enable-mnemonics" shall be used instead
- Remove "transient-docks" gimprc setting, the 'Utility window' hint
and a sane window manager does a better job
- Remove "web-browser" gimprc setting and use gtk_show_uri() instead
General:
- Changed licence to (L)GPLv3+
- Use the automake 1.11 feature 'silent build rules' by default
- Lots of bug fixes and cleanup
Related links:
REPLACE THE SOURCE LINK HERE
The AR-media™ Exporter for Google Sketch-Up is an add-on for the AR-media™ Plugin which allows users to autonomously create and publish augmented reality files.
Files created by the Exporter can be visualized on any computer with the freely available AR-media™ Player, without the need of having SketchUp and the ARplugin installed.
Users can now create their own SketchUp AR models and distribute them to their clients as independent, stand-alone files and let their clients experience such models in AR in a click.
The main users of the ARmedia Exporter tipically are: Content Creators, Media Professionals, Construction Firms, Designers and Design Firms, Architects and Engineers.
Downloads
Software: available only for eligible users.
User Guides:
- AR-media™ Exporter v1.1 for Google SketchUp™ (User Guide - Mac OS X - Intel)
(coming soon)
Licensing
The Exporter requires a professional license of the ARplugin. There are two licensing models available. With the professional license users are not allowed to include the Exporter or any exported model file within products intended for sale, nor within Kiosk Applications and Exhibits. With the commercial license users can include exported model files within products intended for sale, Kiosk Applications, Exhibits as well as in any other kind of application (please contact us for more information).Professional Version: In order to get a license (or manage existing licenses) you must be a registered user for the Professional version of the ARPlugin and click the following link:
Accepted payments: Paypal™ or wire transfer.
NOTE: upon successful payment a temporary link will be made available for downloading registered versions.
Support
For any enquiries feel free to contact our support teamNotes
- Please note that some antivirus software may erroneously tag the plugin as a dangerous file while it is not. Such "false positive" has been reported to antivirus software houses and they are going to update their products databases. Meanwhile you can keep using the plugin without worries. For any question feel free to ask our support team.
- The exporter requires a registered professional version of the ARplugin.
- The inclusion of the ".armedia" files in kiosks, in exhibits as well as in any product intended for sale is not allowed according to the professional licensing model. Please, contact us for more information concerning other licensing models.
Related links:
inglobetechnologies.com
Psyop is quick on the draw with “West,” the studio’s latest cowboy epic in their cardboard-inspired campaign for The UPS Store and agency Doner. Stay tuned for some exclusive behind-the-scenes action for the forthcoming final spot in the UPS campaign. In the meantime, check out the other two releases:
“West” is peppered with the lore of the old frontier, and opens fire on any charge that “certified packing” is all hat, and no cattle. Barnstorming the airwaves with a rough ridin’ emphasis on theatrical swank and rip-roaring thrills, Psyop packs heat, and hangs em’ so high it would make Clint Eastwood blush.
Related links:
http://motionographer.com
Some philosophies of aesthetics enumerate seven primary art forms derived from Georg Wilhelm Friedrich Hegel’s “Lectures on the Aesthetics” and the writings of film theorist Ricciotto Canudo: architecture, sculpture, painting, dance, music, poetry, and cinema.
The order is disputed, and architecture is sometimes shuffled to the third position, as it was by aspiring filmmaker Alex Roman for the title of his breathtaking work in progress, TheThird&TheSeventh, an artful combination of photorealistic architectural renderings and stylish CG cinematography.
In Roman’s able hands, the combination is undeniably poetic. His reverence for light borders on transcendent, and his attention to detail is inspiring. We caught up with Alex for a little background information.
Tell us a little about yourself. Who are you? Where are you from? What do you currently do?
I was born in 1979, in Alacant (Alicante), a city in Spain. I would first like to say that my real name is Jorge Seva, but I use “Alex Roman” as an artistic alias for publishing independent work.
After being trained in traditional painting at a few academies, I discovered this other world called CG. After school, I made the move to Madrid and began working at a visual effects company. That stint did not last too long due to the lack of demand for visual effects in the Spanish market at the time.
It was then that I switched into the VIZ (architectural visualization) business. I have been working for several companies since. After that, I took a sabbatical year for to work on an “already-built work” visualization series, which will be stitched together into a short animated piece.
Were you formally trained in architecture?
Nope, never. But I was very interested in architecture since I was a child. Maybe it’s not too late.
Can you tell us a little about the TheThird&TheSeventh film?
Well, after working in VIZ for years, I realized that there was a huge aesthetic difference between most clients’ commercial demands and photography of already-built structures. The lack of respect for the architecture itself in some “pure” commercial illustration was very frustrating to me. (Well, this is just my opinion, of course.)
Then, I decided to start a personal journey: to experiment with a more cinematographic and/or photographic oriented point of view of some of my favorites architects’ masterpieces.
Hence, the “TheThird&TheSeventh” project…
After thumbing through a book of Frank Lloyd Wright’s sketches once, I chatted with an architect friend of mine about the art of architectural rendering. He told me that sometimes architects intentionally leave sketches vague or messy.
It not only creates wiggle room when it comes to client negotiations, it leaves room for the imagination to paint in details. How would you respond to that idea?
Well, there are of course several purposes behind computer graphics benefits. That “messy” representation style is very useful at a birth-idea/growing-process stages. Also, there are of course many architects that use CG as a sketching oriented tool… why not?
Your sensitivity to light is amazing. How would you describe the interplay between light and architecture?
Thanks! I think architecture is sculpting with light most of the time. There’s neither volume nor colors and materials without light and shadow.
Like Kahn said once: “In the old buildings, the columns were an expression of light. Light, no light, light, no light, light, you see…”
The level of realism in the TheThird&TheSeventh is stunning. Your render times must be incredible. What software and hardware do you use? How long is an average render?
I use 3DS Max and Vray for rendering, Photoshop for texture work, AfterEffects for compositing and color grading and Adobe Premiere for edit it all.
My desktop PC (i7 920) it’s now the only hardware i have. Every frame rendertime may vary from 20 sec to 1:30 hr (720p) It all depends on how complex the scene is.
However, i invested a lot of time in scene optimization for rendering. I think it’s the key for a flexible workflow.
How can we see the full TheThird&TheSeventh film?
I’m finishing the latest shots, fighting with the music—the hardest stage for me—and editing at the moment. We will see it complete around the end of the summer of 2009. I really hope so!
Thank you, Alex!
Visit TheThird&TheSeventh for many more stills and video.
Related links:
http://motionographer.com
http://www.thirdseventh.com/
At spherevfx we have a selection of Nuke 5.1v6 courses.
Starting with our 'Complete' four day course which is aimed at the beginner to intermediate artist and covers all aspects of the software.
After this we have a selection of shorter courses focusing on specific advanced disciplines such as colour-correction, 3D, tracking and keying.
The courses are a day long and are designed to increase your understanding of Fusion in a specific area.
If you need a customised course specifically for your requirements please give us a call and we would be delighted to build a course just for you at no extra cost.
Like all our courses we will train on site at your facility and along side a live project if required. All our staff are production trained and able to work with you to train your artist quickly and efficiently.
Nuke 5.1v6 Complete
spherevfx's Nuke 5.1v6 Complete course covers
the following areas:
* Finding Your Way Round Nuke
* Originators
* Understanding Channels
* Compositing Operations
* Image Manipulation
* Light and Colour Correction
* Masks Creation and Manipulation
* Pulling and Manipulating Keys
* Camera Effects
* Tracking and Stabilisation
* Paint and Object Removal
* Time Manipulation
* 3D
* Stereoscopic Compositing
* Additional Channels
* Effects and Filters
* Working with Film
* Utility Nodes
* and more...
During the Nuke 5.1v6 Complete course we work through over 170 Nuke scripts designed at spherevfx and cover the 150 tools found in the package. During this we spend time looking at specific production tasks including:
* A full understanding of Nuke's Multi-Channel, High Dynamic Range Layering System.
* Compositing Multipass 3D Renders (Diffuse, Specular, Reflection, Occlusion, etc)
* 2D Morphing and Warping.
* Colour Correction and Integration.
* Rotoscoping Techniques.
* Working with Soft Mattes and Core Mattes.
* Building custom Light-Wrap and Edge-Blur Tools.
* Object Tracking, Camera Stabilisation and Corner Pinning.
* Pan and Tile Setup.
* Camera Projections.
* Set Extensions.
* Rotoscoping in 3D.
* Texturing, Lighting and Shadows in 3D.
* Working with 3D Data from 3rd Party Applications (such as Maya and PFTrack).
* Basic Overview to Stereoscopic Production and Compositing.
* Working with zDepth, Motion Vectors and other Specialist Render Passes.
* Building Gizmo's (Macros).
spherevfx also offer these more in-depth courses for Nuke 5.1v6:
Nuke In-Depth Keying 1 Day
Nuke In-Depth Roto and Paint 1 Day
Nuke In-Depth Colour Correction 1 Day
Nuke In-Depth Tracking 1 Day
Nuke In-Depth 3D 1 Day
Nuke In-Depth Stereoscopic Compositing 1 Day
For more details on the specific content of these courses please call them on
+44 1633 790-211 or eMail training@spherevfx.com
Related links:
spherevfx.com
You can now let the smoke fade away after a defined frame rate:
Related links:
wxtools.com
by Sven Sauer Web: www.mattepainting-studio.com on cgarena
In this making-of documentary we will illustrate the laborious process of creating the Perry Rhodan game. Locked into dark rooms filled with computers, a group of 30 enthusiastic artists and programmers has spent 14 months to design hundreds of space ships, planets, alien races and fantastic stories and baked them all into one of the most complex science fiction computer game adventures.
Our main goal was to create a modernized design for the classic Perry Rhodan series in order to approach a new target audience without alienating the traditional fan base. The original designs of planets, space ships, architecture and costumes were elaborated by a whole army of science fiction authors and coined the perceptions and expectations of the readers. We had to stay faithful to these sources while connecting them with new concepts and introducing transformations to established characters and places. It was a delicate balancing act.
Related links:
REPLACE THE SOURCE LINK HERE
Inspired by Jordan Walsh script AutoBack File Loader Zorb
to make an autoback file loader with option to sort by date modified.
Additional Info:
Jordan script support thumbnail, I guess that is a Max 2010 or .NET (or both) feature.
My code is simple, not necessary and does not use .NET;
Also offers an option to sort by name and date modified;
Check for save current file before load new one;
Convert system time format from AM/PM in 24h;
The dialog is modal, to use it or close it (to stay open is not desirable);
Works quickly and is compatible with 3ds Max 9 and higher;
Can be installed as a MacroScript (optional);
Version Requirement:
3ds Max 9 and higher
Homepage URL:
http://project3d.narod.ru/maxscripts.htm
Download URL:
http://www.scriptspot.com/files/u9133/LoadAutoBackup.ms
Related links:
REPLACE THE SOURCE LINK HERE
Back on the advertisement for the car brand Peugeot and the Crossover model 3008. A spot titled "Perfect Day" with a production studio entrusted to Stink & PsyOps.Everything led by agency BETC Euro RSCG in a superb soundtrack of the Venus.
Related links:
fubiz.net
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