design studio Dvein.com released bouncing Reel featuring their latest works backgrounded by “Scenario Rock - Both Gotta Move On (Sebastian remix)” sound.Enjoy!
Related links:
http://www.dvein.com/
An artist has used 26 different types of fruit to recreate the London skyline.
Carl Warner and his team of five model-makers spent three weeks crafting the famous London landmarks out of foods ranging from melons and tomatoes to asparagus.
They carefully sculpted the buildings - while all the time fighting the challenge of how to keep the fresh and highly perishable fruit and vegetables looking their best for the final image.
After gluing it all together they then took this stunning image… before munching on the most impressive salad bar you have ever see.
In the image the face of BIG BEN is through slices of lemon while THE HOUSES OF PARLIAMENT is created with a mix of asparagus, green and runner beans subtly mixed with baby sweetcorn to depict the intricate stonework of the political landmark.
THE LONDON EYE has green beans as spokes and its pods carefully crafted out of baby plum tomatoes and the GHERKIN is manufactured from two types of melon and embedded with green beans - we can't help but think they missed a trick there.
NELSON'S COLUMN is made from a cucumber with baby courgettes and a carrot teamed with a monkey nut and almond while ST PAUL'S CATHEDRAL has been given a modern day food makeover, with the spire being created from roundels of carrot, yellow and green courgette and baby leeks. The famous dome designed by Christopher Wren in the 17th century, has been transformed through the use of a melon, while the impressive columns have been crafted out of baby sweetcorn.
TOWER BRIDGE has pineapple piers with celery and shredded wheat towers and the TOWER OF LONDON is comprised of a selection of breadsticks and spelt crackers while the intricate brickwork has been constructed from mini shredded wheat.
THE EMBANKMENT is depicted through panini encrusted walls, punctuated by the iconic Thameside lampposts which are constructed by onions wrapped in vanilla pods for the lamps, asparagus for the posts and mackerel for the ornate fish plinths.
This edible version of the London skyline was specially commissioned by the Good Food channel. Spokesperson Roopa Gulati said: "This is a stunning image which has quite literally transformed the London skyline through good food proving that fun with food in a creative and light-hearted way is the way forward."
Related links:
newslite.tv
Create accurate, highly realistic product representations from 3D CAD data that enable informed decision making on digital prototypes with Autodesk® Showcase® software.
THE VIDEO HERE
Related links:
area.autodesk.com
Design Viz experts recently visited Melbourne and Sydney Australia with Autodesk for a Design Visualization Super User Roadshow. During the lecture series, many fields were represented as making the most of the concept of Previz for the smooth operation of their projects.
Stephen Blowers, the Associate Director of Dyer Architects in Great Britain discussed the use of concept stage visualization in his work using 3ds Max Design and Revit. Chris Ruffo, Autodesk’s senior design visualization industry manager introduced Blowers and others to give their unique and expert views on how Design Viz is assisting their industry. “These days, it is not enough to use visualization as a presentation tool only,” he said. “To create better designs while gaining a competitive edge, some successful architects and visualization experts use it as a design tool as well to enrich the visual context of their designs at every stage of development, from schematics to final presentation.”
Read full here
Related links:
features.cgsociety.org
Precision 3D Camera Control for After Effects 7, CS3, CS4
Price: $0 (Free)
Value: $5,000,000 + a Turkey Sandwich
FEATURES:
Here is what Andrew Kramer wrote about the features of Sure Target :
" Real Plug-in Form: As an actual plug-in, Sure Target 2 has better organized parameters and will run on any language of After Effects and provide advanced feature support.
Auto-Camera Rigging: When you add Sure Target to a NULL, a 3D camera is created and parented instantly, plus the NULL is changed to 3D and necessary expressions are added and activated.
Auto-Populate: Select Target Layers one by one and Sure Target will add them to the target list in order with one click. This will save setup time if adding or rearranging your targets.
Ease Target Modes: Sure Target 2 will automatically ease the animation keyframes as requested with 4 modes. Ease, ease in, ease out and linear.
Auto-Focus: Sure Target 2 will calculate the focal distance to the camera so that your target layers are in focus.
Inertia Inheritance: Incorporate natural springy movement at each stop with control over amount and decay.
Camera Roll: This feature is awesome… Sure Target will pitch and roll along the animation direction like an airplane turns down-ward in the direction it is moving.
Dolly Control: Sure Target 2 allows you to control the camera distance to each target individually. Target 1 can be the default distance and Target 2 can be 50% closer… etc.
Create a Baked Camera: I’ll be honest… expressions can be slow to calculate some times, especially for motions blur. Sure Target 2 can create a baked camera to include all of the settings with one click. If you need to make a change, just delete the baked camera, adjust the settings and bake a new one.
Condition Protection: Sure Target 2 will make sure your NULL and target layers are 3D before adding them to avoid errors.
Refresh Expressions: We haven’t been able to break the expressions by deleting targets or changing them to 2D by accident but if you should find a way to disconnect the expression, simply refresh all of the expressions with 1 click.
Probably some other stuff too but we’ll talk about them on launch day! "
Here is the Video Test
Related links:
videocopilotdata.net
For those of you following the Blender development scene, you might realize we have reached a remarkable milestone today. The Blender source code has had its 25000th revision on November 29th, 2009. This means since October 2002, when Blender was released as an open source package, twenty-five-thousand individual commits had been made towards the Blender source code.
in his blog Mike wrote:
"Although this arbitray number is no way a direct measurement of the enormous effort that went into the making of this great software package (some commits are one line patches while others are gigantic multi-project merges), nor does the number 25000 have anything to do with the release of Blender 2.5, I think it’s still an amazing accomplishment that we should all celebrate, artists and developers alike.
The above graph shows the commit frequency since Blender went open source in October 2002(including all branches). Just look at that graph! It’s going no where else but up!
The pie chart below shows the total commit broken down by author. By no mean am I trying to belittle all the contributors who did not make it onto the list. Blender is a community project, every single slice of pie is a contribution, no matter how small. And again, a commit is not a direct measure of how much work one has put into it, so don’t read too much into it.
This milestone is really only made possible because of the collective contribution from the entire global Blender community. If you are reading this, you probably already contributed something to the community, so give yourself a pat on the back. Even if you have no coding experience? You can buy Blender movies, books or gears. No Money? You can help out by documenting features on the wiki, or even just filing a report bugs can be extremely useful."
Related links:
blog.mikepan.com
Six years in the making and completed in 2006, The Passenger was written, designed, modelled, textured, illuminated, animated, composed, recorded, mixed, edited, produced and directed by Chris Jones.
The film premiered and won Best Animation at the 2006 Los Angeles International Short Film Festival, ahead of 38 other selected shorts including the 2007 Oscar winner. It was subsequently selected to accompany the Oscar nominated shorts in a theatrical tour of the USA, and has screened at a number of international film festivals including the Melbourne International Animation Festival, where it was awarded Best Australian Film.
This is a low res, monophonic, compression drenched, generally fairly appalling version - for an idea of the DVD quality, download the hi-res trailer here
Useless Information
This film contains:
* 10,056 frames
* 1,557 individual pieces of artwork including:
426 models (43MB)
809 painted textures (116MB, JPEGs)
322 scenes (191MB)
* 21 pre-rendered image sequences (3,156 frames)
* 300 dynamics simulation files (760MB)
* 192 sound effects tracks
* 450 MIDI tracks (spread across 12 sequences)
During the making of this film:
* Render times averaged about 3 hours per frame
* The longest render was about 8 hours per frame
* An average of 0.74 seconds of film were completed per week (that's including animation, sound, everything)
* Roughly 17.5 hours of sound were recorded
* 6 house relocations took place
* I consumed around 3,500 sandwiches
* A Star Wars trilogy, a Lord Of The Rings trilogy and a Harry Potter trilogy were made (not by Chris Jones).
Related links:
chrisj.com.au
When you tackle any illustration, it’s best to first come up with a theme or storyline. Here I’m going to share with you my entire workflow for generating an illustration of a space battle. This will build upon the initial idea of producing strong conceptual design of unique spacecraft; in this instance drawing space capital ships ranging from small to large frigates and large interceptors to destroyers, carriers and battle cruisers.
DOWNLOAD PDF TUTORIAL HERE
Related links:
imaginefx.com
Holden Special Vehicles uses Autodesk Showcase software and the Autodesk Alias family of products to reduce time and costs from its product development cycle.
READ THE CONTENT HERE
Related links:
area.autodesk.com
Comic-Con has lost another member of its founding family. Ken Krueger (1926-2009) was instrumental in getting the show off the ground and keeping it going in its first few years. He served as chairman of the first Comic-Con in 1970.
Ken was no stranger to fan conventions. As a member of science fiction's "First Fandom," he had been at what is considered the very first science fiction convention, the 1939 WorldCon in New York City. His long career as a publisher began with fanzines as well as professional publications included editing for Grant-Hadnet Enterprises, Buffalo Book Company, SHROUD Publishers, and Dawn Press. He was the first publisher for E. E. Smith's Skylark of Space, H. P. Lovecraft's Dream Quest, and many others.
In the 1960s he moved from Buffalo, New York to San Diego, where he set up shop with a bookstore in Ocean Beach that became a gathering place for fans of science fiction and cult films. He also published underground comix, featuring some of the first published work of local cartoonists such as John Pound, Dave Stevens, and Scott Shaw!
When Shel Dorf and a group of teenage comics fans hooked up with Ken and his group of mostly teenaged sci-fi/movie fans to put on the first Comic-Con, Ken was the go-to guy for dealing with the hotel and handling some of the other business aspects of the show. As Mike Towry, one of the other original committee members points out, "When convention day rolled around and the inevitable problems with people, things, and situations cropped up, unflappable Ken could be counted on to fill in the cracks, smooth over the bumps, and keep things rolling along."
Over the years Ken owned (by his own count) dozens of bookstores, in the San Diego area and elsewhere. In the mid-1980s he went to work for the Schanes Brothers managing the Pacific Comics distribution warehouse in Sparta, Illinois, then later ran Capital City Distribution's warehouse in Los Angeles. He retired to upstate New York in the early 1990s but continued to be an avid collector and occasional publisher.
Ken was a special guest at the 2009 Comic-Con as part of CCI's 40th anniversary celebrations. He appeared on the Secret Origins of Comic-Con panel and regaled the audience with stories of the show's early days. That evening he was feted at a special dinner hosted by one of his adoring "sons," Jim Valentino. It was a great opportunity for many of the original committee members to thank him for his great contributions to the show and to their lives.
On November 21 Ken passed away at the age of 83. He was an integral part of the origins of Comic-Con and his passing is deeply felt by the Board of Directors, Staff, Committee and Volunteers of Comic-Con, the organization he helped to found.
Ken in 2009
Source:
comic-con.org
The commercial of DICK'S sporting goods. Matte painting was done by my favourite matte painter Frederic St-Arnaud duo with Moika Sabourin.
Credits
Project Title: Under Armour “ColdGear, Lindsey Vonn + Dick’s”
Length: :30
Debut Date: Nov. 6, 2009
Film Location: Filmed on location in Los Angeles.
Client: Under Armour
Senior VP Brand: Steve Battista
Creative Director: Brian Boring
Strategic Marketing Manager: Emily Johnson
Art Director, Interactive: Nathan Shriver
Ideation: We Make It Good
Writers: Andre Stringer, Clayton Vomero
Director: Shilo
Matte painting: Moika Sabourin, Frederic St-Arnaud (Rodeo FX)
Related links:
http://www.echolab.tv/
http://www.laberge.qc.ca/fred/
http://www.shilo.tv/
RUINS is a shatter plug-in for Maya. RUINS can very quickly create a precise shatter.
In Maya, a solid shatter is very difficult to solve, as well as doing it very slowly. So you just check a new plug-in called RUINS.
1 Reduce memory occupating coefficient:
Is very useful, Cuda shatter use more memory When you model is very complex in Ruins 1.5 , but in 2.0, General 200M is enough.
Will not appear waring again: "Please increase memory!"
2 UniteUV: Unified UV When you use precision shatter or random shatter.
IF you enable UniteUV, the setMaterial button will be unable.mean debrisiInSideSG only mapping 3d textures.
( More details please refer Ruins 1.5 ).
3 Speed has greatly improved: Speed increased by more than 50%.
4 Mac OX will be released later.
5 Debris looks more natural: The debris limit in 27, avoid too many fragments and too average .
6 Ruins 1.5 To Ruins 2.0 : 30$ .
7 support very complex model shatter: downlaod demo: 10000 triangle shatter
The memory bandwidth decides your speed. 10000 triangle need 250M memory on you graphics card.
Support System platform:
Windows:
maya 2010 x64; maya 2010 x86;
maya 2009 x64; maya 2009 x86;
maya 2008 x64; maya 2008 x86;
Linux:
maya 2009 x64; maya 2008 x64;
Explanation:
The installation and more details please refer Ruins 1.5.
Related links:
nshatter.com
The Escape Studios CG Survey questioned over 2,850 professionals, hobbyists, students and academics in October and November 2009.
READ THE CONTENT HERE
Related links:
cgenie.com
A film by Emilia Forstreuter
Sound Design by Sam Spreckley
Yonder is a 2D/3D animation. There are 2D graphics created in Illustrator which are animated in After Effects as well as 2D graphics which are animated in Cinema 4D. There are also 3D graphics created and animated in Cinema 4D. Other great animation tools were Trapcode Echospace for After Effects and Mograph which both suited really well the idea of repetitive forms. As a compositing software Emilia Forstreuter used After Effects to create such an amazing piece.
Related links:
http://www.emiliaforstreuter.de
Hair Farm is complete hair solution for 3dsmax. It is specifically designed for CG proffesionals who wish to creat
gorgeus hair quickly and precisely. Hair Farm comes with over 40 different tool for hair modeling, animation, and rendering. It is fully integrated in to 3dsmax and even allow you to use many existing feature of 3ds Max with hair object
Model the Exact Hairstyle You Want!
Hair Farm's revolutionary hair modeling pipeline gives you precise control over the shape of your hair model. Hair modeling has never been so easy! If you can model anything at all, you will be able to model the exact hair that you want with Hair Farm!
Lee Perry-Smith - www.ir-models.com
Hair Farm comes with various tools which make modeling all hair from fur to medium and long hair exceptionally simple. Even very long hair, which has been extraordinarily difficult with all previous hair modeling tools, is as simple as modeling any other object! The variety of modeling tools permits choosing your own way of modeling hair depending on your target hairstyle. With Hair Farm you don't need to be satisfied by some hair model that looks somewhat similar to what you imagined; Hair Farm allows you to create exactly what you had in mind and makes it easier than ever before!
Hair Farm also has many hairstyling tools that provide global control over the shapes of individual hair strands. These hairstyling tools can be applied to any hair model in any order and any number of times, so that you can easily achieve the result you want. All hairstyling tools have various parameters allowing you to easily and precisely control their effect. Furthermore, most of these parameters can be controlled by assigning maps, and so you can easily have different parameter values for each hair strand if you like.
Fast and Beautiful!
Hair Farm comes with an incredibly fast hair renderer. After you use this hair renderer once, you won't have the patience to use any other. Hair Farm Renderer can render millions of hairs within seconds!
Hair Farm Renderer always produces production-quality images with correct anti-aliasing and pixel blending. It does not have a "draft quality" setting simply because it does not need to!
The following figure is a comparison between the rendering speed of Hair Farm and the Hair and Fur modifier of 3ds Max. You can clearly see that Hair Farm is much faster. In this example Hair Farm is more than 35 times faster!
Comparison of rendering speed between Hair Farm and the Hair and Fur modifier of 3ds Max. The scene has a million hair strands (Hair and Fur uses 5 hair segments). Render times are measured on an Intel® Core™ i7 CPU @ 2.67 GHz.
Furthermore, with Hair Farm you don't need to worry about finding the right value for number of hair segment while rendering, because Hair Farm Renderer does not render line segments, it directly renders curves! Therefore, regardless of the number of segments you use to define your hair model, you always get nice smooth hair.
Hair Farm also has an exceptionally fast ray-tracing engine. You can use this ray tracer for reflections and refractions as well as to render hairs from the camera.
Hair Farm Renderer works within the main renderer of your choice. You can use any renderer that supports 3ds Max plug-ins with Hair Farm Renderer. We have successfully tested Hair Farm with major 3rd party renderer plugins of 3ds Max like v-ray and Brazil r/s. Hair Farm also has an extensive set of render elements that permits easy compositing and post-processing. Moreover, Hair Farm allows you to automatically convert all hair objects to mental ray hair primitives and render using mental-ray's native hair renderer.
State-of-the-Art Materials!
Hair Farm comes with two separate hair materials, one of which is intended for cartoon-like or stylized characters, while the other one is physically-based and designed for realistic looking hair. Both of these materials are exceptionally easy to use.
The realistic hair material of Hair Farm successfully combines the state-of-the-art techniques in physically-based hair rendering with an artist-friendly and easy-to-use interface. It efficiently performs sophisticated physical computations such as multiple scattering of light through the hair volume to produce all the little details you need for realistic-looking hair. Furthermore, it provides a user-friendly interface that makes it appear similar to any other material in 3ds Max.
Both hair materials can be edited in the material editor of 3ds Max. Just like any other material in 3ds Max, almost all parameters can be controlled by assigning maps. You can easily control how these maps are applied to different hair strands as well as along a hair strand from its root to its tip using Hair Farm's UVW mapping capabilities. Transparency is handled exactly as any other transparent object in 3ds Max. No need to hack hair transparency with multiple passes as 3ds Max's Hair and Fur modifier does! Simply change the opacity parameter of a hair material, and hairs become as transparent as you like!
Lee Perry-Smith - www.ir-models.com
Powerful Animation Tools
There are many different ways to animate hair using Hair Farm. Hair Farm's animation system is designed to deliver the needs of realistic, complicated hairstyles that can easily be prepared using Hair Farm's revolutionary modeling pipeline.
Hair Farm's hair simulation tool respects the shape of your hair model and does not begin distorting it with gravity as soon as you start simulating! In fact, the simulation tool does not change the shape of your hair model at all until you begin moving the hair object around or applying external forces (other than gravity).
Some simulation results using different parameters.
While the hair simulation system of Hair Farm permits simulating the motion of complicated hairstyles efficiently, you can also use existing animation tools in 3ds Max. Hair Farm allows you to rig and animate hair using a bone structure. If you like, you can use standard modifiers of 3ds Max to animate hair as well as space-warps. Furthermore, you can also use the existing dynamics tools in 3ds Max, such as cloth simulation, to animate hair generated by Hair Farm.
The rich variety of animation options available in Hair Farm allows you to do many things that are very difficult or even impossible to do with any other hair software.
Osman Safi - www.dijitalx.com/osman
Rendered images and videos of various hair models produced by artists testing Hair Farm can be found here
Related links:
cyberradiance.com
dijitalx.com
franticfilms.com
ir-models.com
Script for management ID of materials and the objects, and for the assign wire-color of objects.Automated creation MultiMatteElement in Render Elements. (Vray only)The EffectsChannelSet included in TrackScripts pack.
Homepage URL:
http://3d-kstudio.com/
Download URL:
http://3d-kstudio.com/scripts/trackscripts/
new Feature in V1.3:
-Adds ability for assign id for user choosen slot in Material Editor
-Adds ability for assign id Only for submaterials
-Adds ability for assign id Only for root materials
-Adds ability for assign id for All levels material
-Fixes issues with VrayMtlWrapper & Vray2SidedMtl
Related links:
scriptspot.com
3d-kstudio.com
2012 has been described as a hell of a VFX ride, even a 'disaster porn' film Renee Dunlop interviews the magicians at Digital Domain and at the same time, gives a local's viewpoint to the demise of the Santa Monica and downtown area of Los Angeles.
READ THE CONTENT HERE
Related links:
features.cgsociety.org
More great Star Wars reinterpretations are emerging from the Star Wars Uncut project. Here’s Kiwi Chris Stapp’s take on scene 450:
Related links:
http://lineboil.com
Sometimes the tiniest objects can present the greatest challenges. Such is the case with "The Drop," a new spot for Bavaria Beer directed by Matthijs van Heijningen (Bonkers/Amsterdam) via Selmore, and featuring extensive work from Eight VFX.
Related links:
http://www.eightvfx.com/
http://www.selmore.com/
BoingBoing Video brings the N.A.S.A. goods again(NASA, short for "North America South America," is a music collaboration project assembled by Squeak E. Clean (aka Sam Spiegel, brother of film director Spike Jonze) and DJ Zegon (Ze Gonzales, professional skateboarder)), this time featuring Tom Waits and Cool Keith, with visuals by Montreal-based Fluorescent Hill. SCAD professor Jacques Khouri also lent a hand modeling and rigging the 3D star of the project.
Related links:http://www.fluorescenthill.com/
http://www.boingboing.net/2009/11/18/nasa-feat-tom-waits.html
RenjuBosco, a game artist from India is giving the making of his image done for accident challenge which won 2nd prize in the competition.
CHECK THE CONTENT HERE
Related links:
cgarena.com
Spanish motion graphics studio, Medusateam, have released an impressive showreel.Enjoy their artistic reel and get some inspiration! Enjoy!
Related links:
http://www.medusateam.com/
Related links:
http://www.medusateam.com/
In this tutorial you will learn how to effectively use constraints to rig any misshapen, non-spherical, cartoon eye. Not every model has a circular eye, and the shape of your eye shouldn't stand in your way. The tutorial is written for Autodesk Maya 2009.
READ HERE
Related links:
cg.tutsplus.com
A centralized location for you to store all your expressions. When you apply an expression from the toolbox, it will rename and/or create any necessary controllers so the expression works properly.
Enter the Expression Toolbox :
The Toolbox is a centralized location for you to store commonly used expressions, as well as making it easy to apply and retrofit to the comp you’re currently working on. You can group expressions that require multiple properties and controls to be enabled.
A Few Features :
* Grouping (assign a group ‘name’ – or select an existing one at any time to view all of expressions in the group only at the same time)
* Retrofitting ( this will pull layer names out of the expression, and allow you to select from a list generated from the current comp, which layer SHOULD be referenced)
* Auto generation of layer effects ( based on expression code; Sliders, radio buttons, angles, points, etc.. will be generated automatically if they are referenced in the expression you are using, this is optional of course )
* Sort by expression name, author and date ( these are created as expressions are entered into the library )
* Expression Editing ( go back and edit author name, expression name, description – usage information, or the expression itself at any time )
* Ability to apply current expression to the currently selected property of any layer.
* Distributable ( the library file names and content is entirely up to you, and they are lightweight and transferable to others)
* Merging of libraries ( you are able to import libraries from others and consolidate them into one "main" library if you wish )
So go ahead and give the Expression Toolbox a try, and see how easy it can be to organize your expression collection without having to dig through text files or forum posts to find your expressions.
Sharing expressions on a global scale :
The next step for the Expression Toolbox will be an online entry system that will allow you to enter your expressions to a global web driven database that anybody can access. You will then be able to download the most recent version of this database directly from the script. This will be in the next big release of the Toolbox.
Check more info and download HERE
Related links:
aescripts.com
In this tutorial, Freelance Designer Robert Hranitzky shows you how to create a realistic 3D Thunderstorm scene - using just 2 still images. He'll use Photopshop Vanishing Point for the building, After Effects 3D to light it, Trapocode Particular for the rain, and Trapcode Horizon to create an infinite sky background.
This is part of a Red Giant TV series here at CreativeCOW.net. Red Giant Software products are available as plug-ins for popular video editing and effects applications, including Adobe After Effects®, Adobe Photoshop®, Adobe Premiere Pro®, AVID®, Sony Vegas® and Apple Final Cut Pro®/Motion®.
Watch the video
Related links:
library.creativecow.net
Most of us spend a lot of time in traffic and wonder how car flow could be optimized and made more fluid, saving us precious time. The old-fashioned way to create roads and traffic infrastructure is by building roads that connect point A to point B.
But if we want to create a city with a sustainable design and framework, we need to consider different elements before finalizing decisions: noise, air pollution, carbon footprint, energy consumption, etc. As a result, decisions about road infrastructure become more complex and need to be supported by simulation software that can optimize the combination of all these factors.
We are currently working with talented people at a French public research institute focused on traffic simulation: LICIT (ENTPE/INRETS) and LTE (INRETS) who have developed a dynamic traffic simulation application (SYMUBRUIT). The value of their approach is to be able to open their model to dynamic attributes like, speed, size of the streets and random events.
The outcome of these studies gives a much better understanding on the decisions that need to be made to optimize traffic and environmental impact.
For example the result of a recent study demonstrated that a roundabout reduced noise by 60 percent, fuel consumption by 80 percent, and the fluidity of the traffic was improved by 30 percent.
Now I’m not sure all of us believe that roundabouts are the best solutions everywhere!
We all need to be convinced. A realistic 3D simulation would help to better understand these studies. That is why, in cooperation with the CSTB (MoDev), the SYMABRUIT results can be rendered in a 3D scene with modifiable simulation attributes. It becomes much easier to understand.
See for yourself in the video below. Here you can see the impact of a traffic light being moved combined with a modification of the average number of cars per hour.
Once again we see that building and city management require powerful simulation capabilities combined with a powerful way to communicate the results to citizens. This is where the potential of 3D can be fully exploited. It’s also a direction we are exploring at Dassault Systèmes.
This post concludes this first series on 3D City Management. I hope you enjoyed it!
Source:
perspectives.3ds.com
Calit2, the California Institute for Telecommunications & Information Technology, has chosen JVC's 46-inch 3D HD LCD monitors (model GD-463D10U) to be part of Calit2's next immersive visualization system.
The system, known as NexCAVE (micropolarized panel-based cave automatic virtual environment), was prototyped last summer at the University of California—San Diego. JVC said the first full-scale version of NexCAVE was recently installed in Saudi Arabia at the King Abdullah University of Science and Technology.
The original CAVE system using a series of projectors to reconstruct a 3D surround-environment was originally conceived in 1991, although early projector-based VR systems were generally limited by two major factors: Screen resolution was only fair; and such systems required a very large work area in which to operate.
One advanced system, StarCAVE, is a five-wall VR room that supports 3D imagery (constructed by Calit2 last year) with nearly three-dozen JVC DLA-HD2KU projectors using a third-generation resolution level and 360-degree immersive environment. However, StarCAVE still requires a major space commitment and, therefore, is not portable.
But JVC said the new NexCAVE design uses JVC 3D monitors less than two inches deep and includes a basic setup of 10 panels, as well as a 3x3 matrix in a semi-circle ring. To operate, the entire top row is tilted down slightly, while the bottom row is tilted up slightly. One additional monitor below the center column is angled upward and positioned about knee-high.
Source:
tvtechnology.com
The first of the Unplugged Titles challenge entries have begun to trickle in. Click the images below to watch the movies, and remember to get your entry in by December 1st for the chance to have your work featured in Unplugged and tell the world about yourself on the show! Great work so far guys!
David Kwasnik
Related links:
motionworks.com.au
Sintesys release new Softimage training in Spanish.
"Learn illuminate a scene with the proper technique is essential if we take maximum advantage of aesthetic and communicative to your artwork or drawing. With Sintesys Lighting and Render learn how to be productive and creative with the latest lighting techniques in Softimage 2010 and Mental Ray. "
Lighting and rendering Sintesys contains the following chapters.
1. Types of lights.
2. Types of shadows.
3. 3-point lighting.
4. Lights area.
5. Lights dimmed.
6. Final Gathering
7. Global Illumination
8. Caustics
9. HDRI
10. Physical Sky
11. Light Portal
12. Importones
13. Volumetric
14. Example Study 1
15. Practical example 2
You can purchase the DVD in their shop by clicking this link:
http://tienda.sintesys.net/esp/6k-sintesys-iluminacion-y-render.php?volver=home
Related links:
sintesys.net
When you’re creating a matte painting for film production and you’re provided with a plate that already has foreground and/or mid-ground elements, your goal will be to create an extension and/or the backdrop of the final image. Sometimes you’ll be given the plate photography with an actor in front of a green screen stage, where there may be some basic mid-ground elements and markers on the green screen that are used as a guide for perspective.
Download the full workshop for free
Related links:
imaginefx.com/
Exclusive Pixar short featuring George and AJ, character from the feature film Up
If you watched Up, you were probably dying to know what happened to the black dude and the white guy with a mullet who came to put Carl Fredrickson in a home. They’re like the Riggs and Murtaugh keeping old people from bumming us out. Lucky for you, Pixar just released this short, George & AJ, featuring precisely those characters. It seems Carl’s balloon stunt inspired other old folks around town to cook up similarly wild schemes to keep George and A.J. from taking them away, making them increasingly desperate and confused. Though if you ask me, George and A.J. have only themselves and their lack of foresight to blame. Everyone knows the key to kidnapping old people is to come prepared. They didn’t even bring a butterfly net.
The whole thing is very much reminiscent of the classic 1987 comedy Disorderlies, starring the Fat Boys
Source:
filmdrunk.uproxx.com
Please help Evermotion Team improve their archmodels collection and tell them what renderer are you using? You can choose more then one, the vote is also no 3d software dependeent.
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CG Channel has just interviewed with Co-Producers/Visual Effects Supervisors Volker .
Check here to see how did DIGITAL DOMAIN work on 2012 movie
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whowillsurvive2012.com
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Curitiba, PR, Brazil November 25th, 2009 — cmiVFX | cmiStudios launches a brand new video for SideFX Software's Houdini application. This video is the first in a series of in-depth videos related to procedural man made city elements! The lecture presents a variety of approaches and techniques to create a single procedural road system. These videos explain all the information you need in depth and to the topics extent. We will also be including discount bundles of our videos in the future to help save additional money to our customers. When it comes to high end CG and VFX training, there is only once choice... cmiVFX!
SideFX Houdini - Procedural Road Creation : Building Powerful Assets
http://cmivfx.com/SideFX_Houdini_Training/road_generation/default.aspx
Creating the basic shapes
When creating procedural models you want to keep the controls simple, but as powerful as possible. Learn how to build the basic shapes for the road using the tools of Houdini and how to maintain procedural control over them. Reconstruct the shapes to get clean geometry. Proper measurement of shapes is really important but can hinder you in your modeling process. We’ll guide you through the normalization of shapes to keep the procedural control of measurement, so it is easy to redefine the dimension of your shapes. We show how to use variables in combination with transformation tools to automate that important process. Use the powerful preset option in the nodes to dramatically speed up your productivity in Houdini.
Building the road shape
Optimized geometry is always very important, we don’t want to waist memory and performance on useless geometry compromising the performance of your video game or film pipeline. We’ll show how to optimize the division of the road path shape, fine-tuning it that the most optimal division of the road is being reached without compromising the curvature quality of the road. Only controlling the road-path to create a complete road? You’ll learn in detail how to use the sweep-tool to create the road profile along the road path and how to control its heading, pitching and banking.
Creating UV’s
A procedural model without UV’s looses much of its intended power. Creating proper UV’s can be very time consuming are therefore really important to tackle as soon as possible, especially since it will become much harder to create UV’s in a procedural way the further you are in the modeling process. You’ll learn how to apply UV’s in various ways, their implications, how to apply materials onto geometry and even how to use image files directly from internet into Houdini. We’ll show the difference between vertex UV’s and point UV’s and you’ll see different solutions to solve unwanted effects such as UV wrapping along the seams.
Preparing the graph for a digital asset
A procedure is almost rendered worthless if it cannot be simplified or collapsed into a single function. Repackaging, recombining your previous effort is the raw power of procedural modeling, allowing you to work at an ever increasing speed with more freedom and flexibility. Here we’ll show you how to gradually prepare your graph to become a digital asset by extending its functionality to be able to work with multiple road paths. Using expressions you will learn how to create optimal UV’s procedurally independent from the road lengths.
Extending the flexibility of the digital asset
Just like it is really important to get UV’s as soon as possible, so is it for groups just as important. Here we’ll show how to use a carve tool “in a procedural way of course” to extract the right pieces and give proper names using the group node. You’ll learn in detail how to make all UV’s working procedurally for multiple profile shapes using expressions and UV transform tools. The capping of the swept road and the UV’ing of those caps is all made procedural in order to make the digital asset more robust.
Creating the digital asset
Finally putting everything into a digital asset and with it extending the powerful toolset you have to your disposal. We’ll cover in great detail on how to properly create a library of tools, using various input ports of the nodes and making it so that the nodes can determine automatically which functionality to use depending on the number of connected nodes. Now that we have group names in the road profile we show you how to transfer those names using expressions and group nodes to the final geometry.
Creating a basic interface
What is a digital asset without an interface? That’s right, A Ferrari without a steering wheel! Here we see how we can start creating interfaces in Houdini and connecting its parameters with the functions inside the digital asset. We’ll cover in this chapter how to make a drop down menu that allows creating different segment names by using switch nodes, new expressions and the expressions you have learned in previous parts. Are there too many buttons on the interface that are occasionally useful? You will learn how to make a cleaner interface by graying out elements that depending on the settings.
Making the digital asset fully independent
Sharing the tools you have created amongst your colleagues is one of the noblest acts of charity in life! They will worship you for saving their weekends. Learn how to make your digital assets completely independent by encapsulating all the relevant data. We’ll show methods on how to copy whole parts of interfaces and how to bring their functionality to a higher level of control. You will learn how to organize your digital asset in the tab-menu and how to create reference nodes.
Finalizing the digital asset
The whole graph inside the digital asset is becoming really big now, learn methods and strategies how to keep an overview so that you are able to handle the most complex graphs. They will also help you colleagues if they need to quickly understand the graphs you are building. We’ve solved UV seams previously, but solving those for enclosed paths is a whole different ballgame. See how you can solve these problems by thinking out of the box.
This video is available today at the cmiVFX store. cmiVFX Video Player Online Store http://cmivfx.com/store/Browse.aspx?Category=11
About the Author:
Kim Goossens is a 38 years old belgian CG-artist who is working as a freelancer and CG-instructor with a long history in CG-graphics starting back at 1989 He became quite known for his creation of the GIRL later adopted by DAZ3D. He is currently teaching Houdini procedural modeling for games at the IGAD program at the NHTV University of Applied Sciences. While working on various game projects and commercials both as Art-director and technical artist, he gained a profound knowledge of tools such as Maya, Max, Zbrush, Modo, shake and Houdini. His biggest passion has always been to research strategies to increase production and quality, which has led him to research procedural modeling and naturally, be hired by cmiVFX.
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.html For additional information about cmiVFX, visit www.cmivfx.com.
Related links:
cmivfx.com
Adobe Platform Evangelist Enrique Duvos demonstrates how to use the new workflow available in Flash Builder 4 to add and edit Flash CS4 components.
Source:
tv.adobe.com
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