The Tesla Current Concept is the senior thesis project by Maxim Ostapenko (Max Ostap), a recent graduate from Art Center College of Design in Pasadena, Ca.
The futuristic vehicle was inspired by the NASCO corridor project, a proposal of a high-speed highway that would run from Northern Canada to Southern Mexico through the United States.
The Current Concept is designed to travel in the multi-lane highway at very high speeds, for transporting valuables, emergency goods and VIP passengers.
About the Designer
Maxim Ostapenko (Max Ostap) is a graduate from the Art Center College of Design in Pasadena, California. His past experiences include internships at BMW Group DesignWorksUSA and VW Design Center in California.
Eyeon Software Inc announced today that Fusion 6.2 is now available With version 6.2, Primatte is included as a standard feature.
Primatte is also included in Rotation and Rendernodes.
6.2 boasts many new features, significantly the volume tools that are real-time on GPUs.
Graphics professionals get SVG vector importing to streamline workflow.
Quicktime in 64bit, Linux 64bit, the latest RED camera support for Epic plus hundreds of other features, great and small.
For downloading and installation of Fusion 6.2 please go here:
http://bit.ly/lScDBD
For the latest spot in the successful Color Chips campaign, Buck ( creative animation, visual effects studio based in New York and Los Angeles) was asked to celebrate Sherwin Williams’ new partnership with HGTV, introducing a line of curated paint colors that flow together naturally.
CREDITS:
Directed by: Buck
Creative Director: Orion Tait
Executive Producer: Anne Skopas
Producer: Kevin Hall
Art Director: Ben Langsfeld
CG Supervisor: Ryan O’Phelan
Previs: 3rd Floor, Ryan O’Phelan, Jordan Blit
Modeling: Dan Fine, Brice Linane, David Soto, Arvid Volz
Animation: Ryan O’Phelan, Pete Hamilton, William Trebutien, Mo Caicedo, Sewang Kim
Lighting: Michael Lampe, Brice Linane, Ryan O’Phelan, Mo Caicedo
Composite: Daniel Oeffinger, Conrad Ostwald, Seth Ricart
Storyboards: David Zung
Concept Art: George Fuentes, Josh Harvey, Thomas Schmid
COMPANY 3
Colorist: Tom Poole
MCKINNEY
Producer: Josh Eggleston
GCD: Ellen Steinberg
AD: John Hagerty
Copywriter: Sanders Hearne
Music Beacon Street Studios
Mix Kevin Halpin at Color
an architecture student as well as occasional freelancing visualizer –WakYak shows a side project made whilst living in Japan this past year. 3d assets migrated from a previous job done for Torbjörnsson Edgren here in Göteborg, Sweden.
Modelling & animation done in Blender (blender.org)
Rendered in Octane (refractivesoftware.com)
Composited in Adobe After Effects
Music from Musopen (musopen.com)
See more WalaYak's works here: http://www.wakyak.com/
The 35th Annual SOURCE Awards national lighting design competition is open to all lighting designers, architects, engineers, professional designers and consultants who use Cooper Lighting fixtures in an interior or exterior design project.
Students currently enrolled in any of these disciplines are also eligible to enter projects based on conceptual lighting designs utilizing Cooper Lighting fixtures, and are judged in a separate student category.
The competition requires the primary and predominant use of any or all of the Cooper Lighting brands, which include Halo, Metalux, Portfolio, Neo-Ray, Corelite, Sure-Lites, Lumark, McGraw-Edison, Fail-Safe, Lumière, Shaper, IRiS, Ametrix, RSA, io, Invue, MWS, PDS and Streetworks. Cooper Lighting product information can be obtained at www.cooperlighting.com.
This year’s competition will once again seek a creative use of fixtures providing energy-efficient design solutions in addition to standard projects.
The competition was established to further the understanding, knowledge and function of lighting as a primary element of design.
Entries must be postmarked on or before January 31, 2012.
AWARDS
Professionals
- Crystal trophy in recognition of the project’s excellence and the application of Cooper Lighting products
- $2,000.00 cash award
- Local and national recognition through publicity and advertising
- Invitation to attend a lighting seminar of choice at the SOURCE-Cooper Lighting Center located in Peachtree City, Georgia (many seminars qualify for CEU/LEU credits)
Students
- Crystal trophy in recognition of the project’s conceptual design excellence and the application of Cooper Lighting products
- $1,500.00 cash award
- Invitation to attend a lighting seminar of choice (along with their faculty advisor) at the SOURCE-Cooper Lighting Center
AWARDS CEREMONY
The winners of the 35th Annual SOURCE Awards will be recognized in May, 2012, at LIGHTFAIR INTERNATIONAL in Las Vegas, Nevada.more information and enter here:
It stars Tom Cruise, who reprises his role of IMF agent Ethan Hunt.
Directed by Brad Bird
Written by J. J. Abrams, André Nemec and Josh Appelbaum.
Produced by Abrams, Cruise and Paula Wagner
Plot
When a terrorist bombing destroys the Kremlin, the United States government activates "Ghost Protocol" and disavows the entire Impossible Mission Force. Ethan Hunt and his team are blamed for the attack, but are allowed to escape as part of a plan to enable them to operate outside their agency. Hunt is warned that if any member of his team is captured or compromised, they will be charged as terrorists planning a nuclear strike. He is forced to work with fellow IMF agent Brandt, who knows much more about Hunt and his past than Hunt himself.
The movie will be released in the United States on December 16, 2011
Marcel Gordon -Product Manager of Swiffy announced today that They’re making the first version of Swiffy available on Google Labs.
You can upload a SWF file, and Swiffy will produce an HTML5 version which will run in modern browsers with a high level of SVG support such as Chrome and Safari
Swiffy uses a compact JSON representation of the animation, which is rendered using SVG and a bit of HTML5 and CSS3. ActionScript 2.0 is also present in the JSON object, and is interpreted in JavaScript in the browser. This representation makes the Swiffy animations almost as compact as the original SWF files.
Swiffy is a great example of how far the web platform has come. Swiffy animations benefit from the recent advancements in JavaScript execution speed and hardware accelerated 2D graphics in the browser
Said Marcel Gordon.It’s still an early version, so it won’t convert all Flash content, but it already works well on ads and animations
via: http://bit.ly/kIYyBM
The first full gaze at the characters of Pixar's next big animated feature, Brave.
Brave coming to US theaters June 22, 2012.
Brave's site: http://disney.com/brave
Magic Bullet Suite 11 has officially been released today. Magic Bullet Suite 11 is the newest, hottest release of Red Giant definitive toolkit that brings professional tools to filmmakers everywhere. Designed by seasoned colorist and film director Stu Maschwitz, this Suite produces professional Hollywood-style results on an indie budget. Its nine essential tools let you capture the emotion of your subject, making your footage more personal and compelling. With the addition of Looks version 2 and our new Cosmo plug-in for easy skin smoothing, MBS 11 keeps outdoing itself, giving you more expert products at an even greater savings. Whether you are creating a color treatment, color grading, adding a beauty pass or removing noise, Magic Bullet Suite helps you create the final look that tells your story perfectly.
What’s new in Magic Bullet Suite 11?
- Magic Bullet Cosmo: Beautiful cosmetic cleanup in a click.
- Magic Bullet Looks 2: Color effects that set the mood for your story.
- And introducing our Single Serial installer! Now one installer and one serial number will serve up all nine products in the suite.
Whats New in Magic Bullet Looks 2
Magic Bullet Cosmo
Stu Maschwitz, filmmaker and accidental technologist wrote:
Cosmo is a simple effect that does only one thing, and does it really well. It makes people look great. If you’ve used the tools in Mojo or Colorista II for tuning skin tones and reducing blemishes, you’ll be right at home with Cosmo. We broke it out into its own effect because sometimes that’s all you need, but there’s also a Cosmo Tool in Looks.
“Looks 2,” as we’ve been calling it internally, posed an interesting challenge. We’ve had enough time watching people use Looks (four years!) to learn what they like and don’t like. It basically boils down to power and simplicity. Looks users wield easy, fun control of a powerful set of creative tools. That’s something you don’t want to mess with. We considered a number of enhancements, but ultimately rejected several as adding too much complexity to the Looks experience. However, we did rebuild Looks on a solid foundation that will allow more frequent updates in the future, so please keep those feature requests coming.
Read more about MBS from Stu’s blog here:http://bit.ly/mU3ti6
Learn more here: http://bit.ly/lKzvJ6
L3Deformer V1.0.1 and L3Library V1.0.3 have been released. Both plugins are now also available for Maya 2009 and 2010.
New Features are:
Viewport 2.0 Support
All deformer handles and support nodes now also show up in Viewport 2.0. Please note, that Maya?s Viewport 2.0 is still work in progress and missing a lot of functionality from the old viewport.
Curve Deformer: Per object texture sampling coordinate offsets
Two new attributes allow to offset 2D/3D texture coordinates per target object attached to a curve deformer. This makes it very easy to apply texture based geometry randomization effects in curve space, without the need to use multiple curve deformers. Lightning effects with multiple streaks are a good example how to apply this new feature.
Curve Deformer: Tangent Mode
The tangent computation method can now be set separately from normal mode. This provides a lot more flexibility when omitting the alignment curve.
Collision Deformer: Relax Iterations
Relax iterations now use a float value instead of an integer. Thus the next relax cycle can be blended in smoothly. This allows to use varying relax iterations as an animated effect. Originally relax iterations were designed as a static mesh equalization feature. In addition the deformer will now work without any actual collision geometry. This allows to use the relax feature only, which can be handy to equalize e.g. nParticle, fluids or RealFlow meshes.
Texture Deformer: Slope Vector Mode
When using geometry space displacement you can now optionally use the polygon normal instead of the actual displacement vector to compute the slope falloff.
For a complete list of changes please refer to the L3Deformer history.
L3Library V1.0.3
The free L3Library now supports a customizable floating shelf window (Maya 2011 and higher). They have taken the old CPS Toolbox and pimped it with QT features like docking options and 10 shelf tabs.
For a complete list of changes please refer to the L3Library history
Check out Light Storm’s tools website for more information and new tutorials.
(Boston, Massachusetts--June 28, 2011) Noise Industries, a developer of visual effects tools for the post-production and broadcast markets, has announced FxFactory 2.6 for Final Cut Pro X and Motion 5. The upgrade makes more than 140 filters, generators and transitions from FxFactory Pro available inside the new Final Cut Pro X.
Final Cut Pro X
FxFactory embraces the modern architecture of Final Cut Pro X to allow seamless background renders, firing up multiple processor cores and graphics cards to deliver your results. FxFactory effects are a natural fit for the new high precision, color managed pipeline offered by Final Cut Pro X.
Motion 5
FxFactory 2.6 lets you enjoy all our products in Motion 5, giving you access to the full range of plug-ins and advanced features. Motion 5 sets a new standard for accelerated, film-quality visual effects.
All FxFactory-based plug-ins continue to be available in previous versions of Final Cut Pro and other hosts, including the new Motion 5. The upgrade to FxFactory 2.6 is completely free for current FxFactory Pro customers.
For more information about FxFactory 2.6, please visit the Noise Industries website.
Availability and Pricing of FxFactory for Final Cut X and Motion 5
FxFactory Pro is available today for $399.00 USD and can be purchased via the Noise Industries website or through select resellers.
About Noise Industries
Established in 2004, Boston, Massachusetts-based Noise Industries is an innovative developer of visual effects tools for the postproduction and broadcast community. Its products are integrated with popular non-linear editing and compositing products from Apple and Adobe. FxFactory is a registered trademark of Noise Industries, LLC. All other trademarks, registered trademarks and products mentioned herein belong to their respective owners.
Ken Pimentel, Autodesk’s director of visual communications solutions shows the update of crowd-simulation system Project Geppetto, which should go live on Autodesk Labs sometime in August.
The features are:
1) People moving "naturally" in an intersection and not colliding
2) People merging in different ways to flow in one direction
3) Some videos showing our autogenerated idle states that you can "paint" into your scene
Painting is pretty cool because we've got it working as a free-style painting of an area with auto-boolean of the areas allowing you to easily extend them. We've got a ton of work still to do, don't judge our final plans by these early videos. You'll see a big improvement by August. I hope to have time to post more of these as we get closer.Explained Ken more information here: http://bit.ly/mGJLsU
NVIDIA GeForce GTX 580M GPU Launches in Alienware M18x and M17x Notebooks With Record-Breaking Gaming Performance
SANTA CLARA, CA -- (Marketwire) -- 06/28/2011 -- NVIDIA today announced the world's fastest notebook graphics processing unit (GPU)i, the NVIDIA® GeForce® GTX 580M. Available now in the Alienware M18x, the new GPU sets new standards in industry leading benchmarks and games. It will also be available soon in the Alienware M17x notebook along with NVIDIA Optimus™ technology.
"The best game support. The best gaming features. The best gaming performance available anywhere. That's the essence of the GeForce GTX 580M," said Rene Haas, general manager of notebook products at NVIDIA. "With power like this, you can turn all the knobs to 11."
The first notebook PC to feature the GeForce GTX 580M, the Alienware M18x offers the option of two GeForce GTX 580M GPUs in one system for up to double the gaming performance, using NVIDIA SLI® technology. Not to be outdone, the Alienware M17x will offer the GeForce GTX 580M along with NVIDIA Optimus™ technology and will deliver 5 hours of battery life in Facebook, and 100 frames per second performance in Call of Duty: Black Ops.
"Gamers aspire to experience games at their highest settings," says Eddy Goyanes, product marketing manager for Alienware. "Alienware activates the technology designed to enable those aspirations. With the launch of the GeForce GTX 580M on the Alienware M17x, and a dual card option on the M18x, that synergy continues -- Alienware delivers the ultimate gaming experience."
GeForce GTX 580M GPUs are the fastest Microsoft DirectX 11 notebook GPUs on the market, offering up to six times the tessellation performance of any other notebook GPU.ii They are also more efficient, with up to 20 percent better performance per watt than the previous generation.iii
NVIDIA also introduced the NVIDIA GeForce GTX 570M GPU, which offers 20 percent faster performance than the previous generation product it replaces.iv
The power of GeForce GTX GPUs means gamers can play at full 1080p high-definition resolutions with the advanced technology features that set GeForce GPUs apart from the competition. These include:
- Support for NVIDIA 3D Vision™ technology, the #1 3D experience for notebooks, which automatically converts over 525 titles into immersive 3D.
- Support for NVIDIA 3DTV Play™ software, for connecting 3D Vision-based notebooks to 3D TVs.
- NVIDIA SLI® technology, which links two GTX GPUs for up to double your gaming performance.
- NVIDIA Optimus technology, which enables extra-long battery life by automatically switching on and off the GPU so that it runs only when needed.
- NVIDIA PhysX® engine support, which brings games to life with realistic physics.
- NVIDIA CUDA® architecture support, for GPU computing applications.
- NVIDIA Verde™ notebook drivers, for frequent performance improvements and rock-solid stability.
For more information on any GeForce 500M Series GPUs, visit www.nvidia.com.
About NVIDIA
NVIDIA (NASDAQ: NVDA) awakened the world to the power of computer graphics when it invented the GPU in 1999. Since then, it has consistently set new standards in visual computing with breathtaking, interactive graphics available on devices ranging from tablets and mobile phones to notebooks and workstations. NVIDIA's expertise in programmable GPUs has led to breakthroughs in parallel processing which make supercomputing inexpensive and widely accessible. The Company holds more than 1,900 issued patents worldwide, including ones covering designs and insights that are essential to modern computing. For more information, see www.nvidia.com.
Certain statements in this press release including, but not limited to statements as to: the impact, availability, and benefits of NVIDIA GeForce series of GPUs, NVIDIA SLI technology, NVIDIA 3D Vision technology, NVIDIA 3DTV Play software, NVIDIA Optimus technology, NVIDIA PhysX physics engine, NVIDIA CUDA architecture and NVIDIA Verde notebook drivers; and the impact of the company's patents on modern computing are forward-looking statements that are subject to risks and uncertainties that could cause results to be materially different than expectations. Important factors that could cause actual results to differ materially include: global economic conditions; our reliance on third parties to manufacture, assemble, package and test our products; the impact of technological development and competition; development of new products and technologies or enhancements to our existing product and technologies; market acceptance of our products or our partners products; design, manufacturing or software defects; changes in consumer preferences or demands; changes in industry standards and interfaces; unexpected loss of performance of our products or technologies when integrated into systems; as well as other factors detailed from time to time in the reports NVIDIA files with the Securities and Exchange Commission, or SEC, including its Form 10-Q for the fiscal period ended May 1, 2011. Copies of reports filed with the SEC are posted on the company's website and are available from NVIDIA without charge. These forward-looking statements are not guarantees of future performance and speak only as of the date hereof, and, except as required by law, NVIDIA disclaims any obligation to update these forward-looking statements to reflect future events or circumstances.
© 2011 NVIDIA Corporation. All rights reserved. NVIDIA, the NVIDIA logo, 3DTV Play, 3D Vision, Optimus, CUDA, GeForce, PhysX, SLI and Verde are trademarks and/or registered trademarks of NVIDIA Corporation in the U.S. and other countries. Other company and product names may be trademarks of the respective companies with which they are associated. Features, pricing, availability, and specifications are subject to change without notice.
i Based on testing performed at NVIDIA using industry standard benchmarks, as well as top games at 1920x1080 at high settings on a Intel 2.5GHz QC, Huron River chipset, 2GB DDR3 1333, Verde 275.29 or Cat 11.5a, GeForce GTX 580M vs AMD Radeon HD 6970M: 3DMark Vantage P GeForce=16240 Radeon=12616, 3D Mark 11 P GeForce=3170 Radeon=3020, Unigine Heaven Engine 2.5 GeForce=21.5 Radeon=18.8, Dirt 2 GeForce=61.9 Radeon=55.2, Stalker COP GeForce=38.2 Radeon=31.9, Call of Duty: Black Ops GeForce=107.4 Radeon=85. Others available upon request.
ii Based on Microsoft DX11 DSub11 benchmark
iii Based on power requirements and composite game scores between GTX 480/470M and GTX 580/570M
iv Compared to the GeForce GTX 470M.
For further information, contact: BRIAN BURKE Corporate Communications NVIDIA Corporation (512) 401-4385 bburke@nvidia.com
(Los Angeles, California--June 27, 2011) Element Technica (ET), leading designer and manufacturer of the 3D rigs used to stereoscopically mount and control pairs of cameras for 3D image capture, announces its Technica 3D rigs are being used exclusively in the 3D production of the 2011 Wimbledon Championships tennis tournament. The rigs will be mounted with Sony digital cameras.
Duncan Humphreys, head of production of Can Communicate, the firm chosen to do the 3D production of Wimbledon, worked with the ET Quasar rigs last year at several major sporting events, including the FIFA World Cup soccer championships in South Africa. “ET rigs were chosen because of their quality, reliability and adaptability when working with the Sony MPE-200. They provide, in our opinion, the most durable and robust 3D platform available in the market.”
The Wimbledon 3D telecast is utilizing five ET rigs: three are the large camera Quasar rigs, the other two are Pulsar rigs, designed with a smaller form-factor to mount mid-sized cameras. “The addition of the Pulsars to our camera chain has allowed the production to man the most sensitive camera positions on Wimbledon Centre Court with extremely low profile and unobtrusive 3D cameras.”
The rigs are configured in the “broadcast mode.” Most beam-splitter 3D rigs mount the mirrored camera above the rig, which does not allow conventional placement of the operator’s viewfinder monitor, and can block spectators’ views of the event. The under/thru configuration is not as high, which cuts down on the need to eliminate spectator seating. It also allows use of a full monitor and operator controls in the back, which provides a familiar look and feel to a camera operator new to 3D production.
The “broadcast mode” also provides for the pairing of a portable digital camera with a smaller but electronically identical box-style camera. The portable camera provides for operator viewfinder, intercom, tally and other controls for the camera operator. Employing a box camera for the second camera on the rig reduces the total weight and obtrusiveness of each 3D camera position.
Cabling from camera position to production truck has also been streamlined and slimmed down for Wimbledon.
“When we started early testing for the World Cup Soccer production,” said ET co-founder Stephen Pizzo, “we re-engineered our control-electronics and protocol to support the use of fiber and bidirectional metadata.”
“Another key development from this was our reduced power consumption. We maintained the same torque and speed while consuming less than 30 Watts. This allows the SMPTE fiber cable to power the rig and everything attached to it. The Element Technica /Sony system is the only full featured single fiber system, and it comes in three sizes and nine configurations.”
The 2011 Wimbledon Championships mark a new milestone for television production of the tennis matches. The tournament finals will be broadcast in 3D over the BBC (British Broadcasting Corporation).
For more information about Technica 3D tools, please contact Joey Romero at Tel: 323.641.7327, info@elementtechnica.com, http://www.technica3D.com
To expand on this video, Fernando will explain how to use GI (Global Illumination ), the V-Ray Sun system and Physical camera to setup the interior illumination in the Vermont Verde scene in this video tutorial.
This tutorial was recorded using V-Ray for SketchUp but also applies to V-Ray for Rhino.
V-Ray for Rhino and V-Ray for SketchUp Downloads and Resources Now Available on the Chaos Group Website here: http://bit.ly/k58Q5P
Ballistic Publishing announced that their annual book: EXPOSÉ 9 is Available today! David Fraher from FloodSlicer in Melbourne Australia has won The Architecture (Exterior) category Master Award of the book and he has shared about the creative process of his roof garden image, 'at38'
(Boston, Massachusetts--June 27, 2011) Boris FX, the leading developer of integrated effects technology for video and film, today announced that Boris Transfer AE is now available for Adobe After Effects running under both Windows and Macintosh operating systems. Previously known as Boris XML Transfer, Boris Transfer AE is an Adobe After Effects plug-in designed for seamless transfer of Avid and Apple Final Cut Pro program sequences to After Effects.
Boris Transfer AE preserves all aspects of an Avid Media Composer or Apple Final Cut Pro project including edits, cuts, dissolves, and treatments. In addition, Boris Transfer AE offers the unique ability to translate Boris Continuum Complete effects used in Avid or Final Cut Pro projects to corresponding Boris Continuum Complete effects in After Effects.
“The ability to transfer Avid program sequences to After Effects with titles, dissolves, and Boris Continuum Complete effects intact saves us a significant amount of time,” commented David Baertsch, Creative Director and Senior Editor, db Editorial. “Using Callibrated Software’s Callibrated{Q} MXF Import, we are also able to use the original Avid MXF media in After Effects.”
Boris Transfer AE Feature Highlights
- Clips Remain Fully Editable. All trimmed Avid and Apple Final Cut Pro clips remain fully-editable in Adobe After Effects as stepped-up or stepped-down layers.
- Boris Continuum Complete Compatibility. Continuum Complete filter effects provide the same look and keyframe values for every parameter.
- Avid and Final Cut Pro Titles and Text Elements remain editable in After Effects.
- Integrity of Transferred Media Elements is preserved during the transfer from Avid or Final Cut Pro, including alpha channel information and masks.
- Expanded Import Options include the ability to import or ignore audio tracks and the ability to pre-compose all video and/or audio tracks during import.
- Familiar Look and Feel. Translated After Effects projects will look very familiar to Final Cut Pro or Avid editors. User marks, comments and labels for clips and sequences, and all user-defined names are carried across from Final Cut Pro or Avid to After Effects.
Pricing and Availability
Boris Transfer AE is immediately available through the Boris FX worldwide reseller channel and direct from the Boris FX web site at http://www.borisfx.com for an MSRP of $299 USD. A full-functioning 14-day trial version is available for free download. Boris Transfer AE supports Adobe After Effects CS5.5, CS5, and CS4, Apple Final Cut Pro v7 and v6, and Avid Media Composer v5.5 and v5.
About Boris FX
Founded in 1995, Boris FX is a leading developer of VFX, compositing, titling, video editing, and workflow tools for broadcast, post-production, and film professionals. Boris FX products have grown to serve over a million artists worldwide. The company's success lies in its ability to tightly integrate and leverage technologies through strong partnerships with Adobe, Apple, Autodesk, Avid, Grass Valley, Sony, and other leading developers of video editing software.
Airbus invites the passengers of 2050 to discover its Concept Cabin - a whole new flying experience inspired by nature.
"Our research shows that passengers of 2050 will expect a seamless travel experience while also caring for the environment. The Airbus Concept Cabin is designed with that in mind, and shows that the journey can be as much a voyage of discovery as the destination. Whichever flight experience is chosen, the passenger of 2050 will step out of the Airbus Concept Cabin feeling revitalised and enriched." Said Charles Champion, Airbus Executive Vice President Engineering
CGAXIS Models Volume 12 contains 30 highly detailed models of office appliances (photocopiers, fans, printers, desk lamps, water dispensers and many more) compatible with 3ds max 2008 or higher and many others.
FORMATS
*.max (Scanline)
*.max (MentalRay)
*.max (Vray)
*.c4d Cinema4D
*.c4d Cinema 4D VRay
*.fbx
*.obj
SPECIFICATION
Total size: 645 MB
Materials: Yes
Textures: Yes
PRICE: $79.00
Download PDF here:
More information and download: http://bit.ly/lvDeFs
Discover the art of finger Tutting, a new kind of dance performed by JayFunk, from LA.
Commercial video for Samsung Galaxy SII phone.
Agence : Heaven
Production : LABANDEORIGINALE
Art Direction: LABANDEORIGINALE & MOTIONFANCLUB
Director: Vincent Kherroubi
Post-Production : MOTIONFANCLUB
Music : La Rose & Vincent Drux
Mudbox 2012 Service Pack 2 addresses stability issues including an issue with the settings that caused Mudbox to quit during startup
Download here: http://bit.ly/jbXFVx
In six short years since founding their Santa Monica-based studio Eight VFX, Baptiste Andrieux and Jean-Marc Demmer have built an industry-wide reputation for inspired work across the commercials, film and TV space. Recently, the collective put their gift for artistic innovation in the service of the new Carl's Jr (Hardee's) spot titled Robot via David & Goliath, slated for a late June launch on TV, Radio, Cinema, OOH/Guerilla, and In-Store.
The spot which encompasses a :60, :30 and :15 versions - tells a simple, comedic story with a great twist; a robot comes home from work, feeds his goldfish, and then sits down to eat dinner, the delicious-looking Carl's Jr (Hardee's) new hand breaded chicken fillet sandwich. Having no mouth to eat it with, the robot becomes increasingly frustrated, smashing the sandwich into its metal face, leading to some unexpected consequences. The clever tagline? 'Machines can't eat it, machines shouldn't make it - and that's just the way it is.'
The spot came to Eight VFX after director Rocky Morton and the agency "saw our reel and thought we'd be a good fit for the job," says EP Shira Boardman. "We did a smaller job with David & Goliath last year, so we were excited to get onboard with them again on this one to really showcase our full range of talents."
Creatively, Eight VFX was involved from the start of the process. "From the start, both Rocky and the agency wanted to use a robot, and shoot a man in a suit - Rocky felt that was the best way to get the acting and animation that he wanted," explains Andrieux. "So we began following the design of the robot, as we had to make sure it could be animated in CG. Legacy Effects designed the robot along with Rocky and the agency, so we had a lot of meetings with everyone to make sure we got all the elements to be able to rebuild all the parts that were missing. And comedy's always a little tricky to pull off well."
The team ultimately spent a month designing and developing the robot concept. "Our big technical challenge was to capture the exact movements of the robot, so we could replace the missing parts and stay very close to the acting that Rocky wanted to keep," Andrieux reports. Adds effects supervisor Fred Hopp, "Once Legacy was done with their design, right after the shoot and during the edit, we rebuilt every single part in CG, so we had a virtual clone."
According to Hopp, the team used photogrammetry to rebuild the robot, a process that's been defined as recording, measuring and interpreting photographic images and patterns of recorded radiant electromagnetic energy and other phenomena. "Basically, you can either Lidar scan an object to remodel it or use pictures to reconstruct it in 3D geometry." notes Boardman." Adds Hopp, "Everything was based on pictures. You take pictures from every single angle, and then with the help of our software, we rebuilt the robot to within an 1/8th-inch precision, so we had a complete clone and could then swap any part we wanted."
Andrieux reports that Legacy actually built two robots; "One robot, that we called 'The Puppet,' which could be puppeteered and could move its head and its body a little bit, but it couldn't walk or hold or grab anything. That's the robot we copied in CG. There was also an actor in a suit who walked and grabbed the burger, and acted out the story. So for some of the shots that were extreme close-ups, we used the puppet. But in all the other shots we needed to replace the neck, the elbows, the hands and so on, as you could see it was a man in a suit."
To complete all the CG work took a team of 12. "It was pretty intensive," adds Andrieux. "The original methodology was a good one. What Rocky wanted to do, to really capture the robot moving in the environment, really worked well. It was very tedious work to do all the 3D roto match moving, where you have to match all the movements in 3D, and then do all the 2D roto for all the cleanup to match the suit, to be able to replace what you were not seeing."
Summing up, Andrieux notes that, "This was a very complex job. Some jobs mean you have to come up with a whole environment and world to design. But here, it was more just a highly technical challenge."
Adds Boardman, "David & Goliath are in the process of creating this whole new identity for Carl's Jr (Hardee's). So it's exciting for us to work with them to refresh a brand and launch a new product. And we appreciated that on this big CG job we did a lot of compositing and all the finishing. We do the nuts and bolts as well as all the fancy high end stuff."
Client: Carl's Jr
Credits
Spot Title: Robot
Air Date: June 2011
Agency: David&Goliath
CCO: David Angelo
ECD: Colin Jeffery
CD(s): John Battle, Jason Karley
Associate CD/AD: Phil Covitz
Copywriter: Mark Monteiro
EP, Managing Director: Carol Lombard
EP: Christopher Coleman
Broadcast Producer: Kara Fromhart
VFX Company: Eight VFX
VFX Supervisor: Fred Hopp
EP: Baptiste Andrieux, Shira Boardman
VFX Producer: Donna Langston
Senior Compositor: Philip Ineno
Compositors: Ryan Yoshimoto, Mathieu Caulet
Art Director: Yann Mallard
Sr CG Artist: Greg Gangemi
CG Artist: Brad Hayes
Rig & Animation Kevin Culhane
3D roto & compositing support: Mikros
VFX Coordinator: Douglas Scruton
Production Company: MJZ
Director: Rocky Morton
EP: Jeff Scruton
DP: Kris Kachikis
Producer: Donald Taylor
Editorial: Union Editorial
Editor: Jim Haygood
EP: Michael Raimondi
VP/EP: Megan Dahlman
Telecine: Company 3
Colorist: Mike Pethel
Music: South Music
CD/Composer: Jon Darling
Composer: Todd Schnitzer
Head of Production/EP: Dan Pritikin
Producer: Alex Granieri
Sound Design & Final Mix: 740 Sound Design
Executive Producer: Scott Ganary
Sound Designers: Andrew Tracy, Eddie Kim
Final Mix: Eric Ryan
About Eight:
Eight VFX began in January 2005 with a simple philosophy - let craftsmanship and artistry be the guide. As relentless champions of this core belief, founders Baptiste Andrieux and Jean-Marc Demmer have seen their company quickly grow into a leading force in the VFX industry. With over six years of rigorous collaboration and experimentation on commercials for brands like Prius, Carl's Jr, Adidas, Hahn Beer, Converse, HP (the now iconic "hands' campaigns), BMW, T-Mobile, Spring, Bavaria Beer, LUX, Fidelity, Avon, among a slew of national and international brands, as well as television and features, Eight has demonstrated again and again that original vision translates into outstanding business.
A supreme commitment to craft, detail and innovation has attracted directors such as Tom Kuntz, Rocky Morton, Brian Beletic, Mr Hide, Stacy Wall, Sam Bayer, Bryan Buckley, Olivier Gondry, James Mangold, Joseph Kahn, Paul Hunter, Ruben Fleischer, Jonas Akerlund, and Francis Lawrence, among others.
The market leading particle tool thinkingParticles™ 4 has just been released with a Service Pack 3 for the latest version of Autodesk® 3ds Max® and 3ds Max Design®. The SP3 is available for immediate download from here or for purchase from the cebas online store.
This market leading, rule-based particle system from cebas Visual Technology offers unparalleled power to the user. thinkingParticles 4 completely redefines fluid, rigid body and particle F/X simulation and has been used in the latest blockbuster titles from Fast Five, Thor, and Sucker Punch to the upcoming Green Lantern and Transformers: Dark of the Moon.
SP3 New Features Features- Volume Break Operator: Random Seed has been added
- Path Follow Operator: checkbox to turn alignment on/off has been added
- Volume Break Operator is now activating correctly by Helper Group
- VolumePos is now responding properly to world space warps
- MatterWaves operator trigger: birthrate now resets after an operator off
- PositionBorn operator trigger: birthrate now resets after an operator off
- Born operator trigger: birthrate now resets after an operator off
- TP multi material shading with sub multi-materials runs correctly
- StdShape, Facing proper alignment with Groups as Objects
- Particle Time, vertex color no longer kills mapping coordinates
- TP multi-material, multi-threading with particle time is stable
- Facing now works correctly with Groups as Objects
Download Free source material released under Creative Commons from Mike Winkelmann - a graphic designer living and working in Neenah, Wisconsin, USA.
video: beeple / sound: Flying Lotus - "Serum Acquired MIx3"
music: soundcloud.com/flyinglotus
Download here: http://beeple-crap.com/resources.php
MAXON releases free 12.048 update for CINEMA 4D R12 and BodyPaint 3D R12 today.
This update contains Release 12.048 of CINEMA 4D and BodyPaint 3D and is recommended for all users. It contains over 30 fixes, improves various areas of the software and will fix unintentional behaviours and increase stability.
- Overall stability, especially in OpenGL and rendering
- Rendering (Command line rendering, Sky Sampler, Surface Deformer)
- Dynamics (fixed behaviors for Metaballs, springs, collisions and connectors)
- Maya 2011, 3ds Max 2011 and Softimage 2011 Exchange for BodyPaint 3D
- Combine Scene Tool now uses material names
- Other (Melt tool, Morph User Data, XML export, Gradients in PyroCluster, Python, HUD behavior)
Minimum requirements: CINEMA 4D R12.016 or higher must already be installed on your computer
Chicago, Ill. -- SIGGRAPH announces the Computer Animation Festival's Best in Show, Jury Award, and Best Student Project recipients for SIGGRAPH 2011 in Vancouver, 7-11 August 2011. A total of 77 films will be shown during the Computer Animation Festival. Nominees were chosen by an expert panel of jury members from 891 submissions representing 44 countries.
"The level of quality and technical expertise exemplified by this year's submissions continues to raise the bar for the extreme innovation and leading technology the Computer Animation Festival delivers year after year," said Joshua Grow, Computer Animation Festival Director and 3D Stereo Coordinator for The Creative-Cartel. "The submissions selected to be featured at SIGGRAPH 2011 are a true testament to the leaps and bounds the Computer Animation Industry has achieved since the Computer Animation Festival first debut at SIGGRAPH and promises a very exciting road ahead." The Computer Animation Festival is recognized by the Academy of Motion Picture Arts and Sciences as a qualifying festival. Since 1999, several works originally presented in the Computer Animation Festival have been nominated for or have received a "Best Animated Short" Academy Award. This years selections will be featured during the Computer Animation Festival through a series of daily Festival Screenings and the iconic Electronic Theater allowing attendees to get a glimpse behind the making of computer generated effects, visualizations, and animations.
BEST IN SHOW AWARD
The Fantastic Flying Books of Mr. Morris Lessmore
Directed by William Joyce and Brandon Oldenburg, Moonbot Studios
The Fantastic Flying Books of Mr. Morris Lessmore is a poignant, humorous allegory about the curative powers of story. Using a variety of techniques (miniatures, computer animation, 2D animation) William Joyce and Brandon Oldenburg present a hybrid style of animation that harkens back to silent films and Technicolor musicals.
JURY AWARD
Paths of Hate
Directed by Damian Nenow, Platige Image
Two pilots, driven by blind hate, chase each other in their airplanes and thereby write cryptic messages of madness into the firmament. On their way into the abyss they transform into inhuman and distorted creatures that finally become part of the history of hate.
BEST STUDENT PROJECT PRIZE
Flamingo Pride
Directed by Tomer Eshed, The Konrad Wolf Potsdam-Babelsberg Film and Television University
Frustrated being the only straight flamingo in a gay flock, our hero falls in love with a lady stork that flies by. Unable to convince her of his serious intentions he isolates himself and goes through an identity crisis. An intensive encounter inspires him to make a bold move. JURY AWARD RUNNERS-UP Escape of the Gingerbread Man!!!
Directed by Tod Polson, The Monk Studios
A young storyteller challenges the old master in a pub on the Irish west coast. The "Escape of the Gingerbread Man" is a mad romp through the Irish countryside. As well as a subtle commentary on the changes in traditions, and culture that is happening throughout the "emerald isle."
The Experience of Fliehkraft
Directed by Till Nowak, frameboX
Humans mount themselves onto gigantic robots and try to get centrifuged through space. Sounds like science fiction, but it is what happens in theme parks. Machines with the power of tanks offer five minutes of anti-gravity therapy. An attempt to escape this world ... driven by 10,000 horsepower. BEST STUDENT PROJECT PRIZE RUNNERS-UP
DreamGiver
Directed by Tyler Carter, Brigham Young University
A regular night of dream delivering turns into a literal nightmare when an orphan's book of Ancient Aztec Mythology comes alive. The Dreamgiver must save the orphan from his own nightmare!
Sweater Dog
Directed by Gina Moffit, Ringling College of Art and Design
A normally happy go lucky dog is put into a restricting sweater by his owner but tries to go on with his normal every day activities.
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