tag:blogger.com,1999:blog-31369711587297141802024-03-14T11:03:15.869+07:00Computer Graphics Daily NewsCG Record delivers the latest CG news everydayUnknownnoreply@blogger.comBlogger8866125tag:blogger.com,1999:blog-3136971158729714180.post-24337122270107956622019-12-01T17:32:00.000+07:002019-12-01T17:32:59.028+07:00 RedefineFX unveils Phoenix FD Advanced Large-Scale Water FX Course <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqsM2q5LEg7OZg-N54kheAV6tLKqphHWs__6JyLwOwmH6eFs7wtbOWry0qTPn6aId26H8MHEsHPqoj3hmQPIxASNwMPYL-R4ylXh-LKqFto5Q43kf65C0oG2L3IjhQRqShjZyYXC4RZy6v/s1600/starship+01.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqsM2q5LEg7OZg-N54kheAV6tLKqphHWs__6JyLwOwmH6eFs7wtbOWry0qTPn6aId26H8MHEsHPqoj3hmQPIxASNwMPYL-R4ylXh-LKqFto5Q43kf65C0oG2L3IjhQRqShjZyYXC4RZy6v/s1600/starship+01.jpg" data-original-width="1280" data-original-height="720" /></a><br />
Check out Phoenix FD Advanced Large-Scale Water FX Course by RedefineFX. This course is about Master Massive Water FX Simulations with Splash & Foam using Phoenix FD for 3ds Max<br />
<h3>In this course you will learn to: </h3> -Create large water simulations from ship wakes to rivers & waterfalls<br />
-Add realistic splash, foam, & mist and learn how to control them<br />
-Extend your base water sim seamlessly into an infinite ocean<br />
-Discover new features in Phoenix FD 4<br />
-Optimize and speed up your simulations & rendering<br />
-Add Wet-maps to make objects appear wet when water touches them (e.g. beach sand)<br />
-Use V-ray sun for realistic daylight lighting<br />
-Setup a nice ocean water shader which gets darker with depth, including underwater terrain (see Seaplane example below)<br />
<iframe width="760" height="440" src="https://www.youtube.com/embed/Ze7r70EoFDs" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br />
Learn more about Phoenix FD 4.0 | VFX Simulation tool for 3ds Max and Maya<br />
<iframe width="760" height="440" src="https://www.youtube.com/embed/d0txnxeYLjk" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br />
<!-- adsense --><br />
More information <a href="https://redefinefx.teachable.com/p/water">Enroll in Course for $297</a><br />
[post_ads_2]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3136971158729714180.post-65042416315023706532019-11-28T18:27:00.001+07:002019-11-28T18:27:30.197+07:00Flix 6.2 is now available with Storyboard Pro support <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWk3alvB_eeUx55kh3rkL8iXsouNil8r7jfrGKzvbbnzqcuVs_9PMqX5sL-nJ0QX8SZQvonuvgzsRYmTEx_yRdh7r5OxlYakpQqij43m4qiIQ9sFKUMtwnS8Fu07BWyryqujMTu3tLUoGz/s1600/Flix+6.2.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWk3alvB_eeUx55kh3rkL8iXsouNil8r7jfrGKzvbbnzqcuVs_9PMqX5sL-nJ0QX8SZQvonuvgzsRYmTEx_yRdh7r5OxlYakpQqij43m4qiIQ9sFKUMtwnS8Fu07BWyryqujMTu3tLUoGz/s1600/Flix+6.2.jpg" data-original-width="1600" data-original-height="794" /></a>Foundry, the leading developer of creative software for the Media and Entertainment and Digital Design industries, today releases Flix 6.2. <br />
<br />
Following the Avid Media Composer integration earlier in July, this release adds the much anticipated Storyboard Pro support enabling productions with a more streamlined workflow for artists. Collaboration, visibility, and flexibility across teams are supported by other new features such as Panel Comments and Smart Panel Reuse, and a much improved Premiere automation. <br />
<br />
<br />
<h3>What’s new in Flix 6.2:</h3><br />
-<b>Storyboard Pro Automation:</b> Boards created in Storyboard Pro are now a part of the Flix ecosystem, so Storyboard Pro users can enjoy the full Flix experience: file management, editorial round-tripping, and collaboration which lets everyone in production have visibility over story development.<br />
<br />
-<b>Panel Comments</b> allows users to write feedback, thoughts, and notes on individual boards in a sequence. Any comments written on a panel are flagged, so artists can see at a glance which boards require attention.<br />
<br />
-<b>Smart Panel Reuse</b>. Flix now knows whether a specific file has ever been imported in the past, and will reuse the existing panel instead of creating a new one. Artists can enjoy greater flexibility when working offline and a more fluid workflow as unchanged panels won’t get re-imported into Flix, but instead efficiently reused.<br />
<iframe width="760" height="440" src="https://www.youtube.com/embed/VEbqQcFEIyE" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br />
<br />
Brice Banel, Flix Product Manager, Foundry, comments:<br />
<br />
“We believe artists should never be forced to use software that hinders their creativity. This release welcomes Storyboard Pro users to the Flix ecosystem, where they’ll benefit from a more streamlined collaboration with others in the production, even if they’re in another part of the world! Along with the long-awaited Comments feature, this release is another major milestone towards making Flix the perfect package for story development.”<br />
<br />
<br />
The full list of features for Flix 6.2 can be <a href="http://bit.ly/37Ekiah">found here</a>. To demo or purchase Flix 6.2 contact sales@foundry.com. <br />
<!-- adsense --> <br />
<br />
[post_ads_2]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3136971158729714180.post-58352769439637924142019-11-27T22:20:00.001+07:002019-11-27T22:20:53.687+07:003ds Max 2020.3 is here with better support SKU files<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-S3WIIy07PEqcix6gYqdlJbxyqpSu5dWNdh4SibWUAP_gvkGPrCyjZWg9Htsq1rpKwr8rQXAkR9QA8VE9ECLM8E8YU2M3Scz07y6ms8NU3ZLz3Gaad6ibfTLbrbjbM4HM84rsOZ4axhlk/s1600/3ds+Max+2020.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-S3WIIy07PEqcix6gYqdlJbxyqpSu5dWNdh4SibWUAP_gvkGPrCyjZWg9Htsq1rpKwr8rQXAkR9QA8VE9ECLM8E8YU2M3Scz07y6ms8NU3ZLz3Gaad6ibfTLbrbjbM4HM84rsOZ4axhlk/s1600/3ds+Max+2020.jpg" data-original-width="1200" data-original-height="629" /></a> <br />
Autodesk has released 3ds Max 2020.3 Update with more focusing on increasing your efficiency, endurance, and precision. Building upon our recent 2020 Chamfer updates, this release brings you those enhancements directly in EditablePoly objects. New Viewport enhancements handle support for Arnold Lights, Arnold Alembic and Procedural objects. Improvements to the ATF importer include enhancements to Sketchup and JT formats for better visual and organizational precision.<br />
<br />
<b>Now supports all newer versions of SketchUp files.</b><br />
<br />
-Added the ability to import JT 10.5 files<br />
-Improved scene hierarchy for JT imports<br />
-The ability to import CATIA V4 files that were created in CATIA V5-6R2019<br />
-SketchUp importer enhancement with edge visibility<br />
-SketchUp importer enhancement welding of imported geometry<br />
<br />
<b>Viewport Enhancements</b><br />
Time-saving and quality improvements with the existing viewport.<br />
<br />
-Arnold lights are now supported in the viewport<br />
-Arnold Alembic and Procedural now have viewport representation<br />
-While in Active Shade, you can now change render settings without needing to restart Active Shade<br />
<br />
<b>Chamfer and Modeling improvements</b><br />
Chamfer enhancements made from 3ds Max 2020 through to the 3ds Max 2020.3 Update allow modelers to work more efficiently and to have the tools where they need them whether they’re in the modifier or EditablePoly objects.<br />
<br />
-New Chamfer Mitering types (Radial and Patch) are available in EditablePoly caddies/dialogs<br />
-Also updated chamfer algorithms to better handle edge cases, producing more pleasing geometry overall and avoiding degeneracies such as flattening or skewing of edges<br />
-Transform Toolbox now uses world units<br />
<br />
<b>Arnold MAXtoA Update</b><br />
This update delivers several improvements from Arnold 5.4.0.1 Core, the MAXtoA plugin, and Arnold GPU beta bringing even more speed, power, and flexibility to artist workflows.<br />
<br />
MAXtoA 3.2.57 “in the box” - Newer version may be available, check the 3ds Max Arnold render dialog for upgrades<br />
<br />
-Expose the clip_geo shader<br />
-Expose the shader_override node for overriding all the scene’s shaders<br />
-Expose the aov_read shaders<br />
-Added the option to have no background<br />
-Support for normal and height maps<br />
-Bake elements transfer<br />
<!-- adsense --> <br />
<b>Various additional updates have been made to smooth out workflows.<br />
<br />
On October 28th, 2019, the Forge Design Automation V3 API was made public. Design Automation can be used to automate mundane, repetitive, time-consuming and error-prone tasks, which means:<br />
</b><br />
<a href="https://area.autodesk.com/blogs/the-3ds-max-blog/3ds-max-20203-feature-updates/">3ds Max 2020.3 Release Notes</a> or <a href="https://area.autodesk.com/blogs/the-3ds-max-blog/3ds-max-20203-and-public-roadmap/">3ds Max Public Roadmap</a> for further information<br />
[post_ads_2]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3136971158729714180.post-31299390321336031182019-11-27T14:41:00.000+07:002019-11-27T15:05:16.455+07:00Substance Alchemist is now out of Beta with Content-Aware Fill Feature<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaK_WXcDWKM1HNCP6XHqSK51rH1IjYw_ZM07GaCLDV9e_y0e9h0E_Vw2e__mgdyQGL8hlYNcG6c5ZQaE9KONJPfy7dDg2Go0BczsONAtqgE7AWVcFb-ShD4xp2cFautnRClbacyInyECta/s1600/Substance+Alchemist.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaK_WXcDWKM1HNCP6XHqSK51rH1IjYw_ZM07GaCLDV9e_y0e9h0E_Vw2e__mgdyQGL8hlYNcG6c5ZQaE9KONJPfy7dDg2Go0BczsONAtqgE7AWVcFb-ShD4xp2cFautnRClbacyInyECta/s1600/Substance+Alchemist.jpg" data-original-width="1600" data-original-height="900" /></a><br />
Substance Alchemist is now out of Beta with Content-Aware Fill Feature and many others.<br />
<!-- adsense --><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5Xg2RiOD2rKBWH5IIXw4Ow27Wjnu1JqeMLDaKTp12XHtjcvOcePerCxTp5zNbjFTzgi_wwO66U-Zmv5_5tkIEUwAc4yb_ov4BgMFy0FxlTzCqzj6V_IyoWdXXbUpsV_wTbY7JYny7k81R/s1600/Substance+Alchemist.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5Xg2RiOD2rKBWH5IIXw4Ow27Wjnu1JqeMLDaKTp12XHtjcvOcePerCxTp5zNbjFTzgi_wwO66U-Zmv5_5tkIEUwAc4yb_ov4BgMFy0FxlTzCqzj6V_IyoWdXXbUpsV_wTbY7JYny7k81R/s1600/Substance+Alchemist.jpg" data-original-width="1600" data-original-height="900" /></a><br />
- Substance Alchemist new UI: A welcome screen is here to help you take your first steps in Substance Alchemist; The layer stack has been redesigned to be clearer and more beautiful, and a file menu helps you quickly access all your options.<br />
- This new release also has many new features, including project management, an image and material Content-Aware Fill coming from Photoshop, as well as a new and improved version of the Delighter. <br />
- In Substance Alchemist, you get filters and generators such as Brickwall Pattern, Pavement Pattern, Parquet Pattern, Gravel Generator, Paint, Metal & Wood finish, Corrosion & Oxydation, and many more.<br />
- Alchemist has powerful dedicated resources for your scan-based workflow: Tiling, Clone tool, Equalizer, and our AI-based Delighter (accelerated on NVIDIA RTX hardware). From an image to a quality 3d material in just a few gestures, Substance Alchemist ensures that the process is as painless as possible.<br />
- Once your material board is complete, you can easily export it, and share it for quick decisions with your clients and your team<br />
Get Substance Alchemist <a href="https://www.substance3d.com/download/">here!</a><br />
[post_ads_2]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3136971158729714180.post-36503818413186179922019-11-25T16:44:00.000+07:002019-11-30T21:20:53.290+07:00Black Friday & Cyber Monday 2019 Sale CODE for CG Market | Live Update ....<img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigSXshtYguSPLnHcS3j_xiVBXYUkM1AbhERN2Iv5s8ic9ol6X6ZQFvayBjW7yXUO7AxcPN5CCboxcirPvty4w1y61Oo9ITaUu67W1MTmSqVkpfHVJh-59Dxtn2ij6l-dirGXKvGMAggVRd/s1600/course+thumb+01.jpg" data-original-width="1280" data-original-height="720" /><br />
<br />
Black Friday & Cyber Monday 2019 is comming, CG Record will collect all sale CODEs and update them on this article! Please refresh or bookmark to get updated.<br />
<br />
<h3>Redefinefx sale</h3><a href="http://bit.ly/2L1A9Gl" rel="Nofollow" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigSXshtYguSPLnHcS3j_xiVBXYUkM1AbhERN2Iv5s8ic9ol6X6ZQFvayBjW7yXUO7AxcPN5CCboxcirPvty4w1y61Oo9ITaUu67W1MTmSqVkpfHVJh-59Dxtn2ij6l-dirGXKvGMAggVRd/s1600/course+thumb+01.jpg" data-original-width="1280" data-original-height="720" /></a><br />
Master Massive Water FX Simulations with Splash & Foam with $50 OFF For a Limited Time (Expires in less than 24 Hours!) <a href="http://bit.ly/2L1A9Gl" rel="Nofollow" imageanchor="1" >https://redefinefx.teachable.com/p/water</a><br />
<br />
<h3>AXYZ Design Anima and 3d Models Black Friday</h3><a href="http://bit.ly/2I5skQH" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGBSb_qCv2nb01j5JWCJxJhS-zVnMdrxSeVqBe3OcuwWxkBvynbO4TnbdAEQqj8YMHQ7ipoVn2Twk-jthOWI27jTHDhroHe0ugFGaGBz41LNBOZbaZJZjEyxZ0KXTO30szQOGQx0kfk520/s1600/Screen+Shot+2019-11-29+at+4.46.19+PM.png" data-original-width="1600" data-original-height="1069" /></a><br />
AXYZ Design #BlackFriday 30% UP TO 50% OFF <a href="http://bit.ly/2I5skQH">http://bit.ly/2I5skQH</a><br />
<br />
<h3>RDT Black Friday</h3><a href="http://bit.ly/2R06uy8" rel="NoFollow" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfwNXvafm0RXSAdNxOF0LtS0Kmc5NyHYJyTTHxGvhEJYsylcSW0ieSuA86RyDMC4o2TBV81m1kYUyqjENODOa7hCOkPxWgQ5d5ySqenpw7LV3z9W2-S9HtBPEJuaol4LX_hEFVoDaLp0Q-/s1600/RDT+Black+Friday.jpg" data-original-width="1600" data-original-height="740" /></a><br />
From 27.11.2019 - 08.12.2019 BLACK FRIDAY at RD-Textures -40% with code: bf-2019 <a href="http://bit.ly/2R06uy8" rel="NoFollow">https://www.rd-textures.com/</a><br />
<br />
<br />
<h3>Substance's Black Friday Promo Code</h3><a href="http://bit.ly/35HCxtS" rel="Nofollow" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjZjSBFlpFd392krg66nT1u6WyvgEwXVcyJHhvS_pjYKOz0Ya9ywKl6DuMPKbONF0OvgVLixGw0lL0BNXAa-tlvIa4fam2MNuFSowf_dUimlHFcPwRrXW_ZjnPa4eWzOYqpxZVIyO2pEAt/s1600/monster_discount2019_vf_sans_prix-2.jpg" data-original-width="1600" data-original-height="900" /></a><br />
32% off for annual Indie Substance subscriptions with the code: SUBSTANCE-BF19 <a href="http://bit.ly/35HCxtS" rel="Nofollow">https://www.substance3d.com/</a><br />
Substance Painter, Substance Designer, Substance Source, and now Substance Alchemist for $149<br />
<br />
<h3>Thinkinetic's Black Friday</h3><a href="https://goo.gl/ROl8Ah" rel="NoFollow" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBXFO3-0V-mUpU7npyJkVna94Ms623AWl9dsHRRx1kzccOoIEpzdsJc8_hKOUc9-2EKrBMTsUcyhT6dl7iNHRWl5YcJkehYqHC5z29Q4qxFc2GNfcfEjth2pCo8bIYIucK9uGncOptCL_L/s1600/blackFrtidayThinkinetic.png" data-original-width="1278" data-original-height="544" /></a><br />
Thinkinetic announced 25% off in all Pulldownit Pro licenses until 2nd December, using discount code: <b>black19</b> here <a href="https://goo.gl/ROl8Ah" rel="NoFollow" >https://www.pulldownit.com/</a><br />
<br />
<h3>MultiScatter, MadCar Black Friday</h3>MultiScatter, MadCar and others - 30% Black Friday Sale. From 26 - 30 November 2019 you can buy all our products including bundles with 30% discount. Coupon code: BlackFriday2019 (apply in your shopping cart) <a href="http://bit.ly/2R3McnF" rel="NoFollow" imageanchor="1" >https://rendering.ru/</a><br />
<center><a href="http://bit.ly/2R3McnF" rel="NoFollow" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj69wxi8hxEe8oPG0N_9K2zRhnWzJulXYhBC9Jt2UK4ZBA_6B6hyT-YYG0VIk5BBfTM0FKQo6ykcRTSxqBex1BdetSJW2tZtnREdCz99GNhMEfSkbTnXWo3aujzBtH2josq5LJsicXoiNzy/s1600/MultiScatter+Black+Friday.jpg" data-original-width="600" data-original-height="250" /></a><br />
</center><h3>Dviz Unreal Plant library Black Friday</h3><a href="http://bit.ly/2Oh51oc" rel="NoFollow" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy-m6A4ZiPnhhh2fKsrNIoNu43exbuz3-hNUvq5-L7zEnBPT-esx4Oejo4eHBj4Yeuyp3eiUDhMWPCumItAOnx1swpnCO1xh7x8RDWwEo3IweLm9DnRZiBMndANErHVS8MNJifQupOMInP/s1600/dviz+Unreal.jpg" data-original-width="1221" data-original-height="816" /></a><br />
Dviz Black Friday with No CODE. Realistics Unreal Engine Assets. included Realistics grass, Unreal Engine Realistic Plants, Realistic Trees, UE4 Realistics Assets, Realistic Stump and Environments Assets Unreal Engine 4 <a href="http://bit.ly/2Oh51oc" rel="NoFollow" >https://www.dviz.com.br</a><br />
<br />
<h3>Effectivetds Black Friday</h3><a href="http://bit.ly/2OkUVD0" rel="NoFollow"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIq4KyvHb-VTlZZ4lE_0KP3GTZIBLlYkM44v_59vRiSDdDWqopQVK2uK5al0v4td4HDSv5hlVgGf1eXF2WtwehWO1fQgQxM4qqPCAo6y1nxhpGLJ5B8UXaaWGBx2YgiNH3v8POhHOvTx0Z/s1600/Effectivetds+BLACK+FRIDAY.png" data-original-width="795" data-original-height="714" /></a><br />
Effectivetds announced that its FX Tools and tutorials with big discounts here: <a href="http://bit.ly/2OkUVD0" rel="NoFollow">https://effectivetds.com</a><br />
<h3>Globe Plants GrowFX Animated tree Black Friday</h3><a href="http://bit.ly/2O8fotr" rel="NoFollow" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJcytDgMwHFTIlLoDXONurflVhLLQHKisiOvqOYXsYB47Di3oNJG2W8XESK6KxcaM2q8zdmWONtTuwMu4LSaBEO46OlJCgRZtSwMmgUPqPIJ3bH44SEc3PZAQvdZloMpVfHyegJG3cOmEk/s1600/BlackFriday.jpg" data-original-width="960" data-original-height="960" /></a><br />
Globe Plants Black Friday off 40% with Code: BLACKFRIDAY <a href="http://bit.ly/2O8fotr">Globeplants.com</a><br />
<h3>Kinematiclab Black Friday</h3><a href="https://hocuspocus-studio.fr/tools/" rel="NoFollow" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrzvm6fGrPdnp8_2vkYycvg95wHGVnFWv6_KI4fu1NAmsctf2vaBwvJcUX5ZWQtSdL_KPOX7WexSs3nTHCLMO3Ooqw4lJQqChgpuaBlHHIoL6hrmpxwkKUVvNs-VpqdNbJQEmZ2WTSxss-/s1600/Black+Friday.jpg" data-original-width="960" data-original-height="549" /></a><br />
<!-- adsense --> <br />
Kinematiclab announced Black Friday with 50% off between the 25/11 to the 2/12 with the Code: FRIDAY.<br />
<a href="https://hocuspocus-studio.fr/tools/" rel="NoFollow" >https://hocuspocus-studio.fr/tools/</a><br />
<br />
[post_ads_2]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3136971158729714180.post-37806086113618716882019-11-25T14:21:00.000+07:002019-11-25T14:21:11.952+07:00Blender 2.81 is out! Here are Top New Feature! <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTphbQnk5aLfe8udS6RuM88fXHyCVvRN-F2xr_6jaQn-rp3YoHWvttg7ycZpRoVYkuVRXHmJfJC3Rmosrgj80Ttt2ShBG-UMOcRfaEIrJqY2hGUcuaBM4KbRarG913-Mh6mPMp4UuFFMzl/s1600/Blender+2.81.jpeg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTphbQnk5aLfe8udS6RuM88fXHyCVvRN-F2xr_6jaQn-rp3YoHWvttg7ycZpRoVYkuVRXHmJfJC3Rmosrgj80Ttt2ShBG-UMOcRfaEIrJqY2hGUcuaBM4KbRarG913-Mh6mPMp4UuFFMzl/s1600/Blender+2.81.jpeg" data-original-width="1600" data-original-height="1068" /></a><br />
Blender 2.81 has just been released with many new features including experimental support for hardware-accelerated ray tracing on NVIDIA graphics cards, new sculpting and retopology tools, and a new file browser<br />
<br />
<h3>Blender 2.81 Features:</h3>- Hardware-accelerated ray tracing<br />
- Open Image Denoise<br />
- New retopology tools<br />
- New sculpting features<br />
- More nodes in Cycles<br />
- More look dev features<br />
- Better Outliner and file browser<br />
- Better transforms and snapping<br />
- Library Overrides replace proxies<br />
<!-- adsense --><br />
Blender 2.81 is available for Windows 7+, macOS 10.12+ and Linux. You can find full details of the hardware requirements on the <a href="https://www.blender.org/download/requirements/">Blender website.</a><br />
<br />
[post_ads_2]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3136971158729714180.post-78171636201173776962019-11-20T18:13:00.001+07:002019-11-20T18:13:07.281+07:00NVIDIA RTX now is supported in V-Ray GPU and Blender Cycles<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio0Af-YPxl4-vMCljOcS8m5y4z5U52yz-4Pnz0Asw6DV4_AakLxg_ENfD572NXQ_C2y32BFSqN_IfPeLqOb5nd6wxMhI_zsq3BPFMNukzHmTrn1qjeGufHke1zoHmSRhIHTR4QtyM2I85D/s1600/NVIDIA+RTX+now+is+supported+in+V-Ray+GPU.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio0Af-YPxl4-vMCljOcS8m5y4z5U52yz-4Pnz0Asw6DV4_AakLxg_ENfD572NXQ_C2y32BFSqN_IfPeLqOb5nd6wxMhI_zsq3BPFMNukzHmTrn1qjeGufHke1zoHmSRhIHTR4QtyM2I85D/s1600/NVIDIA+RTX+now+is+supported+in+V-Ray+GPU.jpg" data-original-width="1600" data-original-height="900" /></a> <br />
<br />
Nvidia has announces NVIDIA Studio Driver that supports RTX-accelerated ray tracing in V-Ray Next for 3ds Max, Blender Cycles and V-Ray Next for Maya soon to follow.<br />
<br />
To enable NVIDIA RTX within V-Ray Next for 3ds Max, you will now find a drop-down choice to use traditional CUDA path or new RTX path. <br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWi8LKBhVd29PaoOZon-5i5dVly_Ib2EPgJmMV8VPKZ8883i0dZz5IYkNxiEHwEU8o4JBuaxrWo33mmmpFSiCg_AXxypwehopZy5b5oYIHGEM2DMOiO-tMPv-_Qi9RESzFWYIHAd2hxJUq/s1600/v-ray-next-rtx-blog-01.png" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWi8LKBhVd29PaoOZon-5i5dVly_Ib2EPgJmMV8VPKZ8883i0dZz5IYkNxiEHwEU8o4JBuaxrWo33mmmpFSiCg_AXxypwehopZy5b5oYIHGEM2DMOiO-tMPv-_Qi9RESzFWYIHAd2hxJUq/s1600/v-ray-next-rtx-blog-01.png" data-original-width="1431" data-original-height="699" /></a><br />
When switching from CUDA (and no CPU) to the RTX engine while using RTX GPUs the benefits are scene dependent but that an average speedup of 40% was achievable in their tests<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAcmGs04beXcnIkDI7s40dFFvNbwqg9-ocsbp2jsDjGbaJ3yTKC2MS5ogqw8SIwyWFU6FOGBUsdhGuHctGRM8NAHpRxD3x3fZZAsNvAn1Lg10Mj9AVyK_uxO9P0CT1HDnFXllAO5WHStgh/s1600/v-ray-next-rtx-blog-03.png" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAcmGs04beXcnIkDI7s40dFFvNbwqg9-ocsbp2jsDjGbaJ3yTKC2MS5ogqw8SIwyWFU6FOGBUsdhGuHctGRM8NAHpRxD3x3fZZAsNvAn1Lg10Mj9AVyK_uxO9P0CT1HDnFXllAO5WHStgh/s1600/v-ray-next-rtx-blog-03.png" data-original-width="1600" data-original-height="340" /></a><br />
Chaos Group is offering a free 30-day trial of <a href="https://www.chaosgroup.com/vray/3ds-max">V-Ray for 3ds Max with RTX support built-in.</a> Read more about RTX support in V-Ray Next for 3ds Max on <a href="https://www.chaosgroup.com/blog/v-ray-gpu-adds-support-for-nvidia-rtx#">Chaos Group's Blog</a><br />
<!-- adsense --> <br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1hQsfzJyPDnEq658n3CDm6FgLwmFA-aNtnApbWgz4HRyOFzMl0CZS7lcVcivw65Jcp4HNDfPyxj98kl0DEVOxndZluYoo5DHWMYRDZ001JpIyDDJiSkByW3NYGP3RQyWlG4LTlSmmudXy/s1600/Blender-2-80-kv.png" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1hQsfzJyPDnEq658n3CDm6FgLwmFA-aNtnApbWgz4HRyOFzMl0CZS7lcVcivw65Jcp4HNDfPyxj98kl0DEVOxndZluYoo5DHWMYRDZ001JpIyDDJiSkByW3NYGP3RQyWlG4LTlSmmudXy/s1600/Blender-2-80-kv.png" data-original-width="1600" data-original-height="900" /></a><br />
Blender 2.81 release’s built-in Cycles renderer, brings RTX hardware acceleration by adding experimental support of NVIDIA OptiX. Rendering with OptiX and RTX GPUs<br />
To turn on RTX acceleration in Blender 2.81:<br />
-From the “Edit” menu, select “Preferences”.<br />
-Select the “System” tab in the left hand navigation, then under “Cycles Render devices” select “OptiX”.<br />
-In the scene settings pane, by default in the bottom right, select the “Render Properties” tab, indicated by a camera icon.<br />
-In the “Render Engine” field, select “Cycles” and in “Device” field select “GPU Compute”.<br />
<br />
<br />
[post_ads_2]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3136971158729714180.post-54304478385638531662019-11-14T10:59:00.000+07:002019-11-14T10:59:52.710+07:00Flame Family 2020.2 Update <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRnlxh2Kmczu9Wo0KSZARqdeJDF1tYndAbZEoiHFA5jJm1dC6Sh9uEQeOAk8P3KonS9WW-lmh8SaaJh087Hm8C7ESFneYM4l7SGlnJY0chgj1Ljq1KluIKBbTO_2cUHaO7N-Vhc98CAFPT/s1600/Flame+Family+2020.2+Update.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRnlxh2Kmczu9Wo0KSZARqdeJDF1tYndAbZEoiHFA5jJm1dC6Sh9uEQeOAk8P3KonS9WW-lmh8SaaJh087Hm8C7ESFneYM4l7SGlnJY0chgj1Ljq1KluIKBbTO_2cUHaO7N-Vhc98CAFPT/s1600/Flame+Family+2020.2+Update.jpg" data-original-width="1280" data-original-height="720" /></a>Autodesk has announced that Flame Family 2020.2 Update Now Available with powerful new features including Machine Learning-powered human body and face isolation, an improved compare tool, support for Blackmagic Design cards on CentOS, and much more!<br />
<br />
<b>Flame Family 2020.2 Update Features are:</b><br />
<iframe width="760" height="440" src="https://www.youtube.com/embed/29daDdK5CYI" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br />
<br />
Using machine learning algorithms, this new semantic keyer provides a way to isolate human bodies and heads.<br />
<br />
Use the Human Body and Human Head semantic keyers in an Image node in the Effects tab for a fast, iterative Color Grading and light FX treatments on many shots. Or use them for compositing in a full procedural Batch.<br />
<iframe width="760" height="440" src="https://www.youtube.com/embed/AM3YDoDedqQ" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br />
<br />
<br />
Flame, Flame Assist, and Flare now support Blackmagic Design UltraStudio and DeckLink SDI & HDMI Preview cards on CentOS.<br />
<iframe width="760" height="440" src="https://www.youtube.com/embed/Hi4W2DqwPgI" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br />
<br />
<br />
You can now store unlimited reference stills, in a new, improved compare tool.<br />
<iframe width="760" height="440" src="https://www.youtube.com/embed/OzwydDGt7A0" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br />
<br />
Building on the machine learning-powered feature set first introduced with Flame 2020, this update adds even more uses of AI for specialized image segmentation, along with a host of new capabilities, bringing you more creative flexibility and faster workflows.<br />
<!-- adsense --> <br />
<b>Additional information:</b><br />
<br />
-Many new feature videos workflow videos are available on the Flame Learning Channel. <br />
-In this What's New topic, indicates a new feature or enhancement that was suggested and voted up by Flame Family users on the Feedback portal (also accessible directly from Product menu > Help).<br />
-Make sure to check out <a href="https://area.autodesk.com/flame-central/?_ga=2.71088720.1756647793.1573702910-1064468098.1571209813">Flame Central</a>, the hub for all your Flame family links.<br />
-Looking for the Release Notes for Flame Family 2020.2 Update? Click here: <a href="http://help.autodesk.com/view/FLAME/2020/ENU/?guid=GUID-7BBB4317-D574-4D22-BFD3-5F7E1D14143E">Flame Family 2020.2 Update Release Notes</a>.<br />
<br />
[post_ads_2]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3136971158729714180.post-3881525899530707312019-11-12T20:03:00.001+07:002019-11-12T20:41:59.339+07:00 Epic Games buys Quixel then make Megascan, Bridge and Mixer to be free<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi25C4Y_Hd16_fXetdiw5h0dc0hHwIoXzBI9hTv3Q3gl5i0KkCdbKZUKu34IvtiYRTKybq_PQcdRHRBMS81NuqAfJ7IKbEpshHckiLY1_UhuYQIzJCrFMeaBhT5ydDLIjis9xvsoO71BBcS/s1600/Epic+Games+buys+Megascan+developer+Quixel.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi25C4Y_Hd16_fXetdiw5h0dc0hHwIoXzBI9hTv3Q3gl5i0KkCdbKZUKu34IvtiYRTKybq_PQcdRHRBMS81NuqAfJ7IKbEpshHckiLY1_UhuYQIzJCrFMeaBhT5ydDLIjis9xvsoO71BBcS/s1600/Epic+Games+buys+Megascan+developer+Quixel.jpg" data-original-width="1600" data-original-height="667" /></a><br />
On the latest Quixel blog co- Founder Teddy Bergsman has announced that Quixel is joining forces with Epic Games. After acquisition the Megascans library is now completely free for use with Unreal Engine. That mean you get free, unlimited, and instant access to all of Megascans through Bridge and Mixer, and a wealth of Megascans packs on the Unreal Engine Marketplace. The remainder of the Megascans library will be made available within the Unreal Engine 4.24 release timeframe. <br />
<br />
Also Megascans subscription prices lowered for everyone, They're immediately slashing the pricing of Megascans, giving you nearly twice as much content to download, and removing the resolution cap—for everyone.<br />
<br />
And Epic Games and Quixel will make the upcoming 2020 versions of Bridge and Mixer (which will have 3D Painting, Real-time 3D Curvature, Smart Materials) 100% free for everyone. Check out the Vlog about this acquisition<br />
<iframe width="760" height="440" src="https://www.youtube.com/embed/wd_sdFaYdIk" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br />
<!-- adsense --><br />
[post_ads_2]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3136971158729714180.post-90960388016185966012019-11-11T22:40:00.000+07:002019-12-03T23:39:53.746+07:00Chaos Editor's Choice | LAGUNA COLORADA - full CGI Short-film by Richard TATESSIAN <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhka-QlHQPMiKTqMY9Kv66IP-7X0CjrqiGLG5NsCqVorGVLF94tKlAkZtTAOhOYVzoIJEwU5ZtqNdo1u0o8EkgaCoRbv19kWKxT_o0c6FKtdMi8xBVHlH4H7R6_xBeSEXIBTJkswtuCOiQ8/s1600/LAGUNA+COLORADA+-+full+CGI+Short+film.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhka-QlHQPMiKTqMY9Kv66IP-7X0CjrqiGLG5NsCqVorGVLF94tKlAkZtTAOhOYVzoIJEwU5ZtqNdo1u0o8EkgaCoRbv19kWKxT_o0c6FKtdMi8xBVHlH4H7R6_xBeSEXIBTJkswtuCOiQ8/s1600/LAGUNA+COLORADA+-+full+CGI+Short+film.jpg" data-original-width="1600" data-original-height="686" /></a> <br />
Check out the first V-Ray Editor's Choice selected by Chaos Group and CG Record. LAGUNA COLORADA is a full-CGI short film created by Richard TATESSIAN and friends using 3ds Max, V-Ray, Phoenix FD, ZBrush, Megascans, MultiScatter, Nuke, After Effects and Resolve. We had the pleasure to interview Richard TATESSIAN.<br />
<b>Please tell us a bit about yourself and about your LAGUNA COLORADA full-CGI short film. What was the initial idea and how did you come up with it?.</b><br />
<br />
Hello, my name is Richard Tatessian, I live in Paris and I’ve been working as a 3D artist generalist for 10 years. I’ve worked in several fields including advertising, architecture, pharmaceutical, luxury and cars. I’ve worked as a modelling/material supervisor at PSA for 4 years. I also do a lot of personal projects on the side such as 3D illustrations, some videos, and occasionally 3D-printed jewelry. For me, personal projects are tremendous tools to learn lots of new things and have fun at the same time! You can check them on my ArtStation, Vimeo, Instagram or Facebook pages: "Richard TATESSIAN 3D". There, you can also find my WIPs as well as a technological watch, software, scripts, and videos that I like.<br />
<br />
<br />
These experiences led me to work with the following behind the concept of LAGUNA COLORADA: Christophe Huet and his team at Asile Paris, as well as the photographer Roberto Badin. The idea was to make a full-CGI video of a car in a familiar and natural environment, yet not too complex. This is how I joined them for the directing and entered the production phase.<br />
<br />
<iframe width="760" height="440" src="https://www.youtube.com/embed/4L1Bx2EHfr4" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br />
<br />
<b>How long did it take you to produce the film? Was it only you working on the film or were there other artists helping?</b><br />
<br />
This kind of internal project can be very long and complex to produce — and all the more so when you are also juggling with client projects. Quite often, due to lack of time, teams don’t have the time to go through the completion of a project; they’ll settle for less-ambitious things or even leave the project on the side for months. Asile’s goal was to hire an artist from outside the studio to be working full time on the film and, if there was some availability in the teams’ schedule, they could come to give the artist a hand. As such, I worked full time on this project for about 5 months. Denis Seounes and Ivan Rose helped me for pre-prod, look-dev lighting, and some materials for about 1 to 2 weeks. Christophe and Roberto assisted me with the direction and graphic style throughout the project.<br />
<br />
<br />
<b>Please explain the CG techniques that helped you make the film.</b><br />
First and foremost, you lay down the basics on paper and gather references. Laguna Colorada is located in Bolivia. Since the budget wouldn’t allow me to go there, Google was my best friend!<br />
<br />
<br />
I started with the environment as a whole and quickly set up a modular road in case I had to make any changes to it. I quickly did some animation tests with the car to see how it was supposed to behave, which speed it needed to have, etc.<br />
<br />
<br />
Cameras evolved throughout the project. Since the scene always took place on the same road, I chose to only have one Max file with all the shots in it. It was much easier to control everything in just one scene.<br />
<br />
<br />
As far as lighting is concerned, an HDRI was selected, though we wanted to have the option to modify its orientation between each shot in order to enhance the aesthetic of the car. For this kind of scene, it doesn’t really matter if the sun switches position between shots. For that purpose, I created a layer for each shot with a duplicate of the HDRI in each. Even though we get as many HDRI as there are planes, in the end, it doesn’t really matter as only the current shot’s layer is toggled on with the corresponding HDRI correctly set.<br />
<br />
<br />
Then comes the time for the first still renders followed by videos rendered with low settings using V-Ray Progressive Rendering. The final renders were saved in .exr. Depth of field and motion blur were calculated directly within the render. It’s longer but gives a better result.<br />
<br />
<br />
Typical compositing was done in Nuke. I mainly do color grading, adding warm/cold tones and play with the contrast.<br />
<br />
<br />
I usually use After Effects for color grading, editing, backplates integration, and sound. It’s not really meant for that but it allows me to keep everything in one software and not switch all the time. This time I also used Resolve, recommended by Christophe, and I have to say it looks pretty neat! It seems to be very reactive!<br />
<b>Why did you choose V-Ray for your film? What do you love most about V-Ray? </b><br />
<br />
I’ve chosen V-Ray mainly because it was the renderer I was most familiar with. Whether it is large visuals or videos, it perfectly suits my needs. I saw it evolve over the years and it only keeps getting better! Rendering times are always shorter. Placing lights become easier with IPR. I can’t wait to see future updates!<br />
<br />
<b>Please tell us about how you created the car (rigging, animating, shading and rendering)? </b><br />
<br />
When starting the project, the choice of the car to use, albeit important, wasn’t that essential. The focus of the film was to depict an adventure; a journey. There are tons of models that can be bought online and, as such, we had lots of choices. However, we still wanted it to be an SUV that would better fit the environment style.<br />
<br />
<br />
After the initial road setup, I started doing some animation tests. It’s by far the field I am least at ease with. It was the first time I animated a car. I modelled a rough low-poly version of it that I placed in the environment as an XRef that I then rigged with MadCar. Results were quickly obtained but I had lots of trouble getting it to keep a constant speed. It was very important for me to know how far the car would go to only model what was necessary for the landscape. Another difficulty that arose was the fact that when the camera is very close to the car, it was very visible that it was slightly shaking. I had trouble fixing that issue. The first attempts made it look like there was an earthquake happening!<br />
<br />
<br />
As far as car paint goes, I used a VRayBlendMtl for it. Several layers of the material had to be stacked just like for the real thing: raw metal, a layer for paint, a layer for flakes, a layer for coating.<br />
<b>How about the CGI environment? Can you break down your techniques?</b><br />
<br />
TThe environment was a big challenge for me as I had never done such a large landscape before. Once again, the Laguna Colorada is an existing landscape, so it had to be reproduced in its entirety with its correct scale. The lake is roughly 10km wide and the volcano and surrounding mountains also had to be visible.<br />
<br />
<br />
I started by taking lots of screenshots on Google Earth of the lake and its surroundings. It is possible to retrieve pictures that are almost 5k. Once all these pictures were merged into one, I found myself with a giant image of 60,000-pixels wide. Obviously, such a large size is useless but I had everything needed to create masks and landmarks. The same thing happened for the displacement: I found a site that displayed greyscale topography. I took screenshots of the lake and its area then merged everything together. I then needed to generate the displacement on a subdivided plane, finding the correct height of the volcano on the net and scale it all accordingly. <br />
<br />
<br />
Tada! That’s how a 3000 km2 terrain got created. The previously generated diffuse allowed us to add some details on the displacement. Once I had an interesting overall terrain, I sliced the 3D model into several parts. They were made into areas depending on how close or far they were from the road in order to be able to separately adjustthe various settings for displacement, texture size, scattering, and parts to sculpt in ZBrush to give them a little more diversity.<br />
<br />
<br />
Material wise, I was able to play a bit with MegaScans! It is really awesome but I wish I had tested more things with it! I mainly retrieved some nice scans of rocks. I really like what Quixel has done with it and I sure plan on getting back to it one day!<br />
<br />
<br />
To complete the picture, MultiScatter helped me to add some diversity to the landscape with moss, rocks, and grass.<br />
<br />
<br />
<b>Could you please tell us a bit about compositing? Do V-Ray Render Elements help you much in compositing? </b><br />
<br />
V-Ray Render Elements helped me, obviously. They allowed me to adjust contrast or some hues for some elements even though I always try to get the closest possible of the final result in my raw renders. I think it’s high time I tried Cryptomatte instead!<br />
<br />
<br />
On the Nuke side: nothing exceptional. I am not an expert but I know enough to obtain what I want. I enjoy adding several color layers to intensify the warm and cold tones of the image and to avoid the pixels to become completely black or overbright. Once exported, I do the color grading, the flares, and the smoke/dust backplates in After Effects.<br />
<br />
<br />
The final touch, editing, and sound design were done in Resolve. It was the first time I used that software and it was friggin’ awesome! It runs fast!<br />
<br />
<b>Overall, what is difficult and what is important for automotive CGI films like this? Any tips?</b><br />
<br />
It is easy to think that only 45 seconds for a video is not going to be such a huge task, especially since there is only one environment, but that’s not the case. You have to think about all the aspects of the film and lay the foundations on paper before jumping too quickly into the 3D production. It’s a mistake I’ve made all too often and that I still sometimes make Take the time to search and study your references! It is also very important to understand how to enhance a car through its materials and lighting to highlight its design curves.<br />
<br />
<b>Do you have any advice for artists who want to create personal CGI short films?</b><br />
<br />
Even if the results are not the ones you had in mind, you deserve credit for having started a project! It is never easy to do personal projects and even harder to complete them. It is better to lower the scope of a project and complete it than the opposite. Other pieces of advice would be to prepare yourself correctly, give yourself small personal challenges and more than anything else: have fun!<br />
<br />
<!-- adsense --> <br />
[post_ads_2]<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQVQtmCmJuz85erxinaeCZqQ316w2chsOp6yrJjqvHAvAoTeWZmujU10H7dEWB3OC7nhayuaW7ofaEEXOkFG5Eml-ThdoXr5PRQejd0S53zTUV_8tVqaigteC7bStkTO8QX5JNhIwejWmV/s1600/Clay_02.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQVQtmCmJuz85erxinaeCZqQ316w2chsOp6yrJjqvHAvAoTeWZmujU10H7dEWB3OC7nhayuaW7ofaEEXOkFG5Eml-ThdoXr5PRQejd0S53zTUV_8tVqaigteC7bStkTO8QX5JNhIwejWmV/s1600/Clay_02.jpg" data-original-width="1600" data-original-height="900" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs7OGIZvjgH0Y6sFi0pC4NWcj3YyPCp5cbHzcXa5yPw6Jpws0BWZpqI5MYhr1cQZQEb8Ib4Mw6bORsEwKPN71N1QgARu3EMSC6bkGNSsFDCJGepQapiQy30SyzuhHO_fFCAUJGF3HgfI6d/s1600/Clay_03.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs7OGIZvjgH0Y6sFi0pC4NWcj3YyPCp5cbHzcXa5yPw6Jpws0BWZpqI5MYhr1cQZQEb8Ib4Mw6bORsEwKPN71N1QgARu3EMSC6bkGNSsFDCJGepQapiQy30SyzuhHO_fFCAUJGF3HgfI6d/s1600/Clay_03.jpg" data-original-width="1600" data-original-height="900" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBSVVoTdDnsQltszzfOmWckMIIWuZTtzVM9-uHXgdQxh9dAF3ixItSNDoXjZItKTh0Hf3xCJOZIHCbK1FhmI8BDxYrdE3yOe2zDwiQhajanu4ilQeoN7y5f_aokMqNw-R1ekdj-d8P32_0/s1600/Clay_04.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBSVVoTdDnsQltszzfOmWckMIIWuZTtzVM9-uHXgdQxh9dAF3ixItSNDoXjZItKTh0Hf3xCJOZIHCbK1FhmI8BDxYrdE3yOe2zDwiQhajanu4ilQeoN7y5f_aokMqNw-R1ekdj-d8P32_0/s1600/Clay_04.jpg" data-original-width="1600" data-original-height="900" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0I5dlJVgAaABbwuNhU2wdnbWH3d8ZOeCVdWB20TUot-l7OouHFhLF8XjCIvzT1c6_qQgkYvJDvNBsMv1SWEPNbf7ZUZzyLERQz4CLwYzC3sCaJQbl6W2wEY7PY0ML8iKthritY3Z5EDrJ/s1600/Clay_05.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0I5dlJVgAaABbwuNhU2wdnbWH3d8ZOeCVdWB20TUot-l7OouHFhLF8XjCIvzT1c6_qQgkYvJDvNBsMv1SWEPNbf7ZUZzyLERQz4CLwYzC3sCaJQbl6W2wEY7PY0ML8iKthritY3Z5EDrJ/s1600/Clay_05.jpg" data-original-width="1600" data-original-height="900" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGxY0nbS483BpPd5rkpuSB7vKK4pgomBeRCb7vmCtR7xPbC2dCrNchELX9fJLVkKErp3o4jJFLPApvBnbwPpppAxfaNscobIjkEujv4hfUhNOvQP-RnBc2-jqYrdvUHYaPM2iSHWkHXi2x/s1600/DIFFUSE_2.75%25EF%25BF%25BD.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGxY0nbS483BpPd5rkpuSB7vKK4pgomBeRCb7vmCtR7xPbC2dCrNchELX9fJLVkKErp3o4jJFLPApvBnbwPpppAxfaNscobIjkEujv4hfUhNOvQP-RnBc2-jqYrdvUHYaPM2iSHWkHXi2x/s1600/DIFFUSE_2.75%25EF%25BF%25BD.jpg" data-original-width="1000" data-original-height="1000" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXER0jG8PYAdqpzz3cZZKdIV0D281OclgEenB5AcktB2QBnf4XLrwYAfbiVvFdu8l9pQKkZe4aHHxZSbSQhO729Kd2GRh2fFSXuiwKxyjQYHCCeNN4EPzppKAFxXlzea-BExRAh3257aVo/s1600/DIFFUSE_5%25EF%25BF%25BD.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXER0jG8PYAdqpzz3cZZKdIV0D281OclgEenB5AcktB2QBnf4XLrwYAfbiVvFdu8l9pQKkZe4aHHxZSbSQhO729Kd2GRh2fFSXuiwKxyjQYHCCeNN4EPzppKAFxXlzea-BExRAh3257aVo/s1600/DIFFUSE_5%25EF%25BF%25BD.jpg" data-original-width="1000" data-original-height="1000" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDWYVRnn-It-1WjXZb6BCfsdWvTUwQHuj1hxPuwciNS5H2GPDqBYAXtwSxkb_X9ZpUeH8CrtniEvXGKAL1ajzuvkptqJRcDXPqHOckh4sBkgWqCkCNoWWQ3Vgr7F3GfVcqzPAqY5uCRzKE/s1600/DIFFUSE_12.5%25EF%25BF%25BD.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDWYVRnn-It-1WjXZb6BCfsdWvTUwQHuj1hxPuwciNS5H2GPDqBYAXtwSxkb_X9ZpUeH8CrtniEvXGKAL1ajzuvkptqJRcDXPqHOckh4sBkgWqCkCNoWWQ3Vgr7F3GfVcqzPAqY5uCRzKE/s1600/DIFFUSE_12.5%25EF%25BF%25BD.jpg" data-original-width="1000" data-original-height="1000" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguUemROZKhdJISslrDOrRfl0HKUhlF6eq9XUq5NngEmYphFsJ1x7WNDGbEq1ocHK4gxzFbPjXu8y5FUB6JGHjixizzBVOkQO15SJISyHas3kSFQJKpA5fgDP8Jl_cOMzoAYEhBgh8cNMBg/s1600/DIFFUSE_50%25EF%25BF%25BD.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguUemROZKhdJISslrDOrRfl0HKUhlF6eq9XUq5NngEmYphFsJ1x7WNDGbEq1ocHK4gxzFbPjXu8y5FUB6JGHjixizzBVOkQO15SJISyHas3kSFQJKpA5fgDP8Jl_cOMzoAYEhBgh8cNMBg/s1600/DIFFUSE_50%25EF%25BF%25BD.jpg" data-original-width="1000" data-original-height="1000" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrzGEsMXjAuxmYBOzO0BzsJH-VGNSV3R-dce5HPzEqveaOf1obo25C6ijoQq1kzmTl8pbz9aDdT8KdDVIALAm7gSnoyDvbZY3YOsdPxHvZj1KCM3UHspK3qzzcxShcISLm9sBCVfmzM3sf/s1600/DIFFUSE_100%25EF%25BF%25BD.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrzGEsMXjAuxmYBOzO0BzsJH-VGNSV3R-dce5HPzEqveaOf1obo25C6ijoQq1kzmTl8pbz9aDdT8KdDVIALAm7gSnoyDvbZY3YOsdPxHvZj1KCM3UHspK3qzzcxShcISLm9sBCVfmzM3sf/s1600/DIFFUSE_100%25EF%25BF%25BD.jpg" data-original-width="1000" data-original-height="1000" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjUeMIOKQdd4Re3gxS4eCaP3uL7Y_TokqxyZfZkcHnlpROkjMqIaeoWjZmU6_38re16g5r4uhyUlTbj8ossJ2BhoRUHvOyVv_XC5veTZFIM18o3Ny9NmtyXsqBjZuGeahcedV3ayf03WFO/s1600/lookdev_lighting_shading_decor_22e.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjUeMIOKQdd4Re3gxS4eCaP3uL7Y_TokqxyZfZkcHnlpROkjMqIaeoWjZmU6_38re16g5r4uhyUlTbj8ossJ2BhoRUHvOyVv_XC5veTZFIM18o3Ny9NmtyXsqBjZuGeahcedV3ayf03WFO/s1600/lookdev_lighting_shading_decor_22e.jpg" data-original-width="1600" data-original-height="680" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGd6wEDhyphenhypheneYv9JEBxi3W2DUMjw2AH8-72XX_Q8FWbTqyuseXl09KUP05bJSvGTx4GboFciXVLJgeOO2PHtTVVRBS9o6arcr30s46qY-CllGywqwqskag0UcNLL5jXk2AXIqI-cq_O-F6St/s1600/lookdev_lighting_shading_decor_31.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGd6wEDhyphenhypheneYv9JEBxi3W2DUMjw2AH8-72XX_Q8FWbTqyuseXl09KUP05bJSvGTx4GboFciXVLJgeOO2PHtTVVRBS9o6arcr30s46qY-CllGywqwqskag0UcNLL5jXk2AXIqI-cq_O-F6St/s1600/lookdev_lighting_shading_decor_31.jpg" data-original-width="1600" data-original-height="680" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpkOKCJEwUCQA0zGNhV_Ae4nrOw95sBU9njDkd6RwfGRsoSM1o0Jzjsyac-fBD_HgKERKfjIX9daILoWBqK3yirNAyxwo_yhuJ7D43jMXU4AH5vYeVqgM6f5W80-fTkSwgCuwGA9PjO1Bn/s1600/Terrain_Richy_057.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpkOKCJEwUCQA0zGNhV_Ae4nrOw95sBU9njDkd6RwfGRsoSM1o0Jzjsyac-fBD_HgKERKfjIX9daILoWBqK3yirNAyxwo_yhuJ7D43jMXU4AH5vYeVqgM6f5W80-fTkSwgCuwGA9PjO1Bn/s1600/Terrain_Richy_057.jpg" data-original-width="1600" data-original-height="681" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsF6_lDeDoQXrL8yP13FoMrcoY2sep8Ra3gFX817itKh_gF0GrQBLhr-rZFifuZZTBFsj_5XJ8Wf-zgJy16OFo4SglsbFjyKa6eKZGtiQYyGnMzjPP-XyDG2BblsdSnfAQ1Zb7eXpp2Ghm/s1600/Terrain_Richy_058.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsF6_lDeDoQXrL8yP13FoMrcoY2sep8Ra3gFX817itKh_gF0GrQBLhr-rZFifuZZTBFsj_5XJ8Wf-zgJy16OFo4SglsbFjyKa6eKZGtiQYyGnMzjPP-XyDG2BblsdSnfAQ1Zb7eXpp2Ghm/s1600/Terrain_Richy_058.jpg" data-original-width="1600" data-original-height="681" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqdGYaFYLHcZVYudCNUE7eAm9wyA5OndeV_yNwBbHSCCgo8YS0zn3NFznwu88RGDjmUHuigTZbXPvGl7gIpvbr8beeZragbVfacv94_7Nn9qxAz2yUCibQu_1-QiYKOWFty7Avwws7ZtNd/s1600/Terrain_Richy_059.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqdGYaFYLHcZVYudCNUE7eAm9wyA5OndeV_yNwBbHSCCgo8YS0zn3NFznwu88RGDjmUHuigTZbXPvGl7gIpvbr8beeZragbVfacv94_7Nn9qxAz2yUCibQu_1-QiYKOWFty7Avwws7ZtNd/s1600/Terrain_Richy_059.jpg" data-original-width="1600" data-original-height="900" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnMzYVI2PmpUj1Ew4gyP6wTU6tUJP9apxcaX4e4fL1GJ23Kuz8h5oK6hdjSiPBCsoo4rmXdtcS8Q7WWblBUBTVE9wKueNhYINGNydPz7RMoPrME3aTmdmjtbl9qohRkFAB-aXkLcL3__dF/s1600/Terrain_Richy_062.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnMzYVI2PmpUj1Ew4gyP6wTU6tUJP9apxcaX4e4fL1GJ23Kuz8h5oK6hdjSiPBCsoo4rmXdtcS8Q7WWblBUBTVE9wKueNhYINGNydPz7RMoPrME3aTmdmjtbl9qohRkFAB-aXkLcL3__dF/s1600/Terrain_Richy_062.jpg" data-original-width="1600" data-original-height="681" /></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3136971158729714180.post-52291764221337861752019-11-08T13:20:00.001+07:002019-11-08T13:20:54.558+07:00Here is how Houdini 18 will be <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHiIHo0KQFIlWvbU1JD-fz75E1iTHYaweFiv-KFTJ0gq-toTDzp8X0BMKuBaCflAi7EjQvdoQl1kYUJEE_7iaCdw73vOsO30dHtSbPyaqeKfnba6SM50LAxkQHrutF_r_9hIHVspc6s3ZD/s1600/Houdini18.png" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHiIHo0KQFIlWvbU1JD-fz75E1iTHYaweFiv-KFTJ0gq-toTDzp8X0BMKuBaCflAi7EjQvdoQl1kYUJEE_7iaCdw73vOsO30dHtSbPyaqeKfnba6SM50LAxkQHrutF_r_9hIHVspc6s3ZD/s1600/Houdini18.png" data-original-width="1600" data-original-height="600" /></a><br />
SideFX has launched the event to announce Houdini 18 - the latest release of their VFX Node base software. As the <a href="https://www.youtube.com/watch?v=CQXdzrdafVE">sneakpeek video </a>, The Houdini 18 has many features like Solaris – the USD-native layout, lookdev and lighting platform. Plus learn about the other new Houdini features and enhancements in Vellum, fluids, pyro, destruction, modelling and more. So in the launching event the SideFX team will show you the in deep look about these feature. Check the video below:<br />
<!-- adsense --> <br />
<iframe width="760" height="440" src="https://www.youtube.com/embed/Aql6SIOIyXs" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br />
[post_ads_2]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3136971158729714180.post-80117613067151408982019-11-07T22:25:00.000+07:002019-11-07T22:25:16.670+07:00ftrack acquires Cospective, developer of the Academy Award-winning cineSync <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7LdSA0vgLxmOFU47-5yldAhyphenhyphenL5OX3FGiDj00LJLH10biXBCKh-hwlWYe6Akktet8fPgF7DFJeESyohtlB63tkx_QizsQyGJjvsqQX0f34vuMgFs23vcoazRse2RQmGMZEEfaiU0GVYhCs/s1600/Joining+forces+1.png" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7LdSA0vgLxmOFU47-5yldAhyphenhyphenL5OX3FGiDj00LJLH10biXBCKh-hwlWYe6Akktet8fPgF7DFJeESyohtlB63tkx_QizsQyGJjvsqQX0f34vuMgFs23vcoazRse2RQmGMZEEfaiU0GVYhCs/s1600/Joining+forces+1.png" data-original-width="1201" data-original-height="675" /></a><br />
ftrack, creator of the production tracking and media review platform for creatives, today announces the acquisition of Cospective, creator of the Academy Award and Emmy-winning synchronized remote review tool cineSync.<br />
<br />
ftrack and Cospective have enjoyed a close working relationship since 2015, and have already developed a deep integration that links ftrack with cineSync. This acquisition enables Cospective and ftrack to work even more closely in the pursuit of better, faster, and simpler workflows. Together, the companies will bring new innovations to market, strengthen the review capabilities of the ftrack ecosystem, and capitalize on the industry-leading technology that Cospective has built over the past 14 years.<br />
<br />
Fredrik Limsäter, CEO at ftrack, comments: "We respect Cospective not only as a creator of highly regarded products but also as a group of collaborators and individuals. We have worked with Cospective and their review solution cineSync for many years and have come to esteem the team’s professionalism and creativity. We’re excited to welcome such accomplished media experts to the global ftrack organization. Cospective shares ftrack’s aspirations in creating better workflows for creatives; together, we can complement one another’s work and build even better, more efficient products for the industry.”<br />
<br />
<br />
Watch cineSync showreel<br />
<div style="padding:56.25% 0 0 0;position:relative;"><iframe src="https://player.vimeo.com/video/371358045?color=935BA2&title=0&byline=0&portrait=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" frameborder="0" allow="autoplay; fullscreen" allowfullscreen></iframe></div><script src="https://player.vimeo.com/api/player.js"></script><br />
<br />
<br />
Rory McGregor, CEO at Cospective, comments: "Having collaborated with ftrack over many years, we know the company values our products, our customers, and the way we work. ftrack is committed to cineSync's continued growth and to offering the same service that our customers have come to expect. ftrack also presents new opportunities to add features, to grow the Adelaide team, and to develop review solutions for modern workflows. We're proud to be a part of ftrack, and we're excited to work on great things together."<br />
<br />
Cospective will remain based in Adelaide, Australia and will continue to develop and support cineSync and Frankie, including maintenance of integrations with third-party software vendors. <br />
<!-- adsense --> <br />
In the short term, this acquisition will enable Cospective to offer around-the-clock, 24-hour product support via the global ftrack organization. In the longer-term, the acquisition will supply Cospective with additional resources to further develop features and workflow solutions with a clear focus on media review and approval. For ftrack, access to the cineSync team will drive new technologies and innovation, strengthen the review capabilities within the ftrack product suite, and further develop the broader ftrack ecosystem. <br />
<br />
Cospective has made a name for itself as an indispensable synchronized media review solution for film studios, TV networks and VFX houses, including Disney, Warner Bros, Paramount, 20th Century Fox, Sony, Technicolor, Deluxe, Netflix, HBO, MPC, Framestore, ILM, and Double Negative. cineSync’s media review platform has proven pivotal on notable projects such as Game of Thrones, Inception, Interstellar, Ready Player One, The Walking Dead, Justice League, Jurassic World, the Fast and the Furious films, multiple Bond films, and every entry into the Marvel Cinematic Universe.<br />
[post_ads_2]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3136971158729714180.post-79387616007743616642019-11-06T00:05:00.000+07:002019-11-06T00:24:06.357+07:00Mari 4.6 is now available <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVtjJazYAKoOPHCetubdmADqG41z4sommE6RliSc9fRyeMYlRXAkt2BFbZNQCAysyHNh2Q_Yw9drlAwLig8u9yU8rxmJS-qg1duIgMIFMlP2fRZSu6V-X0T-Ov_vKmbkWuZp5QscahvXaM/s1600/Mari_4.6_sefki-ibrahim-xyz-iris-shot.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVtjJazYAKoOPHCetubdmADqG41z4sommE6RliSc9fRyeMYlRXAkt2BFbZNQCAysyHNh2Q_Yw9drlAwLig8u9yU8rxmJS-qg1duIgMIFMlP2fRZSu6V-X0T-Ov_vKmbkWuZp5QscahvXaM/s1600/Mari_4.6_sefki-ibrahim-xyz-iris-shot.jpg" data-original-width="1600" data-original-height="900" /></a>Foundry, the leading developer of software for the media and entertainment and digital design industries, today releases the latest of its cutting-edge 3D painting and texturing tool - Mari 4.6. <br />
<br />
Mari 4.6 brings exciting improvements to the recently-introduced Material System. The new Geo-Channels feature allows artists to seamlessly integrate object-aware properties into material presets for edgeware and other effects. The new release offers an extensive range of procedural patterns and filters that bolster artists arsenal for procedural workflows and introduces vendor shader collaborations with 3Delight and VRay. <br />
<br />
<h3>What’s new in Mari 4.6:</h3><iframe width="760" height="440" src="https://www.youtube.com/embed/6II7fvdnh8A" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br />
-<b>Geo-Channels</b> seamlessly integrate into the Materials system, allowing for material looks to be driven by mesh maps, like Curvature and AmbientOcclusion.<br />
<br />
-<b>Node graph updates</b> - Mari 4.6 offers a cleaner, more efficient navigation in the node graph. Working with nodes is easier with three varying states of collapse for all nodes which are now matched in design with the Katana Network Material UI. Including a mode for material nodes that represents all parallel streams as one connection. Finally, improved node auto-placement creates artist friendly layouts of complex node networks.<br />
<br />
As a result of customer feedback over the years, <b>new procedural nodes</b> have been added to enable more complex non-destructive texturing: Projection nodes, Curvature, new Fractals, new Patterns, improved and new Math Operators and a variety of new Utility nodes.<br />
<br />
-<b>Vendor shaders </b>- Collaborating with teams at 3Delight and VRay, artists can get closer approximations for their renders in Mari due to matching GLSL shaders, streamlining your look development across Mari and Katana. Having already introduced the Arnold shader from the Autodesk team in Mari 4.5, we are continuing third-party collaborations with a Mari version of the Renderman PxrSurface shader in their latest release.<br />
<br />
-<b>Material System Additional Improvements:</b> Mari 4.6 offers customizable Material file icons and extensions to the Material Ingestion Tool, allowing for more artist customization and extensive automation of the Material creation process.<br />
<!-- adsense --><br />
Rory Woodford, Product Manager, Mari, comments:<br />
<br />
“With our latest Mari release, we’ve been working on improving our recently-introduced Materials System, making sure it’s the best fit for artists and the pipelines they use. They can expect a quicker, slicker experience, thanks to improvements to the Node Graph, plus a whole variety of new procedural patterns and filters. We will continue to make Mari the one 3D painting package that strives to answer the needs of complexity and volume, procedural and handcrafted responding to the ever evolving needs of VFX and Animation.”<br />
<br />
Peter Aversten, Cross Show Lead Texture Artist at MPC and Founder, Meshmen Studios, comments:<br />
<br />
"I'm really happy to see the introduction of Geo-channels that will take my Mari procedural materials to the next level. All the new fancy nodes and improvements to the node graph are the icing on the cake!" <br />
<br />
The full list of features for Mari 4.6<a href="https://www.foundry.com/products/mari/new-releases"> can be found here</a>. Mari 4.6 is available for purchase on <a href="https://www.foundry.com/products/mari#editions">Foundry’s website </a>and via accredited resellers. Join <a href="https://www.facebook.com/groups/MariArtist">Mari Artist group on Facebook</a><br />
[post_ads_2]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3136971158729714180.post-61436124953916120462019-11-04T20:25:00.000+07:002019-11-04T20:25:33.491+07:00Lumion 10 is now available Act-3D has announced that version 10.0 of Lumion and Lumion Pro has been released. New features for the latest update of this Realtime Animation tool are High-quality preview<br />
<br />
<h3>New features in Lumion 10</h3>- High-quality preview<br />
- Fine-detail Nature (Pro only)<br />
- Displacement mapping<br />
- Real Skies at night (Pro only)<br />
- Aurora Borealis (Pro only)<br />
- Photo Matching (Pro only)<br />
- Heightmaps for OSM (Pro only)<br />
- AI Artist Styles<br />
- New objects<br />
- New materials<br />
- Paint placement<br />
- Custom materials library<br />
- Landscape cutter<br />
- Ease in/out control for movie clips<br />
- Improved object library<br />
- Improved DWG import<br />
<iframe width="760" height="440" src="https://www.youtube.com/embed/ERjuvg_Yamw" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br />
Check all Release <a href="https://support.lumion.com/hc/en-us/articles/360036729534">notes here!</a><br />
<!-- adsense --> <br />
And you can check the Welcome to Lumion 10 - Overview Tutorial<br />
<iframe width="760" height="440" src="https://www.youtube.com/embed/RpZzxzGEl6c" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br />
<br />
<h3>Avaialble</h3>Lumion with Limited rendering effects and 1/3 of content library costs € 1499. While Lumion PRO has Full content library, all rendering effects will cost you € 2999. Get <a href="https://lumion.com/buy.html">Lumion here!</a><br />
[post_ads_2]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3136971158729714180.post-46603032554944568412019-11-02T16:28:00.002+07:002019-11-02T16:34:47.640+07:00What's new in Houdini 18 <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNLhScsNUCQQGXmdWjxYS2W2ryRiq8lfIzPZSAQEG5uqe3CBAbCjM1NvFnRAPZr3zfRXnRD1TR1CeMOUp9zOSQ0k95CAmIjjN_NyEerznoJDw3Oj-2u9UyvRhyphenhyphennFb4x2G55od2uBNdm2HE/s1600/Houdini+18+CGRecord.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNLhScsNUCQQGXmdWjxYS2W2ryRiq8lfIzPZSAQEG5uqe3CBAbCjM1NvFnRAPZr3zfRXnRD1TR1CeMOUp9zOSQ0k95CAmIjjN_NyEerznoJDw3Oj-2u9UyvRhyphenhyphennFb4x2G55od2uBNdm2HE/s1600/Houdini+18+CGRecord.jpg" data-original-width="1600" data-original-height="809" /></a><br />
SideFX has announced that they will unveil Houdini 18 in the <a href="https://www.cgrecord.net/2019/10/sidefx-announced-houdini-18.html">shceduled event in Wednesday</a>, November 6 in Montreal. And it's time to see the sneak Peek video about what are new features of Houdini 18. Check the video below:<br />
<!-- adsense --><br />
<iframe width="760" height="440" src="https://www.youtube.com/embed/CQXdzrdafVE" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br />
In the video we've seen:<br />
- Heighfield Terrancing SOP 2.0<br />
- Subtance plugin In Houdini<br />
- New Group SOPs <br />
- New Sliding Option<br />
- Bevel SOP 3.0<br />
- Bend SOP 2.0<br />
- Vellum Velocity Blending<br />
- Vellum Resolution Independence<br />
- Houdini 18 FEM Neo-Hookean Material Mode<br />
- Adaptive FILP Pressure projection<br />
- Sparse pyro Solver<br />
- Improved handling of fracture line<br />
- Solaris: Physically-based USD layout<br />
.... and more<br />
And don't miss the Houdini 18 launch event on Wed, November 6, 2019. 6:00 PM – 10:30 PM EST in Montreal Science Centre, 2 Rue de la Commune Ouest, Montréal, QC H2Y 4B2,Canada<br />
<br />
[post_ads_2]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3136971158729714180.post-8921795601648456982019-10-29T22:42:00.000+07:002019-10-29T23:49:39.539+07:00Digital Domain: What is the different between Thanos in Avenger: EndGame & Thanos in Avengers: Infinity War? <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihCU0MVUdTvSFLk7mTZAsHBTFw2XOrcgKaofNVloSN2_VD79iuGpx4jXJmBARPOtWvjv6BqbEqpSgtMkjt9ZIqX4ioNlL1gmi4SLGs96dxHt_CDmh5E6vKT4CDIovnHAIV6vSsP0eT_NWT/s1600/AvengersEndgame_PublicityStill_21_2K.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihCU0MVUdTvSFLk7mTZAsHBTFw2XOrcgKaofNVloSN2_VD79iuGpx4jXJmBARPOtWvjv6BqbEqpSgtMkjt9ZIqX4ioNlL1gmi4SLGs96dxHt_CDmh5E6vKT4CDIovnHAIV6vSsP0eT_NWT/s1600/AvengersEndgame_PublicityStill_21_2K.jpg" data-original-width="1600" data-original-height="843" /></a> <br />
<br />
<a href="https://www.digitaldomain.com">Digital Domain</a> has created the CGI of Thanos, Nebula and many Visual Effects for AVENGERS: ENDGAME and today CG Record has privilled to talk with DD's <a href="https://www.imdb.com/name/nm1131786/">Scott Edelstein</a> who has more than 20 years of experience in visual effects to talk about how their team work on the film, Also we have Darren Hendler, Director of DD's Digital Human Group in this stunning exclusive interview. <br />
<br />
<b>Could you share with us the role of Digital Domain in Avengers: Endgame? </b><br />
<br />
<b>Scott Edelstein:</b> Of course! Endgame was actually a collaboration with 11 VFX vendors, including Digital Domain, so the Marvel Visual Effects Supervisor, Dan Deleeuw, had a total of 2496 VFX shots in the film. Of those shots, Digital Domain completed about 336, which were mostly of Thanos. We also created some amazing environments, like Titan 2, Nebulas interrogation cell, the prison and an alien planet being invaded by Thanos’ army. <br />
<br />
As big as this movie was for Marvel, it was also a huge internal undertaking at Digital Domain. We rendered a total of 24,968,539 frames, used 66,599,777 core hours, and that consumed 967TB on disk. <br />
<iframe width="690" height="388" src="https://www.youtube.com/embed/U64UeedcFDs" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br />
<b>Which office/department handled most of the work on this project? How did they enjoy the show :)?</b><br />
<br />
<b>Scott Edelstein:</b> The split on “Avengers: Endgame” was about 70/30, with our Vancouver studio handling the bulk. Thanos was a very complicated character to create, so bringing him to life took senior artists from every department working together. We had compositing supervisors, Eric Kasanowski in Vancouver and Michael Melchiorre in LA, working very closely with CG Supervisors, Martin Johansson and Mark Rodahl, to ensure everything went smoothly. There was also a large team rollover from “Avengers: Infinity War” that was excited to help finish telling this story. We started with an experienced crew that was ready to go! <br />
<br />
<b>What is the most interesting in the process of creating CGI characters featuring in the movie? Had DD used machine-learning & deep-learning techniques to create the CGI characters?</b><br />
<br />
<b>Scott Edelstein:</b> Ron Miller, the facial modeling supervisor at Digital Domain, says that to him, the most interesting thing is trying to accurately interpret an actor’s performance onto something that is not them, or even human, in this case. Everything from the broad strokes to micro expressions needs to be represented on-screen so that the audience sees the actor's performance come through completely. Digital Domain has been developing and refining our digital human technology under the expert leadership of Darren Hendler ever since “The Curious Case of Benjamin Button.” Since then, we have used machine-learning and proprietary tools to combine an actor’s performance with traditional animation techniques. We’ve applied these techniques in a number of characters, like the pixies in Maleficent and the Beast in Beauty and the Beast. <br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0E681XevJmxM2PQ6nVER9KfYiSWvk2U2EUcRkAPvL0tOdHSsoH1opRpMtTSAXhQ0OGc6R4ILmdWsRZkNyrK7qK8ClveAN0OIzjsk6pVA8Jdv7f5bdoVJWITvmmqJS2dqhfNZN-RSGxRAt/s1600/AvengersEndgame_PublicityStill_22_2K.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0E681XevJmxM2PQ6nVER9KfYiSWvk2U2EUcRkAPvL0tOdHSsoH1opRpMtTSAXhQ0OGc6R4ILmdWsRZkNyrK7qK8ClveAN0OIzjsk6pVA8Jdv7f5bdoVJWITvmmqJS2dqhfNZN-RSGxRAt/s1600/AvengersEndgame_PublicityStill_22_2K.jpg" data-original-width="1600" data-original-height="843" /></a><br />
<b>What is different from CGI Thanos in Infinity War and CGI Thanos in Endgame. How did your team enjoy the process of developing this character?</b><br />
<br />
<b>Scott Edelstein:</b> During the little time we had between Infinity War and Endgame, Thanos went through only a few but significant updates. Learning from our experience on Infinity War, we implemented changes to Thanos' textures, lookdev and rig that wouldn't have been possible mid-show. These updates made the process more efficient but also allowed a more detailed performance to come through. In addition, we needed to create a version of Thanos that had been damaged from the gauntlet at the end of Infinity War and then again to destroy the Infinity Stones. We called this his “double snap” damage. To further sell his injuries Facial Rigging Supervisor, Rickey Cloudsdale, worked closely with Animation Supervisor, Phil Cramer, to add new controls that increased the fidelity of the face rig but also added areas of paralysis that would mimic muscle damage.<br />
<br />
In Infinity War, Thanos's look <a href="https://www.chaosgroup.com/blog/digital-domain-on-thanos-the-devil-is-in-the-detail">was developed in V-Ray</a>. How about the Thanos in Endgame?<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9nS-WKROp8w7xKhkL3BWUqz9rWseP5YxK-fSw4QfBGIHFxLFcNanGmYUn0t1q8jHc_1UR88YFtnBQie_EuWKwdPTwXH6eP98yijeI_2Gqv4W5ciCpZtydyGGuftJ6tU6QYkQ3esw0BywO/s1600/AvengersEndgame_PublicityStill_28_2K.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9nS-WKROp8w7xKhkL3BWUqz9rWseP5YxK-fSw4QfBGIHFxLFcNanGmYUn0t1q8jHc_1UR88YFtnBQie_EuWKwdPTwXH6eP98yijeI_2Gqv4W5ciCpZtydyGGuftJ6tU6QYkQ3esw0BywO/s1600/AvengersEndgame_PublicityStill_28_2K.jpg" data-original-width="1600" data-original-height="843" /></a><br />
<b>Scott Edelstein:</b> Thanos was developed in V-Ray for both films, however, there were some updates to the asset between shows that brought an even greater level of realism to the character. Thanos was also developed in Redshift to utilize GPU rendering for our animation team and anim-viz pipeline.<br />
<br />
<b>Could you name some software, plugins that had been used to create CGI characters for this film (Modeling, Shading, Rigging, Rendering, Compositing)?</b><br />
<br />
<b>Scott Edelstein:</b> We use Maya from Autodesk with custom tools, nodes, and scripts for modeling, rigging, animation, look development and lighting. Sculpting was done in Mudbox, also from Autodesk with additional details being added in Z-Brush from Pixologic. Character Effects were built and rigged in Maya but simulated mostly using the Carbon plugin for Houdini from SideFX, while grooms were done using a proprietary Digital Domain tool called Samson. Textures were painted in Mari from The Foundry and Compositing was done in Nuke, which was developed at Digital Domain before being sold to Foundry. All FX were done in Houdini.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOsidR_ofd4wp735lI-6yh-_STY2x6a7XguN5-I7bNnNCErp48J2cLCR0vAa-_b7H1TH-orcIM3-PISzz5p07tf3tP1xCuPLNMr5Mr8hSX7NVt2X2FXZOn26zQkIQJNEiD7QXXoM_zaAEd/s1600/AvengersEndgame_PublicityStill_24_2K.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOsidR_ofd4wp735lI-6yh-_STY2x6a7XguN5-I7bNnNCErp48J2cLCR0vAa-_b7H1TH-orcIM3-PISzz5p07tf3tP1xCuPLNMr5Mr8hSX7NVt2X2FXZOn26zQkIQJNEiD7QXXoM_zaAEd/s1600/AvengersEndgame_PublicityStill_24_2K.jpg" data-original-width="1600" data-original-height="843" /></a><br />
<b>Do you mind sharing with us about DD in-house tools like: Atomic, Masquerade which had been used for the movie? Any other in-house tools that also featured in the process? </b><br />
<b><br />
Darren Hendler:</b> At Digital Domain, we have a whole ecosystem of custom tools and software applications that help us create the work we do. For all of our hair grooming, we have an inhouse hair system called Samson, which allows us to craft each and every character and digital humans hairstyle hair by hair. We even use Samson to create the fine peach fuzz on an actor's face and, in many cases, the fine fuzz that sits on their wardrobes. <br />
<br />
Our facial pipeline consists of a whole suite of custom tools and plugins. The backbone of the facial pipeline is Masquerade and Direct Drive. Masquerade is the software that takes the actor's facial markers and translates it into a realistic 3D actor face, and Direct Drive is our software suite that transfers the performance from the actors 3D face onto our characters. It is these 2 processes that, together, create Josh Brolin’s animated face and then translates it into a moving 3D Thanos face. This produces a great starting point for our animators to refine further. <br />
<br />
<b>Lastly, we would love to hear more about DD vision of Digital Human and Digital Human project in DD?</b> <br />
<br />
<b>Darren Hendler:</b> At Digital Domain we are constantly working towards creating technologies that will allow us to more easily and quickly translate an actor’s performance to their digital version or to a completely different character they are playing. We are working on newer capture technologies to try and capture even more details from their live performances, so we can create even more <a href="https://www.digitaldomain.com/digital-humans/">realistic digital characters</a>. We are constantly looking at how the face moves, and how we can make it look more realistic, even when a character is animated purely by hand. <br />
<iframe width="1903" height="719" src="https://www.youtube.com/embed/qvnJ_wBiKUI" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br />
We are also pushing much of this technology into real-time, so we can see even faster previews (possibly live on set) of what the final result will look like in real-time while the actor is creating the performance. It is truly amazing what is possible in real-time! We have even been animating pore structures and facial blood flow on a character all in real-time. A lot of this technology is now spilling out to a host of new applications in the Games, AR and technology sectors. We are starting to see a massive demand for all this technology we have developed for films in all these new arenas. <br />
<br />
<b>Thank you for your time !</b><br />
<!-- adsense --> [post_ads_2][full_width]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3136971158729714180.post-37332119976113159702019-10-27T22:43:00.000+07:002019-11-02T16:24:16.272+07:00SideFX Announced Houdini 18<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIRU_Hf9jrXYKUzkKGvLSPIb1bMB0R6QhqihK9E9hEGJAl7LykExxqsDlXQHcNqjUVmHzfVKTUd5kc5S-9hpYFn4-NO51jZSHQbEy5jBM6q0pRwPcX3Dt7eoRSVNB3jkFct1J0GUXojTXj/s1600/Houdini+18.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIRU_Hf9jrXYKUzkKGvLSPIb1bMB0R6QhqihK9E9hEGJAl7LykExxqsDlXQHcNqjUVmHzfVKTUd5kc5S-9hpYFn4-NO51jZSHQbEy5jBM6q0pRwPcX3Dt7eoRSVNB3jkFct1J0GUXojTXj/s1600/Houdini+18.jpg" data-original-width="1600" data-original-height="832" /></a>SideFX has announced that they will unveil Houdini 18 in the <a href="https://www.eventbrite.com/e/houdini-18-launch-event-tickets-76433323127" rel="NoFollow">shceduled event</a> in Wednesday, November 6 in Montreal. They will launch a new Houdini feature set – called Solaris – designed for layout, lookdev and lighting - all natively in USD, plus learn about the other new Houdini features and enhancements in Vellum, fluids, pyro, destruction, modelling and more.<br />
<iframe width="760" height="440" src="https://www.youtube.com/embed/CQXdzrdafVE" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br />
watch <br />
<div style="padding:56.25% 0 0 0;position:relative;"><iframe src="https://player.vimeo.com/video/351433429?title=0&byline=0&portrait=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" frameborder="0" allow="autoplay; fullscreen" allowfullscreen></iframe></div><script src="https://player.vimeo.com/api/player.js"></script><br />
<br />
The time of the event is <b>Wed, November 6, 2019. 6:00 PM – 10:30 PM EST</b> in <b>Montreal Science Centre, 2 Rue de la Commune Ouest, Montréal, QC H2Y 4B2,Canada </b> <br />
<br />
In attendance will be your peers from top film, TV, advertising and games development studios - plus some of the SideFX crew. It’s a key opportunity for you to learn about upcoming technology, and meet with fellow Houdini users and tech managers.<br />
<br />
<!-- adsense --> <br />
SideFX also announced that they will be doing a broadcast of the event the next day, Nov 7. More detail<a href="https://www.eventbrite.com/e/houdini-18-launch-event-tickets-76433323127" rel="NoFollow"> can be found here!</a> <br />
[post_ads_2]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3136971158729714180.post-89557414771106377122019-10-27T22:14:00.000+07:002019-10-27T22:15:02.561+07:00Chaos Group announced "Undiscovered” Student Rendering Challenge with tickets to the Total Chaos 2020 conference as prize <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZQQEgWZXLaJBt9-zZMOmF7CQdw0x_YDDAYd-j4jOnd3pERsk8_o3Z0TijNHwCoPiFKJmmWq9VSE6njgOPTHpfvamJUxWpao52g8X3KPj-By8kE_WMJ30Ph_WtM8BvnCmgn0KbR2sHnKUD/s1600/isaac-zuren-sigma-view-education-v-ray-for-maya-06.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZQQEgWZXLaJBt9-zZMOmF7CQdw0x_YDDAYd-j4jOnd3pERsk8_o3Z0TijNHwCoPiFKJmmWq9VSE6njgOPTHpfvamJUxWpao52g8X3KPj-By8kE_WMJ30Ph_WtM8BvnCmgn0KbR2sHnKUD/s1600/isaac-zuren-sigma-view-education-v-ray-for-maya-06.jpg" data-original-width="1600" data-original-height="908" /></a><br />
Chaos Group announced "Undiscovered” Student Rendering Challenge with tickets to the Total Chaos 2020 conference as prize. You can download <a href="https://www.chaosgroup.com/download-free-trials">Free trial of V-Ray</a> or <a href="https://corona-renderer.com/download">Free Corona Render trial</a> to create the artwork, <a href="https://www.chaosgroup.com/undiscovered">submit your entry</a> to win V-Ray or Corona license, Chaos Cloud Credits, tickets to the Total Chaos 2020 conference and much more<br />
<br />
Chaos group will accept entries from October 1 to December 1, 2019. We'll announce the finalists and open the public vote on December 5, 2019. The winners will be announced on December 12, 2019. <br />
More detail and <a href="https://www.chaosgroup.com/undiscovered">submit here!</a>. For general questions about this challenge, simply email education@chaosgroup.com. <br />
<!-- adsense --> <br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVfcCzEGenQRAwsqhvxrtT90uEjK4Q7UyGGyxB6KPa9ZBhklYoO6CxH7K9eLFCtt7XM81huQVlLWnjTnOkTeD_MbnlbI9QXvif8zNZaV4L0-Shha7fWlfFM7sElV25a1j2gkC1hT-kC2Mn/s1600/john-jak-pagan-capsule-art-v-ray-for-maya-01.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVfcCzEGenQRAwsqhvxrtT90uEjK4Q7UyGGyxB6KPa9ZBhklYoO6CxH7K9eLFCtt7XM81huQVlLWnjTnOkTeD_MbnlbI9QXvif8zNZaV4L0-Shha7fWlfFM7sElV25a1j2gkC1hT-kC2Mn/s1600/john-jak-pagan-capsule-art-v-ray-for-maya-01.jpg" data-original-width="1600" data-original-height="908" /></a> [post_ads_2]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3136971158729714180.post-11595798001265764632019-10-25T18:10:00.002+07:002019-10-25T18:10:49.530+07:00Rising Sun Pictures created Visual Effects for X-MEN – DARK PHOENIX <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-4Kqcv0xel3cMoKFayoBoj_m2ygckyIubdsPDWB5ihVOeJuiRAggj1wkstEMQAbvG02Lq265bbSKxmmuiM640tTxrYHt_newhf3h7gz0Qtvg91d6zDRztiudE-1aZHZz32RIqp9G_hAOO/s1600/2019-10-25_17-57-08.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-4Kqcv0xel3cMoKFayoBoj_m2ygckyIubdsPDWB5ihVOeJuiRAggj1wkstEMQAbvG02Lq265bbSKxmmuiM640tTxrYHt_newhf3h7gz0Qtvg91d6zDRztiudE-1aZHZz32RIqp9G_hAOO/s1600/2019-10-25_17-57-08.jpg" data-original-width="1600" data-original-height="781" /></a> <br />
Australian based VFX studio Rising Sun Pictures has delivers 150 shots for 20th Century Fox’s latest X-Men blockbuster, including a harrowing Cerebro sequence that uncovers Jean Grey’s troubled past.<br />
<br />
Continuing its association with 20th Century Fox’ acclaimed X-Men franchise, Rising Sun Pictures contributed nearly 150 visual effects shots to the latest film in the superhero saga, Dark Phoenix. RSP’s work on the film spanned nearly 18 months and involved close collaboration with Director Simon Kinberg, VFX Supervisor Phil Brennan and VFX Producer Kurt Williams.<br />
<br />
The focal point of the studio’s work was an extended sequence where Professor Charles Xavier (James McAvoy), Raven (Jennifer Lawrence) and Beast (Nicholas Hoult) use the telepathic machine Cerebro to journey into the mind of Jean Grey (Sophie Turner), whose struggle with the mysterious entity Dark Phoenix is the catalyst of the plot. Memories from Jean Grey’s troubled past form out of the inky mist of her neural activity as the three mutants search for clues to help save her.<br />
<iframe width="760" height="440" src="https://www.youtube.com/embed/Lb4g45jwxeY" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br />
A central task for RSP was to develop a digital environment to represent Jean Grey’s thought process and the physical workings of her brain. VFX Supervisor Dennis Jones, who led the studio’s team, says they drew part of their inspiration from real-world brain science. “I found a fantastic TED Talk about scientists who slice off tiny bits of brain to determine how neuron strands connect its various parts,” he explains.<br />
“We used neurons like those, and their associated electrical activity, to define the space and to act as an anchor point to let the audience know we are inside the anatomy of the brain.”<br />
<br />
Developing a way to represent memories in a convincing and artistic manner proved a bigger challenge. Working collaboratively, the team hit on the idea of using a viscous liquid, resembling a cloud tank or ink spreading in a pool of water, to represent thoughts. The inky substance moves in wispy, undulating waves in depicting Jean Grey’s memories. “We wanted to avoid anything that looked like a hologram or objects suspended in space,” recalls Jones. “The inky material is soft, organic, evolving. It’s smoky and fluid, appears in varying shapes and colors, and coalesces naturally into specific visions.”<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCIMtmh-6oIMp4ISrCHsHyDuLrlDlWKgIKwcdFcIGyzubv6wwScMzVypA_d0x0rUiEzmzdMeIqZon_w7ECf6l1bdxhh21WPmJTgJWLh1bRB3CTh3i3JAN-sxw56jxgiA0dnJB6Yw_h8rQQ/s1600/teenspirit_jl-3173_comp_comp_v089.1037.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCIMtmh-6oIMp4ISrCHsHyDuLrlDlWKgIKwcdFcIGyzubv6wwScMzVypA_d0x0rUiEzmzdMeIqZon_w7ECf6l1bdxhh21WPmJTgJWLh1bRB3CTh3i3JAN-sxw56jxgiA0dnJB6Yw_h8rQQ/s1600/teenspirit_jl-3173_comp_comp_v089.1037.jpg" data-original-width="1600" data-original-height="639" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEincmxXTqxwUiKUAVhs0mVfKZ10MG-RMQuKcgZoP-x9FrY0UuP07knDYgn2847KXN6OjE6NLP7UYVD8lf6oJDr64C2-mtdHPC4opeNE9GeN9FVAFFM51nyV88GDBKopzD1o1i7B_PFE6o_-/s1600/teenspirit_jl-3173_raw-cc_gs-01-hero_v001.1037.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEincmxXTqxwUiKUAVhs0mVfKZ10MG-RMQuKcgZoP-x9FrY0UuP07knDYgn2847KXN6OjE6NLP7UYVD8lf6oJDr64C2-mtdHPC4opeNE9GeN9FVAFFM51nyV88GDBKopzD1o1i7B_PFE6o_-/s1600/teenspirit_jl-3173_raw-cc_gs-01-hero_v001.1037.jpg" data-original-width="1600" data-original-height="639" /></a>Jones and a team of artists assisted with the production of the live action portion of the scene, involving the actors and the Cerebro set piece. The timing and movement of the live elements had to be precisely choreographed and coordinated with the planned animation. To facilitate that, the effects team placed light panels on the set and projected images simulating Jean Grey’s memories onto them so that the actors could react to them naturally.<br />
<br />
“We shot the sequence on a stage that was essentially a green cube,” notes Jones. “That allowed us to point cameras in any direction. We did multiple passes with a crane circling around the actors and capturing their performances from a variety of perspectives. We shot the heart of the sequence, start to finish, and got the coverage we needed to tell the story in the most exciting way possible.”<br />
<br />
Back at RSP’s studio in Adelaide, artists built the brain environment and populated it with Jean Grey’s memories. Normally when creating a digital environment, the studio’s effects artists take the lead in defining the space and filling it with set pieces and props. However, in this instance—as the brain space was amorphous and filled with pulsing neurons that could appear anywhere—the studio’s layout artists took the first step by creating a tool that allowed effects artists to generate the basic structure for neurons on-the-fly.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcgdhGMUu-NZ5hwmTCwsnoZAouKDBx1qJ25exqzVcEWhhp2XJokHYclTtBcmjQtHqU-cFEg-Q8vWLXjdReY96K4QS9MLYI_O4GaxsPldfk9zCnpcSf9mKIMaNTbLezDQMf6CoaIxlmxfqT/s1600/teenspirit_jl-2400_comp_comp_v070.1358.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcgdhGMUu-NZ5hwmTCwsnoZAouKDBx1qJ25exqzVcEWhhp2XJokHYclTtBcmjQtHqU-cFEg-Q8vWLXjdReY96K4QS9MLYI_O4GaxsPldfk9zCnpcSf9mKIMaNTbLezDQMf6CoaIxlmxfqT/s1600/teenspirit_jl-2400_comp_comp_v070.1358.jpg" data-original-width="1600" data-original-height="639" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtftzJSyrzjJOFYLm28HEuz2Dmfp5wTRjnh5TboIdYsVbfH4tt1EDz9Ka3weY_slNZgAxo7v0LJPjZlhg-aokmMW-UBYPmS9-EMgglWx7sVAMxuAVB6AlmsCKelLZyGFPiSRcoXgTaH5Iz/s1600/teenspirit_jl-2400_raw-cc_gs_v002.1358.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtftzJSyrzjJOFYLm28HEuz2Dmfp5wTRjnh5TboIdYsVbfH4tt1EDz9Ka3weY_slNZgAxo7v0LJPjZlhg-aokmMW-UBYPmS9-EMgglWx7sVAMxuAVB6AlmsCKelLZyGFPiSRcoXgTaH5Iz/s1600/teenspirit_jl-2400_raw-cc_gs_v002.1358.jpg" data-original-width="1600" data-original-height="639" /></a>“Artists could simply point and click to create neurons,” explains Layout Lead Mark Honer. “They could connect neurons, move their tendrils and position them in any way that they liked. They could work with individual neurons procedurally and get right down to the nitty gritty, adjusting their position relative to the camera. Once they had a neuron where they wanted it, they added effects and texture to make it look awesome.”<br />
<br />
Along with the neurons, the effects team filled the brain space with a 3-dimensional inky fluid. Jean Grey’s memories were created by mapping photographic images (which were also 3D) onto parts of the ink as it fused into apparently solid forms. “The production footage included scenes like young Jean with her mother at a birthday party and splashing through puddles,” says Effects Lead Sam Hancock. “We produced simulations of those scenes that make them look less photographic and more abstract and airier.”<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJo0nnh_JkZsfMjZJW3FHVRZOS2_60einQDlta93Z1f1wp4Cnp4JkVxjSRiiNzgkkctfGAT42_mg9HpNXrP2IdLfamjnxqJA0iJcAA872I7Jfm0JhaiN20fkKyWrZRNwR729Jewp3DfiGN/s1600/teenspirit_jl-3073_comp_comp_v056.1217.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJo0nnh_JkZsfMjZJW3FHVRZOS2_60einQDlta93Z1f1wp4Cnp4JkVxjSRiiNzgkkctfGAT42_mg9HpNXrP2IdLfamjnxqJA0iJcAA872I7Jfm0JhaiN20fkKyWrZRNwR729Jewp3DfiGN/s1600/teenspirit_jl-3073_comp_comp_v056.1217.jpg" data-original-width="1600" data-original-height="639" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWg2pLksgL32QUSGHjVGNxOseGbNb0_6rgt9YugmVzGliaHNHDJirkTAy2jML1T-T0CXByQ3dXOjMUHg_m-E9486ETi7bHVMZeveu4rOY_2tOlZM_09IHSLMMwK7e1E1KOYVpBOIIlNT3X/s1600/teenspirit_jl-3073_raw-cc_gs-01-hero_v001.1217.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWg2pLksgL32QUSGHjVGNxOseGbNb0_6rgt9YugmVzGliaHNHDJirkTAy2jML1T-T0CXByQ3dXOjMUHg_m-E9486ETi7bHVMZeveu4rOY_2tOlZM_09IHSLMMwK7e1E1KOYVpBOIIlNT3X/s1600/teenspirit_jl-3073_raw-cc_gs-01-hero_v001.1217.jpg" data-original-width="1600" data-original-height="639" /></a><br />
The trick was to make the 3D memory images appear to be composed from the inky thought-substance, rather than as simple projections. “It took finesse to achieve the proper balance so that the memories look clear, but not like images on a screen,” Hancock explains.<br />
<br />
2D Lead Andrew Savchenko says that the team produced many iterations of the inky substance and the memory images to achieve Simon Kinberg’s unique creative vision. “Our task was to create visuals that hadn’t been seen before,” he explains, “and yet, they had to seem familiar at the same time. We had to achieve something that was by its nature contradictory. It had to look both real and not real.”<br />
<br />
Lighting inside the brain was also unusual and difficult to execute. Most of the light derived from the neurons, which pulsed in irregular beats, reflecting Jean Grey’s growing mental torment. This neural light coursed through the scene in all directions and each beam had to coordinate with the movement of the camera and Cerebro. “There were hundreds of moving lights,” notes Lighting Lead Arthur Moody, “and we needed to control the intensity of each one. When they were close to the camera, the lights needed to appear brighter. When they moved off, they needed to be dialed down.”<br />
<br />
“Each time a neuron fired a light, the beam traveled along a path ‘seeking out’ another neuron,” Moody adds. “We had the option of choosing the shortest path, or one that was longer and more visually interesting. Neutrons were firing pretty much all over the place. For the lighting team, it was invigorating to work on a sequence that demanded so much creativity.”<br />
<br />
RSP’s work on Dark Phoenix also included digital set extensions for the X-Mansion. (Ironically, for 2016’s X-Men: Apocalypse, the studio played a role in the mansion’s destruction.) The effects and compositing departments also assisted with numerous “aging” effects for flashback scenes where characters appear as their younger selves. They also created wind, smoke and other atmospheric effects for a fight sequence on a train involving Storm.<br />
<!-- adsense --> <br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjGILPy6pOL9vXLjyLTGqotJ_ebopeCK7V2GaFX3Ac_ghzwOJsCfT6792DAF3-sQiebAwmERwZGhyBWlg5GCv5jHDXRbfnodBifsJ3k18ju9miZcvd2bkhRVMffkrACnRMyb2zcQSA00WY/s1600/teenspirit_ep-1000_comp_comp_v075.1169.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjGILPy6pOL9vXLjyLTGqotJ_ebopeCK7V2GaFX3Ac_ghzwOJsCfT6792DAF3-sQiebAwmERwZGhyBWlg5GCv5jHDXRbfnodBifsJ3k18ju9miZcvd2bkhRVMffkrACnRMyb2zcQSA00WY/s1600/teenspirit_ep-1000_comp_comp_v075.1169.jpg" data-original-width="1600" data-original-height="659" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXfuRSksbA12Ro9D1ixGqPbYY0T8dAzsF8LVeLLGQjepSVwrWT955nhGbzxpPEVk5cYVhKj8lEQEFWLoEeb4Z-Fm6qTAHsRUqnvE6OhZvYhT7M6NSdT95CTfo6aEFR_TjKvOu1HUpKnkSz/s1600/teenspirit_ep-1000_raw-cc_bs-01-hero_v001.1169.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXfuRSksbA12Ro9D1ixGqPbYY0T8dAzsF8LVeLLGQjepSVwrWT955nhGbzxpPEVk5cYVhKj8lEQEFWLoEeb4Z-Fm6qTAHsRUqnvE6OhZvYhT7M6NSdT95CTfo6aEFR_TjKvOu1HUpKnkSz/s1600/teenspirit_ep-1000_raw-cc_bs-01-hero_v001.1169.jpg" data-original-width="1600" data-original-height="639" /></a><br />
The sheer number and complexity of the shots, along with the length production, demanded close and detailed coordination between RSP and the production team from 20th Century Fox. “There were many iterations of shots going back and forth, especially for the Cerebro sequence,” recalls VFX Producer Corinne Teng. “Fortunately, the studio is very well organised, and we have a very strong pipeline on our end, so it went smoothly. Creatively, our team did a great job. Everyone worked hard and it paid off. The visuals are stunning.”<br />
<br />
Jones similarly expressed satisfaction with the performance of the team in what he termed “another brilliant collaboration with Fox.” “Most of our leads are longstanding members of the RSP team and veterans of previous X-Men movies,” he says. “We love working on films like this that require unique effects and are open to creative interpretation. We especially look forward to projects under the Fox banner because they like to push things. We were lucky to be involved in Dark Phoenix. Our team gave its all, and it shows.”<br />
<br />
[post_ads_2]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3136971158729714180.post-48123340785272584892019-10-23T13:25:00.002+07:002019-10-23T13:26:15.340+07:00VIEW Conference 2019 Program Released <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4Mii9J0Ev0mx8dphx_cYoZoQEJLNOOkbATasfTXg2ZDxTILWhoMIU4U53MBmQPV1rrIcULNflrcb_tXms6liO9uDNRxEppbutAejcOlLoeX2EmspEHLMIS0VlRFrr90HGn_v1YkSqnqHk/s1600/view-2019-program-released.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4Mii9J0Ev0mx8dphx_cYoZoQEJLNOOkbATasfTXg2ZDxTILWhoMIU4U53MBmQPV1rrIcULNflrcb_tXms6liO9uDNRxEppbutAejcOlLoeX2EmspEHLMIS0VlRFrr90HGn_v1YkSqnqHk/s1600/view-2019-program-released.jpg" data-original-width="1280" data-original-height="720" /></a><br />
<br />
VIEW Conference, Italy’s annual event celebrating VFX, Computer Graphics, Animation, Visual Effects, Games, VR, AR, Mixed Reality and more is proud to confirm the event’s complete line-up -- its biggest ever. Including KEYNOTES, MASTERCLASSES, WORKSHOPS and PANELS, the unique conference hosts many of the industry’s top talents in small sessions, offer inspiring and practical content to artists, animators, game developers, storytellers, content creators, students and other professionals. In addition to traditional sessions, VIEW Conference is proud to continue a new tradition of featuring a special musical performance. This year the event will host a concert conducted by prolific composer Michael Giacchino, who has scored countless hit films including the Oscar-winning score for the 2009 Pixar film Up. <br />
<br />
VIEW conference is also proud to present a ‘Visionary Award’ to Oscar-winning Pixar production designer and filmmaker, Ralph Eggleston. Eggleston will be recognized for his contributions to the industry working on many of Pixar Animation Studios’ biggest films, including the industry’s first computer-animated feature, Toy Story and the studio’s delightful 2001 animated short, For the Birds, for which he won an Oscar. The unique conference will also host an exciting ‘Women in Animation’ lunchtime panel, featuring a host of industry leaders sharing their experiences, moderated by award-winning journalist and author Carolyn Giardina of The Hollywood Reporter and including panelists Maureen Fan, CEO Baobab Studios; Angie Wojack, Director of Career Development, School of Visual Arts NYC; Wieke Schrakamp, Research Manager Health & Behavior, IJsfontein; Janelle Croshaw Ralla, VFX Supervisor, Framestore; and Jill Culton, Writer/Director Dreamworks Animation’s Abominable.<br />
<br />
“I’m thrilled to confirm our biggest and most diverse line-up ever,” says Conference CEO Dr. Maria Elena Gutierrez. “VIEW brings together the world’s best and brightest minds across multiple disciplines, in a uniquely intimate and collaborative place where creatives can incubate and celebrate. One of the special reasons to attend VIEW is that our speakers like to stay for the entire week and attend talks given by the other speakers, so our attendees have many opportunities to interact, and enjoy.”<br />
[post_ads_2]<br />
<h3>A FULL LIST OF SPEAKERS (Listed Alphabetically):</h3><!-- adsense --> <br />
ADAM FIGIELSKI, VFX Supervisor, Pixomondo<br />
Talk-The Fairies of Carnival Row<br />
Talk-Game of Thrones Season 8 visual effects<br />
<br />
ALEX SCHWARTZ, Producer, Addams Family (2019)<br />
KEYNOTE- Conrad Vernon at VIEW 2019 (with Alex Schwartz) <br />
<br />
ALEX WILLIAMS, Head of Animation, Escape Studios<br />
Panel- Starting Your Animation Career: How to Get Noticed and Get Hired <br />
<br />
AMEDEO BERRETTA, Teacher, Pearson College’s Escape Studios<br />
Masterclass- Animate a Sci-Fi bot walk Cycle in Maya!<br />
<br />
<br />
ANGIE WOJAK, Director of Career Development, School of Visual Arts NYC<br />
Panel- Starting Your Animation Career: How to Get Noticed and Get Hired<br />
Panel- Women in Animation (Moderator Carolyn Giardina) <br />
<br />
ANTONY VITILLO, AR/VR Consultant, Blogger<br />
Masterclass- Why Design Thinking is Important for Innovation? (with Simone Favarin)<br />
<br />
<br />
BRAD BIRD, Director/Screenwriter/Animator<br />
Masterclass- The Animator as Actor<br />
KEYNOTE- Setting the Table: The Art of the Movie Opening <br />
<br />
<br />
BRENDAN GREENE, Creator, PUBG<br />
Talk- In Conversation with Jan-Bart Van Beek, Art Director, Guerilla Games<br />
<br />
<br />
CONRAD VERNON, Co-director, Addams Family (2019)<br />
KEYNOTE- Conrad Vernon at VIEW 2019 (with Alex Schwartz) <br />
<br />
CH KIM, CEO & Executive Producer, PUBG<br />
KEYNOTE- PUBG: A Creative by Global Underdogs that Stunned the World<br />
<br />
<br />
DANIEL ZAJFMAN, President, Weizmann Institute of Science<br />
KEYNOTE- What is Why and Why it is important?<br />
<br />
<br />
DANIELE BIGI, VFX Supervisor, ILM<br />
Talk- Art of Aladdin: “Let’s make some magic!”<br />
<br />
<br />
DANNY DIMIAN, VFX Sup, Spider-Man: Into the Spider-Verse<br />
Masterclass- Creating the Spider-Verse: Developing Stylized Looks<br />
Talk- Spider-Man: Into the Spider-Verse – Breaking the Rules of Animation?<br />
<br />
<br />
DAVID DE ROOIJ, Storyboard Artist, Director, Animator<br />
Masterclass- Storyboarding for TV and Feature Animation: What’s the Difference<br />
<br />
<br />
DAVID MISCH, Screenwriter, Teacher<br />
Masterclass- Buster Keaton: Existential Slapstick<br />
Talk- Ha! Aah! The Painful Relationship Between Humor and Horror<br />
<br />
<br />
DEAN DEBLOIS, Director, How to Train Your Dragon: The Hidden World<br />
KEYNOTE- Dean DeBlois at VIEW 2019<br />
<br />
<br />
DEBORAH NADOOLMAN LANDIS, Distinguished Professor, Chair & Founding Director of Copley Center for Costume Design, UCLA<br />
DLYAN SISSON, Marketing Manager, Pixar<br />
Masterclass- Technical Toy Story: The Latest and Greatest in Pixar’s RenderMan<br />
<br />
<br />
DREW SKILLMAN, Creative Director, Tilt Brush, Google<br />
Talk- Understand & Experience Tilt Brush by Google. Oculus Quest Presentation and Interactive Demo (with Patrick Hackett)<br />
<br />
<br />
ELOI CHAMPAGNE, Technical Director, National Film Board of Canada, VR<br />
Masterclass- Creating an Immersive Experience: From Initial Idea to Final Pitch (with Frances Adair McKenzie and Vincent McCurley)<br />
<br />
Talk- How XR (AR, MR, VR) will impact how we create and what we create<br />
<br />
ERIC DARNELL, Chief Creative Director Baobab Studios<br />
KEYNOTE- Interactivity as Narrative in VR Storytelling<br />
<br />
<br />
FABIO VIOLA, Game Designer & Founder, TuoMuseo<br />
Talk- Videogames as an Art Form<br />
<br />
<br />
FRANK GLADSTONE<br />
Talk-I’ve Got No Strings: A Brief History of Animated Dance<br />
<br />
<br />
FLORIAN GELLINGER, VFX Supervisor, RISE FX<br />
Talk-SHAZAM! Fun Around Philadelphia<br />
<br />
<br />
FRANCES ADAIR MCKENZIE, Interdisciplinary Artist & Director, The Orchid & The Bee<br />
Masterclass- Creating an Immersive Experience: From Initial Idea to Final Pitch (with Eloi Champagne and Vincent McCurley)<br />
<br />
GIANNI CUOZZO, Cybersecurity Expert & Founder, Exein SpA<br />
Talk- AI Cyberwarfare and Cyberweapons and Their Impacts on Cyber Ethics<br />
<br />
<br />
GLENN ENTIS, Academy Award Winner, Co-founder PDI<br />
Masterclass- Sandboxes for Creative Development (with Milan Jovovic)<br />
<br />
<br />
GUY WILLIAMS, Weta Digital<br />
Talk- Why Digital Performance? Weta Digital Presents Gemini Man<br />
<br />
HAL HICKEL, Animation Supervisor, ILM<br />
Masterclass- Anatomy of An Animation Supervisor<br />
Talk- Living the Dream: 35 Years of Success, Failure and Lessons Learned in the VFX Industry<br />
<br />
<br />
HEIKO BURKARDSMAIER, VFX Executive Producer, Head of Business/Legal Affairs, Mackevision<br />
Talk- VFX Business and Legal<br />
<br />
HELGE MAUS, 3D/VFX Artist & Trainer, pixeltrain<br />
Masterclass- Houdini FX MotionGraphics<br />
Masterclass- Houdini for Indies<br />
<br />
<br />
HENRY LABOUNTA, Studio Art Director, EA<br />
Talk-Turning up the HEAT in Need for Speed<br />
<br />
<br />
HUGO GUERRA, Director & VFX Supervisor, Director and VFX Supervisor, Founder of Hugo’s Desk<br />
Masterclass- Nuke for Dummies<br />
Masterclass- VFX Editing<br />
<br />
<br />
IAN PALMER, Director, Escape Studios<br />
Talk- Industry-Driven Education: Training the Next Generation of Artists<br />
<br />
<br />
JANELLE CROSHAW RALLA, VFX Supervisor, Framestore<br />
Talk- Vers, Fury and Furry Creatures, the VFX of Captain Marvel<br />
Panel-Women in Animation (Moderator Carolyn Giardina)<br />
<br />
<br />
JACK M. GILSON, Studio Art Director, Rovio<br />
Talk-How to be an Artist Working in Free to Play (F2P)<br />
<br />
JAN BART VAN BEEK, Studio Art Director - Guerilla Games<br />
<br />
JILL CULTON, Writer/Director, Abominable (Dreamworks)<br />
<br />
KEYNOTE- Jill Culton at VIEW 2019<br />
Panel- Women in Animation (Moderator Carolyn Giardina)<br />
<br />
<br />
KAREEM ETTOUNEY, Art Director/Co-Founder, Media Molecule<br />
<br />
Talk-The Timelessness of Dreams<br />
<br />
<br />
JOSH HOLMES, CEO/Co-Founder, Midwinter Entertainment<br />
<br />
Talk- From AAA to Indie, Rediscovering My Creative Soul<br />
<br />
<br />
JURI STANOSSEK, VFX Supervisor - Mackevision<br />
<br />
Talk- How VFX Accelerates Automotive Productions<br />
<br />
<br />
MORITZ SCHWIND, Co-founder, Entagma<br />
<br />
Masterclass- Beg, Borrow & Steal! Shanghaiiing Science Papers for Procedural Design<br />
<br />
<br />
MAUREEN FAN CEO, Co-Founder, Baobab Studios<br />
<br />
KEYNOTE- Creating an Interactive Narrative<br />
<br />
Panel-Women in Animation (Moderator Carolyn Giardina)<br />
<br />
<br />
MICHAEL GIACCHINO, Composer<br />
<br />
KEYNOTE- Michael Gaicchino at VIEW 2019<br />
<br />
Performance-In Concert<br />
<br />
<br />
MICHAEL RALLA, VFX Sup, Framestore - AR Tools<br />
<br />
Masterclass- Leveraging AR, VR & LED Techniques for Short Turnaround, High-end TVC Production<br />
<br />
<br />
MILAN JOVOVIC, Co-founder, Partner & Chief Creative Officer, Nordeus <br />
<br />
Masterclass- Sandboxes for Creative Development (with Glenn Entis)<br />
<br />
<br />
MORITZ SCHWIND, Co-founder, Entagma<br />
<br />
Masterclass- Beg, Borrow & Steal! Shanghaiing Science Papers for Procedural Design<br />
<br />
<br />
NIKOLA DAMJANOV, Lead Game Artist, Nordeus<br />
<br />
Talk<br />
<br />
Masterclass- Procedural Material Creation with Substance Designer<br />
<br />
<br />
PATRICK HACKETT, VR UX Designer & Co-Creator Tilt Brush, Google<br />
<br />
Talk- Understand & Experience Tilt Brush by Google. Oculus Quest Presentation and Interactive Demo (with Drew Skillman)<br />
<br />
<br />
PAUL DEBEVEC, Senior Engineer, Google VR<br />
<br />
Talk- Welcome to Light Fields<br />
<br />
<br />
PETER RAMSEY, Co-director, Spider-Man: Into the Spider-Verse<br />
<br />
Masterclass- Storytelling<br />
<br />
KEYNOTE- What Story Are You Telling?<br />
<br />
<br />
RALPH EGGLESTON, Production Designer, Pixar<br />
<br />
Masterclass-Challenging Changes: The Parr Home Renovations<br />
<br />
KEYNOTE-Character in World Building<br />
<br />
<br />
ROB BREDOW, SVP, Executive Creative Director and Head of ILM<br />
<br />
KEYNOTE- Star Wars: Over Four Decades of Storytelling with Innovation<br />
<br />
<br />
ROB LEGATO, VFX Supervisor, The Lion King (2019)<br />
<br />
KEYNOTE- Rob Legato at VIEW<br />
<br />
<br />
ROBERT CODDINGTON, Animation Director, Insomniac Games<br />
<br />
Talk- The Cinematic Process for Marvel’s Spider-Man (PS4)<br />
<br />
<br />
SEBASTIAN SYLWAN CTO & Creative Partner, Felix & Paul Studios<br />
<br />
Talk- Space Explorers: The ISS Experience (Filming VR in Microgravity)<br />
<br />
<br />
SÉBASTIEN HUE, Concept Artist & Illustrator<br />
<br />
Masterclass- Making of a Scifi Environment Concept Art from Scratch in Photoshop<br />
<br />
Talk- Keys and Mindset to Hike the Mountain of Concept Art<br />
<br />
<br />
SERGIO PABLOS, Director/Writer, Klaus (Netflix)<br />
<br />
Talk- Sergio Pablo’s Klaus: Bringing 2D Forward, Netflix<br />
<br />
<br />
SIDNEY KOMBO-KIMTOMBO, Animation Supervisor, Weta Digital<br />
<br />
Talk- Weta Digital Presents the Visual Effects of Marvel Studios’ Avengers: Endgame<br />
<br />
<br />
SIMONE GIAMPAOLO, Director, Aardman<br />
<br />
Talk- Becoming a Director in London, one Short Story at a Time<br />
<br />
<br />
SIOBHAN REDDY, Media Molecule<br />
<br />
Talk<br />
<br />
<br />
STEFANO FARAONI, Lawyer, Professor<br />
<br />
Masterclass- The Art of Pitch – Public Speaking – How to Attract Attention<br />
<br />
<br />
STEVE GOLDBERG, VFX Supervisor, Frozen 2, Disney Animation<br />
<br />
Talk- Creating the Elements of Frozen 2<br />
<br />
<br />
SIMONE FAVARIN, R/D Social Science & Digital Transformation Expert<br />
<br />
Masterclass- Why Design Thinking is Important for Innovation? (with Antony Vitillo)<br />
<br />
<br />
SPENCER COOK, Animation Director, DNEG<br />
<br />
Panelist- Starting Your Animation Career: How to Get Noticed and Get Hired<br />
<br />
<br />
SVEN MARTIN, VFX Supervisor, Pixomondo<br />
Talk- Sven Martin at VIEW 2019<br />
<br />
<br />
TERRENCE MASSON, MFA Computer Arts Chair, School of Visual Arts, NYC<br />
Talk- Finding Your Voice: Portfolio Review Discussion<br />
<br />
<br />
THEO BIALEK, Digital FX Supervisor, Sony Pictures Imageworks<br />
Masterclass- Creating a Super Uber Elemental<br />
Talk- Swing Far from Home<br />
<br />
<br />
THEODORE TY, Head of Character Animation, L’Atelier Animation<br />
Masterclass- Beyond Eye Darts: A Closer Look at Acting for Animation<br />
Panel- Starting Your Animation Career: How to Get Noticed and Get Hired<br />
<br />
<br />
THOMAS SCHELESNY, VFX Sup, Image Engine<br />
Talk- Ferocious Beasts-Animating Daenerys’ Dragons in the Final Season of Game of Thrones<br />
<br />
TIFFANY FEENEY, Founder - Talent Outpost<br />
Panel- Starting Your Animation Career: How to Get Noticed and Get Hired<br />
<br />
<br />
TODD SUE, Art Director, Respawn Entertainment<br />
Talk- Small Team, Big Results: Making of Apex Legends<br />
<br />
<br />
TOM WUJEC, Tech pioneer, Writer, Entrepreneur<br />
KEYNOTE- The Future of Work<br />
Masterclass- The Digital Tango: Preparing for the Future of Work<br />
Masterclass- Creative Collaboration-Tools to Supercharge your Teams<br />
<br />
TRENT CLAUS, VFX Supervisor, Lola.<br />
Masterclass- Digital Make-Up Effects in a Photoreal Environment<br />
<br />
<br />
VINCENT MCCURLEY, Interactive Designer & Creative Technologist, NFB Digital Studio<br />
Masterclass- Creating an Immersive Experience: From Initial Idea to Final Pitch (with Eloi Champagne and Frances Adair McKenzie)<br />
<br />
<br />
WEIKE SCHRAKAMP, Research Manager Health & Behavior, IJsfontein<br />
Talk- Behavior Design<br />
Panel- Women in Animation (Moderator Carolyn Giardina)<br />
<br />
<br />
WILLIAM REEVES, Supervising Technical Director, Pixar<br />
Talk- The Evolution of the Toy Story World<br />
<br />
<br />
You can download the <a href="https://www.viewconference.it/assets/pdf/2019-program-en.pdf">full program here</a> or visit the conference website for full details. <br />
<br />
The international VIEW Conference, Italy’s leading event for Computer Graphics, Interactive and Immersive Storytelling, Animation, Visual Effects, Games, and VR, AR, and Mixed Reality, brings top professionals from those fields to the beautiful baroque city of Turin, Italy for a week of talks, presentations, and workshops.<br />
<br />
This year’s conference takes place from October 21 to 25 in the exciting new OGR venue. Registration is now open. <br />
https://www.viewconference.it/pages/registration/<br />
<br />
For more information:<br />
Website: https://www.viewconference.it<br />
Facebook: https://m.facebook.com/viewconference<br />
Youtube: https://m.youtube.com/channel/UChGdAnZQE6UcH_OQ5DNFW_QUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-3136971158729714180.post-85867422341376415662019-10-16T14:20:00.001+07:002019-10-16T22:27:44.329+07:00Pixar's Universal Scene Description: open source at Autodesk <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXWrxYEbGvqcGfeHMfrv4Oz5XcOcDIxn-mBxU6CV9y51OH75wmIzvYAcjNDK8DxRKco5stAdTCLXynyH0YbsdC4Q48IirRaA-Zlh23ry18a4mK2Wglrkik7hKSs9K9_HOUVdX8AGCelVAi/s1600/Pixar+USD+At+Autodesk.png" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXWrxYEbGvqcGfeHMfrv4Oz5XcOcDIxn-mBxU6CV9y51OH75wmIzvYAcjNDK8DxRKco5stAdTCLXynyH0YbsdC4Q48IirRaA-Zlh23ry18a4mK2Wglrkik7hKSs9K9_HOUVdX8AGCelVAi/s1600/Pixar+USD+At+Autodesk.png" data-original-width="1437" data-original-height="864" /></a><br />
Developed by Pixar and released as publish open-source in 2015 - Universal Scene Description USD USD is a system for authoring, composing, and reading hierarchically organized scene description. It has been becoming increasingly popular, many studios have been uncertain what plugin they should deploy within their pipelines. And Autodesk is planing to add USD into Autodesk Maya. They are working with leading animation studios to “ensure a consistent yet modifiable way to use USD within Maya, while remaining fully open-source and used as a baseline going forward”. Check out the video of Autodesk's Vision Series which was recorded at SIGGRAPH 2019<br />
<div style="padding:56.25% 0 0 0;position:relative;"><iframe src="https://player.vimeo.com/video/365638295?title=0&byline=0&portrait=0" style="position:absolute;top:0;left:0;width:100%;height:100%;" frameborder="0" allow="autoplay; fullscreen" allowfullscreen></iframe></div><script src="https://player.vimeo.com/api/player.js"></script><br />
<p><a href="https://vimeo.com/365638295">Universal Scene Description: Open Source at Autodesk</a> from <a href="https://vimeo.com/autodeskarea">Autodesk Media and Entertainment</a> on <a href="https://vimeo.com">Vimeo</a>.</p><!-- adsense --> <br />
<blockquote>With the industry looking for a standard solution, studios such as Pixar, Animal Logic, Luma Pictures, and Blue Sky Studios have come together with Autodesk to work on this common single-supported plugin for Maya.<br />
<br />
Watch as Will Telford, Senior Product Owner at Autodesk, Ed Luong from Pixar, Aidan Sarsfield from Animal Logic, and Frank Delise from NVIDIA, discuss the collaborative effort behind this initiative.</blockquote><br />
<a href="https://graphics.pixar.com/usd/docs/index.html" rel = "NoFollow">Universal Scene Description (USD)</a> USD comprises a set of modules that scalably encode and interchange static and time-sampled 3D geometry and shading data between Digital Content Creation applications. USD has been in use in the making of many feature film included "Piper", “Finding Dory,” bringing new levels of performance and stability to Pixar’s production.<br />
<br />
[post_ads_2]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3136971158729714180.post-10210360859107558292019-10-14T23:20:00.003+07:002019-10-14T23:20:31.162+07:00Apple buys IKinema <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeN18HkaiyoDsNnlvWdAGfGvLkNoA4xDJqWvKHihUWIQn4XD9zcnbwKTQQSfSLo6B0KA9zAfyawPGPLnJEjxd15qjq8AbQ6gH4_P5527UwJoIlsluWZobux0uJN8O0U-LYg-zfWIc-lySL/s1600/Apple+buys+Ikinema.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeN18HkaiyoDsNnlvWdAGfGvLkNoA4xDJqWvKHihUWIQn4XD9zcnbwKTQQSfSLo6B0KA9zAfyawPGPLnJEjxd15qjq8AbQ6gH4_P5527UwJoIlsluWZobux0uJN8O0U-LYg-zfWIc-lySL/s1600/Apple+buys+Ikinema.jpg" data-original-width="1500" data-original-height="844" /></a> <!-- adsense --> <br />
Apple has announced that the company has acquired a U.K.-based started called IKinema that is using motion capture for real-time video production. Financial details of the deals haven’t been disclosed.<br />
<br />
Founded in 2010 by former Surrey Space Centre researcher Alex Pechev, iKinema specializes in software for motion capture, games, and VR (virtual reality) and AR (augmented reality). The company has developed a motion capture technology that can transform video footage of people and their movements into animated characters. <br />
<br />
<br />
IKinema RunTime middleware and LiveAction, a real-time mocap solving solution for Unreal Engine, its IKinema Action plugin was available for Maya and MotionBuilder. The company’s website, which is now defunct, reveals an impressive list of clients and partners. These partners include Microsoft, Tencent, Intel and NVIDIA, and Disney. iKinema also has well-known video game developers Sony, Valve, Epic Games, and Square Enix among its clientele. <br />
<br />
<iframe width="760" height="440" src="https://www.youtube.com/embed/akau0VFHaKs" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br />
<br />
IKinema’s technology is relevant to Apple's AR as The iPhone maker has been embracing face motion capture for augmented reality with its animated Memoji characters<br />
IKinema’s tech could also be used to to produce content for its still-unannounced augmented reality (AR) glasses. Apple has been working on an AR device for years, and is expected to unveil it as early as next year.<br />
<br />
In 2015, Apple acquired Faceshift then discontinuing its faceshift Studio system.<br />
[post_ads_2]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3136971158729714180.post-48337631904336053172019-10-07T21:07:00.003+07:002019-10-07T21:12:12.353+07:00This video shows you why you can use Unreal Engine to create Visual Effects<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibA58QT5765JaedzezErb26Ta6TGyleaQpKcLL3zh3kQCQVALtoneQcj2Wyhv1Cf-fYeQ25diN3TJjbmBU6Zw_RPXNbsuFo4vjOkkC7up4cHF-s6esqt0KpcR7m24oKklX2O668S-BwRd7/s1600/UNREAL+ENGINE+VFX.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibA58QT5765JaedzezErb26Ta6TGyleaQpKcLL3zh3kQCQVALtoneQcj2Wyhv1Cf-fYeQ25diN3TJjbmBU6Zw_RPXNbsuFo4vjOkkC7up4cHF-s6esqt0KpcR7m24oKklX2O668S-BwRd7/s1600/UNREAL+ENGINE+VFX.JPG" data-original-width="1600" data-original-height="671" /></a><br />
If you're interested in Unreal Engine you probably know <a href="https://www.youtube.com/channel/UCpL6btTFD1yTtSUeapW3fNA">Koola</a>. The UE Artist who shared incredible realistic Unreal Engine beach four years ago (See top 10 video below).<br />
<iframe width="760" height="440" src="https://www.youtube.com/embed/m9VdTkSYjPo" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br />
He's just came back with a video showing storm effects that he created using Unreal Engine 4.23, Speedtree, Substance Designer. Koola only used basic cubes and planes for the scene with some Unreal Engine 4 Plugins such as: VICODynamics by VICO Game Studio LLC and Custom Lens Flare VFX by Artyom Cheremisin. The quality is amazing again and it shows you that with UE you can create stunning Visual Effects<br />
<iframe width="760" height="440" src="https://www.youtube.com/embed/ecerIIClbMA" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br />
<!-- adsense --> [post_ads_2]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3136971158729714180.post-3764732973193262112019-10-02T16:13:00.000+07:002019-10-02T16:42:01.653+07:00EXCLUSIVE: Cyberpunk 2077: E3 trailer 2019 Visual Effects | Interview with Goodbye Kansas Studios <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsoCsbx4Wo57C54mxIK8PPCx57QcYM1fEzwXV4lqKDRI8NsjGbiQR3U-7uQ4GPRGHvrNqhI9IM6fH__N8vjGXHyxwQz3YcelZ4BmZjErvFRd-0JXA_3IkeJneT0AFGiL7w29H-LtvFWmkS/s1600/Cyberpunk2077_BTS_stills-51_Reeves.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsoCsbx4Wo57C54mxIK8PPCx57QcYM1fEzwXV4lqKDRI8NsjGbiQR3U-7uQ4GPRGHvrNqhI9IM6fH__N8vjGXHyxwQz3YcelZ4BmZjErvFRd-0JXA_3IkeJneT0AFGiL7w29H-LtvFWmkS/s1600/Cyberpunk2077_BTS_stills-51_Reeves.jpg" data-original-width="1600" data-original-height="900" /></a><br />
<br />
Goodbye Kansas Studios is studio that creates award-winning visual effects, digital animation and motion capture for movies, game trailers and commercials. Recently they've collaborated with CD PROJEKT RED in producing this Cyberpunk 2077 – E3 Cinematic Trailer. That 4 minutes long 4K cinematic trailer premiered at E3 2019 and was an instant success. With over 55 million views so far (sep 2019) it’s one of most successful game trailers ever. Today CG Record team welcome Fredrik Löfberg (Director), Henrik Eklundh (VFX Supervisor) and Rebeca Cervantes (Producer) from Goodbye Kansas Studios to talk about how did they team do Visual Effects and Animation for the trailer.<br />
<br />
<b>1. Can you please talk a bit about the project and how had you cooperated with CDPROJEKTRED on Cyberpunk 2077 trailer?</b><br />
<br />
As most things in life this was all about timing, being in the right place at the right time. It all started when Goodbye Kansas director Fredrik Löfberg reached out to CD Projekt Red’s Cinematic Director Pawel Swierczynski. He wrote to him expressing his admiration for his and CDPR’s work, Pawel replied with a similar note saying that just one week before he had presented GBK Overkill’s The Walking Dead Cinematic to his team and management. <br />
<br />
Shortly thereafter, a creative team flew down to Warsaw, we were greeted with open arms and the rest as they say, it’s history.<br />
<br />
One of our main goal here at Goodbye Kansas is to be a very open and collaborative studio, we pride ourselves on inviting our clients into our way of working and always keeping the door open to them and for CDPR this was no exception. We quickly became friends and so began our collaboration on what became the biggest cinematic trailer to come out of E3 2019. <br />
<br />
At first CDPR shared an early draft of the script, we started working together on developing it, soon we went to storyboarding, camera language and storytelling. <br />
During the entire process we had a great collaboration between our studios, every single person working on the trailer wanted the same outcome, for it to become something spectacular. <br />
<iframe width="760" height="440" src="https://www.youtube.com/embed/qIcTM8WXFjk" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br />
<b>2. How long does it take your team to do all the Animation and VFX works?</b><br />
From when we started the asset production to the finish line it was about 5 months, about 2 of those were spent in shot production. <br />
<!-- adsense --> <br />
<b>3. What is special thing on this project that you would like to share us? What can be consider as the best experience you have had during the process?</b><br />
To be part of this fantastic IP and to work with such professionals over at CDPR was a blast. We could really go all in on all the details and the Art Direction led us to some fantastic images. The performance heavy way of doing a trailer is always interesting because you really start to understand the characters of this world even though this was just a short piece.<br />
<br />
<b>4. Please tell us some technical details in the process of making VFX and Animation for the trailer? For example: What software, plugin was used from animating, texturing, rendering and compositing?</b><br />
Our pipeline lets us utilize almost any major software out there and some smaller. Some of the most utilized by Goodbye Kansas are Houdini , Maya, Motionbuilder, V-Ray, Substance, Zbrush and Nuke. We pride ourselves in treating all disciplines with care so that we can get the highest possible quality for every department involved in creating this fantastic piece. <br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhikfRvgwhfGHUoU-vFseR7MDJflnPYQJkd82bIsXKkEjt0KPmhsXdvQBmDhw5MK1RXjgLaE45IDKTRsSfEqSi1r_XaceqVuKy7XQYYbk9uz0IilWzo9d8NDgdgnLFut1msAQ6BsPrm8U-M/s1600/Cyberpunk2077_BTS_stills-37a.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhikfRvgwhfGHUoU-vFseR7MDJflnPYQJkd82bIsXKkEjt0KPmhsXdvQBmDhw5MK1RXjgLaE45IDKTRsSfEqSi1r_XaceqVuKy7XQYYbk9uz0IilWzo9d8NDgdgnLFut1msAQ6BsPrm8U-M/s1600/Cyberpunk2077_BTS_stills-37a.jpg" data-original-width="1600" data-original-height="900" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih91KvdFbA_FDItbZ4iRFzhtSrG_O1iNgkWN-XNv31E08lvu9L0mjrIQxeDG-XiacgxnOxRDHIYzES0DrPQ7_Ys0ohU2ihIAiOP1PjxYDq1O8mLv0NZmFvAJ1R4_D6JkgHi2x2kCchpHCz/s1600/Cyberpunk2077_BTS_stills-37c_Clay.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEih91KvdFbA_FDItbZ4iRFzhtSrG_O1iNgkWN-XNv31E08lvu9L0mjrIQxeDG-XiacgxnOxRDHIYzES0DrPQ7_Ys0ohU2ihIAiOP1PjxYDq1O8mLv0NZmFvAJ1R4_D6JkgHi2x2kCchpHCz/s1600/Cyberpunk2077_BTS_stills-37c_Clay.jpg" data-original-width="1600" data-original-height="900" /></a><br />
<b>5. Can you share with us on how your team created such realistic CGI Character for the film? And how Capture Division had helped you in creating realistic character movement and facial capture?</b><br />
The goal wasn’t realism for us here, it’s portraying the characters as they are in the game but with some added details and of course make them be able to perform and show emotions with our proprietary facial rigs. We have been working with characters and digital humans for a very long time and have several people in different departments always contributing to making them better and more believable. Our mocap stage and capture tech make sure that we can pull of really believable emotions and actions that are then edited by our different performance departments such as Facial Animation, Body Animation and Keyframe Animation.<br />
<iframe width="760" height="440" src="https://www.youtube.com/embed/C23KuTCq4YI" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPIPU5rH2x4EGE9PAybGI2VtougQtiWLYmQd3LM_QJw3gJH0gpDPuLOj-uR661U0MQQ1ggcqOrW8cauLNg4zzgZjNqhYzqjFGS6GJq7kAqdN75fqd9oinftlXB7ihNH7zzIBX5p7HP6Rjo/s1600/Cyberpunk2077_BTS_stills-21_MoCap.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPIPU5rH2x4EGE9PAybGI2VtougQtiWLYmQd3LM_QJw3gJH0gpDPuLOj-uR661U0MQQ1ggcqOrW8cauLNg4zzgZjNqhYzqjFGS6GJq7kAqdN75fqd9oinftlXB7ihNH7zzIBX5p7HP6Rjo/s1600/Cyberpunk2077_BTS_stills-21_MoCap.jpg" data-original-width="1600" data-original-height="900" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9-ysDyRb5ROJzOzLoorzIQhfTXTMr0_qS4qbbZj6HpDHcK6YAQ41eEjV36x_MOnqA0_CA44UZzYsZv19LJYZNkGTRLXFnUM3O0OkVhYSgbHyyJUT1cFfGP2pBbnQ7Zpx_L7qH_7Y2gjy8/s1600/Cyberpunk2077_BTS_stills-22_V.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9-ysDyRb5ROJzOzLoorzIQhfTXTMr0_qS4qbbZj6HpDHcK6YAQ41eEjV36x_MOnqA0_CA44UZzYsZv19LJYZNkGTRLXFnUM3O0OkVhYSgbHyyJUT1cFfGP2pBbnQ7Zpx_L7qH_7Y2gjy8/s1600/Cyberpunk2077_BTS_stills-22_V.jpg" data-original-width="1600" data-original-height="900" /></a><br />
<b>6. The shader like skin is so realistic in 4K. Please tell us a little bit on how had you created the shader?</b><br />
The AlSurface shader for VRAY was used and we have been improving our way of shading for a very long time. We spend a lot of time with details like pores, dirt, hair, gloss maps etc. until we get a skin that has enough fidelity to go to shot production. Here light is a big key as well as compositing everything together so the skin fits and is lit properly. We usually adjust some of the specular per shot. Jonas Skoog our Character Lead set up the basis shader for all characters and then we had individual artists helping out with detail maps but as always, it’s all a big collaboration between many departments and many people to create these fantastic characters.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBW9yItJRpGpufQEh73g7rC2abiimAi35xZdzvlD7Q_JY_dnvqjTgXoioaErGU5KeZZkEGrS6tlq_7VcCYALocvmQh-E2QrQyVvMn7j4D_bUC6Q_HVNBkW9gWVsXUuXLgM9hnRYZnNNTnS/s1600/Cyberpunk2077_BTS_stills-14_Dex.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBW9yItJRpGpufQEh73g7rC2abiimAi35xZdzvlD7Q_JY_dnvqjTgXoioaErGU5KeZZkEGrS6tlq_7VcCYALocvmQh-E2QrQyVvMn7j4D_bUC6Q_HVNBkW9gWVsXUuXLgM9hnRYZnNNTnS/s1600/Cyberpunk2077_BTS_stills-14_Dex.jpg" data-original-width="1600" data-original-height="900" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibk79eEWEH5r4lKxMy-wZR4GqAGxLxZmyci61V2aRnog1_dUo0wMDlZITey0G-7xYKjz_UZ_Boh_T6AWePt5zdfjvmz2Z9pj8PgqQ_LJXBjcBADnHgaCSdsU6NKpq6x9jsLwTPi4fGenGl/s1600/Cyberpunk2077_BTS_stills-15_Dex.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibk79eEWEH5r4lKxMy-wZR4GqAGxLxZmyci61V2aRnog1_dUo0wMDlZITey0G-7xYKjz_UZ_Boh_T6AWePt5zdfjvmz2Z9pj8PgqQ_LJXBjcBADnHgaCSdsU6NKpq6x9jsLwTPi4fGenGl/s1600/Cyberpunk2077_BTS_stills-15_Dex.jpg" data-original-width="1600" data-original-height="900" /></a><br />
<b>7. Can you share with us more about CGI Keanu? How did you capture and create this special character in CGI?</b><br />
Out of respect for our friends at CD Projekt Red we can only say that having Keanu onboard is obviously a big thing, but we are not at liberty to say too much about him or his involvement. We can say that it was really vital for everyone involved that he became instantly recognizable.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMwJz1tXmAOshcUOrjKKPJeH4TWMPng0qnZ7lBlZTbVZuJsuiJ2hzAMVnGz2_AFYj8HZ204NXnFiozCeXj4i2VFA10xZSzAGhGJy_tIpETbRKE5hXHoWiWkL36NokQUcmKJd6L5agq-d92/s1600/Cyberpunk2077_BTS_stills-50_Reeves.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMwJz1tXmAOshcUOrjKKPJeH4TWMPng0qnZ7lBlZTbVZuJsuiJ2hzAMVnGz2_AFYj8HZ204NXnFiozCeXj4i2VFA10xZSzAGhGJy_tIpETbRKE5hXHoWiWkL36NokQUcmKJd6L5agq-d92/s1600/Cyberpunk2077_BTS_stills-50_Reeves.jpg" data-original-width="1600" data-original-height="900" /></a><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsoCsbx4Wo57C54mxIK8PPCx57QcYM1fEzwXV4lqKDRI8NsjGbiQR3U-7uQ4GPRGHvrNqhI9IM6fH__N8vjGXHyxwQz3YcelZ4BmZjErvFRd-0JXA_3IkeJneT0AFGiL7w29H-LtvFWmkS/s1600/Cyberpunk2077_BTS_stills-51_Reeves.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsoCsbx4Wo57C54mxIK8PPCx57QcYM1fEzwXV4lqKDRI8NsjGbiQR3U-7uQ4GPRGHvrNqhI9IM6fH__N8vjGXHyxwQz3YcelZ4BmZjErvFRd-0JXA_3IkeJneT0AFGiL7w29H-LtvFWmkS/s1600/Cyberpunk2077_BTS_stills-51_Reeves.jpg" data-original-width="1600" data-original-height="900" /></a><br />
<br />
<b>8. Not only CGI Character but a lot of cool Visual Effects was appeared on the trailer. Please tell us more on how to simulating these FXs?</b><br />
We always try to use Houdini for FX as well as charFX. Cigar smoke can be trickier than you initially think but I think we pulled it off greatly in the end with our FX lead Max Öberg leading the efforts. The water and washing of hands was something we had done before but I think we put it into a new level of quality, the shot when he is washing his hands came out really early and really great. We used a variety of techniques like skin sliding<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmPfJMheWNkQQBhoDFtx209_bMraYp3JFMmWWQ1jzkClzBy21fsmy4o99oCe6HaWRO5we9LNaQ91NRKxC7zrSeD188dSTkuku-aAHnKf3DafIRTnTJtlLCeMTQmNdgJf3OZz5E-iHv4FrH/s1600/Cyberpunk2077_BTS_stills-27_Fluids.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmPfJMheWNkQQBhoDFtx209_bMraYp3JFMmWWQ1jzkClzBy21fsmy4o99oCe6HaWRO5we9LNaQ91NRKxC7zrSeD188dSTkuku-aAHnKf3DafIRTnTJtlLCeMTQmNdgJf3OZz5E-iHv4FrH/s1600/Cyberpunk2077_BTS_stills-27_Fluids.jpg" data-original-width="1600" data-original-height="900" /></a><br />
<br />
<b>9. What is the biggest thing that you’ve archived after this project? What can we expect in the future projects?</b><br />
To build on our performance and make sure the characters come alive to the audience as well as the world they live in. <br />
<br />
<b>Thank you all very much for your time and please send our Greeting to your talented team</b><br />
Thanks CGRecord!<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVKDpJF9RNgx9aUKe5Ec2UAYqY-Gtnq4PfsD9-XEp5M4HGTakIz6u7eDlCBYWhOLiTdDV8wQ_kKEiaVL6J4tkG7syo84oalNWIXGqup5WEryVnPjDApvt_W98Yumat0hSdc9S8GjlPevKc/s1600/Cyberpunk2077_BTS_stills-24_MoCap.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVKDpJF9RNgx9aUKe5Ec2UAYqY-Gtnq4PfsD9-XEp5M4HGTakIz6u7eDlCBYWhOLiTdDV8wQ_kKEiaVL6J4tkG7syo84oalNWIXGqup5WEryVnPjDApvt_W98Yumat0hSdc9S8GjlPevKc/s1600/Cyberpunk2077_BTS_stills-24_MoCap.jpg" data-original-width="1600" data-original-height="900" /></a><br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGs4bw_uIxDL3akPY62_hb2jf53-Z7Lk5X_36nRpTeQcl6XeSZ1dHvSqr94-_dyfCE4SO6U576kIx2FvgeBdX1CKItcnIxj_JPshkwOMUYqtlNUE93Dk7CQgUwdtoqCckst-QJnOf5aYT5/s1600/Cyberpunk2077_BTS_stills-31_Clay.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGs4bw_uIxDL3akPY62_hb2jf53-Z7Lk5X_36nRpTeQcl6XeSZ1dHvSqr94-_dyfCE4SO6U576kIx2FvgeBdX1CKItcnIxj_JPshkwOMUYqtlNUE93Dk7CQgUwdtoqCckst-QJnOf5aYT5/s1600/Cyberpunk2077_BTS_stills-31_Clay.jpg" data-original-width="1600" data-original-height="900" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoAu-C4X8vz8CGIWhkLFr6yshTMVHsC2ufFj2Yk7vZsop6C6Juy5jcToUjyg7Wnog-Gd7ESvUzz8mSHkhL-yp4t8bujZgku7r3-MYGHkXH9kNkt4lER-ebp2lyaGnSsf2w6mXJkl9gehmI/s1600/Cyberpunk2077_BTS_stills-32_MoCap.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoAu-C4X8vz8CGIWhkLFr6yshTMVHsC2ufFj2Yk7vZsop6C6Juy5jcToUjyg7Wnog-Gd7ESvUzz8mSHkhL-yp4t8bujZgku7r3-MYGHkXH9kNkt4lER-ebp2lyaGnSsf2w6mXJkl9gehmI/s1600/Cyberpunk2077_BTS_stills-32_MoCap.jpg" data-original-width="1600" data-original-height="900" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKNI7Jh0o-RpCFKAYVphDaO95XOqBzA0CU8JdfzEFOEL7H4O6I5fK17MQm_-CVFy05cp87_EgjOTmzHoTDM6Fs97zu_jK7OanFq_7jhXCvEcLdIrCWOsGw2D8cezyvUji7o9myTGGMI8Sp/s1600/Cyberpunk2077_BTS_stills-34_V.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKNI7Jh0o-RpCFKAYVphDaO95XOqBzA0CU8JdfzEFOEL7H4O6I5fK17MQm_-CVFy05cp87_EgjOTmzHoTDM6Fs97zu_jK7OanFq_7jhXCvEcLdIrCWOsGw2D8cezyvUji7o9myTGGMI8Sp/s1600/Cyberpunk2077_BTS_stills-34_V.jpg" data-original-width="1600" data-original-height="900" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJYxGcmSVhwGzNOydp4b3J6K1zMgaLs3Lb8kESnq_zHlM9ckBDuBoPEDU0rjnT0WNbV6QybeA7iWKwGPSvggYjwqqVMdtl2gZHap4Poo5bevsJENsxH4tbb17UaAx29nebeaZ2ft_ecNpE/s1600/Cyberpunk2077_BTS_stills-35.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJYxGcmSVhwGzNOydp4b3J6K1zMgaLs3Lb8kESnq_zHlM9ckBDuBoPEDU0rjnT0WNbV6QybeA7iWKwGPSvggYjwqqVMdtl2gZHap4Poo5bevsJENsxH4tbb17UaAx29nebeaZ2ft_ecNpE/s1600/Cyberpunk2077_BTS_stills-35.jpg" data-original-width="1600" data-original-height="900" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyxY59uwnk-jTWczhHyh78oMWbll6eXvOh0tJoAMtCwM2sOhIgoo0YH4Hb_kMxQPR4nDZ4L3QAiA8LChCL3LYP2PK9VvXiFpI251JsFTEgfeaSjyeghVjsRckpdHLo_4X34caDNIJMOTXU/s1600/Cyberpunk2077_BTS_stills-41_MoCap.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyxY59uwnk-jTWczhHyh78oMWbll6eXvOh0tJoAMtCwM2sOhIgoo0YH4Hb_kMxQPR4nDZ4L3QAiA8LChCL3LYP2PK9VvXiFpI251JsFTEgfeaSjyeghVjsRckpdHLo_4X34caDNIJMOTXU/s1600/Cyberpunk2077_BTS_stills-41_MoCap.jpg" data-original-width="1600" data-original-height="900" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXe6kvpR3OvSEm4GG9NXu1Nwwfz0U2igyW7aptkOINa0dGrUnOcOsj39l5P5QJejjJ88zQbVb66myk0H4iCLM2O-8YT7jwy-JsG7s5FWvDNBQ-jdr5H5Qdf8MyXMmTMTR1IISkgMHI-Dtm/s1600/Cyberpunk2077_BTS_stills-42_Clay.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXe6kvpR3OvSEm4GG9NXu1Nwwfz0U2igyW7aptkOINa0dGrUnOcOsj39l5P5QJejjJ88zQbVb66myk0H4iCLM2O-8YT7jwy-JsG7s5FWvDNBQ-jdr5H5Qdf8MyXMmTMTR1IISkgMHI-Dtm/s1600/Cyberpunk2077_BTS_stills-42_Clay.jpg" data-original-width="1600" data-original-height="900" /></a><br />
Cyberpunk 2077, the open-world, action-adventure story from CD PROJEKT RED, is coming to Xbox One, PS4 and PC April 16th, 2020.<br />
[post_ads_2][full_width]Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3136971158729714180.post-60381768518950463012019-10-02T15:05:00.002+07:002019-10-02T15:05:53.042+07:00KeyShot 9 is coming with Denoise <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVjjgx5nQFfUKkCisY1nJYHXjFADMLKAEiuHPfNYHKaoce28bJSxZDrsxsOUG-cDcGJDYFXiueh8xs5kyC4W2HsfkYWEz-qWWdeVxHeUnIFpm0t7Q3r97sYDglMyDrDrAdzD91nWNrYF10/s1600/KeyShot+9+Denoise.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVjjgx5nQFfUKkCisY1nJYHXjFADMLKAEiuHPfNYHKaoce28bJSxZDrsxsOUG-cDcGJDYFXiueh8xs5kyC4W2HsfkYWEz-qWWdeVxHeUnIFpm0t7Q3r97sYDglMyDrDrAdzD91nWNrYF10/s1600/KeyShot+9+Denoise.JPG" data-original-width="1600" data-original-height="818" /></a><br />
KeyShot is a stand-alone, real-time ray tracing and global illumination program used to create 3D renderings, animations and interactive. Check out the KeyShot 9 Sneak Peek showing some new feature of next version of keyshot included: <br />
- Fur in Keyshot<br />
- Render with GPU <br />
- Keyshot Denoise<br />
- New 3d model library<br />
<!-- adsense --> <br />
<iframe width="730" height="440" src="https://www.youtube.com/embed/by5T-E4OXpA" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe><br />
Keyshot available for windown and Mac with free plugin for 3d application like 3ds Max, Maya, Zbrush, Cinema 4D... Version 8 pro now cost $1,995. More details<a href="https://www.keyshot.com/" rel="NoFollow"> here!</a><br />
[post_ads_2]Unknownnoreply@blogger.com0