3D and VFX

3D PROCESS

Creating a Chinese CyberNeon Game Environment In UE4

My name is Junliang Zhang. I come from Shanghai, China. I am a 3D Environment Artist currently working at 3BLACKDOT in Los Angeles, USA.  My passion for the game industry comes from my childhood. I still remembered how much I was setting in front of computer playing the most of classical PC games back to 90’s, such as, Starcraft, Commend & Conquer series, and Age of Empires II.  When I usually playing these games I always wondered how they were made arts and gameplay or how I could make something cool mods. Therefore, My true interest is game art.

Exclusive Interview: How redchillies.vfx and SRK brought ZERO to Life

We at CGSociety had the chance to interview redchillies.vfx’s Chief Creative Officer/VFX Supervisor, Mr. Haresh Hingorani, and Chief Operating Officer/VFX Producer, Mr. Keitan Yadav. Here they tell us all about their most recent film, “ZERO” starring the one and only Shah Rukh Khan, and the incredible special effects and teamwork required to make it real.

Realistic Renders: How to make a 3D carnivorous plant

Breaking down his hyperrealistic 3D carnivorous plant, Léandre Hounnake describes his techniques and tips for making 3D art in 3ds Max that blurs the line between CG and reality. 

Alita: Battle Angel” — VFX Breakdown

How were the cyborgs in Alita: Battle Angel created? Watch this brand new VFX breakdown reel to get insight into DNEG’s creature (cyborg) animation which included the ‘Factory Gang’ in the crazy bar fight scene, as well as the cyborg, ‘Amok’ in the Ido flashback scene. In addition to creature work, there was quite a bit of environment work completed for the pick-up rollerball game, as well as the addition of all rollerball skates within that same sequence.

THE MAKING OF “PINK DRESS” BY MARIANNA YAKIMOVA

Inspired by the Old Masters, Marianna Yakimova wanted to celebrate her new V-Ray skills with a 3D illustration that showcases beautiful fabric and lighting.  Using the brief of a perfume commercial for a floral fragrance, the illustration is delicate and romantic; everything from the graceful hairstyle to the texture of the elegant dress was designed to represent flowers, from bud to bloom.  Aiming for maximum realism, great attention to detail needed to be paid to the hair and dress — in particular the translucent, chiffon-like fabric. The color palette and light balance of the image also had to work together to create a classic and fresh mood, and the clever composition adds an element of privacy, even secrecy.

Production Sessions at SIGGRAPH 2019 to Present Exclusive ‘Making Of’ Look at VFX

CHICAGO—The SIGGRAPH 2019 Production Sessions program reveals lineup of behind-the-scenes looks at the “making of” the year’s biggest productions in film, streaming, cable, games, and VR. Offering exclusive access to the best minds in visual effects (VFX), Production Sessions will be held throughout the conference week, 28 July–1 August, at the Los Angeles Convention Centre.  With 11 total sessions, attendees can expect to hear from creators who worked on award-winning studio blockbusters, buzzworthy streaming and cable series, and out-of-this-world games and VR productions, including a look at how TIME, Felix & Paul Studios, and NASA filmed VR experience “Space Explorers” in microgravity on the International Space Station.

“Preacher” — VFX Breakdown

Jesse Custer hasn’t lived the world’s most blameless life. He’s robbed banks. He’s killed folk. He’s transported reptiles illegally across the border. But he’s turned over a new leaf—now a Texas preacher with a vampire, a ride-or-die thief, and the literal power of Genesis on his side, he’s demanding answers from God Himself. Now if only he could find Him.

“I Am Mother” — VFX Breakdown

Per Fin Design + Effects’ website: “Fin brings its VFX and visual storytelling expertise to highly-anticipated upcoming Netflix film, I Am Mother. Directed by Grant Sputore, the post-apocalyptic film stars Hilary Swank, Rose Byrne, and break-out star Clara Rugaard. In I Am Mother, a teenage girl (Rugaard) is raised underground by a robot ‘Mother’ (voiced by Byrne), designed to repopulate the earth following an extinction event. But their unique bond is threatened when an inexplicable stranger (Swank) arrives with alarming news.”

RealtimeUK’s Making of “Zombie Army 4” Cinematic

When gaming studio Rebellion tapped RealtimeUK for their Zombie Army 4: Dead War E3 2019 cinematic, they needed a trailer that was super action-packed, super threatening, and super… gory. Because when it comes to defeating Cloud Hitler, it’s never enough to just subdue the zombie masses—they need to be run through an explosive meat grinder!

E3 2019 – The Video Games, Part II

Age of Empires II: Definitive Edition celebrates the 20th anniversary of one of the most popular strategy games ever with stunning 4K Ultra HD graphics, remastered audio and a whole new campaign – The Last Khans. Return to Reign in 2019.

“Amundsen” — VFX Breakdown

Chronicling the life story of Arctic explorer Roald Amundsen, the first man to reach both the Northern and Southern Poles, Amundsen features the work of Nordic VFX studios Gimpville (Norway), Filmgate (Sweden), FABLEfx (Sweden) and Varg Studios (Norway), who worked together to bring danger and intrigue to the snowy tundras.

“Captain Marvel” — Trixter VFX Breakdown

German VFX studio Trixter released the breakdown of their work on Marvel’s 2019 blockbuster Captain Marvel, showing their work on such tremendous scenes as the approach to Mar-Vell’s laboratory, Captain Marvel’s escape from Skrull torture, and her subsequent tumble into a Blockbuster Video. But while the bombastic effects definitely impress, it’s their work on crafting the small & fuzzy Goose the Cat that takes the cake. Though Marvel had a series of real-life cats for many of the scenes—including cat actors “Reggie,” “Archie,” “Gonzo,” and “Rizzo”—when it came time to shoot scenes in space, it was up to Trixter to help make the kitty fly. Check out their breakdown below!

How to Take an Image and Turn it Into 3D

Picking the concept originally, I needed something with a story and human skin, but also being someone who likes creatures, it was appealing to me to squeeze one into the assignment. I also like to look for things with a lot of colors and cinematic lighting, so I ended up looking at work from the light master himself, James Gurney.  The Concept, Makign a Dino, Human Skin, Compositing.

BLOATED MOTORS: INK GIVES THE 70S’ UNLOVED AUTOS A HELIUM INJECTION

What began as an in-house experiment has ballooned into a viral phenomenon. We talk to the minds behind this playful reimagining of the cars that style forgot.

Fifty Shades of Black: are your 2D CADs holding you back?

When I studied fashion design, we didn’t learn any computer-based design. Everything was 2D. My illustration teacher was the lead illustrator for Gianni Versace, so these weren’t just sketches, they were beautiful, highly stylised works of art. That experience landed me my first job at Nicola Finetti, but as I moved around in the design business, I learnt about CAD software on the job.

VFX 

GDC Talk – “Art Directing VFX for Stylized Games”

Want to develop VFX for stylized games? Check out this talk by four artists as they break down their approaches to creating and integrating wild and weird VFX, from cartoony to 70s scifi-inspired, and beyond!.  In this 2017 GDC talk, Bill Kladis, Bryanna Lindsey, Jeremy Mitchell and Shen-Ming Spurgeon discuss methods you can use to establish the artistic pillars of your game’s VFX using specific examples from various games with unique art styles, including Double Fine’s 70s scifi-inspired Headlander, Motiga’s MOBA Gigantic, Volition’s Agents of Mayhem, and a small (then-unreleased) game by Epic: Fortnite.

“The Wandering Earth” – VFX Breakdown

In the Chinese blockbuster The Wandering Earth, the expanding sun is in its dying throes and threatens to send not just the Earth but the entire solar system to a fiery destruction. Thankfully, a team of scientists bands together to hatch a plan that may save the world: attaching a series of thrusters to the planet’s crust, Earth will rocket out of its orbit and set out on a 2500-year journey to a new star system. But with Earth now a frozen wasteland and civilization now living in underground shelters, it falls on the shoulders of a group of young people to make sure humanity survives.

CONTROLLED DEMOLITION: TIPS FROM BOTTLESHIP VFX

With The Wandering Earth rocking the Chinese box office, we ask Bottleship VFX’s Hristo Velev how he unleashes destruction while keeping his business on track.  Need to destroy something? Bottleship VFX is the place to go. In the past year, this mayhem-obsessed Bulgaria-based studio has blown up buildings for Hunter Killer; orchestrated splashed-down planes for Air Strike; unleashed mountain-sized tornados on Mars for Forsaken; created swarms of flying mobile phones for 2.0; and last, but certainly not least, helped a pair of characters escape an imploding tower for Chinese box-office phenomenon The Wandering Earth.

“Alita” – Interview with VFX Supervisor Eric Saindon

When Neil Armstrong set foot on the moon, he took the world with him. There was no road map – no one had ever done it before – and it took a team of intelligent, dedicated individuals to make it happen.  Like Armstrong, Oscar-winning film director and producer James Cameron has taken us to terrains unexplored, from the depths of the Mariana Trench and its seemingly alien life, to the boundless vistas of imaginary planets. And, also like Armstrong, he was only able to get us there because of the commitment and talent of enthusiastic folks who shared his vision.

It’s no exaggeration to say the biggest audiences of the future will be from Asia, whether they’re located in south, east or southeast Asian countries.  With over a combined population of 1 billion kids under 17 today, these are the consumers that filmmakers and content creators need to reach – now and in the future. They will be the eyeballs and they will hold the purchasing power. The growing importance of the China box office and Netflix’s goals for growth in India mean investments in Asian media and entertainment markets are just beginning.

Like a fine moisturizing cream, visual effects have seeped into every pore of movies to the point where the audience often may not even know they’re being used.  The cutting-edge technology devised to create this magic has a direct and often transformative effect on our cinematic experience.

Meet the company transforming real-time content creation

Virtual Production (VP), as a term, is in vogue: it’s being bandied around with growing frequency in the media and entertainment industries. And for good reason. VP has long held promise as the way to unify the disparate elements of the production pipeline, creating a more collaborative, cohesive and efficient process.

Yet many remain unsure as to what VP actually means in practice, and this – in part – may explain why adoption has been slow.

Short Film “Spring” – VFX Breakdown

Per Blender’s write-up: “Spring is the story of a shepherd girl and her dog, who face ancient spirits in order to continue the cycle of life. This poetic and visually stunning short film was written and directed by Andy Goralczyk, inspired by his childhood in the mountains of Germany. The Spring team used the development version of Blender 2.80 for the entire production, even before the software was in official Beta. As for all of Blender’s Open Movies, the entire production process and all its source files are being shared on our production platform Blender Cloud.”

Because Shark Week: VFX Breakdown from “The Shallows”

ILP committed to working on two principal sequences as well as creating the shark and an underwater seabed environment. We knew that we would need far more control over our Shallows shark than we had over previous sharks we had created. In a process that involved modeling, sculpting, rigging and look development, our team created a Great White that could be used in a variety of situations. We also developed advanced setups to deform the shark as well as setup complex simulations for water interaction, underwater dust clouds, bubble and blood trails.

UK-based VFX company On-set Facilities has developed an impressive, and apparently unique, system that creates visually stunning live VFX from green-screen shoots.  The system uses a VR games engine, which combines the foreground image, the CG background, the matte and the camera tracking data and feeds it to Nuke where the final composition is output.

VFX software usability: why the industry needs to change

Is the VFX industry stuck in the 90s?  Despite all of the stunning wizardry and modern visual flourishes produced by VFX studios, there still remains a big disconnect between today’s production software and the artists in the trenches that have to use these tools day in and day out. It might be easy to say well, if those artists are creating amazing work, what does it matter that the tools are sub-par? But it does matter.

It’s that time of year where Foundry gazes into our crystal ball and tries to predict some key trends that could shape VFX (and other areas of tech) over the next 12 months.

Enter Asahi VFX Breakdown

A collaboration between The Monkeys Melbourne, In The Thicket and Alt, the newly released Asahi campaign is a visual feast that takes viewers on a journey through landscapes built around surreal Japanese iconography.  From script to shoot – a huge operation that took place at Sydney’s Fox Studios – Director Marco Prestini and his Executive Producer, Genevieve Triquet from production company In The Thicket, brought on the VFX team at Alt to help realise the creative vison.

Creating the Mind Flayer in Stranger Things’ Season 2 Finale

We initially got a bid for just two episodes of “Stranger Things” Season 2. In the end, we worked on every single episode. The shot counts and the amount of work just grew and grew. It was exciting to have them come back to us – it went from being a fairly small project to being really large, especially for our studio at the time. I was FX Lead on this project. As far as my experience goes, the Shadow Monster is probably the thing I’m most proud of from the show.

Jurassic World: Fallen Kingdom | VFX Breakdowns

Image Engine, El Ranchito, and ILM present their VFX work on “Jurassic World: Fallen Kingdom”

Behind the scenes on The Shape of Water

FOLKS VFX OFFERS 12 FACTS ABOUT “12 MONKEYS”

On the heels of the release of Season Three, Sebastien Bergeron, Founder and VFX Supervisor at Folks VFX, offers 12 facts about Syfy series,12 Monkeys.  We were brought on board last season, for Season Two of 12 Monkeys. They wanted a change in the visual effects department, and I had a previous relationship with one of the associate producers, Keri Young. The kind of pro-active collaboration they were looking for was perfect for Folks and the fact that the series revolves around time travel –what science fiction is all about in my mind –meant that the show was a great fit any way we looked at it.

Rising Sun Pictures Taps Asgardian Visual Effects Strength on Thor: Ragnarok

The close-knit team at Rising Sun Pictures (RSP) work on some of the most talked-about and iconic VFX sequences in Hollywood’s biggest blockbusters. That Quicksilver ‘Kitchen Scene’ in X-Men: Days of Future Past –  that was RSP!  ‘Val’s Flashback’ in Marvel’s current juggernaut Thor: Ragnarok – again RSP! More on that below.

“We have the capability of creating these memorable sequences as we are fast, flexible, and creative, which makes us an obvious choice for studios who require this kind of VFX,” says Anthony Smith, Head of 2D (Compositing, Paint, Roto, and Digital Matte Painting Departments). “When we do this specific style of work, it often results in the studio asking us to produce many more VFX shots for them. We are proud of the quality we produce at RSP and we set the bar high, so to have tools like Mocha save us time, is extremely important to us.” The Australian-based company is currently working on many projects at the same time, including Peter Rabbit, Tomb Raider, Animal World, and X-Men: Dark Phoenix.

How They Did It: Marvel Studios’ ACES Workflow for Guardians of the Galaxy Vol. 2  

How did Marvel Studios ensure that the amazing, eye-popping visuals created by Guardians of the Galaxy Vol. 2 director James Gunn, cinematographer Henry Braham, and VFX supervisor Christopher Townsend all ended up on screen as the filmmakers intended? Marvel Studios used ACES to manage the film’s color pipeline from dailies through to VFX, DI and archiving.

Weta Digital claim victory on “War for the Planet of the Apes”.  Weta Digital has been at the cutting edge of visual effects design for nearly a quarter-century, during which time they produced some of the film industry’s most iconic visuals: the epic battles in TheLord of the Rings movies, for example, or the physics-defying fight scenes in various X-Men movies. And as for character modeling, well, they’ve done it all: from Gollum to Smaug, mutants to vampires, and King Kong to Neytiri. For their achievements, they have been awarded six Visual Effects Academy Awards and six BAFTAs, among numerous other accolades.

The Last Jedi VFX Breakdown Reveals The Work Of ILM’s VFX Masters  If you’re actually surprised by anything you see in this behind-the-scenes breakdown, you’re clearly not up to speed on how a modern Star Wars movie is made. Even with JJ Abrams pushing to use as many real sets and costumes for The Force Awakens, there was still a tremendous amount of green-screen compositing and CG used in both that film and Rian Johnson’s The Last Jedi.

Useful Tools for 3d Artist

My name is Sterling Osment, I am a self taught VFX artist – with a innate passion for creating visual effects in CG, it all started a long time ago when I was involved with a small startup studio in Brisbane Australia, we were using SGI’s, Lightwave and Softimage. I was exposed to the high end pipeline very early and immediately was interested in the media creation of this style. I attended a Alias Maya 1.0 and Max function / presentation – I was blown away.

Would you give us a little “top 5” list of tools?

  1. Houdini
  2. Maya
  3. Zbrush
  4. A big brain with octopus arms ( for multitasking )
  5. A heap of patience mixed with connections and friends that share the same kind of CG interests.

THE CROWD FX OF GAME OF THRONES, WITH MACKEVISION

Like many Game of Thrones enthusiasts, we experienced withdrawal of our weekly dragon fix as Season 7 came to a close. Being equal part VFX-enthusiasts, however, we were excitedly anticipating the release of the CG breakdowns to see how some the series’ best effects yet came to fruition. One in particular caught our eye, a breakdown from Mackevision showcasing their convincing simulations of armies and ship fleets, and we were thrilled to sit down with Lead CG Supervisor Christian Zilliken and Head of Business & Legal Affairs, Heiko Burkardsmaier to hear more about it. Check out what they had to say aboutt techniques used working on this season.

DYNAMIC EFFECTS IN 4K, WITH JOSH CLOS

Josh Clos works in 3D dynamic and procedural effects for television and commercials in New York City with a focus on effects involving particles, liquids, destruction and explosions. His breadth of work spans projects including Blacklist, Blacklist: Redemption, Notorious, The Tick, and the sigils teaser for Game of Thrones. His FX portfolio is stunning to say the least, and we’re thrilled that he has taken the time to contribute some of his techniques to the CGSociety community.

With North American and European studios dominating awards ceremonies and column inches, you’d be forgiven for assuming that’s where our industry begins and ends. But it’s a global affair, and amazing things are being created all around the world.

CGF are one such company, flying the flag for the Russian VFX industry and creating impressive work on a budget. Foundry Trends went East to find out more.

Interview with Saddington Baynes

Award-winning creative production studio, Saddington Baynes, shares how they work together to stay ahead of the curve and craft new & innovative ideas.  We have a particularly well-rounded skill set at Saddington Baynes. Our in-house expertise consists of everything from retouching still photography, to integrating CGI into live actions shoots. Our directors bring technical and creative solutions to whatever the client brief requires, allowing the team to achieve diverse delivery requirements for large scale projects.  One thing you can say about Saddington Baynes is that we’re passionate. Coming from diverse creative backgrounds, our team rarely fit into pre-defined boxes. We look for questioning minds as well as beautiful portfolios. From exquisitely detailed photographic stills to conceptual particle animations, we celebrate creative risk-taking. Above all, our artists need to be courageous and take pride in their work.

Art of VFX News

Vivid Festival Transforms Sydney with Light and Motion

Beyond The Wall: The Story of Six VFX Studios Behind the Epic “Game of Thrones”

17 favorite movies before and after visual effects

‘Beauty And The Beast’ Without CGI Is Ridiculous And People Can’t Stop Laughing

Emma Watson is an amazing actress. After all, just look at her performance in her latest blockbuster Beauty and the Beast. But you’ll be even more impressed when you see what she had to work with. The movie is a mix of live action and animation, with Beast being played by Dan Stevens in an interesting suit…

What’s the secret to longevity for a VFX studio? Just ask SPIN VFX

From one scene file, they can light 10, 20, 100 shots. We’ve seen a tremendous increase in our productivity.”  How Katana helps SPIN VFX deliver hundreds of shots and work on 10 shows simultaneously.

The 10 best visual effects breakdowns of 2016

It goes without saying that the CG on display is excellent, but bear in mind that this isn’t a run-down of the biggest or best visual effects projects of the year: it’s a run-down of the best visual effects breakdowns. Editing, presentation, and the quality of the making-of material on display all count for a lot here.

How FuseFX brought serious super power to the invulnerable, “Luke Cage”.  Software used : Autodesk 3ds Max

What happens when a lifelong Marvel fanboy and Sr. VFX Supe at FuseFX gets tagged to work on Marvel’s latest superhero series, Luke Cage? He punches out enough super power to make bones break, buildings blow sky high – then viewer demand (at least speculatively), makes Netflix servers implode.

On the heels of the recent Luke Cage debut – and that now infamous two-hour Netflix outage – Greg Anderson gets on the phone from New York to effectively demonstrate how thoughtful planning, passion, and the right balance of VFX, puts true, super power, behind any project.

LOUIS MORIN ON THE REALITIES OF ‘ARRIVAL’  interview on CG Society

For freelancing Canadian Production VFX Supe Louis Morin, “Arrival” feels a bit like coming full circle. Cerebral, thought-provoking, not to mention visually striking, it nods to the classic that inspired his career choice: Kubrick’s, “2001: A Space Odyssey.” Telling the story of a military-recruited linguist tasked to translate alien communications, Arrival had Morin leading a small legion of local VFX studios under Denis Villeneuve’s direction and was shot entirely in his home province of Quebec. Hailed as one of the best films of the year, Morin discusses the realities of making “Arrival” – the creative approaches and committed teams, the gut feelings and happy accidents, and of course, those understated, almost elegant photo-real effects.  Software Used: Autodesk Maya, Autodesk Flame, Shotgun, Arnold Renderer

Louis Morin on the realities of “Arrival” interview with Autodesk

AN INTERVIEW WITH MPC FX LEAD, FABIAN NOWAK

Fabian Nowak is an FX Lead/Senior FX TD at MPC whose work can be seen on films such as Passengers, Jungle Book and Guardians of the Galaxy to name a few. He was recently nominated to the VES Awards 2017 for “Outstanding Effects Simulations in a Photoreal Feature” for The Jungle Book and has some valuable insight to share. Check out what he had to say about his experience working as a lead at the esteemed studio, as well as a few tricks of the trade for those in our audience who are carving a similar path.

Richard Hoover, Visual Effects Supervisor for Framestore Montreal, has been close to Ridley Scott’s Blade Runner, in varying degrees, since accidentally finding himself behind the scenes of the 1982 original. So it seems somehow natural that he would come to oversee some of the most demanding sequences for the 2017 sequel, Blade Runner 2049, directed by Denis Villeneuve.  Here, Richard shares details of his background, his history with the franchise, and how Framestore pulled off some of the most visually compelling VFX shots filmgoers have yet to see.

Blade Runner 2049: Art of VFX Interview
Art of VFX interviews VFX producer, Karen Murphy, on her role on Blade Runner 2049. “Blade Runner is the holy grail of SCI FI and you have to have a lot of guts to even sign up for the task”.  Karen Murphy began her career in the visual effects almost 25 years ago. She has produced the effects of many films such as TITANIC, WILD WILD WEST, HUGO and FURIOUS 7.

This is What Home Movies Look Like When Your Parent is a VFX Artist

The 5 Miserable VFX Jobs That Make Movies Possible

CREATING THE ICONIC STAR WARS LOOK:  Exclusive Interview with Christian Alzmann, ILM’s Senior Art Director

ARTIST INSIGHT: JOEL ERKKINEN   Getting to know the whimsical 3D Artist and Star Wars Fan

More about the Guardians of the Galaxy Vol. 2 VFX  James Gunn’s Guardians of the Galaxy Vol.  2 was a huge hit over this past summer and was jam packed with non-stop fun and creative visuals. Learn about what went into the film with behind the scenes looks, interviews with the visual effects team, and more.

HOW TO BE AN ART DIRECTOR  Knowing Things You Don’t Know Anything About  January 4th, 2016 by Geoff Coates

Exclusive Interview with Marvel Studios’ VFX Supervisor, Jake Morrison

Exclusive Interview with Laika’s VFX Supervisor Steven Emerson

Cycling Canada:  Andres Kirejew, VFX Supervisor, Alter Ego

DJV Imaging provides open source movie playback software for use in film production, VFX, and computer animation. Key features include:

  • Real-time playback of image sequences and movies
  • Support for industry standard file formats including Cineon, DPX, OpenEXR, and QuickTime
  • Command line utilities for batch processing
  • Cross platform support for Linux, Apple OS X, and Microsoft Windows

The Core Skills of VFX

Maya or Māyā (Sanskrit माया māyāa[›]), a term found in Pali and Sanskrit , has multiple meanings and can be translated to mean something of an “illusion” (or more accurately a “delusion“)  wikipedia

25 Great CGI movie moments of all time – link

Animal Logic: The Lego Movie – link

Mike Green Lightwave to Zbrush and Back Again

        MACROGRAPH’s Videos

Want a job in VFX? Take notes from these 5 pros

VFX veterans look back on their early careers and share their most important lessons.  Visual effects (VFX) encompasses many different interests and skill sets. That variety is exactly what makes working in this industry so attractive, but it also raises a lot of questions when you’re starting out and looking for your first real gig: How should I approach potential employers? What exactly do they look for? How will I differentiate myself? What qualities will make me successful?  To get some answers, we spoke to five CG pros about their earliest days in the business and asked them to share the most important lessons they learned with us.

Click on Autodesk Digital Magazine for the link

Click on Autodesk Digital Magazine for the link

Autodesk Digital Magazine

AEAF  Animation and Effects Awards Festival

VFX Artists Touch Heaven and Earth for ‘Thor: Ragnarok’  Teams at Rising Sun Pictures and Fin Design + Effects created exciting sequences, VFX and animation for Marvel’s ‘Thor: Ragnarok’, spanning heaven and earth, distant planets and dream worlds.

CELEBRATING CREATIVITY: Issue Two

CG SOCIETY

REBUS FARM – ARTIST OF THE MONTH

COMMERCIAL: Woolworths 

Create 3d Characters web site link and facebook

CREATIVE CRASH

DUNCAN BRINSMEAD

Creating a sizzling showreel sting

Andre McGrail is a freelance artist working in London. He studied multimedia in his native New Zealand, having been inspired to learn 3D as a kid by Saturday morning TV shows like Reboot and Starship Troopers. After failing his course for continually trying to bite off more than he could chew, he completed his education on the job, working as a 3D artist in advertising for five years before moving to Karactaz, an animation studio where his projects included working on TV series for Marvel Animation. Eventually, the call of adventure took him north (way north!) and he found himself in the UK.

VFX Blog link

PULLDONW IT 

Pulldownit is a brand new dynamics solver which allows for the creation of fractures as well as massive rigid bodies simulations. By using its technology digital artists are able to simulate fast and easily the collapse of buildings, cracking surfaces or fracturing any kind of brittle material.

3dar

Douglas Trumbull

John Whitney

MAXON CINEMA 4D FIRES-UP CANTINA CREATIVE VFX WORKFLOW -THE HUNGER GAMES: MOCKINGJAY PART 2

EXCLUSIVE INTERVIEW WITH CHRISTOPHER NICHOLS (DIRECTOR OF CHAOS GROUP LABS)

CREATING VFX SHOTS for WESTWORLD

MAKING MAD MAX  Interview with Tom Wood, iloura’s VFX Supervisor, CG Society

THOR RAGNAROK  Rising Sun Pictures Hammers Out Visual Effects for Marvel Studios’ Thor: Ragnarok.  Rising Sun Pictures (RSP), Australia’s premiere visual effects studio, produced more than 170 final visual effects shots for Thor: Ragnarok¸ the new film from Marvel Studios. Working under the supervision of Director Taika Waititi, production Visual Effects Supervisor Jake Morrison and production Visual Effects Producer Cyndi Ochs, RSP’s team spent more than 18 months helping to craft some of the film’s most memorable, creative and technically challenging scenes.

MATHEMATIC specialising in high end CG and VFX for advertising, TV, Print, digital, serious, short and now long format films.  Specialised Flame Artists, Shoot Supervision, Nuke, Luster and After Fx compositors, Smoke, DaVinci and FCP.

Interview with Lillian Paterson: VFX attachment on Pacific Rim: Uprising.

3D / VR / AR / XR – Khronos Sydney Chapter

‘Data-Driven Real-Time Crowd Simulation’  Rowan Hughes

Visualisation of data in 3D, design and aesthetics based how that impacts through good design.  How can we impact on processes through better visualisation, VR, design building from personal experience outwards to the design process.   How data structures are being deal with including narrative structures and visual impact.  In 2018, we are going to start our meetup with invited speakers, talking about WebGL, Cinematic VR, Collaborative AR/VR and beyond.

In order to create plausible virtual humans it is important to model their movement and interactions with their environment in an accurate and realistic manner.  A lot of time and effort is spent by artists and engineers modelling user interactions with virtual agents with which the user acts directly. Virtual crowds, however, form an important component of virtual worlds. It is generally not feasible to author scripted behaviours and interactions for individual members large virtual crowds, and it typical to rely on systems that allow for autonomous navigation and behaviour. In this talk, we look at some solutions developed over the course of Rowan’s research.

We present a novel algorithm to model density-dependent behaviours in crowd simulation. Previous work has shown that density is a key factor in governing how pedestrians adapt their behaviour. This paper specifically examines, through analysis of real pedestrian data, how density effects how agents control their rate of change of bearing angle with respect to one another. We extend upon existing synthe vision based approaches to local collision avoidance and generate pedestrian trajectories that more faithfully represent how real people avoid each other. Our approach is capable of producing realistic human behaviours, particularly in dense, complex scenarios where the amount of time for agents to make decisions is limited.

Masters looking at real time rendering, skin.  This talk is looking at Crowd Simulation in VR, improved behaviours inluding pedestrian steering.

Rowan’s research included creating models from Captured Data, the use of Particle Systems, Holonomic Collisions Avoidance for Virtual Crowds, the use of Mocap (the process of recording the movement of objects or people) on the shoulders for shoulder orientation.

Holonomic Locomotion:  Holonomic robots are omnidirectional robots that can move in any direction from any orientation, creating an incredibly mobile robot. So, it’s easy to move the robot in a congested area. A four wheel drive (4WD) omnidirectional robot can be built using either mecanum wheels or omniwheels. Both wheel types are similar in that they have rollers mounted around the wheel’s circumference allowing for sideways movement of the robot. The difference between the two types is the angle at which the rollers are mounted at. This article looks at omnidirectional robots constructed with both types of wheels and includes software code for providing this control. The robots are constructed using the VEX Robotics building system.

Previous models turned like cars, holonomic models, side and back stepping.  How close do you need to be, how to turn and when to turn for an animation database.  If have a bunch of obstacles, know when they are going to hit based on the orientation and know how to orient the character.  Looking for less collisions and better behaviour.

Geometric models are efficient, solving in 2D space with circles and boxes with maths equations.  Went with a synthetic vision, each agent in the simulation renders the scene from their point of view.  The scene is rendered for every character, if there are 2000 characters then rendered for all of the characters and this data, the visual perception data is used to solve the collision problems.

Prioritise non-collision at all cost.  Two parameters to consider are the time to collision (TTC) and rate of change of bearing angle. Fragment shader gives the time to collision – ttc, if I’m going this way and your going that way, how soon are we going to collide.

Rate of change of bearing angle is not changing we are going to crash into each other. Increasing will pass in front of you, decreasing will pass behind you.  Time to interaction.

Two ways to avoid, decelerate and turn.  Looked at left and right avoidance angle, turning angles, velocity, current density for all the characters.  As density increases, slow down and take bigger turning angles.

Parallel reduction, CUDA will sample every pixel and decide which is the worst one, that is the one to react to.   Dealing with the most dangerous pixel in real time.

Do some calculations on the CPU and works out the goal velocity.

Humans are rendered as cones, which works well because can see over the shoulders with boxes and spheres cannot see over and do not work so well.

Track algorithm  RVO Tracking Algorithm, ORCA. Reciprocal Velocity Obstacles,  Optimal Reciprocal Collision Avoidance

Studies for virtual crowns.  Work on Crowd phobia, older people and how crowds affect their spatial memory, how people navigate such as how big and how dense does it need to be before you go all the way around.

A Creative Flight plan……and how 99% of the time we’re off course

Paul is going to finish up the Sydney ACM SIGGRAPH events for 2017 with a talk about projects, research, and planning. You’re probably very familiar with his work on Guardians of the Galaxy vol. 2Avengers: Age of UltronAllegiantInsurgentIron Man ThreePrometheus, and so many others. He’s an engaging and entertaining speaker, you should come listen to him talk and look at his pictures.

Incredible Visual Effects of Prometheus

Behind the scenes of Allegiant VFX breakdown by Animal Logic

The Divergent Series: Allegiant – Animal Logic designs over 250 shots on Allegiant

Hologram Table Effect

Attempting to make something photo real and at the same time come up some ideas for the problems which could be a director saying ‘I do not really know what I want to do’.  Had discussions around what to do, a new exploration and exploring shapes.

Holographic table – blend between organic and high teck. How much to give the audience and how much to tease them. Holding a cloud of light. Test on a black screen then have their own problems when put into a set.

Working on the UI elements – when there is a frame work sent to the art department to design the graphic and then animate all the elements as motion sequences. They were not all flat cards, giving them volumetric space.

When all the elements are put on top of each other they accumulate in light and gets flat very quickly.  The use of back face culling for graphics such as culling out the landscape behind giving a sense of volume, cheating the depth of field and relighting the characters. Giving it a sense of shape and volume, designed as a volume, not for one camera and can then move cameras around, rendering any angle and giving reflections. Grading down the objects beside the holograms to give them a sense of shape.

Constantly roughing out the graphics and going back and forward between graphics and the editor.

GUARDIANS OF THE GALAXY

GUARDIANS OF THE GALAXY VOL. 2: PAUL BUTTERWORTH – VFX SUPERVISOR – ANIMAL LOGIC

The fractal nature of Guardians of the Galaxy Vol. 2  By Mike Seymour  

Matt Ebb – Guardians of the Galaxy 2

The Palace Interior 

Using crazy fractals, thinking about how can we light it to make it different and a bit interesting.  Fractals give fine detail and are uncontrollable, need to be able to manipulate them to find the structure you want. Selected pieces, carved that section out and use it.  Instead of using the houdini cloud and typologies it, they took the point cloud information using lidar scans and were able to build up the set quickly.

cineSync to link up quicktime and can draw on pictures

Light studies, change the time of day and put a light sky around it and remapped it. Relighting and regrading.

Simple geo structures with complex fractals, instanced it with spheres usually giving a rough surface then worked out how to take the normals off the fractals and bent the surface, manipulating the surface to appear smooth.

Cosmic Catch Effect

Real hands replaced by DG hands with fluid effect simulation with pulses running up the hands and seeing through the hands.

Alien Garden

With Matte Paintings you can get a lot of detail in very quickly and is harder to change.  Decided to build the garden with assets that can be generated and used the fractal generator that was being used. Made the garden realistic, to look like plants and when signed off shifted the colours about 10% to gave it a bit of an alien look.

Original set with actors on it then a background plate as a layout, tree assets and sky plates with the ground plates being replaced and rototed off.  Needed to shoot some more plates, the lighting did not match so well with what had already been comped, then needed to relight some of the actors, 3D light, 3D pull down exposures on some things.  Removal of elements because the sound had already been done. The matching up and pulling together of shots from different times.

Colour cast has to be fine tuned and colour graded.

FAMILY MOMENTS – Diorama Creation

From concept art to taking the live action, track it, take out the vectors and put through Houdini and scatter particles with the live action colours.

How are they transitioning between all the story parts, where is it coming from and how is it shaped.

Took the basic ideas and started shaping the characters and built up the detail.

Rendered everything at 4K, the camera was so sharp when CG was rendered out at the resolution of the film it was looking softer against the actors.  Scaled down the CG to match the same kind of sharpness of the camera.

If you were to add up all the hours that were applied to the show it would take you about 37 years, not including rendering.

SOME OTHER INTERESTING POINTS

In camera is always better, production design, liaising with crew and matching and choose  elements with the camera, know how the camera would resolve it and it is invaluable.

The more set the better, for the actors who are not staring blindly into a scene.  This works well in a film that is well written and well planned for production design, now the turn around is getting quicker and there is going to be a lot of change.  A director that is good with scripts and writing, does not do vfx and can run on the fly with it and shape the film in the last 2 or 3 months with running cuts and marketing testing.  The stress is on the post production companies.

Tend to design a team that is gorilla based, multiple talents and plan for expanding at the end when you can thrown a lot of fire power at it.  Design in such a way, need an asset set up where you can reshape and get a result quickly which is probably not matte painting.  People tend not to shoot movies very well, lack of structure, proper script, inventing the story and use move multi camera set ups.

Not too many options, people get confused, gave three ideas with options they really liked and take out the one they like least.  Not ‘no’, offer options, cannot do this, we can do this.  Not tell all the problems, say this is the problem.  Job is to offer solutions. Towards the end of the film, everyone want to get to the end, just like everyone else. Do you like a, b or c.

Movies that explore new territory, not cover areas that the audience already knows, as an audience were ahead of the story and knew what was going to happen.  Lacked mystery and twists with an inability to connect with the key characters, not believing the journey they are going to go on.  The story rushed and disjointed. Have been there so why are we making this.

Ant-Man | VFX Breakdown | DNEG

‘Outlaw King’ Method Studios Breakdown Reel

Freeing Artists from Technology: Autodesk Entertainment Creation Suite 2014

Key Insights & Updates in the Entertainment Creation Suite

Projection-mapping on moving surfaces

Incredible Visual Effects of Prometheus

Opel Ampera-e – Maybugs – VFX breakdown

Student Andreas Feix used NUKE to help him create a six-minute stereoscopic short in just one year. His efforts won him a Visual Effects Society Award, a place in the Electronic Theatre, and helped him secure a job at one of London’s top studios. Head of Education Nicki Morris has the story.

Game of Thrones: The Frozen Lake (HBO)

‘Game of Thrones’ Visual Effects – Inside ‘Battle of the Bastards’

The Best CGI Movies In 2016

The Mill BLACKBIRD

HBO’s “The Newsroom” – Intro Sequence

The Visual Effects Of Iron Man[Full Documentary]

Sense of Presence: The Future of Virtual Reality

Autodesk Maya Special Features by Duncan Brinsmead – Part 1

Autodesk Maya Special Features by Duncan Brinsmead – Part 2

These ARE the Droids You Are Looking For… wireframe

Spoil Boy (test render)

Alias|Wavefront – The Making of Maya Fluid Effects

Exclusive Interview with Dennis Muren, ILM Special Effects master talks  about his creative journey and multi-award winning work on movies like Star Wars, Terminator 2, and Jurassic Park

Why CG Sucks (Except It Doesn’t)

Kung Fury VFX Breakdown – “Great balls of fire”

Kung Fury VFX Breakdown – “Miniature Madness”

DAWN OF THE..STUFF. FULL LENGTH TRAILER

The Hobbit: The Desolation of Smaug – Bringing Smaug to life

Top 10 Landmark CGI Movie Effects

3ds Max 2015 extension 1 – Working with Alembic

https://www.youtube.com/user/pjacksonwingnutfilms/playlists

The History and Science of the Slit Scan Effect used in Stanley Kubrick’s 2001: A Space Odyssey

The WETA Effect, or, Why Special Effects Peaked in the 90’s. – StoryBrain

Pixels: Taj Mahal sequence – VFX breakdowns

Steven Dupuy FX Show Reel 2015

VFX Before and After Star Wars The Force Awakens PART 1

VFX Before and After Star Wars The Force Awakens PART 2

VFX Before and After Star Wars The Force Awakens PART 3

VFX Before and After Star Wars The Force Awakens PART 4

Star Wars: The Force Awakens – Comic-Con 2015 Reel

Ouirich BOUNTHAVY – Reel 2015

[VFX Breakdown] Coldplay – Adventure Of A Lifetime

JURASSIC WORLD BREAKDOWN REEL

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