3D & 2D

Flying People

2012-02-01T15:34:00.000-05:00

THE WITCHER 2

2012-01-30T23:12:00.000-05:00

PS3 video store & the found collective

2012-01-30T22:34:00.004-05:00

check out this awesome spots.

check out more at

DODGEBALL VS.

2012-01-11T16:22:00.000-05:00

ELECTROSHOCK

2012-01-06T19:09:00.001-05:00

The 360 Project

2011-12-08T12:00:00.002-05:00

Murmuration

2011-12-08T11:11:00.001-05:00

amazing real life particle system!

The Gift and Keloid Trailer

2011-12-07T20:41:00.002-05:00

Earth | Time Lapse View from Space

2011-11-17T17:18:00.001-05:00

Some More Alambic Stuff

2011-11-07T11:53:00.000-05:00

Sony Two Worlds

2011-10-28T06:00:00.002-04:00

Check out this new spot and their in depth breakdown of the whole thing. Also check out the original version.

Original

"Have You Seen My Sister Evelyn" Music Video

2011-10-21T17:03:00.001-04:00

MOTION DESIGN?

2011-10-20T12:27:00.000-04:00

Alain with Go Pro Copter

2011-10-19T20:22:00.001-04:00

IMG_8113, originally uploaded by JLEGA.

Albuquerque NM mountains

2011-10-17T08:52:00.002-04:00

Motion 2011 is over

2011-10-17T08:07:00.002-04:00

Motion 2011 is over. It was an awesome opportunity to network and be inspired, not to mention Albuquerque's Balloon Fiesta and its perfectly clear scenery. I definitely would recommend going there for next years Motion event (hopefully in the same place). I will be uploading some of the images we captured on our visit.

Updated demo 2011

2011-10-17T08:02:00.004-04:00

I will be updating it soon again. Hopefully by the beginning of 2012

SOUL MAN Trailers

2011-10-05T14:46:00.000-04:00

URep Miami

2011-10-05T14:37:00.004-04:00

A fresh new company that gears towards artist looking for some exposure. Submit your own design and it could end up on one of these T-Shirts. Check them out.

UREP

thanks Diego for the link!

The New America Project (Nando Costa)

2011-10-04T08:25:00.001-04:00

About this project

In 2010 I created a limited edition series of illustrations that were laser engraved on blocks of wood. I instantly fell in love with the process and since then I have been really excited to create a short film in which every frame is a unique engraved artwork.

The film I want to create is called “The New America” and is set in a fictitious place and time where a very advanced society goes through a phase of structural and financial collapse, but eventually re-emerges with it’s values rooted in a strong relationship with nature.

One of the most exciting parts of this film is that every frame would actually be engraved on wood and that each person participating would get to keep one of these one-of-a-kind artworks. There are many levels of involvement and some include a limited edition poster for the film, a limited edition shirt and even other artworks I’m made recently.

The length of the film depends on how many people decide to participate, but it will vary between 1 and 5 minutes. Each artwork will be laser engraved on a 8 x 4.5 in maple panel from Plywerk, which is ready to be hung so there is no need to frame it. The film’s music track is also a very important component and will be created by my friends at World Gang.

Once all the engravings are produced I plan on photographing each and everyone and compile them into a sequence for the film itself. Then each frame will be mailed to you, shipping cost already included.

I’ve been directing animation and live-action for over 10 years. You can see most examples of my work on my website at nandocosta.com.

I am really excited to begin working on this project and hope you want to be part of it. Please feel free to ask any questions you may have and I will answer them as soon as possible. I will continue post updates about the project on this page as well as on my website and Twitter account. Thanks for considering being part of this project.

Nandocosta

The New America

Cartoon Network "New Cosmos"

2011-10-04T08:12:00.000-04:00

Don’t we all secretly wish the world behaved like it does in cartoons? As visualized by director Nando Costa in our new promo, that’s exactly what happens for a young boy surfing Cartoon Network’s “Toonix” website. First the boy himself transforms into a colorful animated character, and then the real fun begins as he shrinks down to the scale of an action figure. His desktop becomes the animated embodiment of Toonix in the real world, as 3D characters run wild in a microuniverse of imagination; all speaking to the rich illustrated palette and vibrant social network of the Toonix site. With careful attention to each and every irreverent detail, the spot is a visual feast full of tiny moments that reward repeated viewing. In fact, if you watch it enough times, maybe you’ll even get your wish…

Client: Cartoon Network Latin America
Writer/Producer: Manoela Muraro
Production Coordinator: Equana Davis

Production Company: Superfad
Director: Nando Costa
DP: Steve McGehee
Line Producer: John Gomez
Executive Producer: Chris Volckmann

Animation & Post: Superfad
Creative Director: Nando Costa
Art Director: Sean Dekkers
Character Design: Sean Dekkers, Patrick Clarke, Julieta Rodriguez
Lead 3D Artist: Matt Guzzardo
Technical Director: Robin Scher
Modeling/Rigging: Patrick Clarke, Adam Rosenzweig, Andrew Butterworth
Animation: Patrick Clarke, Greg Bekken, Ian Mankowski
Lighting/Texturing: ShuChen Lin
Simulations/FX: Phipat Pinyosophon
Lead Compositor: Joel Voelker
Compositors: Marco Giampaolo, Lu Liu
2D Animation: Nando Costa, Sean Dekkers
Editor: Ryan Haug
Colorist: Joel Voelker
Producer: Jen Schmithorst
Executive Producer: Chris Volckmann

Sound design: JC Richardson
Studio: Magick Lantern
Voiceover: Ethan Major

PEUGEOT SPOTS

2011-10-03T17:59:00.002-04:00

Ruin: Short film teaser

2011-09-30T11:09:00.003-04:00

oddballanimation

schoenheitsfarm production

2011-09-30T10:57:00.002-04:00

http://www.s-farm.de/fresh

Punga and FOX RETRO

2011-09-30T07:00:00.000-04:00

Works by JON YEO

2011-09-29T13:50:00.000-04:00

Michael Haussmann Thor FX Breakdown

2011-09-29T07:00:00.003-04:00

http://www.michaelhaussmann.info/

Magnus and The Making of

2011-09-29T07:00:00.001-04:00

I really liked this piece a while back, it reminds me a bit of final fantasy 7.

wolkiger

Looney Tunes: VES submission

2011-09-28T12:15:00.009-04:00

"This was our submission to the VES awards for Best Overall Achievement in an Animated Short. I was responsible for supervising all rigging on the project as well as doing several of the rigs, tools, and workflows needed to achieve the crazy looney rigs."

VES Submission

Josh Carey, Rigging Supervisor

TOY STORE

2011-09-28T05:00:00.001-04:00

This is one of those videos that your like, how the **** did they do it. CG, camera tracking etc. check out the video and you'll find out how it was made. Now that's team work!

Stop Motion Experiment

2011-09-27T18:32:00.001-04:00

Secret Island

2011-09-27T18:06:00.002-04:00

Cool video, all made with Cinema 4D!

monophon.ch

IBE 2011

2011-09-27T08:00:00.002-04:00

This is just too awesome!... Makes me want to get back into breaking...(thanks Fabian for link)

Many Many Creations

2011-09-27T07:00:00.001-04:00

Check out Many Many and their many works coming from asia. Be sure to check out their coca cola work on their
page. Awesome stuff!

V-RAY Film & VFX Reel 2011

2011-09-26T10:27:00.002-04:00

Chaos Group original link
Chaos Group

Visual Effects Industry Bill of Rights

2011-09-26T10:10:00.001-04:00

The Visual Effects Society today released an Industry Bill of Rights. The VES Board unanimously voted to approve the document outlining rights of visual effects workers, facilities and studios. The document starts by defining some of the problems and the current situation and then outlines rights that the artist, the facility and the studios should expect. Following those lists they address how they would like to move forward with these ideas in a section titled “the future”.

This seems like the next step in the VES 2.0 Initiative previously announced (story here).

Here is the document released by VES today:

Visual Effects Industry Bill of Rights

The Situation Today

The global visual effects industry is in transition. Because visual effects now play a central role in today’s feature films, television programming, animation, video games, commercials and virtually all forms of entertainment, they have become critically important to the entertainment industry.

43 of the top 50 films of all time are visual effects driven. Today, visual effects are the “Movie Stars” of studio tentpole pictures – that is, visual effects make contemporary movies box office hits in the same way that big name actors ensured the success of films in the past.

It is very difficult to imagine a modern feature film or TV program without visual effects. Visual effects drive the entertainment marketplace which entertains billions of people across the globe, and earns billions of net profit dollars each year.

Technology, local tax policies and the current business model have transformed the visual effects industry over the last 30 years from a provincial business with a few locations primarily in California, working on a relatively small number of projects, to a global market of projects and providers. Though the number of jobs has grown worldwide, job security and working conditions have significantly eroded.

Caught in these changing conditions are the visual effects artists, practitioners, and facilities that actually do the work and are finding the business landscape more difficult to navigate. In some parts of the world, many artists and practitioners do not have access to health care coverage (primarily in countries without nationalized health care); in many areas of the world, non-paid and unchecked overtime, lack of access to pensions and day-to-day job security are key issues facing visual effects artists and practitioners. Similarly, many facilities are experiencing tremendous difficulties keeping their doors open because they are finding out that their current business models are broken.

The Visual Effects Society (VES) is an honorary Society of artists and practitioners, and is currently the pre-eminent visual effects organization in the industry. Our mission is to further the art and science of visual effects, to address conditions impacting artists and practitioners, facilities, directors and studios, and to reflect the needs of our membership, therefore enhancing the artistic and business lives of our members around the world. Addressing these challenges will require the collaboration and cooperation of all sectors of the entertainment industry.

In response to this environment, the VES offers this visual effects Bill of Rights, and a dedication to work with the entertainment industry at large to transform the visual effects industry into a model that is mutually sustainable for artists and practitioners, facilities and studios.

Therefore be it resolved that:

A Visual Effects Artist or Practitioner has the right to:

- A clear understanding of the work he/she is being hired to perform, including knowing what they are being paid per hour, per week or per job, as well as the duration of the assignment, with strict adherence to all local labor laws and tax codes regarding overtime, sick time, vacation time, working conditions, safety and other aspects of a professional work environment. This would include a minimum of an industry-standard turnaround between work shifts;
- Negotiate a modification in the terms of employment should the realities of the position change in any material way, or decline work that is outside the terms of the employment agreement;
- Quality health care coverage no matter where in the world he/she may be working;
- Be paid on time;
- Work under conditions conducive to the work they are expected to perform and the creative process it entails;
- Be given a reasonable amount of notice when being asked to work overtime. If asked, to be able to turn down such requests without reprisals;
- An appropriate and certifiable credit;
- Show their work after the project is commercially released for the purpose of securing more work.

A Visual Effects Facility has the right to:

- A clear and reasonable deal memo with the artists and practitioners for hire delineating the scope of the work, the schedule from commencement to completion, and the agreed upon price;
- A clear and reasonable contract, signed before their work begins, with the producers or studio hiring the facility, delineating the scope of work, production schedule and payment schedule;
- Expect to make a fair and reasonable profit for work performed;
- Expect the highest level of professionalism from artists, practitioners, and studios;
- Turn down projects, or additional work on projects already awarded, without fear of reprisal on future projects;
- Charge for material changes and delivery schedule changes that impact the ability to deliver or the quality of work to be delivered;
- Retain ownership of their intellectual property and proprietary tools;
- Fair and reasonable credit for services rendered and/or risks taken;
- Show their work after the project is commercially released for the purpose of securing more work.

A Studio has the right to:

- A clear and reasonable contract delineating the scope of the work, the schedule from commencement to completion of the project, and the payment schedule based on the agreed upon price;
- Be informed in a timely manner before incurring any excess charges, delays or problems with work for which it has contracted;
- Shorten or lengthen a schedule as long as they are willing to compensate facilities;
- Change direction on any aspect of the show in question, as long as it fairly compensates facilities and artists and makes the necessary contractual and time accommodations, on any changes that affect them;
- Expect professional work from facilities, artists and practitioners;
- Expect a high degree of productive collaboration between facilities on shows that have multiple visual effects facilities working on the same project.

The Future

These goals must be sought with an overriding concern for improving the artistic quality and value of the films, TV shows, commercials, animation and new media we produce.

We believe that achieving these outcomes – which will benefit visual effects artists and practitioners, visual effects facilities, directors and production studios – will be a collaborative process. This Bill of Rights is only a starting point for a meaningful discussion that will unfold over the months ahead. Each geographic community that is involved in the crafting of visual effects has different needs. VES’s goal is to play the role of catalyst to bring together all the participants in the entertainment industry who interact with visual effects.

This Bill of Rights is also a “bill of responsibilities:” it must be implemented in a manner that strengthens the visual effects industry. We recognize that the responsibility of moving this program further lies primarily with the VES. This is a global issue—by working together, we will benefit together, and so will the entertainment industry at large.

If you have any comments or questions, please email us at
leadership@visualeffectssociety.com

posted by fxguide

cmiVFX 50% off sale (ends Sat)

2011-09-23T07:39:00.002-04:00

cmiVFX is having a 50% off sale. Get it while you can this ends Tomorrow. Also they are open for tutorial request. So if there isn't anything you like. Submit your requests at sales@cmivfx.com.

This is what you have to do to get the discount.

1. got to cmiVFX
2. choose any number of videos you want
3. Then enter the coupon code at the shopping cart: 50iscrazy

Drown To Life

2011-09-23T07:26:00.005-04:00

Check out this new short by Mauro Affronti. All creating using Softimage.

Drown To Life

PICTOPLASMA NYC

2011-09-22T08:00:00.000-04:00

Another great conference before the end of the year. Check out Pictoplasma NYC on November 4 and 5 at the Parsons the new school for design. Check it out here.

Vimeo Music Store

2011-09-22T07:00:00.003-04:00

Vimeo Music Store

The Vimeo music store is stocked with 45,000 and with an easy to search preset. Lets you choose what type of music, tempo, mood etc. This can be the perfect place to find a cool song for your demo. There are also a few free tracks, but check it out. It's worth taking a look at.

Gmunk and TRON

2011-09-21T17:46:00.009-04:00

Gmunk check out his new work along with a lot more in depth info on the holograph graphics for TRON LEGACY.

Softimage & Arnold Render

2011-09-21T12:47:00.005-04:00

Here are some clips on what the render looks like and what options there are. There is a beta release out but not for everyone.

Arnold was also used for the following movies

Aronold Presentation 2010
Solid Angle

SPI and Behind the scenes in wonderland

2011-09-20T12:25:00.004-04:00

For more check out their youtube page SPI

MOTION 2011 (Oct 9-14)

2011-09-20T10:38:00.005-04:00

If anyone is looking for a conference to go to in October, check out Motion 2011. It's a conference in a format similar to TED. It will be held in Albuquerque NW. But there is a limit to how many people can go, so this might be already short notice. Anyway be sure to check it out I will be definitely making it there. If you have doubts why Albuquerque? here is a short video made by the people at Sony Pictures Imageworks.

Price:
Motion Conference $599.00
The Adobe Post Show (master Classes) $599.00
motion + Adobe Post Show $1049.00

more info on Motion

MotionfanClub has Unleashed

2011-09-20T10:19:00.004-04:00

Finally MotionfanClub Unleashed their fingers on how they made this spot. 3D tool of choice was Maya for animation, particles and paint effects along with after effects for compositing. Not much info but its all that's out for now. Here is JayFunk a tutorial and the original video for Samsung Galaxy SII.

Source 3Dworld Magazine.

Industrial Light & Magic is Hiring!

2011-09-19T10:37:00.002-04:00

For over thirty years, Industrial Light & Magic, a division of Lucasfilm Ltd., has set the standard for visual effects and in the process, created some of the most stunning images in the history of film. At the forefront of the digital revolution, ILM continues to break new ground in visual effects.

Some of the current work in production includes Mission Impossible: Ghost Protocol, Battleship, and The Avengers.

We are seeking talented artists in the following disciplines for positions in our San Francisco office:

Animator
Summary: Designs and creates animation for 3D CG characters and creatures for digital feature and live-action integrated feature films.
Requirements: Bachelor’s in Fine Art, Illustration, Animation, CG Art, or a related field preferred; Expert knowledge of animation principles, acting, film production and compositional design required; 3+ years experience in 3D CG; proficiency with LINUX; expertise with Maya and/or other high-end animation software preferred; Demo reel required.

Digital Compositor
Summary: Combines live action and computer generated elements into visual effects shots that realize the vision and creative direction of the client and visual effects supervisor.
Requirements: 3+ years of digital compositing experience in a feature film production environment. Proficiency with Linux and strong fine arts foundation skills, such as photography and photographic lighting preferred. Demo reel required.

Digital Matte Artist
Summary: Creates photo-real environments and landscapes exhibiting a strong foundation in photo-realistic traditional and digital art skills. Performs tasks related to integrating imagery into a shot, preserving a unified sense of lighting, perspective and color. Creates original 2D/3D content that may comprise all or part of an environment.
Requirements: 2+ years of production experience. Bachelor’s in art, industrial design, theatrical design or painting preferred. Demo reel required.

FX TD
Summary: Designs and renders FX animation, procedural simulation, dynamic simulation, particle and fluid systems.
Requirements: Advanced simulation experience with either Houdini, Maya, XSI, 3DS Max or other software, and particle rule authoring skills are required. Linux, scripting ability in Python and MEL preferred; C++ skills also applicable. Exhibits strong teamwork and interdisciplinary thinking. 3-5+ years feature film experience with effects simulation work preferred. Bachelor\'s degree in CS, engineering or CG. Demo reel required.

Lighting TD
Summary: Technical Directors are responsible for the lighting, rendering and basic compositing of complex shots. Designs and creates the lighting and look of computer generated objects and scenes. Creates elements for digitally composited sequences. Responsible for compiling the various elements of a shot for review and seeing it through to completion.
Requirements: Advanced experience with either Maya, XSI, 3DS Max, Houdini or other software. Linux and Python scripting or shader authoring preferred; C++ skills also applicable. Exhibits strong teamwork and interdisciplinary thinking. 3-5+ years feature film experience preferred. Bachelor\'s degree in CS, engineering or CG. Demo reel required.

VFX Producer
Summary: Partner with the Visual Effects Supervisor and Animation Director to lead crew in fulfilling the Director\'s vision -- on time and on budget, while maintaining highest quality of work. Primary responsibility for: budget and schedule, in collaboration with ILM Management; and for managing overall Client relationship.
Requirements: Bachelor\'s degree in Film or related field or equivalent work experience required. Five years work experience in production management to include strong working knowledge of Visual Effects techniques and terminology. Proficiency in Macs/PCs including Microsoft Word and Excel. Must possess very strong organizational and communication skills and be able to handle a variety of tasks in an efficient manner while meeting deadlines.

How to Apply
Online: https://jobs.lucasfilm.com/

Mail Submissions to:
Industrial Light & Magic
Attn: Recruiting
P.O. Box 29909, San Francisco, CA 94129-0909

post by FXGUIDE

ShaderMonger

2011-09-19T10:30:00.004-04:00

Check out this new community supporting shaders for Maya.

ShaderMonger

ShaderMon , the new MAYA tool from Brillstudio, will give Maya shader artists the ability to save their shaders in a project based personal library,catalog them,backup the shaders to a Main library and load them anytime to any project while giving them a fully customizable preview of the shaders.

Manchester Orchestra - Simple Math and Making of

2011-09-16T15:36:00.001-04:00

Check out the rest of DANIELS work. These guys are incredibably unique.

Manchester Orchestra
DANIELS

What is a TD, and what they do all day?

2011-09-16T10:45:00.003-04:00

Technical Director (also called a TD) is a common job title in computer animation and visual effects companies. Some companies use the title "TD" for several different jobs:

Lighting TD's (the most popular use of the word) are the artists who light and render 3D scenes.

Character TD's are responsible for rigging a character with a skeleton, clothing, hair, and deformation controls.

Shader TD's write and adjusts shaders to determine the appearance of models, and prepare objects to be painted by the texture painters.

At some companies, TD's are sometimes doing modeling work in earlier stages of a production, are involved in compositing and effects animation, or "Pipeline TD's" are involved in developing the architecture that links all of the departments together. Despite all these different meanings of TD, if someone doesn't specify what kind of TD they are, then they are usually working on lighting and rendering.

How "Technical" are TD's?

TD positions require a balance of artistic sensibilities, technical savvy, a good eye, and good problem-solving skills. A few TD's are programmers, but most are not. Many TD's know how to write scripts in different scripting languages, such as MEL, Tcl, Perl, or Python. Almost all TD's are able to work with different operating systems, including being proficient with common UNIX shell commands. Among the TD's that have scripting or programming skills, most spend their time working on specific characters or shots, and only doing scripting or programming when needed to speed up their work or solve a production problem. If you want to find where the real, hard-core programmers are working in a larger studio, look at the Programming, Tools, or R&D departments - they are all more "technical" than the TD's.

Are TD's really "Directors?"

The work that many TD's do in lighting and rendering is similar to the work of the "Director of Photography" (or DP) in live-action film production. Otherwise, the name TD can be a bit misleading, and some studios don't even use the term. At some companies, the person lighting a shot would be called a Lighting Animator or simply a Lighter, instead of a Lighting TD. People rigging characters are sometimes called a Rigger, Puppeteer, Physiquer, Technical Animator, or other titles instead of Character TD. Because of this, some companies will never list a help-wanted ad for TD's. A TD by any other name is still a TD, though, and they still need to hire people with similar skills for any computer graphics production.

What do I need to do to become a Lighting TD?

It's hard to sum up everything that goes into good lighting in one paragraph (it's almost as if I'd need to write a whole book...) but a good lighting reel should show both well-lit all-CG shots, and also show CG elements integrated into live-action environments with matching lighting, shadows, and reflections if needed. Stills are acceptable to include, but also include some animation, perhaps including different times of day, or moving objects like curtains or tree branches or doors that cast different shadows and change the lighting during the shot. If you are also interested in an effects TD position, some particle animation, such as smoke or fire could be good to integrate as well.

Post by
Jeremy Birn

Jeremy Birn is a Technical Director at Pixar Animation Studios, and the author of the book Digital Lighting & Rendering.

Also check out how to land your a cg job

Cadbury Dairy Milk (Brand New School)

2011-09-15T17:35:00.001-04:00

TENDRIL - FIBE TV

2011-09-15T11:38:00.002-04:00

Credits:

Client: Bell
Agency: Leo Burnett
Agency CD: Judy John
Agency CW/AD: Marcus Sagar, Noreel Asuro
Agency Producer: Julie Caniglia
Production Company: Tendril Design+Animation Inc.
Directors: Chris Bahry, Alexandre Torres
Executive Producer: Kate Bate
Producer: Anne Deslauriers
Music & Sound Design: WhiteNoise Lab
Concept Design and Storyboard: Luis Guilherme,
Vini Nascimento, Alexandre Torres
Character and Creature Design: Marco Teixeira
3D Animation: Renato, Ferro, Vini Nascimento,
Marcin Porebski, Kevin Vriesinga
Environments, Lighting, Textures: Marek Denko and Peter Sanitra of NoEmotion
Particle FX: Marek Denko, Peter Sanitra of NoEmotion
Compositors: Chris Bahry, Steven Hollman,
Leo Mateus

XSI ice for Subaru

2011-09-15T10:48:00.003-04:00

Skip to around minute 17:30 and you can see brief breakdown on how it was built.

Behind the scenes with VideoCopilot and new Iphone app

2011-09-14T09:37:00.002-04:00

HIERO

2011-09-14T09:20:00.005-04:00

The Foundry announced HIERO, a new conform and vfx workflow tool designed to work with NUKE, but flexible to work with any product. Utilizing tech from the now end-of-life STORM, the product fills a timeline-based gap in the shot-based NUKE workflow.

Post by FXGUIDE

Check out more at FXGUIDE

Double the Cinema Quality at 48 fps

2011-09-14T09:16:00.002-04:00

Alembic

2011-09-13T15:05:00.001-04:00

A new file format that might revolutionize the way we save our 3d files.

Alembic

A FOX TALE (Supinfocom)

2011-09-13T14:03:00.006-04:00

Julien Legay
Ma Chao
Cazals Alexandre
SUPINFOCOM

The Tale Of Mr. Rêvus

2011-09-13T13:58:00.000-04:00

Making of UBS F1 (All done with Nuke)

2011-08-09T17:11:00.002-04:00

Eurosport 2011 Rebrand Behind the scenes

2011-08-05T15:57:00.001-04:00

Memory Tapes by Najork and Making of

2011-08-04T13:51:00.005-04:00

check out a bit of the making of.

http://najork.net/mt_bts.html

Cinema 4D 13

2011-08-02T15:52:00.004-04:00

check out the new upgrades coming up for cinema 4d 13.

New and Enhanced Rendering Engine
Physically-Accurate Rendering
Effiecient Subsurface Scattering
Shared Image Sampler
Stereoscopic 3D Workflow
Stereoscopic Camera Conversion
Stereo Image Workflow and Preview
Stereo Rendering Options
Picture Viewer Support
More Accessible Character Tools
New Character Object
New CMotion System
New Muscle System
New Collision Deformer
..............................and the list goes on.

Cinema 4D 13

John Lasseter - A Day in a Life - Full Length Documentary

2011-07-25T12:19:00.001-04:00

Sehsucht Lamborghini Spots

2011-07-15T13:27:00.003-04:00

Check out these videos. They used Cinema 4D Mograph and Softimages ICE.

Credits:

Production: Sehsucht GmbH Hamburg, Germany

Service Production: Slim Pictures L.A, USA

Director: Ole Peters

DOP: Jordan Valenti

Aerial DOP: Kurt Soderling

Pilot: Lance Strumpf

Precision Car Driver: Rich Rutherford

Set Supervisor: Timo von Wittken

Concept Design: Anja von Harsdorf

Art Department Post: Anja von Harsdorf, Axel Brötje, Niklas Ohlson, Stephan Wever

Head Of 3D: Timo von Wittken

3D Artists: Maurice Panisch, Peter Balicki, Hannes Geiger, Felix Geremus, Vitaly Grossmann, Christian Keller, Stefan Galleithner, Christian Schnellhammer

Head of Compositing: Florian Zachau

2D Artists/Compositing: Yacoob Essack, Markus Gratl

Mattepainting / Look Development: Marco Iozzi

Storyboard Artist: Malte Romainczyk

Technical Director: Martin Chatterjee

Editor: Stephan Wever

Executive Producer: Martin Woelke

Producer: Andreas Coutsoumbelis, Jan Tiller

Music: DamienDamien

Sound Design: Supreme Music

Client: Lamborghini, Sant´Agata Bolognese, Italy
Director Brand & Design: Manfred Fitzgerald

Agency: Philipp & Keuntje, Hamburg, Germany
Creative Direction: Diether Kerner, Jo Marie Farwick
Art Direction: Alexander Norvilas
Copy: Dennis Krumbe
AP: Diana Scarfó, Alex Schulte
Consultant: Steffen Schwab

Production: Sehsucht Hamburg, Germany
Directors: Hans Schultheiss, Ole Peters
DOP: Bernd Wondolek, Ole Peters
Concept Design: Axel Brötje, Peter Balicki, Silke Sieler, Mate Steinforth, Lasse Clausen, Helge Kiehl
3D Artists: Timo von Wittken, Maurice Panisch, Peter Balicki, Hannes Geiger, Felix Geremus, Matthias Thomann, Joern Engelke
2D Artists/Compositing: Christian Heyde, Thomas Schindler, Tom Abel, Jan Toensmann, Sebastian Spitze, Moritz Glaesle, Michael Welz, Max Dennison (Matte Painting)
Editor: Ole Bergmann
Producer: Jan Tiller, Jens Monske
Music: DamienDamien

Sehsucht

Find a studio

2011-06-29T13:33:00.003-04:00

I ran across this page, which I thought would be very useful if you are looking for a studio and your not sure if the software you use is in their pipeline. It is worth checking out.

www.cgstudiomap.com

Unleash your fingers

2011-06-21T18:28:00.001-04:00

PHOTOFLY 2.0

2011-06-09T22:11:00.001-04:00

Overview

Capturing the reality as-built for various purposes (renovation, rapid energy analysis, add-on design, historic preservation, fun, etc.) is now possible using your standard point and shoot digital camera thanks to advanced computer vision technologies made available through Project Photofly.
Highlights

Allows anyone with a digital camera to create near accurate 3D models from photographs using the web.

Utilizes common point and shoot digital cameras.

Harnesses the power of cloud computing to translate photos into detailed 3D models.

3D models can be manipulated by design software (e.g., AutoCAD, Inventor, 123D).

Allows sharing through YouTube, iPad, iPhone, and iPod Touch.

Autodesk

Studio Aiko

2011-06-09T12:27:00.003-04:00

Check out this studio from Isreal. Focusing on photorealistic renderings using 3d max, v-ray and AE. Check out their site

STUDIO AIKO

VFX JOBS

2011-06-03T16:17:00.004-04:00

If you want a brief overview of what you will need to get your foot in the door to one of the top VFX companies. Double Negative has a full list of each job your responsibilities and requirements. However many companies vary in what they need from you.

Double Negative

How much should you be getting paid?

2011-06-03T15:52:00.003-04:00

I found this on an article on FXGuide, It's an app (iphone and Ipad) that will let you know how much you should get paid depending where you live, what you do ...etc. this is strictly for people in the Film and tv industry.

http://www.nscratingapp.com/

http://www.cinematography.nl/

IS TROPICAL - THE GREEKS

2011-05-31T12:57:00.000-04:00

Taylor James

2011-05-26T15:23:00.002-04:00

Check out behind the scenes at Taylor James, a High-End creative production studio based out of London. TAYLOR JAMES

PLEXUS AE plugin

2011-05-26T11:58:00.003-04:00

He guys,

Check this awesome new plugin for after effects. You can download the free demo at AESCRIPTS.

Newton: After Effects first physics engine

2011-05-25T20:10:00.001-04:00

This look like a one plug-in i will definitely get my hands one. Check out their page. Link

Newton for Adobe After Effects, first tech demo. from motionboutique on Vimeo.

The Making of Plexus Productions Opener

2011-05-25T15:48:00.000-04:00

The World first 8k HD display

2011-05-24T16:52:00.000-04:00

KATANA developments

2011-05-24T16:40:00.004-04:00

This is the new Software for preparing 3D assets for rendering large complex scenes. check it out at THE FOUNDRY

Chiller ID's

2011-05-20T15:55:00.001-04:00

Great advise from FXPHD Mike Seymour

2011-05-19T17:39:00.001-04:00

Getting that Big Break

For many senior artists, the question most often asked by new and eager runners while brewing a pot of morning coffee is “how did you learn and get started ? ” – or as we hear it “ how do I get your job and get someone to make me coffee all day long?” It’s a fair question, but the path to being an incredibly talented yet spoiled rotten hero operator is far less clear than it used to be and the future of how those positions will be maintained is even more interesting.

In years gone by, the path was simple, you joined a tape house as a runner or edit assist and slowly, by sitting in on sessions, you learned the ropes. Until one day the senior operator left or got sick and the middle weight operators were run off their feet –and you offer to work 2 shifts that day, yours and and the all night edit compile. Before long you had clients asking for you by name and someone offering to get you coffee every 30 minutes.

But the digital revolution happened and we ended up with a more efficient work place. AVIDs meant that we no longer required a full-time edit assistant who would sit with an editor all day and learn how to edit. With Henrys and Flames we lost the need for tape assistants in an edit session, as everything is now on the hard drive. Fewer assistant jobs were needed and many of those jobs turned into batch digitizing at night, archiving in the morning and labeling masters.

What of the future? Will future senior positions be freelance or on staff ? In the production environment, Directors of Photography, Production Designers and many others are freelance and at the agency end of the process, there has been an enormous move to freelance agency producers in last few years. By contrast, freelance editors and effects people used to be rare. Since each suite was different it took an experienced editor weeks to fully master so most staff were full time. Now with software driven systems, one Flame is fairly similar to another. So what is stopping us from all going freelance? Certainly, we have seen a major trend to more freelance 3D people especially in feature film production where permanent staff positions are extremely rare.

The prime thing stopping this trend for editor and effects people is the risk to post house of ‘dry hiring’ or ’4 walling’. If a facility just rents gear then they risk becoming little more than a rental house, with little or no client loyalty. Most serious facilities know that the value added services are in highly skilled and creative staff – staff who have a loyal following and who are full time and thus loyal to the facility.

But if the market does move to freelance staff there will surely be even less opportunity for young people to learn and build their skills, yet alone their own client roster.

So where does this leave our new keen and eager runner?

• For a start, formal qualifications are a great step up. A well known film school course for a compositor goes a long way.

• Don’t forget that it is your talent as an artist — and not just knowing how to push the buttons in a software package — that leads to becoming a great lead. Take inspiration from the classic painters..the techniques they used paint to create light and environment can certainly be applied to digital matte paintings and composites. Look at the world around you with an artistic eye. As you’re driving into a city or through the mountains, think about how we get our clues about depth and reality through light and environment.

• Don’t count on your current facility training you. They may, but, as a bare minimum you should study and learn Photoshop, After Effects and a good 3D tracking package. You may not be able to afford an Flame but get yourself a decent Mac or XP workstation – and not just for playing Halo 2.

• Teach yourself. Take advantage of the systems and software in your facility when you can. When the systems aren’t in use, check with the artist and then jump on and dive in. It means staying late and going in on the weekends. But when you get asked at the last minute to help generate some mattes or clean up some footage, you’ll be ready to do it.

• Don’t be afraid of the lead artists. While some many not want to share their knowledge, the vast majority are more than willing to help out juniors with any questions they might have. After all, most of us worked our way up into our positions in exactly the same way.

• The web is a great resource for learning software. News and information sites have a ton of information about the industry. Many plugins and even programs have demo versions which you can download right from the web. Sapphire Plug-Ins, for instance, are fully functional yet burn a watermark over the result image. This way, you can learn the software without spending any money.

• Special edition DVDs are another great resource for learning — the behind the scenes content, while not very technical, is certainly wonderful from an approach and theory standpoint.

• Finally, from day one start building a reel and whenever you get even a small break, get a copy for your reel, it is your calling card and CV. Forget getting a written reference from your holiday job at the supermarket from 3 years ago,… get a reel – edit it and show what you can do. But keep it short and put your best work on first, (but we’ll cover showreels in a separate tip soon) . The bottom line is keep an accurate history reel, – and a current show reel, the hard truth is when a job comes up – you’ll never have time to gather material and put a reel together.

The good news is that the number of positions is growing. I started in R&D designing special effects software and moved via London and LA to post in Sydney, teaching myself Flint, Flame/Inferno, and then Shake, along the way and I am still experimenting. The primary thing to remember is that none of us do this for the money or the hours, we do it because we love it. If you have the drive and the talent there are always positions even if you end up freelance, earning a fortune but still having to get your own coffee.

Submitter: Mike Seymour

Plexus Productions Opener

2011-05-19T12:19:00.001-04:00

GFX hotkeys

2011-05-11T11:05:00.003-04:00

if your looking for a quick shortcuts for most of your programs check this Iphone app out.

Search it APP STORE or this link

CATASTROPHE

2011-04-25T16:06:00.003-04:00

C4D has another plugin for fracture dynamics!! apart from the other plugins that just fracture your object. This one has a couple more features. Check it out! Help donate too!!!

Click Here

TRON LEGACY Special FX

2011-04-25T13:17:00.002-04:00

Check out the amazing software development behind the hologram graphics for tron legacy.

Click Here.

8 BITS

2011-04-23T12:33:00.000-04:00

This is old but still one of my favorites.

Quadrocopter.us

2011-04-18T10:42:00.003-04:00

Check out this awesome Quadrocopter do some aerial shots with cameras like the DSLR's and GoPro. This is a great piece of equipment to have if your into film production.

SITE

NEW LOONEY SHORTS

2011-04-17T15:32:00.003-04:00

DNA with Particular tutorial - by Alain Lores

2010-09-20T15:05:00.001-04:00

Random Motion Reel 2010

2010-07-24T20:18:00.004-04:00

Randommotion.tv

Logo Animation

2010-07-20T20:49:00.003-04:00

Check out a new logo animation I did for SN. Using C4D =)

Thinking Particles PAge

2010-06-26T14:22:00.004-04:00

Random

2010-06-12T13:42:00.002-04:00

Hey Guys,
We're launching a new site prettty soon, for Motion Graphics, Design, Animation and all of the above. Check it out withing the next few weeks.

Random

Nike : Write The Future & Behind the Scenes

2010-05-21T18:26:00.004-04:00

Write The Future from Nalden on Vimeo.

Nike Write the Future Ad Campaign Behind The Scenes from The Final Third on Vimeo.

Become a Coke Zero Swat Team

2010-04-19T14:59:00.003-04:00

I just came out breakdancing on the coke zero swat page sapient has developed. Check it out.

COKE ZERO SWAT TEAM

New Twix page !!!

2010-04-17T23:47:00.005-04:00

Hey guys juts wanted to share with you some new work I did. Check out the Button animation on the twix page.

TWIX

PIXELS by PATRICK JEAN.

2010-04-14T06:53:00.001-04:00

PIXELS by PATRICK JEAN.
Uploaded by onemoreprod. - Discover more animation and arts videos.

WOW

2010-04-12T21:02:00.001-04:00

IMG_1806, originally uploaded by JLEGA.

Crazy face!!!

Flickr page

2010-04-12T18:45:00.003-04:00

Hey Guys,
Well just wanted to post the link to my flickr page. I just got a Canon 7D so I will be taking some pics every now and then. Thanks again for your viewing.

Flickr

3D Creature Development

2010-03-31T06:44:00.002-04:00

3D Creature Development from Alex Alvarez on Vimeo.

Six Heads in Sixty Minutes from Alex Alvarez on Vimeo.

VIV Mag Interactive Feature Spread - iPad Demo

2010-03-29T14:02:00.000-04:00

VIV Mag Interactive Feature Spread - iPad Demo from Alexx Henry on Vimeo.

Making of Nuit Blanche

2010-03-24T13:56:00.002-04:00

check out this beautiful Making of video.

Nuit Blanche from Spy Films on Vimeo.

Making Of Nuit Blanche from Spy Films on Vimeo.

spyfilms.com - The making of the award winning "Nuit Blanche"

Directed by: Arev Manoukian
Produced by: Stephanie Swedlove & Arev Manoukian
VFX by: Marc-Andre Gray
Music by: Samuel Bisson
Starring: Michael Coughlan & Megan Lindley
Cinematographer: Arev Manoukian
Casting: Jeff Marshall
Assistant Director: Andrew Cividino
Production Designer: Arev Manoukian & Marc-Andre Gray
Art Director / Costumes - Dan Levy
Camera Operator: Jay Pavao
Camera Assistant: Max Armstrong
Gaffer: Alan Poon
Editor: Arev Manoukian
Compositor / Animator: Marc-Andre Gray
Effects Supervisors: Marc-Andre Gray & Arev Manoukian
Additional Compositing: Arev Manoukian
Matte Painter: Pat Lau
Colourist: Andre Chlebak