http://mumbai.quikr.com/EARN-unlimited-just-by-reading-SMS-on-Your-MOBILE-W0QQAdIdZ73278699
Saturday, May 21, 2011
Sunday, May 8, 2011
NATURAL POINT : OPTI TRACK
| AJ Briones was the Virtual Cinema Lead Artist on AVATAR, and Previs Supervisor on 'the Halo:Reach commerical. He has built and managed MoCap studios for Midway Games and Vivendi Universal Games. "Back then I'd use just anything [as a virtual camera]," quips AJ., "in fact back then, we were seeing the kind of Virtual Camera being used by Cameron on AVATAR and a lot of elements have been brought into OptiTrack products that they didn't have back then." |  |
for more info : http://features.cgsociety.org/story_custom.php?story_id=6096
Saturday, May 7, 2011
CG arena : Prime Focus Adds Graphic Dimension to ‘Avatar’
Prime Focus Adds Graphic Dimension to ‘Avatar’
Prime Focus, a global visual entertainment services group, has contributed a number of shots to James Cameron’s stereoscopic 3D feature film “Avatar.” The movie, which stars Zoe Saldana, Sam Worthington and Sigourney Weaver, hits theaters Dec. 18 and features numerous stereographic and “Holotable” displays, animated graphics, immersive environments and other visual effects created by Prime Focus.
A team of approximately 90 was spread across Prime Focus’ Los Angeles, Vancouver and Winnipeg facilities, with President & Senior Visual Effects Supervisor Chris Bond and Visual Effects Producer Chris Del Conte driving the project out of the LA office. Graphics Supervisor Neil Huxley art directed and oversaw the design of the motion graphics elements. The bulk of Prime Focus’ work was done for the film’s Bio lab and Ops Center, the bustling hub for military operations and one of the key environments in the film.
“Our experience working with stereoscopic 3D material, both on the movie ‘Journey to the Center of the Earth 3D’ and through our proprietary View-D technology, more than prepared us for ‘Avatar,’” said Bond. “Having the resources of our talented teams across Winnipeg and Vancouver at our disposal and set up for remote collaboration with our Los Angeles crew also meant we could ramp up at a moment’s notice when we were awarded additional shots.”
Prime Focus designed displays for the Op Center’s Holotable over which the film's main characters discuss their missions and plans to mine a valuable mineral found on the planet Pandora. In one key scene, the film’s protagonist Jake Sully (Sam Worthington) and Col. Quaritch (Stephen Lang) bring up a three-dimensional hologram of the “Home Tree,” where the Navi, Pandora’s indigenous population, live.
Using the original live-action plate of a table with a greenscreen across the top, Prime Focus modeled the hardware that went inside the table, the projector beams, and added graphics projected above the table of the terrain, including the Home Tree. These graphics were designed in 2D in Adobe Illustrator, animated in Adobe After Effects, placed on cards in 3D and rendered in Autodesk 3ds Max. Prime Focus Software’s Krakatoa particle system was used for the 3D terrain, which gave the images a scan-lined LIDAR-like quality, as if a satellite roving the planet’s atmosphere captured the footage.
To make the Ops Center feel alive and bustling with activity, Prime Focus also designed interactive stereographic displays for dozens of screens, so every monitor screen had a sense of movement and depth. Each screen was composed of four-to-eight layers, rendered in different passes and composited together.
“Chris Bond and our pipeline team developed a custom graphics script we dubbed SAGI, for Screen Art Graphic Interface,” shared Huxley. “This script takes Adobe After Effects renders and binds them to a 3ds Max assembly file, which would negate human error. Considering that some of our shots had 30 screens in them, trying to work out which graphic goes into which screen would be very time-consuming. SAGI helped us streamline this process so if James didn’t like a particular graphic, we could easily swap it out. This enabled us to turn around client revisions very quickly. James would give us the change, the graphics team would address the note, render it through SAGI overnight, re-comp the graphic in the am and then watch it down in our Real-D theater in stereo 3D, do a quality check in stereo, and have it ready for James to check 24 hours after giving us the initial note.”
The Prime Focus VFX team also created displays called Immersives that provided a 180-degree stereo perspective, allowing military personnel to control air traffic flow in 3D. Additionally, Prime Focus contributed CG helicopters, buildings and atmospheric elements seen from the Ops Center and Commissary windows in several sequences.
Said Del Conte, “Much has been said about James Cameron’s incredible vision as a director, his hands-on style and the very high bar he set for all his visual effects vendors, so playing a part in bringing ‘Avatar’ to life has been a fantastic experience for our team.”
Prime Focus, a global visual entertainment services group, has contributed a number of shots to James Cameron’s stereoscopic 3D feature film “Avatar.” The movie, which stars Zoe Saldana, Sam Worthington and Sigourney Weaver, hits theaters Dec. 18 and features numerous stereographic and “Holotable” displays, animated graphics, immersive environments and other visual effects created by Prime Focus.
A team of approximately 90 was spread across Prime Focus’ Los Angeles, Vancouver and Winnipeg facilities, with President & Senior Visual Effects Supervisor Chris Bond and Visual Effects Producer Chris Del Conte driving the project out of the LA office. Graphics Supervisor Neil Huxley art directed and oversaw the design of the motion graphics elements. The bulk of Prime Focus’ work was done for the film’s Bio lab and Ops Center, the bustling hub for military operations and one of the key environments in the film.
“Our experience working with stereoscopic 3D material, both on the movie ‘Journey to the Center of the Earth 3D’ and through our proprietary View-D technology, more than prepared us for ‘Avatar,’” said Bond. “Having the resources of our talented teams across Winnipeg and Vancouver at our disposal and set up for remote collaboration with our Los Angeles crew also meant we could ramp up at a moment’s notice when we were awarded additional shots.”
Prime Focus designed displays for the Op Center’s Holotable over which the film's main characters discuss their missions and plans to mine a valuable mineral found on the planet Pandora. In one key scene, the film’s protagonist Jake Sully (Sam Worthington) and Col. Quaritch (Stephen Lang) bring up a three-dimensional hologram of the “Home Tree,” where the Navi, Pandora’s indigenous population, live.
Using the original live-action plate of a table with a greenscreen across the top, Prime Focus modeled the hardware that went inside the table, the projector beams, and added graphics projected above the table of the terrain, including the Home Tree. These graphics were designed in 2D in Adobe Illustrator, animated in Adobe After Effects, placed on cards in 3D and rendered in Autodesk 3ds Max. Prime Focus Software’s Krakatoa particle system was used for the 3D terrain, which gave the images a scan-lined LIDAR-like quality, as if a satellite roving the planet’s atmosphere captured the footage.
To make the Ops Center feel alive and bustling with activity, Prime Focus also designed interactive stereographic displays for dozens of screens, so every monitor screen had a sense of movement and depth. Each screen was composed of four-to-eight layers, rendered in different passes and composited together.
“Chris Bond and our pipeline team developed a custom graphics script we dubbed SAGI, for Screen Art Graphic Interface,” shared Huxley. “This script takes Adobe After Effects renders and binds them to a 3ds Max assembly file, which would negate human error. Considering that some of our shots had 30 screens in them, trying to work out which graphic goes into which screen would be very time-consuming. SAGI helped us streamline this process so if James didn’t like a particular graphic, we could easily swap it out. This enabled us to turn around client revisions very quickly. James would give us the change, the graphics team would address the note, render it through SAGI overnight, re-comp the graphic in the am and then watch it down in our Real-D theater in stereo 3D, do a quality check in stereo, and have it ready for James to check 24 hours after giving us the initial note.”
The Prime Focus VFX team also created displays called Immersives that provided a 180-degree stereo perspective, allowing military personnel to control air traffic flow in 3D. Additionally, Prime Focus contributed CG helicopters, buildings and atmospheric elements seen from the Ops Center and Commissary windows in several sequences.
Said Del Conte, “Much has been said about James Cameron’s incredible vision as a director, his hands-on style and the very high bar he set for all his visual effects vendors, so playing a part in bringing ‘Avatar’ to life has been a fantastic experience for our team.”
Friday, May 6, 2011
CG Meetup: Creative Development in Animated Short Films
the upcoming CG Meetup in Mumbai.
This time the topic is “Creative Development in Animated Short Films.”
With a special sneak preview into the making of his upcoming short “Tamasha,” IAD ‘08 Award of Excellence Winner Mahee Pal will take us through the creative process behind his unique brand of dark and offbeat animation. He will discuss the various influences and techniques that went into the making of “The Adventures of Lalkamal and Neelkamal” as well.
The CG Meetup will certainly appeal to all creative minds, especially those who hunger for something different.
The event will be held on Sunday, the 8th of May at Foundation Hall 1 on the Whistling Woods International Campus between 4pm and 6pm.
Entry is free of cost, but one must pre-register for the event. To pre-register visit: http://asifa.in/cgmeetup/
This time the topic is “Creative Development in Animated Short Films.”
With a special sneak preview into the making of his upcoming short “Tamasha,” IAD ‘08 Award of Excellence Winner Mahee Pal will take us through the creative process behind his unique brand of dark and offbeat animation. He will discuss the various influences and techniques that went into the making of “The Adventures of Lalkamal and Neelkamal” as well.
The CG Meetup will certainly appeal to all creative minds, especially those who hunger for something different.
The event will be held on Sunday, the 8th of May at Foundation Hall 1 on the Whistling Woods International Campus between 4pm and 6pm.
Entry is free of cost, but one must pre-register for the event. To pre-register visit: http://asifa.in/cgmeetup/
Wednesday, May 4, 2011
LOOKING INTO INFINITY : THE VFX OF LIMITLESS
At $30 million for an entire film, there was nothing limitless about the budget for Limitless. LOOK's VFX Supervisor Daniel Schrecker, 3D Artist and Generalist Shawn Lipowski, and compositor Daniel Molina had to use their entire brains to portray how lead character Eddie Morra used his.
Burger felt using the visuals of an infinite zoom would help show how Eddie's character would process information at an accelerated speed. Based on references like the White Stripe videos for Seven Nation Army, he envisioned a fractal type image that never lost resolution.
To accomplish this, VFX Supervisor Schrecker worked with the cameraman and came up with a rig using three Red cameras with different lenses. Shot at 4K instead of the usual 2K, using a tripod and starting at the Metropolitan Museum of Art and traveling across town to Harlem, "we shot the same thing, wider, tighter, tightest and embedded those in each other so you had an image where you could zoom into the center and the resolution didn't fall apart because you were going into the next lens."
to read more : http://features.cgsociety.org/story_custom.php?story_id=6172
Burger felt using the visuals of an infinite zoom would help show how Eddie's character would process information at an accelerated speed. Based on references like the White Stripe videos for Seven Nation Army, he envisioned a fractal type image that never lost resolution.
To accomplish this, VFX Supervisor Schrecker worked with the cameraman and came up with a rig using three Red cameras with different lenses. Shot at 4K instead of the usual 2K, using a tripod and starting at the Metropolitan Museum of Art and traveling across town to Harlem, "we shot the same thing, wider, tighter, tightest and embedded those in each other so you had an image where you could zoom into the center and the resolution didn't fall apart because you were going into the next lens."
to read more : http://features.cgsociety.org/story_custom.php?story_id=6172
Al Jazeera Children’s Channel acquires multiple properties from DQE
DQ Entertainment, the Global entertainment production and distribution company together with Al Jazeera Children’s Channel (“JCCTV”), are pleased to announce the signing of multiple exclusive broadcast agreements with 22 Arabic states for the broadcasting rights of three iconic DQE animated productions – ‘The Jungle Book', 'New Adventures of Lassie' and 'Mysteries and Feluda'.
This five year agreement will provide JCCTV the exclusive broadcasting rights for three animated TV series worldwide in Arabic language only.
About DQE
DQE is one of the leading producers of animation, visual effects, game art and entertainment content for the Indian as well as global media and entertainment industry with a workforce of over 3,500 permanent employees and a global client-partner base of over 90 producers, distributors, broadcasters and licensors including Walt Disney Television Animation, Nickelodeon Animation Studios Inc., Electronic Arts, Marvel Comics, American Greetings, NBC-Universal, BBC Group, M6/France TV/TF-1 Broadcasting groups from France, ZDF Germany and many more worldwide.
DQE has produced/co-produced and distributed iconic brands such as Iron Man - the 3D animated TV series, Twisted Whiskers, Mikido, Casper, Pinky & Perky, Large Family, Mickey Mouse Clubhouse and is now producing world renowned properties like Little Prince and Little Nicolas. DQE has a library of over 600 hours of international programs for distribution.
DQE recently announced development of 3 animated feature films to be released from 2012 onwards for global distribution. DQE's production facilities are based in Hyderabad and Kolkata and it has international sales representatives in Los Angeles, Paris and London.
This five year agreement will provide JCCTV the exclusive broadcasting rights for three animated TV series worldwide in Arabic language only.
About DQE
DQE is one of the leading producers of animation, visual effects, game art and entertainment content for the Indian as well as global media and entertainment industry with a workforce of over 3,500 permanent employees and a global client-partner base of over 90 producers, distributors, broadcasters and licensors including Walt Disney Television Animation, Nickelodeon Animation Studios Inc., Electronic Arts, Marvel Comics, American Greetings, NBC-Universal, BBC Group, M6/France TV/TF-1 Broadcasting groups from France, ZDF Germany and many more worldwide.
DQE has produced/co-produced and distributed iconic brands such as Iron Man - the 3D animated TV series, Twisted Whiskers, Mikido, Casper, Pinky & Perky, Large Family, Mickey Mouse Clubhouse and is now producing world renowned properties like Little Prince and Little Nicolas. DQE has a library of over 600 hours of international programs for distribution.
DQE recently announced development of 3 animated feature films to be released from 2012 onwards for global distribution. DQE's production facilities are based in Hyderabad and Kolkata and it has international sales representatives in Los Angeles, Paris and London.
Monday, May 2, 2011
DIGITAL TUTORS : LARGEST SUMMER TRAINING RELAEASE
For the past few months, the team at Digital-Tutors has been planning a special Summer Training Release. June and July are synonymous with full schedules and holidays, so Digital-Tutors decided to provide all active members with their largest training release to date; making it convenient for artists to learn something new during their action-packed days.
“Although there is never really a ‘down time’ in our industry because we are always trying to beat deadlines and keep up with production, we know the summer months are quite busy since they’re full of vacations, outdoor activities and lots of great time spent with family and friends,” said Chris Glick, VFX Instructor and Production Manager at Digital-Tutors.
Keeping artists’ professional and personal agendas in mind, Digital-Tutors is providing a complete list of all their new training, including 21 new courses, 12 visual guide lessons and 5 free videos, for both June and July so you can take advantage of their latest tutorials anytime during your summer plans. This announcement not only reveals Digital-Tutors largest Summer Training Release but also their library now provides an unsurpassable 11,000 videos.
To view Digital-Tutors Summer Training Release visit: http://www.digitaltutors.com/09/training.php
Maya Courses
3ds Max Courses
Softimage Courses
Composite Course
Illustrator Courses
After Effects Courses
Photoshop Course
Nuke Courses
Cinema 4D Course
Digital-Tutors training is available with the purchase of any individual subscription. To sign-up and get access to the entire library of online training including all project files and learning features, visit: http://www.digitaltutors.com/09/pricing.php About Digital-Tutors
Subscribe to:
Posts (Atom)