[…] تجهیزات فیلمبرداری , استودیو فیلمسازی , کروماکی مطالب مرتبط با این موضوعاخبار ویدئو کوپایلتآموزش افترافکت , آموزش پرده سبز و کروماکیآموزش افترافکت از Red Giantآموزش تنظیمات پرده سبز برای کروماکی – Green Screenآموزش ترکینگ با افترافکت , آموزش کروماکی درافترافکتآموزش جلوه های ویژه و گرافیک کامپیوتریآموزش جلوه های ویژه با افترافکت , Disintegrationآموزش تکنیک های بهبود کروماکی پرده سبز از ویدئو کوپایلتتبدیل تصویر به پارتیکل با Trapcode Formآموزش جلوه های ویژه با افترافکت – The Portal […]
[…] دانلود تیزر تبلیغاتی مطالب مرتبط با این موضوعطراحی و ساخت تیزر تبلیغاتی ، آگهی تجاریتیزر تبلیغاتی شامپو Clear با افترافکت و Cinema 4dپشت صحنه ساخت تیزر تبلیغاتی , VFX BreakDownsمصاحبه با کارگردان و تهیه کننده انیمیشن کوتاه La Lunaپلاگین Element 3Dجلوه های ویژه سینمائی Red Tailsمراحل ساخت یک شات CGتجهیزات فیلمبرداری , استودیو فیلمسازی , کروماکیتکسچر با کیفیتآموزش مت پینتینگ , Matte Painting […]
[…] Double Negative, under visual effects supervisor John Moffatt, orchestrated an elaborate collection of forest animals and creatures for the Dark Forest, including twisted trees and branches, a bat creature, oozing muscles, beetles and butterflies. For a climatic sequence, Dneg also created the Dark Fairies conjured by the queen when Snow White and co attack the castle. Made up of obsidian shard-like elements, the Fairies are humanoid in shape and move quickly against their opponents. Download Video […]
[…] “We’d also do a series of clean takes,” adds Brozenich. “I was concerned it would tie us in to too much timing – that the interaction might penetrate the Chimera or go through people in an unnatural way – but nine out of ten times we ended up going for the original special effects pass on it, because it really suited Jonathan’s style – grit, dirt, debris. For us to add all that back in was never going to be as convincing as when we shot it for real.” Download Video […]
Battleship: tactical water and fluid sims | Hi-Tech Centre says:
[…] Using an ILM model of the Quinjet and a digi-double of Thor, Weta then created shots of the flying God taking Loki onto the mountaintop. “We ingested both of those things into our system, adding detail to the jet and built our cloth sims into that based on our own systems,” says Williams. “We re-groomed the hair from scratch because no two hair tools are ever going to be the same. For our digi-doubles we have a Gen Man asset that forms into the general shape, so that we can leverage all the tissue and muscle stuff we’ve done for development into every digi-double. So that means all the digi-doubles get their own A-level treatment instead of having to be developed from scratch, because at the end of the day everyone has a bicep and a tricep – so as long as you do that once you should be able to migrate it.” Download Video […]
[…] Using an ILM model of the Quinjet and a digi-double of Thor, Weta then created shots of the flying God taking Loki onto the mountaintop. “We ingested both of those things into our system, adding detail to the jet and built our cloth sims into that based on our own systems,” says Williams. “We re-groomed the hair from scratch because no two hair tools are ever going to be the same. For our digi-doubles we have a Gen Man asset that forms into the general shape, so that we can leverage all the tissue and muscle stuff we’ve done for development into every digi-double. So that means all the digi-doubles get their own A-level treatment instead of having to be developed from scratch, because at the end of the day everyone has a bicep and a tricep – so as long as you do that once you should be able to migrate it.” Download Video […]
Huntsman: every trick in the fairytale book | Hi-Tech Centre says:
[…] Although Rhythm used some mocap for the body motion, all facial work was hand-animated, with the rest of the troll’s body made up of root-like muscles and a coarse skin texture. “The skin had to feel like different callus’ had developed on it,” says Rhythm visual effects supervisor Todd Shifflett, “and that they would read more like different roots and rocks that he had developed.” Download Video […]
Comic effects: Men In Black 3 | Hi-Tech Centre says:
[…] Here then in-depth coverage of a few select sequences in the film, looking at the work of thePrometheus artists who, under overall visual effects supervisor Richard Stammers, recreated the world ofAlien so vividly and magnificently. Download Video […]
[…] The digital match move process began with the creation of a digital 20×20 foot grid in Maya. “I then purchased a black shade awning that was also 20×20 and I used orange duct tape to make a 20×20 grid that matched the digital grid,” explains Morley. “So we had a digital and a practical element. We’d bring in the digital grid with the computer generated match move camera, line that grid up on the ground of the scanned in archival footage, export all the camera data – how high it is off the deck, tilt, roll, lens size and everything. We would export a snapshot image of that grid – the grid’s perspective through that camera – and have that on set.” Download Video […]
[…] Armed with essentially that same design from Iloura’s test, principal photography commenced. The on-set approach involved the use of a stuffie Ted stand-in and several reference and lighting passes, but also crucially the voice of Ted – MacFarlane – was there delivering lines and, for many scenes, he would also don an Xsens MVN motion capture suit to provide the character’s gross movements. Download Video […]
Vampire Hunter: two killer sequences | Hi-Tech Centre says:
[…] Production filmed the actors performing on two box cars against greenscreen. “It had very limited interactive light,” notes Method Studios visual effects supervisor Randy Goux. “Our challenge was to create it happening at night, with moonlit shadows casting down through the trees, and with the smoke from the locomotive enveloping them as they fight. There are vampires coming in and out of the smoke, with shadows happening – embers coming out of the locomotive whipping by camera. To get that mood to what was shot on the plate – what you see on the greenscreen plates to what you see in the final movie is quite drastic.” Download Video […]
Spider-Man: the detailed vfx of spiders and lizards | Hi-Tech Centre says:
[…] Production filmed the actors performing on two box cars against greenscreen. “It had very limited interactive light,” notes Method Studios visual effects supervisor Randy Goux. “Our challenge was to create it happening at night, with moonlit shadows casting down through the trees, and with the smoke from the locomotive enveloping them as they fight. There are vampires coming in and out of the smoke, with shadows happening – embers coming out of the locomotive whipping by camera. To get that mood to what was shot on the plate – what you see on the greenscreen plates to what you see in the final movie is quite drastic.” Download Video […]
[…] Download Video Top Storiesfxguidetv #155: 20 years of Sony VFX and animation August 31, 2012This week we celebrate 20 years of Sony Pictures Imageworks, and 10 years of Sony Pictures Animation. Mike Seymour talks to SPI visual effects supervisors Ken Ralston and Jay Redd, and CTO Rob Bredow, about some of their key projects over the past two decades. […] Ian Failes Contact Name: * […]
[…] the attack as a photoreal CG sequence.” 00:00 00:00| 00:00 Download Video Watch part of the house attack sequence. Based on The Third Floor’s previs, Scanline created […]
VFX Hot Spot Round-up: Destiny, PETA and Dodge – FXGuide | Occupy VFX! says:
[…] Variety Hollywood Reporter The Wrap Deadline: Coming soon. BBC The Guardian The Wire BuzzFeed Animation Guild FXGuide – Plenty of photos, video, and an interview with me. […]
The Tech Of Crytek’s Ryse: Son of Rome | C.LEWIS ART says:
[…] さきほどの父との会話から20年ほどの月日が流れ、その彼の言葉通り、今は”Image-Based Graphics”と呼ばれる、写真やビデオから対象の形状や反射特性を解析し、写実的なコンピュータグラフィクスの生成を専門とする研究グループに従事している。今いるGraphics Labの大きなミッションの内の1つは、Photoreal Digital Character（実写のようなデジタルキャラクタ）を創ることと提示することである。前者は、コンピュータの中に存在を信じ込んでしまうようなキャラクタそのものをデジタルに作ることである。そして後者は、コンピュータの世界と現実世界の橋渡しをし、彼ら彼女らを現実世界に連れてくることである。例えば、ホログラフィックディスプレイの開発などは後者になる。Photoreal Digital Characterとは、「可能な限り実写に近い見た目や振る舞いができ、どの画角からもどの照明下でも本物のように見えるコンピュータモデル」（ The results are computer-generated virtual models which look and behave as realistically as possible, viewable from any viewpoint and in any illumination conditions.）で、実際の人物に基づいている場合は、その人らしい見た目を備えているモデルである（少なくともここでは、そういうことになっている）。今の研究室を選んだ理由の1つには、発見した理論や開発した技術を実用レベルにまで推し進め、映画やゲーム会社などと協力して今までに出来なかったような新しい映像表現の創造に関われるからという理由も大きいと思う。正直こういった実装は結構時間が取られたり、学業とは関係がないからいくら時間を割いても卒業に近づくことはないから、学生としては考えものではある。だけれども、特にCGで「人」やキャラクタを実写のように作る技術は、今までに描きたかったけれども、技術的な制約によって描けなかった人の側面や世界観があるから生まれるのであり、研究や開発の先の表現にも面白さがあるのだと思う。見た目、動き、応答などが全て同時に同じクオリティでできるようになり、本物の人間と区別がつかなくなった将来には、CGで「人」を作るという探求は終わるのかもしれない。それでもこういった研究や技術開発、映像表現を面白いと思うのは、もっと人や自分自身について知りたいという根本的な欲求があるからで、それにはまだ知らないことが多すぎるからかもしれない。 […]
بررسی جلوه های ویژه فیلم Godzilla | وبسایت رسمی مهدی حسین پور says:
[…] To see some of the of the tools in action, you checkout the following FXguidetv segment here. […]
[…] تجهیزات فیلمبرداری , استودیو فیلمسازی , کروماکی مطالب مرتبط با این موضوعاخبار ویدئو کوپایلتآموزش افترافکت , آموزش پرده سبز و کروماکیآموزش افترافکت از Red Giantآموزش تنظیمات پرده سبز برای کروماکی – Green Screenآموزش ترکینگ با افترافکت , آموزش کروماکی درافترافکتآموزش جلوه های ویژه و گرافیک کامپیوتریآموزش جلوه های ویژه با افترافکت , Disintegrationآموزش تکنیک های بهبود کروماکی پرده سبز از ویدئو کوپایلتتبدیل تصویر به پارتیکل با Trapcode Formآموزش جلوه های ویژه با افترافکت – The Portal […]
[…] دانلود تیزر تبلیغاتی مطالب مرتبط با این موضوعطراحی و ساخت تیزر تبلیغاتی ، آگهی تجاریتیزر تبلیغاتی شامپو Clear با افترافکت و Cinema 4dپشت صحنه ساخت تیزر تبلیغاتی , VFX BreakDownsمصاحبه با کارگردان و تهیه کننده انیمیشن کوتاه La Lunaپلاگین Element 3Dجلوه های ویژه سینمائی Red Tailsمراحل ساخت یک شات CGتجهیزات فیلمبرداری , استودیو فیلمسازی , کروماکیتکسچر با کیفیتآموزش مت پینتینگ , Matte Painting […]
[…] انیماتورها در هنگام کار در جلوه های ویژه […]
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[…] می کنیم . پشت صحنه جلوه های ویژه سینمائی حجم 20 مگ دانلود انیماتورها در هنگام کار در جلوه های ویژه حجم 17 مگ […]
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[…] Double Negative, under visual effects supervisor John Moffatt, orchestrated an elaborate collection of forest animals and creatures for the Dark Forest, including twisted trees and branches, a bat creature, oozing muscles, beetles and butterflies. For a climatic sequence, Dneg also created the Dark Fairies conjured by the queen when Snow White and co attack the castle. Made up of obsidian shard-like elements, the Fairies are humanoid in shape and move quickly against their opponents. Download Video […]
[…] “We’d also do a series of clean takes,” adds Brozenich. “I was concerned it would tie us in to too much timing – that the interaction might penetrate the Chimera or go through people in an unnatural way – but nine out of ten times we ended up going for the original special effects pass on it, because it really suited Jonathan’s style – grit, dirt, debris. For us to add all that back in was never going to be as convincing as when we shot it for real.” Download Video […]
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[…] Using an ILM model of the Quinjet and a digi-double of Thor, Weta then created shots of the flying God taking Loki onto the mountaintop. “We ingested both of those things into our system, adding detail to the jet and built our cloth sims into that based on our own systems,” says Williams. “We re-groomed the hair from scratch because no two hair tools are ever going to be the same. For our digi-doubles we have a Gen Man asset that forms into the general shape, so that we can leverage all the tissue and muscle stuff we’ve done for development into every digi-double. So that means all the digi-doubles get their own A-level treatment instead of having to be developed from scratch, because at the end of the day everyone has a bicep and a tricep – so as long as you do that once you should be able to migrate it.” Download Video […]
[…] Using an ILM model of the Quinjet and a digi-double of Thor, Weta then created shots of the flying God taking Loki onto the mountaintop. “We ingested both of those things into our system, adding detail to the jet and built our cloth sims into that based on our own systems,” says Williams. “We re-groomed the hair from scratch because no two hair tools are ever going to be the same. For our digi-doubles we have a Gen Man asset that forms into the general shape, so that we can leverage all the tissue and muscle stuff we’ve done for development into every digi-double. So that means all the digi-doubles get their own A-level treatment instead of having to be developed from scratch, because at the end of the day everyone has a bicep and a tricep – so as long as you do that once you should be able to migrate it.” Download Video […]
[…] Although Rhythm used some mocap for the body motion, all facial work was hand-animated, with the rest of the troll’s body made up of root-like muscles and a coarse skin texture. “The skin had to feel like different callus’ had developed on it,” says Rhythm visual effects supervisor Todd Shifflett, “and that they would read more like different roots and rocks that he had developed.” Download Video […]
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[…] Cisco add Share this:TwitterFacebookLike this:LikeBe the first to like this post. […]
[…] Here then in-depth coverage of a few select sequences in the film, looking at the work of thePrometheus artists who, under overall visual effects supervisor Richard Stammers, recreated the world ofAlien so vividly and magnificently. Download Video […]
[…] Download Video […]
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[…] The digital match move process began with the creation of a digital 20×20 foot grid in Maya. “I then purchased a black shade awning that was also 20×20 and I used orange duct tape to make a 20×20 grid that matched the digital grid,” explains Morley. “So we had a digital and a practical element. We’d bring in the digital grid with the computer generated match move camera, line that grid up on the ground of the scanned in archival footage, export all the camera data – how high it is off the deck, tilt, roll, lens size and everything. We would export a snapshot image of that grid – the grid’s perspective through that camera – and have that on set.” Download Video […]
[…] Armed with essentially that same design from Iloura’s test, principal photography commenced. The on-set approach involved the use of a stuffie Ted stand-in and several reference and lighting passes, but also crucially the voice of Ted – MacFarlane – was there delivering lines and, for many scenes, he would also don an Xsens MVN motion capture suit to provide the character’s gross movements. Download Video […]
[…] Production filmed the actors performing on two box cars against greenscreen. “It had very limited interactive light,” notes Method Studios visual effects supervisor Randy Goux. “Our challenge was to create it happening at night, with moonlit shadows casting down through the trees, and with the smoke from the locomotive enveloping them as they fight. There are vampires coming in and out of the smoke, with shadows happening – embers coming out of the locomotive whipping by camera. To get that mood to what was shot on the plate – what you see on the greenscreen plates to what you see in the final movie is quite drastic.” Download Video […]
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[…] Production filmed the actors performing on two box cars against greenscreen. “It had very limited interactive light,” notes Method Studios visual effects supervisor Randy Goux. “Our challenge was to create it happening at night, with moonlit shadows casting down through the trees, and with the smoke from the locomotive enveloping them as they fight. There are vampires coming in and out of the smoke, with shadows happening – embers coming out of the locomotive whipping by camera. To get that mood to what was shot on the plate – what you see on the greenscreen plates to what you see in the final movie is quite drastic.” Download Video […]
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[…] Download Video Top Storiesfxguidetv #155: 20 years of Sony VFX and animation August 31, 2012This week we celebrate 20 years of Sony Pictures Imageworks, and 10 years of Sony Pictures Animation. Mike Seymour talks to SPI visual effects supervisors Ken Ralston and Jay Redd, and CTO Rob Bredow, about some of their key projects over the past two decades. […] Ian Failes Contact Name: * […]
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[…] the attack as a photoreal CG sequence.” 00:00 00:00| 00:00 Download Video Watch part of the house attack sequence. Based on The Third Floor’s previs, Scanline created […]
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[…] Джо Леттери из Weta Digital рассказывает fxguide о приходе в его студию эры освещения и рендеринга на основе реальной физики. Скачать видео. […]
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[…] Variety Hollywood Reporter The Wrap Deadline: Coming soon. BBC The Guardian The Wire BuzzFeed Animation Guild FXGuide – Plenty of photos, video, and an interview with me. […]
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[…] http://www.fxguide.com/download/?force_file=/2014/03/Enemy_TheDouble_h264_hd.mp4 برچسب ها: Enemy , Visual effects , جلوه های ویژه , ویژوال افکت […]
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[…] さきほどの父との会話から20年ほどの月日が流れ、その彼の言葉通り、今は”Image-Based Graphics”と呼ばれる、写真やビデオから対象の形状や反射特性を解析し、写実的なコンピュータグラフィクスの生成を専門とする研究グループに従事している。今いるGraphics Labの大きなミッションの内の1つは、Photoreal Digital Character（実写のようなデジタルキャラクタ）を創ることと提示することである。前者は、コンピュータの中に存在を信じ込んでしまうようなキャラクタそのものをデジタルに作ることである。そして後者は、コンピュータの世界と現実世界の橋渡しをし、彼ら彼女らを現実世界に連れてくることである。例えば、ホログラフィックディスプレイの開発などは後者になる。Photoreal Digital Characterとは、「可能な限り実写に近い見た目や振る舞いができ、どの画角からもどの照明下でも本物のように見えるコンピュータモデル」（ The results are computer-generated virtual models which look and behave as realistically as possible, viewable from any viewpoint and in any illumination conditions.）で、実際の人物に基づいている場合は、その人らしい見た目を備えているモデルである（少なくともここでは、そういうことになっている）。今の研究室を選んだ理由の1つには、発見した理論や開発した技術を実用レベルにまで推し進め、映画やゲーム会社などと協力して今までに出来なかったような新しい映像表現の創造に関われるからという理由も大きいと思う。正直こういった実装は結構時間が取られたり、学業とは関係がないからいくら時間を割いても卒業に近づくことはないから、学生としては考えものではある。だけれども、特にCGで「人」やキャラクタを実写のように作る技術は、今までに描きたかったけれども、技術的な制約によって描けなかった人の側面や世界観があるから生まれるのであり、研究や開発の先の表現にも面白さがあるのだと思う。見た目、動き、応答などが全て同時に同じクオリティでできるようになり、本物の人間と区別がつかなくなった将来には、CGで「人」を作るという探求は終わるのかもしれない。それでもこういった研究や技術開発、映像表現を面白いと思うのは、もっと人や自分自身について知りたいという根本的な欲求があるからで、それにはまだ知らないことが多すぎるからかもしれない。 […]
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