VFX, Visual effects Tutorials on After fx, Combustion, MAYA

PK Behind the Scene

2015-01-12T06:59:00.000-08:00

Jungle Book

2015-01-12T06:57:00.000-08:00

Disney's upcoming movie "The jungle book" is now in production October 9, 2015 release, Jon Favreau’s upcoming live-action take on Rudyard Kipling’s The Jungle Book has revealed a logo and a first piece of concept art.

In The Jungle book story, Mowgli A man-cub raised in the jungle by a family the wolves embarks on a captivating journey of self-discovery when he’s forced to abandon the only home he’s ever known.

VFX JOBS in 2015

2015-01-12T06:53:00.001-08:00

TRIXTER has been creating outstanding visual effects and digital character animation for feature films, television and commercials. From the early days, TRIXTER established itself as a major player in the field of emotive character animation, both for fully computer generated animated features as well as live-action productions.

Currently we are looking for following positions:
1. Production Engineer - Studio Tools
2. Production Engineer: Animation Pipeline TD
3. After Hours Render Wrangler & IT Support
4. VFX Producer (Munich)

Location: LA/Munich


Jhakaas	Framestore are currently looking for a group of highly talented and creative undergraduate students to join our 2014 summer intern scheme. The Internship will give the successful applicants a unique opportunity to become important members of the creative team and gain valuable experience working for one of the largest and most respected visual effects and computer animation studios in Europe.Currently we are looking for following positions:London

1. Compositor

2. Creature FX TDs

3. Crowd TDs

4. Digital Developer/Generalist

5. Digital Matte Painters

6. Environment TDs

7. Freelancers: CG

8. Freelancers: Design (LDN)

9. Freelancers: Digital Imaging

10. Freelancers: Flame

11. Freelancers: Nuke

12. Freelancers: Producers

13. Games Developer/Engine Programmer

14. Graphics R&D Software Developer

15. Head Receptionist

16. Hiero Editorial Assistant

17. Junior Lighting TDs

18. Junior Pipeline TD

19. Lighting TD

20. Matchmovers

21. Modellers

22. Nuke Compositor

23. Personal Assistant

24. Pipeline Technical Director

25. Real-Time Graphics Developer

26. Rigging TDs

27. Runners

28. Runners

29. Senior Animators

30. Senior Lighting TDs

31. Senior Nuke Compositor

32. Senior Texture Artists

33. VFX Line Producer / Production Manager

34. VFX Production Coordinator

Montreal

1. CG Supervisor

2. Compositing Supervisor

3. Compositors

4. Creature FX TD

5. Crowd TDs

6. Digital Matte Painters

7. Environment TDs

8. FX Technical Directors

9. Head of CFX

10. Head of CG

11. Head of Environments

12. Head of FX

13. Head of Lighting

14. Lead Animators

15. Lighting TDs

16. Line Producer

17. Matchmovers

18. Modeller

19. Paint and Roto Artists

20. Pipeline Technical Director

21. Rigging TDs

22. Runners

23. Senior Animators

24. Senior Groom TD

25. Senior Lighting TDs

26. Senior Systems Engineer

27. VFX Producer

28. VFX Production Coordinator

Exodus Breakdown

2015-01-12T06:51:00.001-08:00

The Effects Pack

2014-11-30T22:49:00.001-08:00

The Human Eye Effect in VFX

The Text Effects Pack widely used in all fields of animation and Presentation.

Trident show reel

2014-11-20T08:41:00.001-08:00

Kochadaiiyaan the best

2014-03-09T23:45:00.002-07:00

Wild child

2013-10-07T11:51:00.001-07:00

Arena Animation Student work

2013-10-07T11:44:00.001-07:00

Balls out

2013-10-07T11:35:00.000-07:00

Demon Arrives Paranormal efx

2010-08-21T22:19:00.000-07:00

A feast of visuals

2010-08-21T22:02:00.000-07:00

Wanted vfx making

2010-08-21T21:58:00.000-07:00

Making efx

2010-08-21T21:54:00.001-07:00

Motion tracking in After Effects

2009-09-11T02:55:00.000-07:00

The Making of 'Mallanna' Movie

2009-09-11T02:39:00.000-07:00

The Secret behind White Rajnikant in shivaji

2009-09-11T02:34:00.000-07:00

These videos will explain you the use of alpha matte and how to place the reference footage over the main composition to get the skin and color.

Magadheera Behind the scenes by Pete Draper

2009-09-11T02:03:00.000-07:00

The Making of 'Titanic' Movie

2009-09-11T01:15:00.000-07:00

This is the hard work behind the scenes of 'Titanic'

I wish you get to know the hard work they have done.

An Ad on Harmony

2009-09-11T00:58:00.000-07:00

This was a blue screen matte work with lot of visual understanding and much to do with the human touch. look into it!

3D art on street

2009-09-11T00:20:00.000-07:00

I love this art Its by default done on our indian streets

The Good work in Tollywood

2009-06-01T01:14:00.000-07:00

Pixelloid takes centerstage at 'VES: India Tour' in Bangalore

October 30, 2007

Pixelloid has showcased their diverse range of CG & VFX work at the VES India Tour event in Bangalore amid thuderous appluase. The event also includes impressive presentations by VFX stalwarts Tim McGovern, Peter Chaing, N. Madhu Sudhanan and VES Executive Director Eric Roth.

Animation in 3D Max

2009-03-18T08:05:00.000-07:00

Animation in 3D Max

2007-08-05T04:31:00.000-07:00

If you cannot get a special effect in the camera, then you must create the visual effect in post production. With major motion pictures, each shot can cost thousands of dollars. But for low budget filmmakers, there are cheaper alternatives. Do you want to start doing amazing special effects with your small DV Camcorder? Then you have at least two options: Matte Paintings and Budget Green Screen Shooting.

Budget Green Screen Shooting
Green screen is one way of adding beautiful backgrounds to live action shots. Probably the most extreme example of this is Robert Rodrigues' Shark Boy and Lava Girl. But even if you are shooting with only a DV camcorder, you can do inexpensive green screen shots. One can cut the cost of the shot substantially by doing your green screen shooting outdoors using a themonuclear device (the sun) which is free (on sunny days). This means that all you have to hire is the green screen itself - none of the finely calibrated even lighting that's normally so essential for the computer to get a good key on the other end. As an alternative to purchase or rental, one can manufacture a green screen. Commercial lighting supply houses sell paints specially manufactured for the purpose, but it is probably possible to get by with an ordinary house paint chosen carefully to be "green enough" for the computer to pull a key. The most common difficulties with green-screen are: getting even lighting on the screen. getting the lighting on the foreground to match the lighting of the (separately shot) background. By shooting outside, with a diffusion frame hung over the shot you will get naturally even sun-light all over the screen and actor. This will also match the daylight conditions of the background that later replaces the green. If your intended background is not going to be normal daylight, or if you get a lot of cloud movement, this may not work for you. Make sure your foreground actor is a good distance from the screen, so you don't get even a hint of green light reflected back onto him/her, as this will create problems later - but with your light source being the sun (overhead), you're less likely to get green spill than if the lights were hitting the screen from the front, as they probably would in a studio.
Front Projection
Front Projection (often abbreviated FP) is a technique which can achieve the same result as green screen, but "in camera," that is to say, the composition of subject and background is complete as the combined image is acquired by the camera. The technique uses a beamsplitter located in front of the camera in such a way as to completely fill the camera's field of view, and oriented at a precise 45 degrees to the camera's shooting axis. (This rotation from the normal may be left-right or up-down.) The other components to the system are a transparency projector (still or motion picture), and a special retro-reflective lenticular screen positioned behind the action. A beamsplitter acts as both mirror and window, reflecting a portion of the incident light, and reflecting another portion. Beamsplitters are chosen for a specific application based on the ratio of reflectance to transmission. Common types are 50R/50T (50% reflectance, 50% transmission) and 70R/30T. The beamsplitters used in Front Projection cinematography are of the plate type, simply a piece of plate glass with a special coating on one side designed to reduce the amount of light absorbed by the beamsplitter, and consequently neither reflected nor transmitted. The coated side faces the action, and is referred to as the "front" surface. The purpose of this coating is to reduce the loss of light due to absorption by the beamsplitter, which serves only to heat the glass. A retroreflective screen is set behind the actors and other set pieces. This screen is not just a typical diffusive projection screen, which disperses light evenly so that a large audience composed of people sitting at many different angles to the screen sees a uniformly bright image. Instead, the retroreflective screen tends to send light right back where it came from. The classic material for retroreflective FP screens is a made by 3M, and sold under the trademarked name of "Scotchlite". Scotchlite is used in signmaking and conspicuity applications (nighttime motor vehicle safety visibility). It is available from commercial signmaking supply houses. Retroreflection in Scotchlite is achieved using millions of microscopic glass beads suspended in a transparent substrate bound to opaque vinyl sheeting. It is available in rolls of up to four feet in width. While constructing the large (40 feet by 100 feet) screen of Scotchlite for the film 2001: A Space Odyssey, director Stanley Kubrick and special effects supervisor Tom Howard initially laid strips of Scotchlite side by side, but found that variations in manufacturing made the seams between adjacent strips glaringly obvious in the final product. Their solution involved tearing the Scotchlite into irregular overlapping pieces, minimizing the occurrence of variations of retroreflectivity large and regular enough to be discernable to the audience. Still, as Martin Hart has observed, careful examination of the FP scenes of 2001 reveal flaws introduced by variations in retroreflectivity between adjacent random patches. A more sophisticated solution was presented in an SMTPE paper: a review of this paper will be presented in a near future version of this article. Having discussed the nature of the physical components used in Front Projection, we turn to the preparation and arrangement of these components in a working FP system. A still or motion picture transparency projector containing the desired background image, or "matte," is placed so that the projection axis is perpendicular to the camera's shooting axis, meeting at the place where the camera's shooting axis touches the front surface of the beamsplitter. (Thus the beamsplitter's orientation is 45 degrees to both camera and projector.) When the projector is operating, the background matte is projected onto the front surface of the beamsplitter. A portion of the image is transmitted through the beamsplitter. In ordinary applications, the transmitted part of the image is absorbed by a black surface on the side of the beamsplitter opposite the projector, to avoid stray reflections. The portion of the image which is not transmitted or absorbed by the beamsplitter is reflected through an angle of 90 degrees, and consequently projected over the action along the camera's shooting axis, falling onto both foreground actors and objects as well as the retroreflective screen behind them. Retroreflective materials tend to reflect light back along the path of incidence. In FP work, the background plate image is retroreflected, back toward the beamsplitter. Part of the retroreflected background image is again lost, as it is either absorbed by the beamsplitter or reflected back into the projection lens. The remainder enters the camera where it is photographed along with the action. The only portion of the image not accounted for in the foregoing discussion is that part of the projected background matte which falls on the actors or other foreground subjects. Foreground lighting, combined with the extreme deficit in retroreflectivity of the foreground subjects in comparison to the special screen, mean that the part of the projected image which falls on the actors is so dim as to not be detectable in-camera. Precise alignment of system components is required to make sure that foreground objects perfectly cover their own shadows, cast by the projector on the screen. This rules panning and tilting, except in the special case where the camera is mounted so that either panning, tilting, or both occurs around the rear nodal point of the camera lens: so called "nodal pans" and "nodal tilts." In addition, the beamsplitter must be large enough, and the camera close enough, so that the camera does not take the edge of the beamsplitter into view. Examples of nodal pan-and-tilt camera work in the context of FP can be seen in the "Dawn of Man" sequence in the film 2001: A Space Odyssey (1968), particularly the watering hole scenes. (The front projection effects on 2001 were executed by Stanley Kubrick with assistance from Tom Howard.) A change of focal length (zoom) does not present the same difficulty as do panning or tilting. The camera can zoom in or out as long as the edges of the beamsplitter (or of the projected matte image) are not in view at the widest point of the zoom. In 2001, Kubrick also used large set pieces at either end of some FP shots in such a way as to hide the edges of his already-gigantic retroreflective screen. In fact, a special and inventive application of zooming was used by Zoran Perisic, who worked as a rostrum or animation stand cameraman on 2001, to enhance the FP process for the film Superman: The Movie (1978). Electronically controlled motorized zoom lenses are placed on both camera and projector, and synchronized with one another so that both lenses zoom together and at the same focal length at all times. This means that the background image will not change its apparent size when the camera zooms in, as the projector simultaneously projects a reduced image. In Persic's phrase, the projector zooms and the camera zooms to "embrace" the smaller image. However, the zoom causes foreground objects to appear to rush toward or away from the camera. The combination of the "static" background and the "moving" foreground enabled the visually effective flying scenes which helped to make the film a success. To enhance this effect still further, the use of FP in Superman introduced two other innovations: use of travelling mattes (using a motion picture projector instead of a still transparency projector, in order to project a moving background); and the mounting of the entire front projection rig (camera, projector, and beamsplitter) on a large motion-controlled robotic-arm with six degrees of freedom, and using a massive curved screen. As in the use of travelling mattes in rear projection process photography, the projector's shutter must be synchronized with the camera's using mechanical or electronic means, in order to avoid background flicker. The motion-controlled front-projection mount was a masterpiece of engineering for 1978, and used an early microprocessor for control. Every aspect of the rig's operation and motion could be recorded to computer tape for later automatic playback, causing the rig to move and operate exactly as trained.
Matte Paintings
The oldest and probably the most underrated visual effect is matte paintings. We see these all the time but because they look so natural, we don't notice. Originally, matte paintings was done on glass that stood directly in front of the camera. To do matte painting, a partial set is created which is only as big as the actors and only extends to where the actors will perform. The rest of the movie set is empty space (or something that you don't want to be seen in the movie.) Except for a tiny spot of the glass which is clear, the rest of the movie set is painting on the glass. This allows you to add more scenery buildings as paintings. As long as the actors can be seen through the clear space of the glass, you cannot tell that the actors are not apart of the painted movie set. Today, matte paintings are done with both paint and with CG (computer generated visual effects). Rather than filmed through glass, the actors are filmed normally and later composited into the matte painting. Therefore, now the distiction between matte paintings and computer generated visual effects is blurred. If the actors are filmed on a partial movie set (without any green screen, etc.) then the effect is a matte painting... even if you use computer generated effects to get the effect.
3D Animation for Visual Effects
When you start looking at the possibility of using 3D computer generated effects, you need understand the different types of 3D animation. 1. General Purpose Animation Programs such as LightWave, Maya, and 3D Studio Max are general purpose animation programs. They are very powerful, expensive, have steep learning curves and are used on most high end effects movies. 2. Special Purpose Animation Programs Program such as Vue, Bryce, Poser, and DAZ Studio are designed for a specific purpose. Vue and Bryce are designed to create realistic scenery from nature. Poser and DAZ Studio are designed to work with special computer models called Poser figures or Digital Puppets. Some of these programs are even free such as DAZ Studio and Bryce. 3. Special software Plug-ins Software modules such as Character Studio work inside of a general purpose animation program to create a special kind of animation similar to a Special Purpose Animation Program. LightWave, Maya, and 3D Studio Max can be greatly expanded through the use of plug-in modules. 4. Support Programs Programs that add in the animation but do not actually do any rendering can be extremely useful when you have a general purpose animation program which would be more awkward to use for a special task. These expand the power of LightWave, Maya, and 3D Studio Max without making these programs too cumbersome.
3D Modeling
All elements in 3D animation must be modeled. Programs such as LightWave, Maya, and 3D Studio Max come with a modeler module built in. Programs such as Vue, Bryce, Poser, and DAZ Studio do not but in the case of Poser and DAZ Studio, you can buy hundreds of figures designed for these programs.
3D Animation
Animation is done in three parts, the modeling, the actual animation and the rendering. The actual animation can be:
1. Keyframe animation Each movement is entered into the computer system by noteing the position of objects at specific frames or points in time. The movement between these key points is then calculated by the animation program based on rules set up by the animator (straight line, curved, etc.)
2. Programmed animation For a flock of birds, rather than record the position and movement of each bird, a computer program calculates where all the birds go and how they move.

keying in combustion

2007-06-16T22:56:00.000-07:00

1. Start by creating a Composite by opening your greenscreen and backplate footage in
Combustion.

2. Within that composite, go to File > New Composite.

3. Make sure your settings for the New Composite match the settings for the existing
composite:

4. In your Workspace panel, you should now see your new composite above your original:

5. Right-click on the new composite and choose "Import Footage" and bring in the same
greenscreen footage you did the first time:

6. Right-click on the duplicate greenscreen layer and choose Operators > Color Correction >
Brightness/Contrast; which will add this operator to your dupe layer:

7. These are the settings I used in my Brightness/Contrast operator, though they may vary
depending on the quality and brightness of your greenscreen:
8. Double-click on your original composite to make sure that's what you're viewing in your
view panel:

9. Add a Discreet Keyer to your original greenscreen layer and go to the Set Up module in
the Keyer Controls. Look for the "Key In" section and click on the button next to "Source":

10. In the resulting dialog box, select the Brightness/Contrast operator and click OK:

11. Make sure you set your Keyer Controls to "Result" and that your Brightness/Contrast
operator appears in the button next to Source:

From here, you should start working with the Keyer to pull your matte. This will vary from
shot to shot so I can't exactly walk you through that process. Remember, that my settings in
the Brightness/Contrast operator were based on the fact that the greenscreen was over lit.
You'll have to adjust your settings depending on how the greenscreen was captured in your
footage.