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10 Forthcoming Movies That Could Be Superior To Star Wars: The Force Awakens.

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Indeed, with it at last being released, the amount of consideration that Star Wars: The Force Awakens has gotten is difficult to grasp. The film is now a film industry juggernaut, and its basic gathering has been only gleaming. Yet, on the grounds that it’s an appreciated expansion to an adored establishment scarcely ensures that it will even hold up as one of the best movies in its class throughout the following couple of years. The forthcoming motion picture slate for sci-fi movies is completely stacked. Notwithstanding gloating a lot of lesser-proclaimed titles that may be further far from release, there’s an entire host of up and coming science fiction movies which have been briefly eclipsed by the mindfulness that Star Wars has created. It really is great to be amped up for Star Wars, yet these other type movies could convey in considerably more impactful and effective routes down the line. We have them here for you;Star Trek Beyond

10. Star Trek Beyond

The primary trailer was an amazement to numerous. Rather than taking after the well-known plotline of chasing through space for an awful fellow, it appears the Enterprise group will spend the majority of the film stranded in a particular outsider area. What’s more, since JJ Abrams left Trek for Wars, it’s obvious that the style will be diverse too. Acquiring Justin Lin, best known for the Fast and Furious films, proposes this motion picture is going to feel more like a mid-year blockbuster, with an attention on some hazardous activity scenes.Passengers

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9. Passengers

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The family of everybody included in this film should sell Passengers all alone. Morten Tyldum; the Director is falling off an Oscar designation for The Imitation Game and stars Jennifer Lawrence and Chris Pratt are two of the most popular gifts in Hollywood. Include Michael Sheen and Laurence Fishburne in supporting parts and Passengers is taking care of business pleasantly. Depicted as an epic space romance film, the film is quickly captivating. At the point when a spaceship transporting a huge number of individuals glitches, a solitary traveller (Pratt) is stirred decades before their proposed landing in the province. Not having any desire to develop old alone, he chooses to awaken a second traveller. Exciting, huh?

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Top 10 Classy Shoots Of T’pol – Jolene Blalock.

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Jolene Blalock was the most appealing female Vulcan – T’pol in Star Trek – Enterprise, the worst Star Trek show considered even by the fans. When we “Trekkies” hear the word Vulcan, the first thing that hits our mind is Logic, however in “Enterprise” T’pol’s character was more about being eye-candy than performing out-of-the-world intelligent deductions and logical analysis. Jolene himself called the finale episode of Enterprise “Appalling.” We all know, how poorly enterprise was written, and helm and a lot of actors bad-mouthed about the show, but Jolene was one of the most vocal ones, here’s what she had to say about her role in the show as Vulcan – “You can’t take T’Pol and say ‘Okay, you’re a Vulcan’ and take away the Vulcan characteristics,” she protested. “You might as well clip the ears! For example: eating food with their hands – they don’t do that! And yet they’ll throw in episodes where she’s eating popcorn, and I’ll say, ‘Can I use a napkin?’…’No! Use your hands!'”

“I look for in my character what I look for in real life,” she added. “What can I count on? In life we put our trust and faith in those people in our lives who are consistent. If you can’t find consistency in your character, then it’s a transparent character, and that’s very tough because it turns out you are a different person from episode to episode.”

Regardless of all the media slugfest, enterprise did nail “Eye-candy” part of Jolene, how? Because she is one fine woman with perfect assets! Let’s have a look at some of the best shots of our friendly Vulcan – T’pol – Enjoy!

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Key light after effects tutorial 2nd Edition

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This Keylight after effects tutorial will help you achieve good key even from a poorly lit, unevenly green carelessly shot green screen footage. As always we have broken down the process into 10 easy steps to follow. Let’s start.

Step 1 Keylight after effects tutorial

Create a new composition (Ctrl+N) in after effects. Make sure to create the composition size identical to your green screen footage. Drag and drop green screen footage into this composition.

Step 2 Keylight after effects tutorial

In case of lighting rig showing up in the scene or any other unwanted stuff you desire to mask out, go ahead and draw the mask.

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Step 3 Keylight after effects tutorial

Best green screen examples have vibrant green color without wrinkles and are evenly lit. Don’t worry if your footage lakes these qualities because in this step we will be correcting those errors. From Effects and Presets panel select “Selective Color” effect. Apply it on green screen footgae. Go to “Selective Color” interface and click on colors button to drop down the menu. Select greens. Bring cyan, yellow and black values to 100 and magenta to -100 (negative one hundred). These settings in “Selective Color” effect should make your green screen bright and even .Click on the selective color fx button to turn it off and on to compare with original to see the difference. Depending on your footage you may need to duplicate the effect to get the desired result.

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Before Selective color effect

 

After Selective color effect
After Selective color effect

 

Step 4 Keylight after effects tutorial

Go to Effects and presets panel and select Keylight. Apply it on green screen footage. Use the eye dropper tool next to Screen color button and click on a pure green color from your footage.

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Step 5 Keylight after effects tutorial

Change the view mode in Keylight from final result to Combined matte. The matte displays three colors, black (100% transparent), gray(semitransparent) and white(100% opaque). Now click on the small color preview box next to Screen Color button which displays selected color. This will open color swatch move the cursor slightly down and to the left press ok. This will desaturate the green color which helps in removing more shadows and wrinkle.

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Step 6 Keylight after effects tutorial

In Keylight interface increase the screen gain this will remove more shadows. Do not raise screen gain value not over 115. Next decrease screen balance not more than 45 this will make the white area uniform. A good range for screen balance is between 40  to  60.

After changes in Screen gain values
After changes in Screen gain values

 

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After changes in Screen balance values

Step 7 Keylight after effects tutorial

Increase Clip black values to make the background black (100%) transparent . Clip black values should not be increased over 15. Decrease Clip white values to remove gray color (semi transparent)from the white areas.Clip white values should not be decreased below 85.

After changes in Clip Black
After changes in Clip Black

 

 

After changes in Clip White
After changes in Clip White

 

Step 8 Keylight after effects tutorial

Change the view mode in Keylgiht from combined matte to final result. Press Ctrl+Y to create a new solid make it comp size and with bright red color. Place this solid below the green screen layer. Now you can evidently see errors if present. By now you should have a descent key.

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Step 9 Keylight after effects tutorial

Change the view mode to combined matte again. Select the green screen layer and precompose it (Ctrl+Shift+C). Name it Background green. Choose move all attribute and check open new comp then click ok. Now you are in Background green composition create new Adjustment layer and change its blend mode to Darken. This blend mode affects only the darker areas in this case the black area. Rename the adjustment layer as Black mask.

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Go to effects & presets select Threshold, apply it on the Black Mask layer. In threshold effect pane move the value down till the background is completely black leaving soft gray areas around edges. Create another Adjustment layer change its blend mode to Lighten. This blend mode affects only the Lighter areas in this case the white area. Rename the adjustment layer as White mask.

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Go to effects &presets, select Threshold apply it on the White Mask layer. In threshold effect pane as just the value up or down to make the white areas white, leaving small amount of gray between the White and Black areas.

After black and white mask layers
After black and white mask layers

 

Create another adjustment layer name it mask feather and apply Gaussian blur of blurriness upto 3.

After Mask Feather layer
After Mask Feather layer

 

Step 10 Keylight after effects tutorial

Duplicate the green sceen layer.

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Select from top to bottom, Mask feather layer White Mask layer, Black Mask layer and one of the green screen footge and precompose.

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Move all attributes and uncheck open comp. Rename it as Matte.

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Drag the duplicate green screen layer above the matte comp and delete all its effects.

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Go to effects & presets search for Set matte and apply it this layer. In Set matte effect click on take matte from button and select the Matte comp. Change Use from matte to luminance.

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After Set matte effect

 

Hide the Matte comp layer by clicking on the eyeball. Now we have keyed out the green screen without affecting the subject. To remove the green spill select the green screen footage layer and precompose this time select leave all attribute, check open new comp. Rename it as Despill.

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In Despill comp duplicate the green sceen layer. Apply Keylight effect select a bright green color as screen color. In effects and presets panel search for channel combiner effect and apply it on the same layer. Make sure that Keylight effects is above and channel combiner effects is below. In channel combiner effect change From and set it to Straight to premultiplied. Check alpha.

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Change the top layers blend mode to Color.

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If everything is correct all your green should be now gray.

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Click back to the main comp you should now have a key perfectly despilled and ready to use on background of your choice.

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Final result
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Background composited with a little color correction

 

Hope you find this advanced chroma keying tutorial helpful. See you next time with another exciting tutorial on Chroma keying.

 

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Keylight after effects tutorial

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Green screen removal is an essential skill to learn for every visual effects artist. Here we are with a series of Keylight after effects tutorial where we will be releasing Step by Step tutorial on the topic. The featured chroma key plugin for the week is Keylight for Aftereffects. We will start with basic Keylight after effects tutorial before advancing to more advanced chroma keying techniques. Later in the series we will look into green screen removal of badly shot green screen footage. So here is the first tutorial hope you will find it informative and useful.

Goals

After reading this article you will be able to successfully key out a simple green screen shot using Keylight plugin for after effects.

 Keylight after effects tutorial : Step 1

> Import your green screen footage inside after effects.

Keylight after effects tutorial : Step 2

> With the green screen footage selected click on effects button from the top menu bar. This will drop down a menu with various effects available. Select Keylight from the list. This will apply Keylight effect on to Green screen footage layer.

Keylight after effects tutorial : Step 3

Click on eye dropper tool next to Screen color (color you want to key out) button. Select bright green color from the screen, green color will be keyed out from the image by least affecting the foreground.

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 Before selecting screen color

 

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After selecting  screen color

Quick tip : Select the Screen color to key out only once. Further manipulation of the matte can be done using other parameters in Keylight. Selecting the Screen color more than once doesn’t sum up to previously selected color, instead it will result in undesirable removal of essential parts from your plate.

Work flow tip: Switching between Source and Status view modes facilitates decision selecting the right shade of Screen color.

Status view mode displays Black, White and Gray colors.

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Status view mode indicating bad selection of screen color

Black stands for 100% transparency or in other word the background.

White stands for 0% transparency totally opaque in other words the character/object you want to keep (foreground).

Gray stands for semi transparent areas. Gray shades around the edges of foreground indicate a correct screen color selection and will result in a good key. If they are present in areas that you desire to keyout completely that is the Background zone, it indicates the need for better suited selection of Screen color.

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Status view indicating correct selection of screen color

Keylight after effects tutorial: Step 4

> Optimizing the matte

After getting satisfied with Screen color selection by analyzing it in Status mode, switch to Screen matte view mode.

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Screen matte view mode

 This will display a black and white matte created by Keylight based on selection of Screen color. Colors required to be keyed out should be total black whereas parts of the image desired to be preserved should be total white. Again grays indicate semi transparent areas and are good if present around edges.

Now is a good time to fix the matte and remove undesired grays in background or darker areas on foreground. Go to screen matte click on drop down symbol and select clip black and increase its value till you get pure black in the background. The clip black value should not increase 15. Now decrease the clip white value till you get pure white in the foreground with semi transparent grays on the edges. Do not decrease the clip white value below 85.

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Clip Black and Clip White values changed

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       Matte optimized by altering Clip black and  Clip white values

Quick tip: Clip black controls work more precisely than Screen gain similarly Clip white controls work more precisely then Screen balance. Priority should be given to clip black and clip white values against Screen gain and Screen balance controls. Later should be used only if required. Another important thing keep the changes in Clip black and white values to the minimum, as much as possible.

Keylight after effects tutorial: Step 5

Hit Ctrl+y to create a new solid select a bright red color. Place the solid beneath the green screen footage layer. Select the green screen footage layer Keylight effect and switch the view mode to final result.

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You should see your green screen totally removed with foreground completely opaque with 0% transparency with edge detail preserved. In case of not getting results go back (step 4) and optimize the matte again to get favorable results.

Hope this article will improve your basic chroma keying skills using Keylight for after effects. Next time we will look into more advanced chroma keying techniques and tools in Keylight. Till than practice what you have learned. Happy chroma keying.

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Z Brush Tutorial

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If an artist wants to develop a career in visual effect industry, he must deliver dailies, fast and beautiful and the tools makes that possible. Sculpting plays major role in 3D/2.5 Modelling and there are countless tools for this in the market, but the one that shines amongst them is Z Brush. Yup! It is the tool whose usage is so complex that even the most advanced artists get their socks knocked off by its overwhelming interface. However, our team at VFX Specialists has decided to take on this daunting task and create a 101 Z brush Tutorial. This z brush tutorial will pick from the scratch and will be expanded later on the advanced stuff. We have planned to post this in a form of series. Each tutorial will target a precise and terse topic. This series of tutorial is broken down in 5 phases. We will be uploading each phase one by one with a gap of 5 days. We also happen to have free stuff  on Adobe After effects title template and fire explosion stock footage, which is completely free for our readers. We are also planning to put up a video version of these Z brush tutorials, just stay tuned with us for that.

Things to keep in mind before reading the Z Brush tutorial

1)      Emphasize specially on remembering the Keyboard Shortcuts.

2)      Don’t directly jump into exploration of the capabilities that Z brush offers, there is no end to it and you will exhaust/confuse yourself right at the beginning.

3)       Read the tutorial with ease, patience and free mind. Each step is crystal clear and use the comments box below to ask your queries, our team would reply back within 6 hours.

4)      This tutorial is applicable to the  z brush 4 and above.

5)      We have planned this tutorial to be broken down into 5 phases/Days – Just follow them from day 1 to day 5 and even the beginners should be able to sculpt, texture, light and render our first zbrush model by the end of this z brush tutorial.

 

 Day 1 – Z Brush Tutorial

     A Walk around the Interface

Interface: UI of z brush is pretty easy to comprehend. One can operate the interface with left hand on keyboard and right hand on mouse or you can use graphic tablet.

Interface has Right tray, Left tray, Right shelf, left shelf, top shelf and bottom shelf.

Right tray consists of tools.

Left tray consists more of texturing, painting and brush tools.

Top shelf has all the z brush modes.

z brush tutorial
z brush tutorial

 

Edit, Draw, Move, Scale and Rotate. All the modes are arranged on “qwerty” key strokes.

Edit mode:  In order to sculpt in a 3d environment you need to be in edit mode. Hot key for Edit mode is “T”.

Draw mode: To start sculpting on a tool or model hit “Q” on keyboard to get in Draw mode.

Move mode: Hit “W” to get into Move mode.

In Move mode you can Move, duplicate mesh, Stretch mesh, bend mesh, inflate and flatten it. Just click and drag for Moving mesh, Stretching and flattening mesh. Hit ctrl+ left click drag to duplicate a mesh. Press Alt+ left click drag for bending it.

Scale mode: Hit E key and scale just by clicking and dragging.

Rotate mode: Press R to activate it and click drag to rotate.

Right tray consists of Tool Palette. We will discuss more about palettes as we go along the tutorial series. Z brush comes with a huge library of resources like tools (primitives), brushes and alpha resources. In order to browse these resources light box is used. Hit coma key (,) to bring up light box window. Browsing folders on your computer or z brush library light box allows easy browsing. Click on sphere tool from various tools offered in tools folder to import. It will appear on Tool pallet in right tray. This way you can import tools and other resources.

                    Z brush tutorial  –  How to explore z brush view port

                                               View port navigation

For orbiting around your mesh click and drag out side of model on background.

To Move your model press Alt+ left click  to drag out side model on background.

To zoom in and out hit Alt +click and then leave Alt key and drag without leaving the mouse button.

                                         Exercise One – Z Brush Tutorial

                                                       Step 1

Open zbrush. Hit comma key (,) to open Light box. Select polysphere from tool folder. This should show up sphere tool in tool palate on the right tray.

z brush tutorial
z brush tutorial

 

Quick tip : Click on sphere primitive in tool palate to select it. Click and drag on canvas to draw the tool. On the tool palate click on “Make poly mesh3D” to convert sphere primitive to polymesh. A 3D model made up of several polygons is Polymesh. Z brush can only sculpt on polymeshs.

z brush tutorial

                                                                 Step 2

Hit “T” to go to edit mode so that you can sculpt in 3d space. This step will be necessary if sculpting is needed to be done in 3d space. In case you are not in Edit mode zbrush canvas will be restricted to 2.5D workspace which is good for 2D illustration purposes.

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                                                                Step 3

Click on Poly frame button which is near bottom of right shelf. Wire frame should be visible now.

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                                                                Step 4

Navigate the view port with above mentioned hot keys. Get accustomed to move in 3D sculpting space. While rotating around a model by clicking and dragging hit shift, to snap to an orthogonal view. Mouse button must be released before releasing shift key.

                                                                 Step 5

Hit “Q” to jump to “Draw mode”.

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Click on Brush icon on top of the left shelf to open various brush presets in a pop window. Alternatively hotkey “B” can also be used to open brush preset palate. Select brush named “Move”(move brush). We will explore this section in  depth in our later parts of z brush tutorial

 

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                                                                 Step 6

Before starting to sculpt lets customize the view port further. Click on “documents” in the Menu bar select “Range” and adjust the background color behind the model. You can adjust it so that changes on mesh can be clearly seen. Tweak the background color gradient to your own taste. This step is not necessary but as you grow into more of an advanced user after going through the further parts of this z brush tutorial, you will require it more often.

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                                                                  Step 7

Turn Symmetry on by hitting “X” key. Alternatively you can go to “Transform” button on menu bar and select activate symmetry. Symmetry allows artist to work on one side of the model and software calculates same strokes and deformations on other side. There are more symmetry options available on z brush which we will be covering as we advance into the z brush tutorial series.

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                                                                  Step 8

Click and drag on the model to start sculpting. Press ctrl + N to clear alternatively you can also undo. On top shelf right side there are three options, Focal Shift, Draw size and Z intensity.

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 “Draw size” means Brush size.

“Focal shift” is equivalent to Brush feathering.

“Z intensity” is how much displacement a tool or brush will cause on the model in z depth.

Hold Alt In order to toggle between “Zadd” & “Zsubstract”. Z add is used while sculpting, to add on the model based on brush selected, at the same time Z sub is utilized to subtract from the model.

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                                                                   Step 9

Start sculpting basic shape of a human head. While modeling press Ctrl+d to subdivide, it increases poly counts . Shift+D decreases the subdivision lowers the poly count. Poly count is like resolution of the model. High polygon count models suggest higher resolution, whereas low poly count proposes lower resolution model. Go around and exercise the features learned above. Do the sculpting for fun, mess around a bit. When done Save the project by pressing the universal hotkey Ctrl+S.

In the next Z Brush tutorial we will look into Brushes in z brush and using reference images for modeling in z brush. We strongly hope that this z brush tutorial was informational for our readers.

 

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Fire Explosion Stock Footage – Free!

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fire explosion stock footage
fire explosion stock footage

Hello our loyal readers!

It’s time to roll out some freebies for you guys. We have created this wonderful fire explosion stock footage, which is 100% free. Yes absolutely free!  This is a professional level stock footage that can be used anywhere and we are not restricting this with any license. It’s in full HD. We are planning to roll our more free stuff for our readers soon.

I hope you guys like our fire explosion stock footage and promote us so that we can make more such footages for the industry with Zero cost involved. We have a long term aim of building a library free and ready to use stock footages for the artists around the globe so that everybody who is bit short-handed on the money side can also take benefit from our website and create their desired action scenes.  Here is the YouTube link of the stock footage and below we have mentioned the download like for the fire explosion stock footage :-

Youtube Link  –  Sample for fire explosion stock footage

 

Download Links for fire explosion stock footage :-

Ziddu – http://downloads.ziddu.com/download/23985017/Attachments.zip.html

 

Find more freebies and good articles for VFX on our sister concerns:-

http://doityourselfvfx.com/

http://bestvfxsoftware.com/

We sincerely hope that you guys would like our productions! Please let us know more in our comments section on what else we should create more for our readers!

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Part 1 – Transformers VS Jaegers- VFX Battle

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War of Visual Effects – Transformers: Age of Extinction and Pacific Rim

Robot Action is the hottest trend in Hollywood. Pacific Rim last year made millions at box office and Transformers 4 this year is no exception. Both of them are primarily visual effects driven Robo Action movies with wide fan base. A lot of Visual Effects School students uploaded their own model with resemblance to these creatures.

So, where do these movies get their breathtaking effects from – Answer is ILM Industrial Light & Magic (ILM) founded by George Lucas for Star Wars, a magnate name in Visual Effects Industry. They are doing effects since 1978 and have developed 300 motion pictures till this date. They are considered to be the first choice for directors like Steven Spielberg and James Cameron. Transformers series and Pacific Rim are both products of diligent efforts from ILM team.

The Sole purpose of this article is to understand the ART behind “Concept creation”, Modeling & animation and at the same time to understand how Visual Effects Studios of Hollywood approach the Character development and the end product that we see in the theaters?

TRANSFORMERS Vs JAEGERS (Pacific Rim)

Our team did some research to find out which software were used in these movies  and we successfully managed to do so, here is the list Maya, Side FX, Houdini, Mental Ray, RenderMan, Photoshop and  in house software(ILM).

Let us dig in deeper to find out how these characters were developed, what were the challenges the VFX team had to face? Definitely it will also help us deciding the Winner between Gypsy with his pack of Jaegers and Optimus with his team of Transformers.

Transformer Vs Pacific rim

ANIMATION  MODEL OF PHYSICAL ANATOMY

Michael Bay knew what he wanted clearly and he didn’t want his Transformers to look like the Power Ranger bots, for sure. As the demand of the character, they were required to fight like Martial artists and sometimes as a black-ops soldier. They used Advanced Motion Capture Technology along with key frame animation to give them fluid motion. Transformers look impressive in the movie and it was a major pain in the ass to do the transformation of the Robot to Car and vice versa in the detailed manner as we saw in the end product. In order to achieve these high quality transformer models, the visual effects team picked up the TFM tools and those were tweaked by the coders especially for the transformers Visual effects team. TFM tools were integral for the creating those moving parts and the transformation models of the Transformers. Once the animation model came to existence, they mapped those models properly with the Mocap of the martial artists and trained soldiers, but keeping the required lethargy and weight intact; yes, don’t forget those moving parts on their bodies when they moved, fought and talked. No matter, how badly the critiques would have thrashed the movie for its abuse of the product material, transformer movies are tough gig to accomplish, when it comes to developing the visual effects. Here are the Videos from ILM studio that depicts the VFX breakdown behind the creation of the Transformers.

 

 

Guillermo Del Toro wanted the Jaegers to behave more like heavy and huge robots. To achieve the sluggish yet fluid mechanical motion they hand animated the Jagers with no MOCAP.  Along with that they used various VFX techniques to retain the Scale of humongous-ness of the Robots. Like transformers TFM was used extensively here as well. Each Jaeger also had their own persona like Gypsey Danger, the main protagonist had moves like a Boxer and other Jaeger was acting like a Cowboy, and all those behaviors were represented by tedious Hand Animation but it all paid enormously when the whole set was ready.  The terrible challenge that both Pacific Rim and Transformers had to face was more about unavailability of the reference, nobody has tried to depict these characters and story arc before in such a grand scope. However, both movies stood up to the box office in their shining armor after breaking multiple earning records globally. Here is the VFX breakdown video from ILM, which gave birth to these characters. You will have better understanding of the efforts that were driven to create these larger than life characters.

 

Alright! This was it for the first part of our article Jaegers Vs Transformers, we will be getting back soon with more information in the second part of the article, do comment below in order to let us know what do you think!

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Part 2 – Probable Contenders for 13th Visual Effects Society Awards ( VES )

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Visual effects society awards
Visual effects society awards

As promised we are back again with the second part of our list. We hope you guys like it and here it rolls down :-

> THE HOBBIT: Battle of the five armies

Director Peter Jackson confirms that this movie will be the last of the Hobbit trilogy and surely the director and Weta digital vfx team would love to end it with a bang. Weta digital vfx supervisor has already given hints about the importance of computer generated character  Smaug the fire spitting dragon, and trust me people Smaug has got some serious fan following in the VFX community. Smaug is a dragon and is equipped with complex fire simulations and is a pain in the ass to achieve in the virtual world. The hobbit series is a spin-off from the successful series “Lord of the rings”, which has already grabbed hell lot of titles in previous VES awards.

the_hobbit_battle_of_the_five_armies

> INTERSTELLAR

Now here is the basic plot that we got to know about interstellar, all the resources of Earth are depleted and the end of the world  is at bay. Humanity with discovery of “Black holes”( worm holes) decides to travel to intergalactic space for survival. As we all know that, Nolan is known for his practical thinking and has strong penchant for making his stories seem exceptionally real and for that he makes his actors do original stunts but with a tincture of smartly embedded VFX on those scenes. This gives his visual effects team a chance to create something novel and critical. He has been challenging and pushing the envelope of reality into a fantasy for all his movies, and he has made some iconic films like Momento, Dark Knight Trilogy, Inception etc. Nolan uses his typical choice in VFX, this time again it should be Double Negative Studio with VFX Supervisor Paul Franklin and  I don’t think the VFX team of Interstellar will leave this opportunity to set another milestone in Hollywood. This movie will surely have its spot in the VES nomination according to my predictions.

interstellar

> X-MEN DAYS OF FUTURE PAST

Bryan Singer’s X-Men Days of Future Past was a successful film at the box office. With his return to X-Men Franchise brought a lot of Visual effects houses to work on his movie. VFX supervisor Richard Stammers explains that they had to face many challenges,whether it be Slow Mo /Freeze frame sequence of Quick silver (they used super high speed phantom cameras at 3200 frames/sec), or the designing of Future and Past addition of the sentinels with scale animation. Sentinels itself were made of 100,835 blades and 1019 moving part with Mystique like ability to flip there scales to transform into meta creatures.

MPC, one of many vfx studios involved in production of Vfx for X-men referenced NASA footage for creating Sunspot’s animations. The  Movie was a blend of almost all techniques used for Visual Effects and they have executed them extremely well, the design of hand animated face parts of Sentinel along with other effects in movie may attract VES awards jury members.

xmen-days-of-future-past

> The Amazing Spider-Man-2

The Amazing Spider-Man 2 has some complex physics simulation for Spider mans swinging scenes, character design and creation of electro and his  de-materialization sequence in climax simulated electricity and gas effects, creating Time Square in CG with a lot of great compositing and texture painting work. The vfx team used Digital Molecular Matter or DMM (from Pixelux) for destruction scenes. DMM gave the sense of pieces breaking apart under the pressure applied by the given force. Amazing spider man 2 has a lot of complex vfx scenes with Electro, they might have chances at 13th Visual Effects Society Awards.

The_Amazing_Spider-Man_2

> Guardians of the Galaxy

The Marvel’s Intergalactic sci-fi movie Guardians of the Galaxy, Directed by of Super (crime comedy) (2010) James Gunn is the biggest non-holiday hit of 2014 . Over the years Marvel Comics  has done a marvelous work of converting their comic book superhero legacy to cinematic excellence and this movie is no exception. With its exceptionally cool complex visual effects, this movie is being compared to the legendary Star Wars. MPC VFX Supervisor Nicolas Aithadi (academy nominee for Harry potter movies) says they have done everything to keep up with the expectation of the comic book audience, be it character animation of the Rocket Raccoon or the spectacular inter galactic imagery. This movie is going to give tough competition to the other VFX Driven movies on the VES Podium.

Guardians of the Galaxy

> EDGE OF TOMORROW

Tom Cruise , Emily Blunt starrer Sci-Fi action thriller is another contender for Visual Effects Society Awards. With VFX artists and studios like Sony Pictures Image works VFX Supervisor Daniel Kramer, MPC VFX Supervisor Matt Middleton, Cinesite VFX Supervisor  Simon Stanley-Clamp, Rodeo FX VFX Supervisor  Matthew Rouleau, Nvizible VFX Supervisor Matt Kasmir (for stereoscopic work), The Third Floor (pre-visualisation), the aliens and the post-apocalyptic futuristic world of Edge of tomorrow came into being. The movie has complicated giant octopus like alien creatures named Mimics, the VFX team had to develop a plug-in inside Maya to animate and to lend more control to moving tentacles of these deadly and speedy aliens. The plug in was named “sptentacle”. VFX team had to create digital doubles of tom cruise and his Exo-skeletal suit and to attain this the technical team did full body scans and utilized FACS for scanning faces. They also used DMM API and Houdini for javelin flying in air scenes. Lots of complex fluid sims were done in both Maya fluids as well as Houdini’s fluid systems. Imagework’s Indian branch dealt with complex Rotoscopes.

EDGE OF TOMMOROW

Our list comes to an end with “Edge of Tomorrow”, we apologize sincerely if we had missed any of the promising movies but this was selected by our panel with the through research based upon the personal opinion of the panel. I hope this was informative for you guys and thanks for reading it out. Let us know, what you guys think about the VES awards of this year and who else can slip in this list in the comments below.

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Probable Contenders for 13th Visual Effects Society Awards ( VES )

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Visual Effects Society is honorary body formed by Vfx Artist around the globe. It’s Considered as the most Prestigious Awards for Visual Effects by Visual Effects Artist to Visual Effects Artist.

Half of the year is gone past leaving us with some visually spectacular motion pictures. Here is an attempt to shortlist strong Contenders for VES awards 2014-15. These are predictions, eventually we have to wait till official announcement by Visual Effects Society. Here is a list of top 10 contenders for VES awards 2015.

We are breaking down this article in 2 parts, this is the first part of the articles

Contenders For Outstanding Visual Effects in a Visual Effects-Driven Feature Motion Picture

> Transformers: Age of Extinction

The creation of the 3d robot model with hard surfaces would easier to create to most of the VFX artists then soft organic surfaces (skin, hair, fur) and yes it is an easier job comparatively, but there is a catch here;  if you have to deal with 3d robot “models” not “model” with thousands of pieces and Transformation between  robot and car model, things get highly complex even much more than modeling and animating organic surfaces. That’s why Transformers 4 is ruling the charts for best vfx and we have to give two thumbs up for Scott Farrar (vfx supervisor), Scott Benza (animation supervisor) and the whole team of Industrial Light & Magic (ILM). They have used state-of-the-art technologies like Block party 2 for complex rigging package from ILM,  Simulcam System for viewing 3d object match moved live on camera, advanced volumetric effects for creating the stellar effects in the movie. Most of the fight scenes in the movie have been shot in the broad day light and that requires huge money in the bank, efforts and balls of the iron, well Michael Bay had all that line up neatly.

transformers-age-of-extinction

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Top 3 Special Effects School

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Special Effects School
Special Effects School

Special effect is life of any horror or sci-fi movies. It has been in use from ages. Gigantic movies like star wars and Jurassic park came into the life only with the assistance of special effects. Movies have been enticing and absorbing us to the mesmerizing world that has been carefully woven with visual effects. Makeup and special effects have been an integral part of the whole process of movie making. We are going to list down the best special effects school from America and greater Asia region. Here are the names of the schools:-

> Cinema Makeup School

Cinema makeup school is based out of the Los Angeles. It has been specifically established for the purpose of Special effects and it has some great faculties who have humongous hands-on experience for many movies. They have international presences at many places across the globe including the destinations like Bangkok. This is the URL for their website, that has sufficient data about this special effects school.
http://www.cinemamakeup.com

Cinema Makeup school

 

> Sheridan School of Arts

Sheridan School of Arts is one of the oldest and prestigious art schools that have already made a leading name in the education division. Sheridan has a compelling special effects division that has state-of-the-art faculty members and latest technologies to immerse the young brains with knowledge of special effects. We can’t call this arts college as special effects school because it has a division dedicated to the subject of special effect but due to strong funding and powerful name in the education industry, it’s no less than a full blown special effects school. Sheridan has wide range of course and one can get in depth information about their offerings from their website :-
https://www.sheridancollege.ca/academics/programs-and-courses/art-fundamentals.aspx

SheridanCollege

 

> Douglas education center

This is another special effects and makeup only special effects school that has done some splendid jobs in many acclaimed Hollywood movies. This institute runs under the watch of Tom Savini, who has done some terrific gigs for numerous horror and sci-fi movies. More information about Douglas Education center, special effects school division can be achieved from their websites
http://www.dec.edu/ts/

DEC

So, that was our list top special effects school that will be highly essential for the new folks who are looking for a career in the field of special effects. Hopefully, it was useful for our readers. Let us know if we need to add or improve anything on this list so that the people seeking this knowledge can get exactly what they are looking for.

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