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VIEW Award 2015 Issues Call for Entries

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[ #CGEvent ]
VIEW Award 2015 widens its scope with new themes, new subjects and new contestants.
TURIN, Italy -- Organizers of Italy’s VIEW Conference have announced a call for entries for the VIEW Award 2015. Following the international success of the past VIEW Award, the 2015 contest is ready to widen its scope with new themes, new subjects and new contestants. As in the past few years, VIEW will include both student and non-student works, making the competition more appealing than ever.

The VIEW Award competition is held as part of the 2015 VIEW Conference, the largest international computer graphics conference in Italy. The 2015 VEW Conference will be held in Turin October 19-23, preceded by VIEWFest running October 16-18.

Short 2D/3D animated videos and shorts using visual effects completed during 2014 are eligible for submission. Maximum duration allowed is 30 minutes. Both individual and group projects are accepted.

The first VIEW Award prize for 2015 is 2,000 Euro. For submissions made via Festhome the entry fee is 10 Euro; otherwise entries are free and can be submitted by mailing a physical copy of the video and entry form to the VIEW Conference:

VIEW Conference:

Corso Marconi 38
10125 Torino, Italia
http://www.viewconference.it/

Check out the 2014 winner in the player below:


The 2015 VIEW conference will take place October 19-23 in Turin (Torino), Italy, a baroque city in the foothills of the Alps known for cars, chocolate and cinema. The largest computer graphics conference in Italy, VIEW is celebrating its 16th year of bringing top talent and remarkable visionaries to Turin. The VIEW conference follows the annual VIEWFest digital film festival. Most talks are in English, with translation available to and from Italian and English.
  More about CG Event

The Martian - Official Trailer

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20th Century FOX has unveiled Official Trailer for Matt Damon movie: The Martian which has VFX lead by MPC. The movie will be In Theaters – October 2, 2015

During a manned mission to Mars, Astronaut Mark Watney (Matt Damon) is presumed dead after a fierce storm and left behind by his crew. But Watney has survived and finds himself stranded and alone on the hostile planet. With only meager supplies, he must draw upon his ingenuity, wit and spirit to subsist and find a way to signal to Earth that he is alive. Millions of miles away, NASA and a team of international scientists work tirelessly to bring “the Martian” home, while his crewmates concurrently plot a daring, if not impossible rescue mission. As these stories of incredible bravery unfold, the world comes together to root for Watney’s safe return. Based on a best-selling novel, and helmed by master director Ridley Scott, THE MARTIAN features a star studded cast that includes Jessica Chastain, Kristen Wiig, Kate Mara, Michael Peña, Jeff Daniels, Chiwetel Ejiofor, and Donald Glover.

  More about film

Download Miarmy Full Package Stadium Solution

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[ #VFX #Animation ]
Miarmy is a Human Logic Engine based Maya plugin for crowd simulation. Its helped many clients in stadium creation and simulation, from ads to feature films. To make the stadium simulation easier, They released tons of high quality agent assets. All the assets are completely FREE to use! Also dont miss to check Miarmy Crowd Simulation Show Reel 2015 and Crowd Simulation tutorial

>>Miarmy Crowds 3.6 for Autodesk Maya

- Support V-Ray, Arnold, prman, 3delight and all others renderers.
- All agents have full set of animation including stand randomization, sit randomization and cheer randomization.
-Full set of geometries and textures are included. Over 100 geometries with textures, men/women and fat/thin, are all rigged and ready to animate.

Download


Download Miarmy Full Package Stadium Solution here
  More about Download

Kuler Islands

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[ #Texturing ]
Developed by John Martini and Mathew Kaustinen, Kuler Islands is a standalone tool which batch generates UVMap png images for OBJ files exported from 3D applications. There are various export options. Currently the tool only supports UV Space 1 and OBJ Files.


The project's code is open source and available on github
  More about Software

MPC LA Scores with ‘Madden NFL 16’

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[ @MPC_VFX #MPC ]
Teaming with agency Heat and award-winning director Wayne McClammy of prodco hungry man, MPC LA’s team of world-renowned artists provides VFX and post services for a new trailer for EA’s ‘Madden NFL 16.’
MPC LA recently provided VFX and post-production services for a new trailer for EA’s Madden NFL 16 video game. San Francisco agency Heat teamed up with award-winning director Wayne McClammy of prodco hungry man and MPC LA’s team of world-renowned artists for the epic movie parody trailer, Madden: The Movie.

>>MPC Film Reel 2015


With movie references ranging from Bollywood love stories and classic buddy movies to invincible sci-fi monsters and Russian oligarch super villains, playmakers such as Patriots’ Rob Gronkowski, Falcons’ Julio Jones, Steelers’ Antonio Brown and 49ers’ Colin Kaepernick join forces with celebrity favorites Dave Franco, Christopher Mintz-Plasse and Matthew Willig in an action-packed caper:

“Doing a longer format spot is always fun because you get caught up in the momentum of the story and have some latitude to really push and try the unexpected,” said MPC VFX supervisor Benji Davidson. “Of course it helps to be collaborating with Heat and a director like Wayne who set the creative bar so high and trust our process. We created a pipeline for Madden: The Movie across our studios in Los Angeles, New York, London and Bangalore. We employed all disciplines and routed the work through Telecine to keep color consistent. We spent two weeks completing 200 shots, and although we were a little sleep deprived, we did everything with a laugh and love where we landed.”
“Wayne gave us permission to turn the crazy up to eleven on this one, which is rare in a commercial,” said MPC VFX supervisor Zach Tucker. “Madden: The Movie is filled with a myriad of effects, from Rob Gronkowski’s football launcher to Coach Rex Ryan crushing an Audi. The last shot, for example, is effectively a living movie poster. Our two heroes walking slow motion towards camera with controlled chaos behind them. A roaring pet T-Rex? Check. Squadron of football-firing helicopters? Check. One huge explosion? No way, make it four.”
  More about Spotlight

Substance Painter 1.5 Feature Update

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[ @Allegorithmic # ]
Allegorithmic has unveiled Substance Painter 1.5 with Export presets for Vray/Corona/Redshift/Arnold and Sketchfab, 22 new smart materials, export any selected mask as a bitmap, blur the environment background, display the wireframe and change its color, and finally UI improvements and new handy shortcuts.

>>Substance Painter Crash Course

Fixed :
[Project] If the meshes pivot's are different in the FBX, the meshes get exploded upon import
[Substance] Substances used in projection tools are locked in 256*256
[Layers] Crash when using clear mask
[Export] Incorrect gamma conversion on very dark textures
Export] Position map can only be used in export presets as a grayscale map
[Tool] Geometry decal start color is black when used on a mask
[Tool] Rotation shortcut doesn't work if there is no hardness in the alpha

Added :
[Shader] Add line number in Shader compiling error messages
[Shelf] Improve thumbnails previews quality
[Shelf] Automate thumbnail generation for Smart Materials
[Tool] Shortcut to control hardness setting in the substance
[Tool] Use grayscale widget for geometry decal when over a mask
[Tool] Shortcut to invert paint color while painting on a grayscale map
[Viewport] Allow to display the wireframe and change its color
[Viewport] Blur the environment background
[Controls] Add rotation to brush mouse shorcuts
[Export] Export to Sketchfab
[Export] Create export presets for renderers
[Export] Add converted map Reflection, F0 and 1/IOR
[UI] Add Welcome screen
[UI] Update default layout
[UI] Add missing tooltips and rename some menu entry
[Layers] Export currently selected mask as bitmap
[Layers] Add "invert mask" action in the right-click menu



  More about Substance Painter

Rising Sun Pictures Offers Course in Compositing for Feature Films

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[ @rspvfx #Compositing #NUKE ]
Intensive 10-week Introduction to Compositing for Feature Films to be taught by RSP senior compositor Paul Kirwan using The Foundry’s NUKE.

Adelaide, South Australia - Aspiring visual effects artists will have an opportunity to learn the basics of compositing through a new course offered by Rising Sun Pictures. Introduction to Compositing for Feature Films will be taught by RSP Senior Compositor Paul Kirwan, whose more than two dozen film credits include Gravity, The Great Gatsby, Pirates of the Caribbean: On Stranger Tides and The Lord of the Rings Trilogy.

Compositing is a fundamental skill for visual effects artists and the starting point for many visual effects careers. This intensive, 10-week course provides an introduction to NUKE, one of the industry’s most widely used compositing software, and grounding in day-to-day tasks performed by compositing artists with a focus on feature films.

>>Gravity VFX Breakdown by Rising Sun Pictures


The course is suitable for beginning artists, ages 13 and older, for experienced artists unfamiliar with The Foundry’s NUKE, and for media educators who wish to learn current pipelines and software used in film production. Students will gain practical, hands-on experience and learn from a highly skilled working professional in a demanding, fast-paced and fun environment. The course includes a tour of RSP and a special presentation on the visual effects industry in the company’s theatre.

Course materials are supplied by The Foundry, developers of NUKE. Software, shots and lesson content are included.

The course will cover:


  -background to digital imagery, including file formats, color-space and multi-channel images
  -the Nuke interface and basic compositing scripts
  -tracking, keying, filters, colour correction and layering operations
  -use of paint and rotoscoping for plate preparation and clean-up
  -compositing multi-channel CG renders
  -shot polish, including grain and lens artefacts
  -the basics of compositing

Beginning Tuesday, October 13, Introduction to Compositing for Feature Films consists of 10 three-hour class sessions from 6:30 to 9:30 pm. Classes will be held at Rising Sun Pictures, Level 1, 180 Pulteney Street, Adelaide SA 5000. Enrollment is available through Everbrite, and the first five students to enroll will receive a discount on tuition.

Rising Sun Pictures has been offering training for visual effects artists since 2013. Classes are small in size and emphasize practical, commercially viable skills. Its regular training program has produced dozens of graduates many of whom have found work as junior artists at visual effects studios in Australia and elsewhere.
  More about Training

XOIO's Winter Chalet – Interactive

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[ #UnrealEngine ]
Known as one of the pioneer in Archviz industry - The XOIO is a team who always trying to reach new lever for their workflow then share them with all other studio and Artist around The World. The team at XOIO has took up the challenge to create the interactive scene of a winter chalet in Unreal Engine 4

>>Unreal for Archviz tutorial

They want to give a basic idea what a small team of 1-2 people can achieve in a realistic framework of a few weeks.

Altogether it took us a couple of months, but we worked maximum 1-2 days per week on it. Surely the scene could be further refined and polished – no doubt. But we had the feeling that half a year of tinkering with this place was enough and wanted to move on.

Let check it out!

The whole footage was composed and rendered inside Unreal Engine 4 and recut in Aftereffects

More details can be found here. And also don't miss to check 6 hints how to get your 3d-environment concept started.
  More about Xoio

Unity Technologies Unveils Vision Virtual and Augmented Reality Summit

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[ @unity3d #unity3d ]
Vision Summit will feature talks and panels on Virtual and Augmented Reality hardware and software development such as Oculus, Qualcomm Connected Experiences Inc., Sony Computer Entertainment and Valve

San Francisco, CA -- Unity Technologies announced Vision Virtual and Augmented Reality Summit, a new conference focusing on the development of Virtual and Augmented Reality products across industries with the mission of bringing together artists, engineers, programmers, designers, musicians, directors and producers, hardware manufacturers, researchers and other innovators from around the world to meet, discuss, and explore the potential of these emerging platforms. The event will take place at the Loews Hotel in Hollywood on February 10 &­11, 2016.

The rapid advancement of virtual and augmented reality technologies is opening incredible new pathways for people to interact with digital creations. New commercial, entertainment, and educational experiences using VR and AR will be as transformative as the jump from television to the Internet. The Vision Conference will be a developer driven event focused on exploring the new opportunities, thought-­provoking challenges, and extraordinary potential presented by current and future VR and AR technology.

Unity Technologies will be joined at Vision Summit by the industry’s most important contributors to the spheres of Virtual and Augmented Reality hardware and software development such as Oculus, Qualcomm Connected Experiences Inc., Sony Computer Entertainment, and Valve where they will demonstrate their technologies.

Vision Summit will feature talks and panels aimed to extend knowledge and create discussion on a wide range of topics including conceptual and practical design, technology deep dives, and new challenges facing developers such as interface design and implementation and creating full immersion through presence. Those interested in submitting a talk for Vision Summit can visit visionsummit2016.unityproposals.com.

"VR and AR promise to change the way we interact with technology and entertainment,” said John Riccitiello, CEO of Unity Technologies “Vision Summit will bring the best minds together to discuss how the great potential in these technologies can be realized."

Additionally, Vision Summit will host a competition and give awards to the best VR and AR experiences emerging from some of the most exciting development studios in the world including awards for the best game, best films/interactive stories, and demo scene. Details about the competition including rules, categories, and prizes will be released at a later date.
  More about Unity

3D Artist Career Paths: from Video Game Cinematics to Films

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[ @Gnomon_Workshop #GNOMON ]
Join artists, Fausto De Martini and Seth Thompson, at Gnomon on Thursday, August 27th, as they reveal the evolution of their careers through video games and, in Fausto’s case, into films. They will share the highlights of their experiences as well as the struggles, and offer insights into how they have made names for themselves in the competitive CG industry. If you’re a student, hobbyist, or professional artist looking to embark on your dream job in the video game or film industries, this evening will be a valuable resource. Fausto and Seth will provide priceless information on how to stay competitive in the field, as well as how to take important steps to make your work stand out from the crowd. What’s more, both Fausto and Seth will give live design and modeling demos of recent personal works, including an exclusive look at Fausto’s Project Edge.

The event is free and open to the public. Entry is by RSVP only, and seating is first come first served. If you can't make it to Hollywood, be sure to follow Gnomon on Livestream to watch the full event for free from anywhere in the world.

Schedule:

  7:00 pm – 7:40 pm: Seth Thompson and Fausto De Martini – Career Paths
  7:40 pm – 8:00 pm: Audience Questions
  8:15 pm – 9:00 pm: Seth Thompson Live Demo – 3ds Max, ZBrush, and Photoshop
  9:00 pm – 9:45 pm: Fausto De Martini Live Demo – Designing in 3D
  9:45 pm – 10:00 pm: Audience Questions



Guest Speakers


Fausto De Martini
Concept Artist/Illustrator
Fausto De Martini is a Concept Artist in Los Angeles with an impressive background in video game cinematics. He recently embraced the opportunity to change career directions to work as a Concept Artist/Illustrator in an Art Department for movies. He began his career as a Freelance CG Generalist based in Sao Paulo, Brazil, and later relocated to the United States to work at Blizzard in the Cinematics Department. He has worked on many film titles, including RoboCop, Transformers: Age of Extinction, Terminator: Genisys, Star Wars: Episode VII, and most recently the Avatar sequels. See more of Fausto’s work at faustodesign.com.

Seth Thompson
Cinematic Artist
Seth Thompson has over 15 years of professional experience working in the video game industry as a Cinematic Artist. His credits include Warcraft III: Reign of Chaos , StarCraft II: Wings of Liberty , Diablo III, Overwatch, Final Fantasy XII, and Final Fantasy: Advent Children . Seth currently lives and works in Southern California. Prior to this, he worked for several years in Tokyo, Japan at Square Enix as a Set and Prop Modeler. When he isn’t working on perfecting his CG art, he can be found surfing, cooking, playing video games, dressing in cosplay, and spending time with friends. See more of Seth’s work at facebook.com/SethThompsonArt.
  More about GNOMON

Maxwell Render 3.2 beta

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[ #Maxwell #Render ]
Next Limit has announced that Maxwell Render 3.2 beta is now available including new features and an important list of fixes. This is free update for all v3 users

>>The Maxwell Render 2015 Archviz Showreel

Features are:

- More speed, faster SubSurface Scattering
- Nested Dielectrics
- New stereo lenses
- API extension
- Export to PSD files
- Procedural emitters, for making emitting particles, grass or fur
- Separated reflection and refraction channels
- Remove overlaps in the Maxwell Scatter
- New Reflectance channel
- Improvements in the Maxwell Grass fibers growth
- Improvements in the Multilight sliders editor
- New Asset Reference extension


More details can be found here
  More about Maxwell

FuseFX Delivers Action-Packed VFX for ‘Marvel’s Agents of S.H.I.E.L.D.’

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[ #VFX ]
Burbank-based effects studio collects second Emmy nomination for ABC series.

BURBANK - Accolades continue to accumulate for FuseFX and its work on ABC’s Marvel’s Agents of S.H.I.E.L.D. The lead visual effects provider for the action series, the team from the Burbank-based studio is currently nominated for an Emmy Award for Outstanding Visual Effects; the second straight year they’ve been so honored. They’ve also tallied three V.E.S. Award nominations and an Online Film & Television Award nomination over the course of the show’s first two seasons.

>>Learn VFX


“FuseFX is by far the best visual effects company working in television,” says Mark Kolpack, VFX Supervisor for ABC Studios, producers of Agents of S.H.I.E.L.D. “They have the best pipeline and the best talent pool. Their organization and attention to detail is outstanding.”

The studio aims high in producing effects for the show. FuseFX VFX supervisor Kevin Lingenfelser says their standard for comparison are not other television shows, but rather other Marvel productions. “The work we do has to fit in with the Marvel cinematic universe,” he explains. “What fans see on television has to feel like it’s on par with what they see in theaters. I like to say, ‘we do Marvel for television.’”

Of course, FuseFX has to do its work much faster than its feature film counterparts. The studio typically has 10 or 12 days to turn around the effects for an episode upon receipt of background plates. That can include the creation of character-driving effects animation, photo-realistic vehicles, CG set extensions, pyrotechnics and atmospheric effects, among others.

Now into its third season, the production of the series has assumed almost military precision with VFX involving intensely close collaboration between Kolpack and his production crew on the one hand, and Lingenfelser and his team of supervisors, artists and producers on the other. Work begins before the start of live action production with Kolpack breaking down the script and storyboarding complex effects shots.


“One of my big things is to add an element of humanity to the visual effects,” Kolpack observes. “When there are people in the shot, it helps bridge the gap for the audience. It gives them something they can to relate to.”

As production elements arrive at FuseFX, individual shot tasks are assigned to artists depending on their expertise. Lingenfelser notes that 20 to 25 artists may be involved in a single episode. Temp shots are produced within a day or two so that they can be made available to the production’s editorial and sound teams. As shots are finalized they move up the chain to Kolpack and ultimately the show’s producers for comment and approval.

FuseFX is especially proud of its work in crafting certain signature elements of the show, including the highly specialized vehicles and other paramilitary gear used by S.H.I.E.L.D. agents. Chief among them is the “Bus,” a specialized Boeing C-17 Globemaster III modified to serve as the group’s Airborne Mobile Command Station. FuseFX artists spent months designing and modeling the aircraft, which appeared in most episodes during the first two seasons. Ironically, the episode that drew the Emmy nomination includes the last appearance of the Bus when it is hit by a missile during an assault on an arctic research facility operated the villainous organization HYDRA.
The shooting down of the Bus is accomplished as a completely CG sequence. “Pieces of wreckage catch fire and burn as they fall to earth,” recalls Lingenfelser. “There is also a smaller plane that flies through the airborne debris. It’s a very complex sequence, combining CG, effects simulations and pyrotechnics.”

(FuseFX hasn’t had much time to mourn the loss of the Bus as they are already busy designing and building its even more impressive replacement. It debuts in season three.)

Lingenfelser credits the studio’s ability to complete complicated effects sequences on a tight schedule to the bond that’s developed between production and visual effects. “Mark and his producer Sabrina Arnold have their end down tight,” he says. “Their notes are concise and complete. When we get that information, we know exactly what we’re in for. It simplifies everything from bidding on forward.”

Kolpack says that credit is also due to the commitment and enthusiasm of the team at FuseFX. “I can feel how excited and appreciative they are to work on our project,” he concludes. “They are my ace in the hole. They deliver every time.”
  More about

Download Fusion 8 Public Beta

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[ #Compositing ]
First-ever Mac-compatible release of visual effects and motion graphics software to be followed by a public beta for Fusion 8 Studio, which adds stereoscopic 3D tools and is designed for multi-user workgroups.

Fremont, CA -- Blackmagic Design has announced that the public beta of the free version of Fusion 8 visual effects and motion graphics software is now available for download from the Blackmagic Design website. This beta is for the free version of Fusion 8 and is available for both Mac OS X and Windows.

A beta for the paid version, Fusion 8 Studio, which adds stereoscopic 3D tools and is designed for multi user workgroups and larger studios, will be available shortly. However, current Fusion Studio customers can download the public beta for the free version of Fusion 8 and start using it today.

>>Fusion Basic tutorial

This public beta is also the first ever Mac compatible release of Fusion, which was previously a Windows only product. By bringing the free version of Fusion 8 to the Mac, high end visual effects are available to even more users than ever before, opening the door to millions of motion graphic artists, broadcast designers, video editors, visual effects compositors, and 3D animators. In addition, projects can be easily moved between Mac and Windows versions of Fusion so customers can work on the platform of their choice. Now, anyone with a Mac or Windows computer can get access to the same high end visual effects tools used by Hollywood’s most elite artists.

Longtime fans of Fusion will also notice that in the 6 months since Fusion 8 was launched at NAB there has been many improvements to the user interface and Fusion customers will appreciate the more modern look of the software. There will be many more improvements to the user interface as the Fusion engineering teams continue to work with the visual effects community.

Fusion has been one of Hollywood’s leading visual effects and motion graphics tools for over 25 years, and has been used on thousands of feature film and television projects, including blockbusters like Thor, Live Die and Repeat, the Hunger Games trilogy, White House Down, Battlestar Galactica and more.

Featuring a powerful node based interface, Fusion makes it extremely easy to build sophisticated visual effects compositions very quickly. Nodes are small icons that represent effects, filters and other image processing operations that can be connected together in any order to create unlimited visual effects. Nodes are laid out logically like a flow chart, so customers won’t waste time hunting through nested stacks of confusing layers with filters and effects. Unlike timeline based applications, it’s easy to see and adjust any part of a project in Fusion by simply clicking on a node.

With a massive toolset consisting of hundreds of built in tools, customers can pull keys, track objects, rotoscope, retouch images, animate titles, create amazing particle effects and much more, all in a true 3D workspace. Fusion can also import 3D models, point cloud data, cameras or even entire 3D scenes from Maya, 3ds Max or Lightwave and render them seamlessly with other elements. Deep pixel tools can be used to add volumetric fog, lighting and reflection mapping of rendered objects using world position passes so customers can create amazing atmospheric effects that render in seconds, instead of hours.

“Since we announced our plans to bring Fusion 8 to Mac OS X, we’ve had a massive response from the creative community,” said Grant Petty, Blackmagic Design CEO. “This is something that animators, designers and visual effects artists have wanted on the Mac for a very long time. Because it was written specifically for Windows, bringing Fusion to Mac OS X wasn’t just a simple port. Our engineering team has been working tirelessly to rewrite parts of the Fusion code base so it runs incredibly well on Mac OS X, while also improving the Windows version. This new free version of Fusion 8 for Mac and Windows will make it accessible to many more users than ever!”

Fusion 8 will be available in two versions:


Fusion 8 for Mac and Windows is free for customers and the public beta of Fusion 8 is now available to download. Fusion 8 is a full professional 3D visual effects and compositing system that is suitable for independent effects, motion graphics, and broadcast design artists. Fusion 8 features integrated 2D and 3D compositing and motion graphics software with a massive toolset featuring paint, rotoscope, titling, animation, multiple keyers, an amazing 3D particle system, advanced keyframing, GPU acceleration, and support for importing and rendering 3D models and scenes from other applications.


Fusion 8 Studio, will be available for Mac, Windows and Linux for $995 and the public beta will be available soon. Fusion Studio has all of the same features as the free version, but also adds advanced optical flow image analysis tools for stereoscopic 3D work, retiming and stabilization. Fusion Studio also includes support for third-party OpenFX plugins, unlimited distributed network rendering, and Generation for studio wide multi user collaboration to track, manage, review and approve shots when working with large creative teams on complex projects.

Fusion 8 Public Beta is available today for download from the Blackmagic Design website free of charge. Fusion 8 Studio Public Beta will be available soon and will be available to download from the Blackmagic Design website free of charge for all current Fusion 7 Studio customers.

  More about Fusion

Interview with Corona Renderer developers

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[ #Corona #Evermotion ]
Ondra Karlik worked in architectural visualization field for years, until he decided in 2009 to make Corona - new rendering engine. After few years the single-man project expaned, today Corona is developed by team located in two offices. Corona Renderer is getting more and more attention from arch-viz community and it's just the beginning of a way - developers promise more features and more supported software. They want to "make the best arch-viz renderer on the market. Check out the interview with Corona Renderer developers - Ondra Karlik and Adam Hotovy

>>Corona Render tutorial


Check the Interview here
  More about

NUKE Non-Commercial Competition 2015

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[ #Contest #Compositing #tfnews ]
Share your work with the NUKE Non-commercial community, show off to our judging panel of industry experts and win some amazing prizes including goodies from Wacom, NVIDIA, fxphd training, and Production COLLECTIVE licenses from The Foundry!

>>Nuke tutorial

Show off your NUKE skills working with scenes from Runic Films’ Hashtag featuring Gigi Edgley of Farscape fame. Add HUD and keyboard display elements to complete the scene and use any of NUKE Non-commercial’s powerful tools to refine and finish the project. Finish the full sequence or work on a single shot. Submit a final sequence or a single shot, or both!


How do I enter?

1.Register using the form below
2.Download the competition assets after registering
3.Get your copy of NUKE Non-commercial (if you don’t have one already)
4.Submit your final sequence or shot and NUKE script before the competition deadline
Post your work in progress, ask questions, and share what you’ve learned in the NUKE Non-commercial competition forum.

Dates


Opens: 15 July 2015
Deadline: 15 September 2015, 11:59 PM (PDT)

Winners will be announced within 2 weeks of the competition deadline.

Join them here


  More about Contest

Launching Robot - 99Frames

Autodesk to Acquire SeeControl

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[ #Autodesk ]
SAN FRANCISCO--Autodesk, Inc. has signed an agreement to acquire SeeControl, a San Francisco-based developer of an enterprise Internet of Things (IoT) cloud service platform. The SeeControl service helps manufacturers and systems integrators connect, analyze, control, and manage remote products, things, and assets and create new service revenue opportunities.

“A new future of making things is emerging, where any built object, product or environment can be embedded with sensors that can feed information back into the design process. The acquisition of SeeControl is the first step on Autodesk’s ongoing efforts to develop new technologies and solutions that will help our customers leverage the Internet of Things, starting by enabling them to capture, analyze, and utilize data from their products. We welcome the SeeControl team and ecosystem to Autodesk,” said Amar Hanspal, Autodesk Senior Vice President for Information Modeling and Platform Products.

Autodesk intends to continue to sell and support the SeeControl platform and to incorporate the technology into design solutions for the manufacturing and building industries. Autodesk also plans to develop a new IoT solution based on the SeeControl technology that will allow companies to gain real world insights of how their products perform, enabling customers to explore innovative new service models. This transaction is subject to customary closing conditions and is expected to close during Autodesk’s fiscal quarter ending October 31, 2015. Terms were not disclosed.

"SolarCity has been able to conceive and prototype new product ideas faster with SeeControl's point-and-click toolset, and we’re excited to see how Autodesk will further develop the platform and integrate the technology,” said Ryan Hanley, Senior Director of Grid Engineering Solutions, SolarCity.

  More about Autodesk

Unreal Engine 4.9

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[ @UnrealEngine #UnrealEngine #UE4 ]
Epic Games has released Unreal Engine 4.9 with hundreds of updates for Unreal Engine 4, including 129 improvements submitted by the community of Unreal Engine developers on GitHub.

>>Learn Unreal Engine

Major Features are:

- New: Dynamic Character Shadows for Mobile
New: Dynamic Point Lights for Mobile
New: Decals on Mobile
New: VR Motion Controller Support
New: Experimental DirectX 12 Support
New: Full Scene Particle Collision with Mesh Distance Fields
New: Hierarchical LOD Fast Preview and Clustering
New: "Arch Vis" Character Controls
New: Widget Depth Ordering
New: Area Shadows (for stationary lights)
New: Ambient Occlusion Material Mask
New: Mesh Distance Field Materials
New: Improved Distance Field Ambient Occlusion
New: Content Browser Advanced Search
New: Plugin Creation Wizard
New: Enhanced Curve Editor
New: Multiple Return Nodes in Blueprints
New: Bone-driven Animation Controllers
New: Non-Linear Animation Blending
New: Animation Transition Rules
New: Animation Curve Evaluation Change
New: Animation Asset Metadata Support
New: Sound Quality Levels
New: Custom Audio Attenuation Curves
New: Actor Tick Intervals
New: Post Process Blending
New: Runtime Asset Cache
and more here

Unreal Engine 4.9 Livestream




Unreal Engine is available for free, but Epic games takes 5% royalty after the first $3,000 of revenue per product per quarter. No royalty is paid for film projects, contracting and consulting projects such as architecture, simulation and visualization

  More about Unreal Engine

Cinema 4D Release 17 is now available

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[ @Maxon #Cinema4D #C4D ]
FRIEDRICHSDORF, GERMANY -- 3D technology developer MAXON has announced the immediate availability of Cinema 4D Release 17 (R17), the newest version of its leading 3D software solution for motion graphics, visual effects, visualization and rendering.

>>Cinema 4D tutorial


Cinema 4D R17 delivers powerful new features to dramatically increase production pipeline performance and positively impact the creative experience including the new Take System that offers functions above and beyond those of any conventional render layer system; Render Tokens to easily organize rendering tasks and files, with project-file-based names, named object buffers, and folders for each pass; a versatile new Color Chooser; and updated import and export functions. R17 also sports innovative sculpting functions, expanded motion tracking features and completely reworked spline tools that enhance the modeling, sculpting and animation design workflow.


MAXON will debut Cinema 4D R17 in Europe at the IBC2015 conference taking place September 11 – 15, at the RAI Convention Center in Amsterdam. (MAXON IBC exhibitor booth location: Hall 7, Booth #7.K30)





Cinema 4D Release 17 is available at MAXON or its authorized dealers. MAXON customers with a MAXON Service Agreement (MSA) active as of September 2, 2015 will be upgraded automatically. Cinema 4D Release 17 is available for Windows and OS X. Minimum system requirements.

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Best of Falling Skies VFX by Zoic Studios

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Zoic Studios - a visual effects company based in Culver City, California, Vancouver, B.C., and New York City has shared the video showing the VFX work They did for the TNT sci-fi series “Falling Skies”. Check it out!

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