>>Evermotion Archinteriors and Archmodels for Unreal Engine
Pre-order now for €90. Offer valid only till 29th of September 2015!
More about Evermotion
Pre-order now for €90. Offer valid only till 29th of September 2015!
More about Evermotion
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Evermotion Archinteriors for Unreal Engine 2
Pre-order now for €90. Offer valid only till 29th of September 2015!
More about Evermotion
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Epic Games released UE4 Infiltrator Real Time Demo for Free
>>Learn Unreal Engine
>> Download:
All you have to do is Run Epic Games launcher to access the project in the Learn tab, download then create Project
More about Unreal Engine
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Mercedes-Benz A 200 Renderings
>>Octane Render tutorial
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City Layouts with DEM Earth for Cinema 4D
>>DEM Earth 2.0 C4D Plugin Tutorial
Luis wrote:Topography, architecture and traffic routes give every city a unique structure. These conditions create the typical and individual inner structure of a city.
I didn't only want to show these structures in the conventional way from above, but also including the exact three-dimensionality of topography and buildings - a real world visualisation.
The OpenStreetMap data enabled me to visualize the satellite-based information using DEM Earth in Cinema 4D. The results are some extraordinary views of large capitals and small towns.
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Marvelous Designer 5
>>Marvelous Designer tutorial
- Cut patterns using internal shapes and/or lines.- Trace internal shapes into patterns or vice versa.
- Align multiple points along specific axis.
- Input specific measurements to offset patterns and segments as internal lines.
- Round off corners of patterns.
- Check pattern UVs before exporting garments
- The simulation speed has increased by approximately 30%.
- Both simulation and rendering speeds have improved by approximately 70% in the Mac environment.
- Any and all changes in the 2D window are automatically synced to the 3D window - and x2 faster than before.
- Fold and arrange patterns before Simulation is activated.
- Easily arrange patterns and OBJs on the avatar and garment.
- Apply and adjust the curvature of pattern edges, and/or express hems with facing.
- OBJ Export Improvements
* OBJ Export with Internal Line Information, OBJ files now retain internal shape and line information upon export.
* Separate Front, Side and Back Meshes for OBJ Export
* Quad Thickness for OBJ Export
* Weld/Unweld Options for Patterns
* Select to weld or unweld sewn edges of each pattern piece.
And more here
Availability
Marvelous Designer 5 costs $550 perpetual or $59.99/month, $360/year rental. For more details please check here!More about Marvelous Designer
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Download 800 Free Textures
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Beeple: Zero-Day
>>Learn Motion Graphics
After the success of STUXNET, a virus written by the United States to destroy Iranian uranium enrichment facilities, the U.S. government could no longer deny it was developing cyber weapons meant to do physical damage. With US companies and agencies under constant attack from state-sponsored Chinese hackers, it is only a matter of time before tensions boil over and more sensitive infrastructure is targeted. As more of our devices (cars, homes, etc) become connected, we will become more and more vulnerable to the physical threat of cyber warfare.directed by: beeple
video: beeple
audio: standingwave
Watch the ZERO-DAY process video
You can also download the entire Cinema 4D / SFX project files here
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Watch New ‘Star Wars: The Force Awakens’ on Facebook 360 Video
As part of the launch, Disney and Lucasfilm have debuted an exclusive 360 experience from the upcoming Star Wars: The Force Awakens that brings fans inside the beloved universe. Created by ILM’s virtual reality lab the video allows fans to take a closer look at the already iconic imagery of the fallen Star Destroyer on a desert planet teased earlier this year. Check it out!
Star Wars: The Force Awakens Immersive 360 ExperienceSpeed across the Jakku desert from Star Wars: The Force Awakens with this immersive 360 experience created exclusively for Facebook.
Posted by Star Wars on Wednesday, 23 September 2015
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Epic Games Unveils ‘Bullet Train’ at Oculus Connect 2
As Sweeney writes on the Unreal Engine blog, “Epic puts enormous effort into building great technology and content for the Oculus Rift and Gear VR. We believe that the VR revolution currently underway will open up unprecedented opportunities for game developers, filmmakers, and other creative folks.”
Sweeney also confirmed that since Epic made Unreal Engine 4 available for free earlier this year at GDC, a million new developers have chosen Unreal, and many of these individuals and teams are creating amazing VR experiences.
>> See Also: Interior Lighting with Unreal Engine
“
In order to explore and demonstrate the possibilities of this new medium, we've built a series of leading-edge demos over the past 18 months. Couch Knights showed the capabilities of the DK2, and then Showdown took advantage of CB1’s head tracking to immerse the viewer in a slow-motion action movie scene,” Sweeney continues. “And now, it's time for something new. Using the Oculus Touch controller for locomotion, we've built a world-scale VR gunfight experience with gameplay that weaves in and out of bullet time. Presenting: Bullet Train.”
Bullet Train is the latest VR experience from Epic Games. Staying true to form, Epic puts you in the middle of the action: Use motion controls in the role of an agent undergoing an infiltration simulation set inside a modern train station. Master the art of teleportation, time manipulation, and close-quarters combat to blast through resistance forces. Thanks to Unreal Engine technology and the Oculus Touch motion controllers, you can physically interact with an array of weapons, from guns to grenades to missiles, and even feel them through haptic feedback.
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Digital Domain created Blockbuster VFX for New ‘Destiny’ Trailer
Renowned digital production studio Digital Domain handled the visual effects and color grading for the spot, with Academy Award®-winning VFX supervisor Eric Barba leading the charge. Barba is a longtime collaborator of Kosinski and his go-to Director of Photography Claudio Miranda. The three developed a shorthand for aesthetics while working together on previous projects spanning features (TRON: Legacy, Oblivion) to award-winning game trailers, including “Starry Night” (Halo 3), “Mad World" (Gears of War), and the original Destiny launch spot “Become Legend.”
The new spot is hyper-realistic and incredibly detailed, pushing the boundaries of gaming possibility. The trailer depicts a Fireteam of Guardians venturing to take on the vengeful King Oryx and his army. Dark humor and dread-tinged tension explode over a jaw-dropping action sequence set to the raucous Led Zeppelin anthem “Black Dog” that culminates in the promise of even more epic adventure to come.
Kosinski’s concept for last year’s debut spot was clear, to create a live-action version of the Destiny game. In the original spot, the Fireteam is shown battling alien invaders across stunning exotic environments pulled from real life, with the shoot taking place in Mexico, Arizona and Utah.
The Taken King trailer required a slightly different approach, with the head-to-head battle between the Fireteam and Oryx’s army taking place on a spaceship on the rings of Saturn. “We ended up doing a lot more digitally this year, by nature of where the action occurs, but we wanted to ground it in the same visual language we used previously,” explains Barba.
Filming took place on a sound stage in Culver City. “The production designer created a beautiful floor for us, which allowed us to plan the shots and sequences,” Barba remarks. “Then we did motion capture to pick up the movements and actions, using the CG camera as if it were live action.”
Each visual element, from the color palette to the movement of ash particles falling through the atmosphere, was meticulously planned to create a cinematic representation to exceed the expectations of gamer fans when Destiny: The Taken King hits store shelves worldwide on September 15th for PlayStation®4, PlayStation®3, Xbox One and Xbox 360.
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Adobe Photoshop and Premiere Elements 14 with 4K support
Photoshop Elements 14, Adobe's image editing software, has gained tools for removing camera shake and for removing haze. Adobe first introduced haze removing tools with its 2015 Creative Cloud update, and has now brought that capability to Photoshop Elements 14. While the haze removal tool is useful for improving the look of outdoor shots, it can also be used to clean up old photos and improve the lighting in backlit shots.
There are enhanced auto correct tools that provide five correction options after subject, color, composition, and lighting for each image have been analyzed, and there are much improved tools for selecting fine details in like hair and pet fur in a photo.
Facial recognition capabilities have been improved and faces are now recognized faster and more accurately, and there's a map that shows where photos with GPS included were taken.
Premiere Elements 14, Adobe's video editing software, now includes support for importing and editing 4K video from a range of different cameras, which is this year's biggest addition. As with Photoshop Elements 14, Premiere Elements 14 has gained improved Guided Edits for adding dramatic effects to videos.
Also Check What's new in Adobe Photoshop and Premiere Elements 14 from CNet
Availability
Both Photoshop Elements 14 and Premiere Elements 14 for Mac and Windows can be purchased from Adobe's website for $99.99 each. Bundles are available for $149.99, and existing users can upgrade for $79.99 for one product for $119 for the bundle.
via
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First batch of Learn Squared courses are now available
UI and Data Design for Film
From thumbnail sketch to final render, visionary designer Ash Thorp will show you how to create production-ready UI and data elements for Hollywood films.
Futuristic Character Design
with Maciej Kuciara and Ash Thorp
From loose sketch to realistic rendered illustration, create futuristic character design with consistency and speed. Tackle difficult subject matter with different concepting techniques.
Painting with Confidence
Improve your digital paintings by studying advanced practice techniques. Produce a multitude of unique and efficient portfolio-ready designs.
Intro to 3D Concept Design
Craft stunningly complex concept designs using a multitude of 3D techniques. Compliment your renders with detailed 2D compositing.
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Maze Runner VFX Breakdown by Weta Digital
Click image to watch video
Watch now on CG Record TV
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ILM Continues 40th Anniversary Celebration at VIEW 2015
>>ILM Celebrates 40 Years of Awesome Visual Effects
“It’s so exciting that ILM will be marking their 40th anniversary with VIEW this year,” says conference director Maria Elena Gutierrez. “Their two special sessions are guaranteed to draw standing room only crowds at this year’s conference!”
The ILM Sessions are:
“ILM – 40 Years of Creating the Impossible”Wed, October 21 -- 6-7.30 p.m.
Speakers: Visual Effects Supervisor Ben Snow, Visual Effects Supervisor Tim Alexander, and ILM Modelshop Supervisor Lorne Peterson.
“The Park is Open: Journey to ‘Jurassic World’ with Industrial Light & Magic”
Friday, October 23 -- 12:15-1:15 p.m.
Speakers: Overall Visual Effects Supervisor Tim Alexander and Animation Supervisor Glen McIntosh. The VIEW Conference’s digital movie festival, VIEW FEST, takes place October 16-18 also in Turin.
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ZBrush SUMMIT 2015 Presentations
>> See Also: Zbrush tutorial
Presentation - Neville Page & Glenn Hetrick
Neville Page is a British-American film and television creature and concept designer. Glenn Hetrick is a special make-up effects artist/designer originally from Hellertown, Pennsylvania.Presentation from Rick Baker
Richard A. "Rick" Baker is an American special make-up effects creator known for his creature effects.More about zbrush
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HALO 5 - A Hero Falls Live Action - TV Commercial
Launching this fall exclusively on Xbox One, Halo 5: Guardians continues the story of the Master Chief, and introduces a brand new central character to the Halo universe – Spartan Locke (as seen in the live-action series “Halo: Nightfall”). Peace is shattered when colony worlds are unexpectedly attacked. And when humanity’s greatest hero goes missing, Spartan Locke is tasked with hunting the Master Chief and solving a mystery that threatens the entire galaxy.
Watch HALO 5 - A Hero Falls Live Action - TV Commercial on CG Record TV
Click image to watch video on CG Record TV
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Green-eyed Foreign Woman by Olya Anufrieva
>> See Also: Marvelous Designer 5
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Massive environments in Clarisse iFX at Tippett Studio
Alex Hessler is a CG Supervisor at Tippett Studio. He has worked in visual effects and animation for more than 10 years, with credits on films such as Harry Potter and the Half Blood Prince, Avatar, and Pixar's Inside Out. He has co-authored Combustion Ground Rules, a instructional book on composting and is also a lecturer on CG Lighting and Shading at San Francisco State. Alex is currently focused on VR projects including an immersive theater ride.
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Automobile Render Engine Tests
Unfortunately I experienced a lot of crashes using the 3ds Max plugin for Thea Render. Probably would have been more stable if I had exported the scene out to their stand-alone application. However, I prefer working directly in 3ds Max.Check them out!
Next up, Octane Render. It was enjoyable working with Octane. I like the speed and color correction/glow/glare options. I didn’t experience any crashes with Octane so I was able to produce a few more images with it:
Octane Render
First Octane render.
Thea Render
Thea Render test (bottom)
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Tackling global animation with Frankie
Wussywat the Clumsy Cat is winsome children’s television at its finest. The show’s titular hero is an inquisitive yet somewhat graceless feline. As the famous proverb insists, this particular cat’s curious nature often leads him to trouble, causing many a mishap as he explores the seemingly infinite world of The Garden.
>>Learn Animation
Wussywat’s cloddish nature might cause a plethora of problems, but in the end he always emerges from the experience with a wider understanding of the world – and that’s the point. Wussywat the Clumsy Cat’s message to its young audience is that you shouldn’t be afraid to try out new things even if it means risking failure in the process. Here, failure isn’t negative – it’s all part of the learning process. Wussywat tells us that children can’t always be protected from failure, and it’s ‘have-a-go’ mindset – not the final outcome – that’s the real personal achievement.
It’s a meaningful message, broadcast simply through the medium of 2D animation – animation created via a partnership between Baby Cow Animation in London and Smiley Guy Studios in Toronto.
That geographical distance meant that this production wasn’t working within the same physical space – it was a truly global production, with a team of fifty writers, storyboarders, animators, voice artists, producers and directors working in tandem, with an entire ocean and a five-hour time difference cutting through the workflow.
In order to ensure that both teams remained in sync – and that the core message of Wussywat remained intact through each of its 5-minute episodes – the cloud- and web-based review solution Frankie was brought into play.
The challenge of 2D animation
Simon Quinn, producer at Baby Cow, has been working in stop motion animation for over 25 years, having previously worked on Wes Anderson’s Fantastic Mr. Fox and Tim Burton’s Frankenweenie. Wussywat was his first experience in children’s 2D animation, which meant an entirely different pipeline to grow accustomed to.
Wussywat also happened to be Baby Cow’s first ever pre-school animation, with the studio – formed in 1999 by comedy creators Steve Coogan and Henry Normal – having previously created animation for an older audience on projects such as Horrible Histories and Have I Got News For You.
“It was a challenge, as the project was new for us, and it was being created across the globe,” he tells us. “Baby Cow acted as the central hub for production, but there were elements of the show being created in places dotted all over the globe. Scripts were written all over the UK; designs were done in Wimbledon; Tom Edgar (the director) and the storyboard team were based in Cardiff; voice recordings took place at Fitzrovia Sound Post in the heart of London; and animation and music/dub were done in Toronto, Canada.”
For Simon, as producer, this presented more than a little challenge. “It’s my job to schedule the various elements, shepherd the various teams and heads of depts through the schedule, make them aware of the deadlines and milestones and try to coordinate between all the working parties – all while keeping the whole show on track, on budget and working with the investors and CBeebies our broadcaster to make sure we are keeping everyone happy.”
This was would be a difficult task in and of itself, even before you considered the round-the-world production pipeline. “ For each episode, design would start with pencil and paper in the traditional way,” explains Simon. “Those drawings are then scanned into Photoshop and sent to Canada where the assets are converted to Flash for the animators. We also use After Effects and edit in Pro Tools before outputting the data to Base Light, where The Farm in London finalise the picture before delivering to the BBC on tape.”
With 50 different people involved in the project at any one time and 52 five-minute episodes being worked on simultaneously at various stages of completion, the production was something of a juggling act to say the least.
“Distance has always been the key worry, with the sheer geographical spread of the crew across the UK and Canada, and the different time zones meaning very long hours,” says Simon. “It’s much easier to communicate when everyone is in the same building, so it was a demanding task in front of us.
“Thankfully, using Frankie combined with Skype enabled us to keep in touch, while also keeping tabs on what was decided by who and when – all without having to leave the comfort of a web browser.”
Discovering the power of Frankie
“I cannot fathom how we could possibly have lead this production without Frankie!” he exclaims. “It’s now so fundamentally integrated into the way we work, I reach for it before an email as a response tool.
“With the production team on Wussywat so spread out across the globe, it was imperative, despite any time zone differences, that we could have highly specific questions answered during a single sitting. Being able to conduct virtual video reviews, during which frame-accurate decisions could be made with the whole team ‘in the room’, was unthinkably useful. It’s become completely indispensable to me.”
In previous scenarios, before he discovered Frankie, Tom believes that he would not have been able to work in the same streamlined, remote fashion as he is able to now: “I would either have had to travel extensively to wherever the project was, or indeed relocate to the location with or without the family! This would inevitably cost a great deal of time, money and inconvenience! If any material had to be approved remotely that would entail an enormous email trail and cross referenced phone calls over images and video stored on Cloud share sites or worse, couriered across the country.
“Frankie means we don’t have to worry about any of that,” he says with relief. “You can have multiple users across the globe interacting with the same information at the same time. The fact that each individual can watch, step through, mark and annotate clips – and then collate all of the episode notes with Frankie’s amazing self-generating PDF function – removes a huge margin for error.”
From script to screen
When working on the Wussywat project, Simon, Tom and the rest of the team would carry out Frankie sessions three-four times a week. These meetings would comprise different members of staff depending on what needed to be discussed in that session.
“The sessions could include any number of people from across the world,” begins Tom. “Sometimes the sessions would include myself, Simon and a script writer to discuss animatics or story issues; sometimes they would be with the animation supervisor and project leader in Canada; sometimes with a storyboarder or editor to discuss animatic board fixes; and sometimes with animators to discuss PDF notes and briefings. My role as director required me to keep in constant contact with all the various members of the team, wherever they were, to manage their workflow and review their output closely.”
Production of an episode would usually begin with the scripts being turned in storyboards. Next came the animatic: taking the still images from the storyboard and setting them to dialogue on a timeline, giving the show creators a working length for the episode and a guide for the animators on both shot length and action.
“From here I would often send the animatic to the storyboarder via Frankie to see what changes were required and how the stills transformed with the timings,” explains Tom. “This is the part of production where I tended to use Frankie the most, as it’s so much simpler to discuss moving images and synchronised sound when everyone involved is watching the same thing. Decisions as complex as scene planning changes, re-boards or re-edits and continuity tracking can all be done in a single session – and all of these decisions can be noted on both the video presentation itself and the emailable PDF generated after the session.”
Once a working animatic was been established, Tom would need to brief the animators. “Normally I would conduct a sit down presentation with all the team in one room, but with Frankie it doesn’t matter where in the world you physically are,” says Tom. “As long as you have an internet connection you can sync the animatic to everyone’s screen. Then, while the animators are working, they can bring me any revisions, changes, queries or questions and it’s simply a matter of linking it onto a Frankie session – it’s as good as looking over somebody’s shoulder!
“That’s why Frankie was in use from the very first concept designs all the way to final approvals.”
Post-production without the hassle
A project on the global scale of Wussywat the Clumsy Cat, created without the aid of a real-time video review tool such as Frankie, simply wouldn’t be possible to the same degree of efficiency and speed. Telephone calls, FTPs, long download times and a constant back-and-forth in email communication might be one solution, but the production process will never match the speed and efficiency of one that incorporates the instant, browser-based communication enabled by Frankie.
“It’s just a really easy, intuitive tool, and I don’t know where I’d be without it,” says Tom. “Using it is as simple as uploading a video to Youtube or any other platform. Once you’ve got your project loaded, it’s child's play to share, add drawings, text or direction live to the image, or even in advance of a future presentation. Once you’re done, the project remains online, available for as long as you want, and a PDF version of all the notes is saved for easy reference even when you're without an internet connection.
“And of course, because it’s browser-based, I can do all of this from anywhere, as long as I have my laptop or tablet,” he continues. “That means I can be at home, in London collaborating with colleagues or on a train between locations, and I’ll be available. I can be preparing a brief, reading other people’s comments or making my own notes on the episodes as they are sent to me.”
From never using it at all, to it becoming an integral part of his workflow, Tom is a true Frankie convert, and strongly recommends that any post-production studios currently operating without the solution should rethink their strategy. Like Wussywat, production is all about the taking part: it’s about learning from your mistakes and ensuring you communicate potential issues before they can become a problem, and Frankie is an invaluable element in that process: “If a studio has a need to share visual ideas between remote locations, then Frankie is the best tool that I’ve come across, whether for video or still images,” concludes Tom. “With the international marketplace expanding globally and embracing remote workflows, I cannot believe that anyone working in a creative industry such as ours could manage without it!”
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