Tron Legacy (2010) Year: 2010 Tron Legacy permalink I spent a half year writing software art to generate special effects for Tron Legacy, working at Digital Domain with Bradley "GMUNK" Munkowitz, Jake Sargeant, and David "dlew" Lewandowski. This page has taken a long time to be published because I've had to await clearance. A lot of my team's work was done using Adobe software and Cinema 4D. The rest of it got written in C++ using OpenFrameworks and wxWidgets, the way I've always done it with this team ;) Uniquely however, Digital Domain's CG artists were able to port my apps over to Houdini for further evolution and better rendering than OpenGL could ever provide. Interview with GMUNK about the team's process In addition to visual effects, I was asked to record myself using a unix terminal doing technologically feasible things. HexVirus is a spherical map of the globe that features vector outlines of the continents. The scoreboard was the first element I worked on. Fireworks, mmmm.
GENERIQUE: 1er site dédié au générique de film Visual and Special Effects Film Milestones Greatest Visual-Special Effects (F/X) Milestones in Film History: From even its earliest days, films have used visual magic ("smoke and mirrors") to produce illusions and trick effects that have startled audiences. In fact, the phenomenon of persistence of vision (it was first described to some degree in 1824 by British physician Peter Mark Roget) is the reason why the human eye sees individual frames of a movie as smooth, flowing action when projected. The earliest effects were produced within the camera (in-camera effects), such as simple jump-cuts or superimpositions, or were created by using miniatures, back projection, or matte paintings. Optical effects came slightly later, using film, light, shadow, lenses and/or chemical processes to produce the film effects. Film titles, fades, dissolves, wipes, blow ups, skip frames, bluescreen, compositing, double exposures, and zooms/pans are examples of various optical effects. Note: The films that are marked with a yellow star
Melancholia: when worlds collide, beautifully In Melancholia, director Lars von Trier tells the story of two sisters, played by Kirsten Dunst and Charolette Gainsbourg, contemplating their own tense relationship as the Earth faces its greatest threat from a passing planet. We talk to visual effects supervisor Peter Hjorth, as well as Platige Image and Pixomondo, about how they brought a subtle and artistic feel to their effects work. An excerpt from Peter Hjorth's sketchbook for 'Melancholia'. Melancholia is Hjorth’s sixth film with Lars von Trier, with earlier collaborations on pics such as Antichrist and Dogville. Working with an illustrator, Hjorth produced a sketchbook template, while also gaining much research from a planetary science expert for the crucial shots of Melancholia as seen from space and from Earth. Once principal photography began, Hjorth would shoot as many extra elements as possible, often using lunch breaks to acquire additional imagery. The overture Background plate. Kirsten Dunst plate. Final shot.
Commercials « ZEITGUISED Banque Populaire: Quadre Our fourth installment, featuring a “region” (!) and marvellous magic bank money seeds. With designs by Ivan Flugelman. Becks Vier UK Launch TVC TVC for the new Becks Vier Square Neck Bottle launch in the UK, 2011 Length: 20″ Agency: Mother, London Production Company: Blinkink, London Design, Direction, CG Production: Zeitguised Animation: Sven Hauth Modeling: Rafael Vincente Rain: Timeproof Peugeot 207 We directed this ad celebrating the updated timeless design of the Peugeot 207. Prodco: Stink Paris/Berlin Postproduction: Nightshift Paris Agency: BETC Euro RSCG Creative Director: Anne Cécile Tauleigne Agency Producer: Solene Frank Executive Producer: Greg Panteix Post Producer: Denis Brunier DoP: Thomas Stokowski Editor: Emmanuel Turlet Set Design: Sven Gessner Soundtrack: Bo’tox “Blue Steel” Pics from the shoot Dove Deo Recently finished a Dove Deo spot for South America, which we shot in Sao Paulo in December last year. Collaboration with Sven Hauth. Mercedes GLK
JB's Dragonflood Day 26 Wanted to do some test on caustics and how parameters in 'Caustic Light' and Mantra 'PBR' dramatically affects overall look & render time. I went back to using the buddha .hip file from the previous day. Experiment #1 The only change i made was the 'Sampling Quality' within my lights. Surprisingly, value of '1' and '10' had almost no impact on the renders. In the 3rd image, Filter Sample parm in Caustic Light was increased to 128 from 64. Rendering took approximately 8s more. Experiment #2 'Pixel Sample' in Mantra. Appears that this parm is very expensive, 3 x 3 to 6 x 6 and the render time was close to double. Experiment #3 1st image was to see how the renderer react to photon counts. I didn't feel it was an unreasonable increase in waiting-time considering the number of photons went up 10 folds. Between 2nd and 3rd image, they had the same parms setting beside Reflect/Refract Limit. Time taken was reduced by half upon lowering them to 2 from 10. Experiment #4 Experiment #5 Experiment #6
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