Eyeon Fusion 6.3 disponible. Une vidéo montre ses nouvelles fonctionnalités :
Informations et téléchargement de Fusion 6.3 ici Press release en anglais : eyeon Speaks Deep Volumes with Fusion 6.3 Toronto, Canada: November 8, 2011… eyeon Software, a forerunner of visual effects software development, today announced the official shipping release of Fusion 6.3. Fusion's GPU-accelerated architecture and OpenCL supercomputing, as exemplified by the deep image volume technology, offers state-of-the-art VFX software advancements with this latest edition. Volumetric Lighting One of the most requested features within the Volume Fog Tool has been volumetric lighting. Adjusting 3D scenes within Fusion’s real time deep volume system and integrating the volumes directly into images with the World Position Pass tool provide an unsurpassed methodology for controlling light samples, scattering, asymmetry, and density. These volumes can be generated inside Fusion or imported via EXR. "Marvelous! Thanks guys!" ~ Pieter Van Houte, Director, Steak Under Water Color Science Advances in color handling and new color tools in version 6.3 make color matching, profiling, and working with diverse cameras and Digital Intermediate systems seamless. • THX® advances support for Fusion in their latest release of Cinespace™. • Fusion adds Academy Color Encoding Specification (ACES) linear color space to its color pipeline. • New automated color correction reversing and color grading capabilities. • Versatile 3D LUT creation, analysis, and design tools. “In reality, the whole feature set comes with a lot of new improvements that will impact us on a daily basis. Every time we get new release notes I get a nice warm feeling inside.” ~ Chad Capeland, Director R&D, Anatomical Travelogue LLC Primatte 5 Primatte 5 provides vastly improved auto compute and background color selection, background lighting adjustment, and hybrid rendering. Lens Distortion with the importing of data and a number of various lens models, the Lens Distort tool implements the 3D equalizer lens distortion model to invert or undistort an image. The data can then be imported into Fusion for the most accurate results. AJA Kona Support AJA Kona 3G playback support, including 4k and 48fps playback. “Awesome. Thanks for the hard work!” ~ Stefan Ihringer, Freelance Compositing Artist eyeon has pushed the development of Fusion 6.3 to possess an authentic 3D environment with camera/lighting support for leading 3D packages and one of the most powerful and intuitive 3D particle systems on the market. With hardware-accelerated 3D capabilities, you can now migrate from pre-vis to finals within the same application. eyeon's Fusion is a true synergy of 2D and 3D tools for precise compositing.Tag - compositing
vendredi 11 novembre 2011
Eyeon Fusion 6.3 disponible
Par Guillaume le vendredi 11 novembre 2011, 23:43 - Eyeon Fusion
Red Scarlet-X
Par Guillaume le vendredi 11 novembre 2011, 23:35 - Tournage
Red Scarlet-X 4K caméra disponible ... 9750$ compatible objectifs Canon soit environ 7315€, boitier seul et 14015$ le pack complet.
Le HDR-X a l'air interessant pour le compositing.
vendredi 28 octobre 2011
The Foundry Katana 1.0 !!
Par Guillaume le vendredi 28 octobre 2011, 01:15 - The Foundry Katana
Penchez-vous sur Katana de The Foundry, dont ILM a acheté une licence récemment. Un outil 2D/3D de compositing, lightning et rendering qui semble puissant. A suivre de prêt !
dimanche 18 septembre 2011
Plans (Blueprints) pour vos travaux en 3D
Par Guillaume le dimanche 18 septembre 2011, 12:20 - 3D
La Défense propose en ligne des milliers de plans de sa flotte maritime et terrestre. Vous trouverez des image Tif téléchargeables qui vous permettront de modéliser les véhicules de votre choix.
"Ces documents ont fait l'objet d'une campagne de numérisation, qui permet à présent de proposer le téléchargement gratuit de plus de 10 746 plans et photographies. Aucun de ces plans n'est antérieur à 1884, et l'essentiel concerne des navires construits entre la fin du XIXe siècle et les années 1960." Lien : http://www.servicehistorique.sga.defense.gouv.fr/02fonds-collections/banquedocuments/planbato/planbato/central.php
Les plans présentés dans cette rubrique appartiennent à une collection de plans d'études de différents chars et chenillettes étudiés à l'atelier d'Issy-les-Moulineaux. Cette collection couvre la période 1936-1972 et comporte environ 19000 plans (avant-projets, projets, prototypes et même plans de matériels étrangers), qui peuvent être consultés au Centre des Archives de l'Armement, à Châtellerault. Lien : http://www.servicehistorique.sga.defense.gouv.fr/02fonds-collections/banquedocuments/materiel_armement/amx_blinde.php
samedi 17 septembre 2011
ILM recrute
Par Guillaume le samedi 17 septembre 2011, 18:53 - Nouvelles / News
For over thirty years, Industrial Light & Magic, a division of Lucasfilm
Ltd., has set the standard for visual effects and in the process, created some
of the most stunning images in the history of film. At the forefront of the
digital revolution, ILM continues to break new ground in visual effects.
Some of the current work in production includes Mission Impossible: Ghost Protocol, Battleship, and The Avengers.
We are seeking talented artists in the following disciplines for positions in our San Francisco office:
Animator
Summary: Designs and creates animation for 3D CG characters and creatures for digital feature and live-action integrated feature films.
Requirements: Bachelor’s in Fine Art, Illustration, Animation, CG Art, or a related field preferred; Expert knowledge of animation principles, acting, film production and compositional design required; 3+ years experience in 3D CG; proficiency with LINUX; expertise with Maya and/or other high-end animation software preferred; Demo reel required.
Digital Compositor
Summary: Combines live action and computer generated elements into visual effects shots that realize the vision and creative direction of the client and visual effects supervisor.
Requirements: 3+ years of digital compositing experience in a feature film production environment. Proficiency with Linux and strong fine arts foundation skills, such as photography and photographic lighting preferred. Demo reel required.
Digital Matte Artist
Summary: Creates photo-real environments and landscapes exhibiting a strong foundation in photo-realistic traditional and digital art skills. Performs tasks related to integrating imagery into a shot, preserving a unified sense of lighting, perspective and color. Creates original 2D/3D content that may comprise all or part of an environment.
Requirements: 2+ years of production experience. Bachelor’s in art, industrial design, theatrical design or painting preferred. Demo reel required.
FX TD
Summary: Designs and renders FX animation, procedural simulation, dynamic simulation, particle and fluid systems.
Requirements: Advanced simulation experience with either Houdini, Maya, XSI, 3DS Max or other software, and particle rule authoring skills are required. Linux, scripting ability in Python and MEL preferred; C++ skills also applicable. Exhibits strong teamwork and interdisciplinary thinking. 3-5+ years feature film experience with effects simulation work preferred. Bachelor\'s degree in CS, engineering or CG. Demo reel required.
Lighting TD
Summary: Technical Directors are responsible for the lighting, rendering and basic compositing of complex shots. Designs and creates the lighting and look of computer generated objects and scenes. Creates elements for digitally composited sequences. Responsible for compiling the various elements of a shot for review and seeing it through to completion.
Requirements: Advanced experience with either Maya, XSI, 3DS Max, Houdini or other software. Linux and Python scripting or shader authoring preferred; C++ skills also applicable. Exhibits strong teamwork and interdisciplinary thinking. 3-5+ years feature film experience preferred. Bachelor\'s degree in CS, engineering or CG. Demo reel required.
VFX Producer
Summary: Partner with the Visual Effects Supervisor and Animation Director to lead crew in fulfilling the Director\'s vision -- on time and on budget, while maintaining highest quality of work. Primary responsibility for: budget and schedule, in collaboration with ILM Management; and for managing overall Client relationship.
Requirements: Bachelor\'s degree in Film or related field or equivalent work experience required. Five years work experience in production management to include strong working knowledge of Visual Effects techniques and terminology. Proficiency in Macs/PCs including Microsoft Word and Excel. Must possess very strong organizational and communication skills and be able to handle a variety of tasks in an efficient manner while meeting deadlines.
How to Apply
Online: https://jobs.lucasfilm.com/
Mail Submissions to:
Industrial Light & Magic
Attn: Recruiting
P.O. Box 29909, San Francisco, CA 94129-0909
Some of the current work in production includes Mission Impossible: Ghost Protocol, Battleship, and The Avengers.
We are seeking talented artists in the following disciplines for positions in our San Francisco office:
Animator
Summary: Designs and creates animation for 3D CG characters and creatures for digital feature and live-action integrated feature films.
Requirements: Bachelor’s in Fine Art, Illustration, Animation, CG Art, or a related field preferred; Expert knowledge of animation principles, acting, film production and compositional design required; 3+ years experience in 3D CG; proficiency with LINUX; expertise with Maya and/or other high-end animation software preferred; Demo reel required.
Digital Compositor
Summary: Combines live action and computer generated elements into visual effects shots that realize the vision and creative direction of the client and visual effects supervisor.
Requirements: 3+ years of digital compositing experience in a feature film production environment. Proficiency with Linux and strong fine arts foundation skills, such as photography and photographic lighting preferred. Demo reel required.
Digital Matte Artist
Summary: Creates photo-real environments and landscapes exhibiting a strong foundation in photo-realistic traditional and digital art skills. Performs tasks related to integrating imagery into a shot, preserving a unified sense of lighting, perspective and color. Creates original 2D/3D content that may comprise all or part of an environment.
Requirements: 2+ years of production experience. Bachelor’s in art, industrial design, theatrical design or painting preferred. Demo reel required.
FX TD
Summary: Designs and renders FX animation, procedural simulation, dynamic simulation, particle and fluid systems.
Requirements: Advanced simulation experience with either Houdini, Maya, XSI, 3DS Max or other software, and particle rule authoring skills are required. Linux, scripting ability in Python and MEL preferred; C++ skills also applicable. Exhibits strong teamwork and interdisciplinary thinking. 3-5+ years feature film experience with effects simulation work preferred. Bachelor\'s degree in CS, engineering or CG. Demo reel required.
Lighting TD
Summary: Technical Directors are responsible for the lighting, rendering and basic compositing of complex shots. Designs and creates the lighting and look of computer generated objects and scenes. Creates elements for digitally composited sequences. Responsible for compiling the various elements of a shot for review and seeing it through to completion.
Requirements: Advanced experience with either Maya, XSI, 3DS Max, Houdini or other software. Linux and Python scripting or shader authoring preferred; C++ skills also applicable. Exhibits strong teamwork and interdisciplinary thinking. 3-5+ years feature film experience preferred. Bachelor\'s degree in CS, engineering or CG. Demo reel required.
VFX Producer
Summary: Partner with the Visual Effects Supervisor and Animation Director to lead crew in fulfilling the Director\'s vision -- on time and on budget, while maintaining highest quality of work. Primary responsibility for: budget and schedule, in collaboration with ILM Management; and for managing overall Client relationship.
Requirements: Bachelor\'s degree in Film or related field or equivalent work experience required. Five years work experience in production management to include strong working knowledge of Visual Effects techniques and terminology. Proficiency in Macs/PCs including Microsoft Word and Excel. Must possess very strong organizational and communication skills and be able to handle a variety of tasks in an efficient manner while meeting deadlines.
How to Apply
Online: https://jobs.lucasfilm.com/
Mail Submissions to:
Industrial Light & Magic
Attn: Recruiting
P.O. Box 29909, San Francisco, CA 94129-0909
lundi 12 septembre 2011
Conformation Avid Media Composer vers Autodesk Smoke via le AAF
Par Guillaume le lundi 12 septembre 2011, 12:50 - Autodesk Inferno Flame Flint Flare Smoke
Autodesk IFFFS SP3 2012
Par Guillaume le lundi 12 septembre 2011, 09:35 - Autodesk Inferno Flame Flint Flare Smoke
Depuis le 8 septembre, le Service Pack 3 est disponible pour les systèmes Autodesk Inferno Flint Flame Flare et Smoke et Lustre, version 2012. La liste des bug fixes est consultable ici
Les documentations sont désormais sous forme de wiki, que vous trouverez à cette page : http://wikihelp.autodesk.com/Creative_Finishing/enu/2012
mardi 16 août 2011
Tutorial 3ds Max 2012 & Smoke 2012 ( en anglais )
Par Guillaume le mardi 16 août 2011, 16:43 - Autodesk Inferno Flame Flint Flare Smoke
Gary M. Davis propose via Area d'Autodesk une vidéo explicative de 40 minutes du pont possible entre Autodesk 3ds Max 2012 et Autodesk Smoke 2012:
jeudi 4 août 2011
Fonds Verts et 3D de Game Of Throne
Par Guillaume le jeudi 4 août 2011, 23:50 - Breakdowns
Une petite collection de compositing par BlueBolt pour la 1ère saison de la série TV
Game Of Thrones
(HBO). Cette vidéo montre quelques before/after d'effets dont du chroma
keying, matchmoving et matte painting.
Pour ceux qui n'ont pas vu la 1ère saison de Game Of Thrones en entière, faites
attention cette vidéo contient des spoilers.
lundi 25 juillet 2011
Quelques before after dans ce showreel
Par Guillaume le lundi 25 juillet 2011, 13:16 - Breakdowns
Dans ce showreel de Fatima Adoum, vous trouverez des plans truqués et en fin de du showreel des plans "making of" avec fonds verts qui ont servis au plan du début du showreel, histoire de donner quelques idées de keying / composting 3D à certains ... Une comédienne à suivre : Fatima Adoum (Irreversible, L'Assaut, Sherlock Holmes 2 ...)
Réalisation du showreel : Guillaume Louyot / Onickz Artworksdimanche 24 juillet 2011
Interview des superviseurs VFX de Transformers : Dark of The Moon (Anglais)
Par Guillaume le dimanche 24 juillet 2011, 15:48 - Breakdowns
Interview des superviseurs VFX de Transformers : Dark of The Moon
(Anglais)
mardi 24 mai 2011
The Foundry importe la technologie de compositing de Weta Digital dans Nuke
Par Guillaume le mardi 24 mai 2011, 13:40 - The Foundry Nuke
Londres, Royaume-Uni. 24 Mai 2011:
Dans le prolongement de la collaboration avec
The Foundry et Weta Digital, les deux sociétés ont conclu un nouvel accord pour
porter à la technologie NUKE deep
compositing développé par Weta Digital, pendant leur travail sur
Avatar.
Le deep compositing permet aux
artistes travaillant avec du CGI pour le traitement et l'opacité composite
'images en profondeur' ou sur des projets contenant de multiples échantillons
de couleur par pixel à différentes profondeurs. En plus de permettre de nouvelles possibilités créatives dans la
composition, tels que les effets volumétriques, la technique conduit à des
images de meilleure qualité lors de l'intégration et éléments de finition de
CGI rendus. En outre, en augmentant la quantité
de données utiles disponibles dans la composition, la boîte à outils offre une
plus grande efficacité en réduisant la quantité de nouveau rendu généralement
requis par les CGI. Par exemple, la production
de mattes d'exclusion pour les objets ou caractères CGI peut ensuite être
réalisée au sein de NUKE. Ces économies
peuvent s'élever à des centaines d'heures sur des projets à grande échelle qui
occupent une place importante actifs de CGI.
NUKE 6.3, devrait sortir en Juin, sera en
charge des données de profondeur dans le nœud graphique, et contiennent une
série de nodes «deep compositing« . Les NDK de
NUKE fourniront également une API commune pour les studios, afin d'écrire
et d'échanger de nouveaux outils pour traiter les deep images.
Bill Collis, chef de la direction, The
Foundry a commenté, "Le deep compositing permet de nouveaux effets tout en
réalisant des économies de temps considérable de la production.
Weta Digital ont veillé à ce que les outils que
nous fournissons aux artistes au sein de NUKE soient soigneusement testés au
combat et prêts à affronter la production. L'annonce en outre d'un format OpenEXR pour
appuyer les données en profondeur cette semaine est également soutenu par NUKE
permettant une meilleure collaboration. "
NUKE 6.3 est prévu pour Juin.
lundi 4 avril 2011
The Foundry au NAB 2011
Par Guillaume le lundi 4 avril 2011, 20:32 - Nouvelles / News
The Foundry montrera la semaine prochaine, au NAB 2011, les nouvelles fonctionnalités du prochain Storm, Mari 1.3, Nuke & NukeX 6.3 (nouvelles splines, grid warpers, 3d particles, planar tracker, denoiser, piste audio scratch track, deep 3d compositing ...), et une preview de Katana.
Retrouvez The Foundry au stand SL5625 du 11 au 14 Avril au NAB, Las Vegas.
mardi 8 mars 2011
Autodesk Maya 2012 en vidéos
Par Guillaume le mardi 8 mars 2011, 06:59 - Autodesk Maya
Autodesk Maya 2012 en vidéos:
Substance:
Simulation dynamique:
Viewport 2.0
Passes de rendu par nodes:
Human IK:
Motion trails:
Séquenceur
dimanche 27 février 2011
Tutorial : ZDepth (Vray) vers Eyeon Fusion pour recréer du relief en anaglyphe
Par Guillaume le dimanche 27 février 2011, 18:05 - S3D-Relief
Un tutoriel de 7 minutes en français expliquant comment utiliser seulement deux passes de rendus issus de Vray pour 3ds Max afin de créer un effet de relief stéréoscopique en utilisant les outils anaglyphe dans Eyeon Fusion.
L'intérêt de ce tutoriel est de montrer la possibilité de recréer du relief à partir de seulement deux couches : diffuse et zdepth. Pratique pour des anciens projets dont vous avez gardé certaines couches de rendu sans avoir accès aux sources 3D, afin de les convertir en relief quel que soit le mode.
mercredi 2 février 2011
Avatar S3D & Matte Painting using Nuke
Par Guillaume le mercredi 2 février 2011, 09:12 - The Foundry Nuke
Avatar S3D & Matte Painting using Nuke
vendredi 14 janvier 2011
Batelco Infinity Making Of
Par Guillaume le vendredi 14 janvier 2011, 11:27 - Breakdowns
Un joli making of plein de blue screens et autres breakdowns.
et ci-dessous la vidéo finale:
vendredi 7 janvier 2011
Digital Domain demoreel
Par Guillaume le vendredi 7 janvier 2011, 06:55 - Breakdowns
mercredi 1 décembre 2010
The Foundry launches open Beta for STORM
Par Guillaume le mercredi 1 décembre 2010, 13:44 - Logiciels
London, UK. December 2010. Leading visual effects software company, The Foundry, today launched an open beta of their
brand new digital cinema camera workflow product, STORM.
STORM addresses the growing complexity of shooting digital, performing a variety of core tasks on and near-set and bringing camera and post production closer together.
Quick and easy to operate, STORM can rapidly navigate and playback footage allowing producers, directors and editors to view takes in high resolution without interruption or delay. Anyone who has done basic colour correction and editing will feel comfortable sitting with STORM and cutting together a rough edit or exploring a ‘look’ interactively with the cinematographer. Supporting the digital technician, STORM provides simple and intuitive metadata tagging and timeline re-conforming to ensure the exchange with editorial and post production is sped up significantly.
The Foundry is making this public beta widely available in response to the huge amount of interest shown in STORM since it was first shown at IBC this year. “STORM has been developed in very close collaboration with users, and the open beta is a chance to gain wider feedback - ensure that STORM lives up to expectations and continues to develop to meet the growing needs of the digital camera community. The Foundry looks forward to seeing the STORM platform grow to deliver new and exciting things in the future .” said Richard Shackleton, Head of Product Development at The Foundry.
The STORM beta can be downloaded from http://www.thefoundry.co.uk/storm and is FREE to use until the 1st March 2011. It requires a MacBook Pro, Mac Pro or iMac with at least 2GB RAM running OSX 10.6.4 or later. STORM is optimised for RED R3D footage and will use a RED ROCKET card if one is installed.
Ted Schilowitz, Leader of the Rebellion at RED, adds:
“Having seen STORM in detail, I’d describe it as REDCine-X on steroids. Well worth the time to investigate it's capabilities if you are involved in post production, working with RED footage. The Foundry have looked at RED workflow in great detail and taken logical integration with RED to a very evolved state. We’re very excited that those shooting and posting RED all over the world will soon have access to this software.”
More information about STORM including case studies and introductory videos can be found on our website http://www.thefoundry.co.uk/storm.
STORM addresses the growing complexity of shooting digital, performing a variety of core tasks on and near-set and bringing camera and post production closer together.
Quick and easy to operate, STORM can rapidly navigate and playback footage allowing producers, directors and editors to view takes in high resolution without interruption or delay. Anyone who has done basic colour correction and editing will feel comfortable sitting with STORM and cutting together a rough edit or exploring a ‘look’ interactively with the cinematographer. Supporting the digital technician, STORM provides simple and intuitive metadata tagging and timeline re-conforming to ensure the exchange with editorial and post production is sped up significantly.
The Foundry is making this public beta widely available in response to the huge amount of interest shown in STORM since it was first shown at IBC this year. “STORM has been developed in very close collaboration with users, and the open beta is a chance to gain wider feedback - ensure that STORM lives up to expectations and continues to develop to meet the growing needs of the digital camera community. The Foundry looks forward to seeing the STORM platform grow to deliver new and exciting things in the future .” said Richard Shackleton, Head of Product Development at The Foundry.
The STORM beta can be downloaded from http://www.thefoundry.co.uk/storm and is FREE to use until the 1st March 2011. It requires a MacBook Pro, Mac Pro or iMac with at least 2GB RAM running OSX 10.6.4 or later. STORM is optimised for RED R3D footage and will use a RED ROCKET card if one is installed.
Ted Schilowitz, Leader of the Rebellion at RED, adds:
“Having seen STORM in detail, I’d describe it as REDCine-X on steroids. Well worth the time to investigate it's capabilities if you are involved in post production, working with RED footage. The Foundry have looked at RED workflow in great detail and taken logical integration with RED to a very evolved state. We’re very excited that those shooting and posting RED all over the world will soon have access to this software.”
More information about STORM including case studies and introductory videos can be found on our website http://www.thefoundry.co.uk/storm.
dimanche 21 novembre 2010
Chroma Keying & Canon 5D MKII avec Magic Lantern custom firwmare
Par Guillaume le dimanche 21 novembre 2010, 15:00 - Tournage
Un bon chroma keying, bleu, vert ou rouge est avant tout une affaire d'éclairage du fond coloré, afin que la post-production et le keying en soient facilités et que le résultat soit broadcastable. Le firmware custom pour le DSLR Canon 5D MkII, appelé Magic Lantern, apporte des informations à l'écran à propos de l'éclairage et permet de travailler les intensités et positions des lumières afin d'avoir le meilleur résultat possible. Avoir dans la vidéo ci-dessous vers 6:00 minutes. Vous pouvez télécharger le firmware Magic Lantern à ce lien, et avoir des informations supplémentaires sur le Canon 5D MKII ici.
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