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samedi 22 novembre 2014

Matériel de tournage et livres sur le compositing et la post production

Voici une partie de notre estore en partenariat avec Amazon.

Nous vous proposons une sélection de livres et de matériel pour la production et la post production Cinéma, TV  & web (écrans, caméras, logiciels, livres de référence, tutoriels ... ) :

http://astore.amazon.fr/compositing-21

jeudi 20 janvier 2011

PACE adds three more Sids for 3D


With demand for 3D production continuing to rise, 3D innovation company PACE in Burbank recently added three more Quantel Sid Stereo3D workstations to its arsenal. This purchase brings the Stereo3D pioneer's complement of Quantel S3D systems to a total of seven.

The new additions are currently supporting multiple productions: 'The Three Musketeers', 'Final Destination 5' and 'Journey to the Center of the Earth 2'.  PACE already has placed a Sid Stereo3D workstation on the set of Michael Bay's 'Transformers 3' and a Pablo Stereo3D grading system for Martin Scorsese's 'Hugo Cabret'.

Vince Pace, CEO of PACE, has long been a believer in Quantel technology. "Quantel personifies quality engineering, equipment and support," says Pace. "Our latest purchase is an ongoing validation of the relationship between Quantel and PACE to provide proven workflow solutions at the point of capture and ensuring that exceptional 3D gets on screen. The Sid's unique ability to QC the footage at the point of capture is an added benefit that productions are taking advantage of."

PACE created the company's "SLATE² SCREEN(tm)" effort to achieve superior 3D results in a more cost-and time-efficient manner. The workstations are the heart of PACE's On-Set Stereo Lab(tm) workflow, which provides interactive 3D control in the field and during dailies for the cinematographer and director.

 The Sid toolset includes real-time Stereo3D operation at up to twin HD-RGB, with full, interactive control of convergence, color balance, sync alterations, eye comparisons, imaging errors and editing of both streams simultaneously.

mardi 4 janvier 2011

KATANA - 3D scene assembly, lighting and look development

London, January 4th, 2011 – Leading visual effects software developer, The Foundry (www.thefoundry.co.uk), today provided an insight into its plans for KATANA.

KATANA is an environment for preparing 3D assets for rendering. It allows artists to define and control look and lighting whilst maintaining performance with very large datasets. KATANA operates non-destructively using a rule-based approach, allowing modeling, look development, animation and lighting teams to work in parallel.

Originally developed in house at Sony Pictures Imageworks to handle increasingly complex workflows on productions such as Spider-Man and Superman Returns, the commercial development of KATANA was taken on by The Foundry in November 2009 as part of a unique collaboration between the two companies.

The Foundry's engineering effort, in consultation with a broad range of users, is ensuring KATANA becomes a flexible product that can ultimately integrate with any pipeline and any renderer in any facility.
These consultations have now developed into much more in-depth collaborations with a number of key sites including MPC and Digital Domain who are now using KATANA in alpha.

“Since Inception KATANA has been one of the pillars of the production pipeline here at Imageworks and continues to prove itself on such rigorous productions as G-Force, Watchmen, Alice in Wonderland and animated features such as Monster House, Surf’s Up, Cloudy With A Chance of Meatballs and The Smurfs."



“We are excited to see KATANA cutting its teeth outside the halls of Imageworks and becoming available for artists and facilities everywhere.  The Foundry is a tremendous partner and by broadening the adoption of KATANA and product support, a new generation of artists and productions can benefit from this innovative production-proven technology.”
Rob Bredow, Chief Technology Officer, Sony Pictures Imageworks

"Many brilliant technical innovations come out of production, but historically those breakthroughs remain only within the production company.  The Foundry works with digital studios to make those innovations widespread, which benefits the entire industry.  I look for KATANA to have a similar impact on the industry that Nuke has achieved."
Cliff Plumer, Chief Executive Officer, Digital Domain.

"Like most large VFX studios, we maintain a complex suite of proprietary software to enable us to render ever increasing complexity, quantity and visual quality. We are excited about KATANA's potential to offer a solid, flexible, off-the-shelf foundation that we can build upon so that we can focus more of our efforts on what we do best, pushing the boundaries of CG, trusting The Foundry to do what they do best, delivering high quality, scalable software."
Davie Johnston, Director of Technology, MPC

As the first commercial dedicated scene development tool, KATANA will enable facilities large and small to build highly scalable lighting pipelines without a large internal engineering effort.

KATANA is scheduled for commercial release in 2011.

mardi 1 juin 2010

Tutorial d'optimisation du pipeline et workflow en production

Autodesk a publié dans son Area (qui me fera toujours penser à mon Area2-Deck91 dédié à la 2D / 3D du temps ou je bossais pour eux il y a 10 ans mais passons) un excellent article en anglais sur l'optimisation du pipeline et du workflow en production et post-production, en parlant d'organisation 2D, 3D (Maya), compositing. Très instructif surtout pour les débutants superviseurs.



Lien de la page sur Area

samedi 3 avril 2010

Demoreel 2010 (preview)

Preview de la demoreel 2010:

mardi 30 mars 2010

There's Someting About MARI

Mari ... Utile et Beau


"Mari was originally developed at Weta Digital. The technology was driven by the texture department's need to handle complex, high resolution textures on 3D models in Lord of The Rings, King Kong and Avatar. Born out of genuine production experience, Mari was designed as a full 3D paint tool with a responsiveness and feature set that puts even the best dedicated 2D paint systems to shame. Mari is extremely scalable, coping easily with an obsessive level of detail – literally tens of thousands of textures – quickly and elegantly."

Plus d'informations ici. Case study de l'utilisation de Mari sur Avatar en cliquand le screenshot ci-dessus.


lundi 29 juin 2009

Mieux comprendre le FBX

Pour revoir ses bases et accroître ses connaissances sur le format d'Autodesk FBX permettant un échange d'éléments 3D complets entre différents systèmes et logiciels, je vous invite à consulter, en anglais le white paper à la fin de ce post.

Extraits :

"One of the most widely used 3D interchange formats on the market, Autodesk® FBX® technology is designed to enable workflows built around multiple 2D and 3D digital content creation applications. Such workflows are the lifeblood of large production houses and small boutique studios. In this white paper, you learn how FBX technology can help improve workflow efficiency and productivity and how to use it to enable interoperability among Autodesk® 3ds Max®, Autodesk® Maya®, Autodesk® MotionBuilder ™ software, and other applications."

"FBX is much more than a file format. The FBX technology family of tools—SDK, plug-ins, and viewer, as well as the FBX file format—offers a comprehensive data interchange solution. In the same way that PDF files let you share documents with users who do not own the word processor or page layout program those documents were created with, FBX technology lets you exchange data between 2D and 3D applications. The FBX file format, however, is more flexible than the PDF format, because data passed between applications via the FBX file format retains its ability to be manipulated."

"The FBX technology family of tools provides universal 3D asset interchange, helping to break through data compatibility
barriers. FBX is a platform-independent file format that enables you to access legacy content after upgrading your pipeline to take advantage of the latest 3D tools; exchange digital assets with other studios whose pipelines are standardized on tools different from your own; and use multiple 3D tools to realize your creative vision in the most efficient manner possible."

>>> White Paper à propos du FBX (doc PDF) ici en lien.