Did my bi-yearly check on Blender to see if a simplified customizable interface has been implemented yet. Looks like another open source movie is also in the works. This one’s called Durian… like the funky/stinky pod fruit**? No associate intended, I hope.
Did my bi-yearly check on Blender to see if a simplified customizable interface has been implemented yet. Looks like another open source movie is also in the works. This one’s called Durian… like the funky/stinky pod fruit**? No associate intended, I hope.
Back in 2003, Evil Dead: A Fistful of Boomstick was released on the XBOX 360. I saw only bits and pieces if, but the reviews seem to side with what I saw… some awesome voice work by Bruce Campbell, inside of a disappointing game.
If you love the concept of being trapped inside of a cottage, with unlimited waves of undead, you must checked the open-source game project Cottage of Doom. The graphics are something you might haven’t seen in a decade, but the gameplay is great. The creator is now working on an update called “Deadrock“, though I expect it might be awhile before we see anything since he’ seems busy with Eufloria.
Call of Duty: World At War
Staring out of a boarded up window as dead nazi’s stumble in from the fog. With the volume set properly, your guaranteed to jump.
There’s also Su
I’m sure that most will be playing Left 4 Dead 2, but don’t forget to checkout some of these other pieces of zombie flavor.
A classically animated short created by Michael Dudok De Wit. Simple yet beautiful. Powerful use of the music to tell the story. If you like this short and can handle seeing something a little more simple, Father & Daughter is also worth checking out.
Thanks to Des Duggan for getting me to check this out.
A classically animated short created by Michael Dudok De Wit. Simple yet beautiful. Powerful use of the music to tell the story. If you like this short and can handle seeing something a little more simple, Father & Daughter is also worth checking out.
Thanks to Des Duggan for getting me to check this out.
The film was directed by Neill Blomkamp, a Vancouver Film School graduate who is a VFX veteran from The Embassy, who directed the popular Citroen commercial.
Long story short, Neill was supposed to direct the Halo film, but that was put on hold (indefinitely?) and so Peter Jackson assisted Neill in turning his short film, “Alive in Jorberg“. into a feature film. District 9 was green lit with a budget of $30 million.
On September 29th I attended a Siggraph talk with Image Engine, where spoke on the making of District 9. Image Engine was one of a handful of studios in Vancouver that worked on the film. While Image Engine focused on the creation of the “prawn” characters, The Embassy was working on the large robot and little critters. Goldtooth Creative worked on some of the 3D user interfaces shots and WETA, since they were busy with Avatar, was only able to contribute to a few shot elements, including the mothership.
The original intention was to use prosthetic suits for the alien prawns w/ CG face overlays. Peter Muyzers recommended that Image Engine be allowed to create the creatures entirely in 3D. In the end, about 300 alien shots were created by Image Engine. The aliens were acted out by a grey suited actor and then replaced by a CG double, which was created in Maya. It was noted that the grey suit provided a great reference for lighting. Nuke was heavily used in the production as allowed for much of the CG lighting to be adjusted in real-time.
People at Goldtooth and Image Engine both noted how the use of the “Red One” camera sometimes produced warping of the frame during fast camera moves. This was often difficult for the tracking software and forced them to fully recreate the scenes in 3D in order to do touchups. The warping effect was referred to as the “rolling shutter“.
The 300 alien shots felt like a lot more. This and many of the other tricks, including filtering footage through VHS recorders, were testiment to Neill’s efficient use of FX. He understood that 3D is expensive and when some shots were pushed through the pipe, he was quoted saying that the cost was “a snowmobile or 2“. Like Fight Club, Neill used used FX to help tell a story, not a story to show off pretty effects. The crew at Image Engine expressed how much of a benefit it was to have someone directing that spoke their language.
I hope to see more movies like this and nearly everyone who’s seen it agrees. Would Neill be able to produce double the quality with 60 million? Anybody ready for a District 10? We’ll see.
The film was directed by Neill Blomkamp, a Vancouver Film School graduate who is a VFX veteran from The Embassy, who directed the popular Citroen commercial.
Long story short, Neill was supposed to direct the Halo film, but that was put on hold (indefinitely?) and so Peter Jackson assisted Neill in turning his short film, “Alive in Jorberg“. into a feature film. District 9 was green lit with a budget of $30 million.
On September 29th I attended a Siggraph talk with Image Engine, where spoke on the making of District 9. Image Engine was one of a handful of studios in Vancouver that worked on the film. While Image Engine focused on the creation of the “prawn” characters, The Embassy was working on the large robot and little critters. Goldtooth Creative worked on some of the 3D user interfaces shots and WETA, since they were busy with Avatar, was only able to contribute to a few shot elements, including the mothership.
The original intention was to use prosthetic suits for the alien prawns w/ CG face overlays. Peter Muyzers recommended that Image Engine be allowed to create the creatures entirely in 3D. In the end, about 300 alien shots were created by Image Engine. The aliens were acted out by a grey suited actor and then replaced by a CG double, which was created in Maya. It was noted that the grey suit provided a great reference for lighting. Nuke was heavily used in the production as allowed for much of the CG lighting to be adjusted in real-time.
People at Goldtooth and Image Engine both noted how the use of the “Red One” camera sometimes produced warping of the frame during fast camera moves. This was often difficult for the tracking software and forced them to fully recreate the scenes in 3D in order to do touchups. The warping effect was referred to as the “rolling shutter“.
The 300 alien shots felt like a lot more. This and many of the other tricks, including filtering footage through VHS recorders, were testiment to Neill’s efficient use of FX. He understood that 3D is expensive and when some shots were pushed through the pipe, he was quoted saying that the cost was “a snowmobile or 2“. Like Fight Club, Neill used used FX to help tell a story, not a story to show off pretty effects. The crew at Image Engine expressed how much of a benefit it was to have someone directing that spoke their language.
I hope to see more movies like this and nearly everyone who’s seen it agrees. Would Neill be able to produce double the quality with 60 million? Anybody ready for a District 10? We’ll see.
Although I do update my “Recent Thoughts” (forwards from my identi & twitter feeds), I shouldn’t let me think that can be considered “keeping my website updated”. Because it’s not.
I just ran across this video at odforce.net. A VERY slick road generator. Now what CAN’T this program do.
Eric Goldberg directed 2 shorts in Fantasia 2000. He animated the Genie in Aladdin. He’s currently animating on the upcoming “The Princess and the Frog“. He is also author of the Animation Crash Course. What else? His credit list is huge, look it up.
Although it came out last year, I just listened to Part 2 of Goldberg’s podcast interview. Many animators would say that this stuff is common knowledge, but as a technical 3D guy who doesn’t deal with this kinda stuff on a daily basis, it helps to hear it from someone with such experience. What are some of the bits I’ve learned?
About how, in 2D, you can capture the feeling before you have to worry about the anatomy. The importance of gestures, again, rears it’s head. Capturing this in 3D is a bit tricky sometimes. Another reason to pick up pencil once in awhile and/or work on a 3D solution to simulate this. 😉
In regards to FX or secondary animation, in 3D, with everything we get for free, we loose control over key story telling elements. He gives the example of the fur in Monsters Inc. It’s all controlled dynamically, but if it’s dynamic, we cannot use the fur as a tool for enhancing the movement, or even the emotion.
He notices how rigs are usually animated via the torso first, and how this makes CG walk-cycles feel very floaty and difficult to feel the energy.
He sometimes approaches his animations from the eyes outwards, drawing the eyes first, then the nose, then the cranium around the eyes. The expression builds the shape.
If you want to hear about Goldberg’s recollection of animating Robin Williams as the Genie, or directing Pocahontas, check out the podcast over at AnimationPodcast.com. I’ll have to go back and listen to Part 1, as I’m sure there’s great stuff there also.
Finally, I have to include a link to a clip from the Magic Lamp Theater @ Disney Sea in Japan. I had the pleasure of working with Teunis de Raat, who worked with Goldberg in order to make this 3D version of the Genie come to life. That must have been one hell of an experience. Maybe I can convince him to divulge some details.
Life likes to poke you in the ribs sometimes. Just when you get comfortable, it reminds you that you’re not happy being content. It reminds you that there’s still so much to explore, to experience, to share.
A piece of software that I’ve been meaning to dive into, recently knocked its price down to 50%, for a limited time. That’s a BIG discount, especially when you consider that the product is over $10k.
Buzz has all those great video tutorials, but not sure where to start. Going to send them an email to see if I can get some help. I would like to just get all the vids.
On top of that, District 9 was released, reminding me how entertaining and educational a movie can be. BLOW SHIT UP, HAVE FUN & DO IT FOR CHEAP!! Film only cost $30 million to make.
Sure glad I have a separate blog for my more personal ramblings. Just need to put more pictures in here.
Did my bi-yearly check on Blender to see if a simplified customizable interface has been implemented yet. Looks like another open source movie is also in the works. This one’s called Durian… like the funky/stinky pod fruit**? No associate intended, I hope.
