In the absence of little more than a week to Christmas and start to get the first congratulations to the mailbox, so EfectoHD joins tradition and congratulates his readers with this animated card, I hope you enjoy it:
Merry Christmas from efectohd on Vimeo .
A spot recorded with an iPhone. This is the spot produced by an NGO that seeks to raise New York on the amount of food wasted in New York and the number of hungry in the city. Here are the piece:
Beneath the apparent simplicity that implies that this spot is recorded entirely with an iPhone, there is a substantial technological framework. The prestigious studio The Mill , responsible for this piece on its website detailing audiovisual as was done this spot.
Indeed the base sequence shot of the spot was shot entirely with an iPhone in a New York subway station. Later in postproduction CGI should be incorporated in this case was the crowd of apples that come in an avalanche of wagons of the train. presente en toda la escena provocan una distorsión difícil de salvar por los softwares de tracking así que The Mill ideó un “rig”o armazón de cámaras , en cocreto tres Canon 5D MKII, que situadas fijas en la estación grababan sincronizadas en todo momento la posición del iPhone. For this integration was needed to make a tracking of the whole scene, which was quite difficult to do directly with the material recorded with the iPhone. The compression artifacts and the CMOS rolling shutter present in the whole scene cause a distortion difficult to save for tracking softwares so The Mill devised a "rig" or frame cameras, Canon 5D MKII cocreto three, which still placed at the station recorded synchronized at all times the position of the iPhone. This in turn was easy to locate by tracking software thanks to LED lights clearly marking its position in space. In this way the tracking is greatly simplifició although it was necessary to correct by hand, frame by frame as it happens almost always.
For realistic textured apples used an HDRI map generated by a camera 360 ° x180 °, in particular a SpheronVR which also has an amazing 26f stops, camera any day deserve an article on this blog.
This whole process can be seen in detail in this "breakdown"
Finally, post-production to mimic the compression artifacts and color correction did the rest to provide that sense of realism.
So, yes, a spot shot with an iPhone, but there is more behind it to get that "look random" cinéma vérité.
This is one of those little applications that may become indispensable for any editor. This is VideoSpace of Digital Heaven, a company specializing in applications and plugins for Final Cut. Although already an old acquaintance through plugins like Loader , this company has just released version 3 of this application free of charge. With it you can calculate the space it will occupy in our record any video clip showing the codec, duration, fps and the type of audio. The novelty is that include new codecs supported by Final Cut 7.
It can also be installed as a widget on your Mac, iPhone or iPodTouch or can be accessed online at this link: http://www.videospaceonline.com/
Motion Exchange is an initiative of Harry Frank (Graymachine) . It is a social network of professional motion graphics that tries to connect freelancers around the world devoted to these duties.
This portal integrates thematic forums, blogs and video gallery of members of the community. Also proposed collaborative projects, the first one, proposed by Frank Harry himself is a animated header for the portal, anyone is encouraged?
, listos para personalizar. Videohive is an interesting videostock portal that offers not only typical loops funds and animated as ever, but also sells complete After Effects project, ready to customize. It is an alternative to consider when there is not much time to innovate and look for a professional finish. Logos animated promos, money ... all perfectly sorted by categories, with previews to good quality and with prices ranging between $ 5 and $ 20.
Videohive group is part of the Envato websites dedicated to the sale of stock in particular;
In all of them, like any stock website, you can register and sell your projects, always after prior approval from administrators.
. Since the school Strokes tell us who you start a series of interesting Spanish language tutorials Nuke. So far two video tutorials that teach us to develop a classic of the post: how to convert a scene from day to night. We look forward continuing this series and we encourage authors to continue to increase the production of tutorials in Spanish, encouraging as this is going slowly.
Nuke 5.2: Day for Night (Part I: keying) from labtrazos on Vimeo .
Nuke 5.2: Day for Night (Part II: Color Correction) from labtrazos on Vimeo .
On the website of Eyeon now available for download a preview version of which will be the new Fusion 6, the popular Eyeon composition software. This is a version in "beta" so that subscribers can explore the program and Eyeon help to solve any bug or problem that can be found in the software before its launch.
Fusion 6 is a major update and includes major developments, especially in the 3D module, which includes the ability to create advanced materials with reflection and relief, work in stereo mode for 3D productions, multi-file support for EXR / SXR ...
It also allows the integration of files. R3d, RED cameras and other improvements related to performance and processing speed, enhanced by the new DOD / ROI
(Domain Of Definition and Region Of Interest System) much more versatile.
Here you can see some video with the new features in Fusion 6: Eyeon on Youtube
MAC users will have to wait a version for manzanita, Eyeon it refuses to take a Fusion for OSX. Meanwhile, Nuke is one of the options like Fusion to which lovers can use this software.
For those who have gone from a Nuke Fusion, took the opportunity to remember that our friendly blog Dimensión 2.5 has begun publishing a series of tutorials Nuke Introductory and will be easier to transit from one to another software.
, director de Los mundos de Coraline , ha conseguido con este film, darle una vuelta de tuerca más a esta manera tan artesanal de hacer películas de animación. Although the technique of stop motion is almost as old as cinema itself, Henry Selick, director of Coraline, has succeeded with this film, give it a twist so more to this craft of making animated films.
, productor de la misma, sí obtuvo con el film. Henry Selick, despite being the director of Nightmare Before Christmas, never had the recognition that Tim Burton, producer of the same, it was with the film. With Coraline has managed to take off this spine and reaffirm their name in the world of stop motion that has been dedicated to several decades.
. Coraline is an adaptation by Selick himself a story by Neil Gaiman, famous writer of science fiction and graphic novels, most notably the highly successful Sandman.
In this delicious, dark film, not suitable for children, Selick combines a very special 3D and traditional animation.
difíciles de manejar a mano. Each scenario, character and details of the targets is modeled by hand by artisans, to the point that every texture has the smallest detail, despite being difficult to manage thumbnails hand. , la ropa de los personajes tejida a mano con un hilo de apenas el grosor de un cabello humano, el vapor de agua fue simulado con una combinación de algodón y laca para el pelo, para simular los árboles en flor se usaron 250.000 palomitas de maiz pintadas a mano , el pelo de Coraline fue implantado con especial cudado fibra a fibra ya mano… y así innumerables, técnicas artesanales para dar vida a esta historia. For example, the house was built by about 70 carpenters, clothing of the characters hand-woven with a thread of just the thickness of a human hair, water vapor was simulated with a combination of cotton and hair spray, to simulate flowering trees were used popcorn 250 000 hand painted, hair was implanted with special Coraline cudado fiber to fiber by hand ... and countless craft techniques to give life to this story.
But one of the techniques used by Selick was amazing in this film for facial animation and gestures of the characters. The director wanted to achieve greater fluency in the gestures of the characters and therefore opted for the technique already used in The Nightmare Before Christmas, modeling each term consisting of individual parts, that the exchange gave rise to progressively changing and animated facial expressions . But in this case Selick wanted to go further and achieve even greater fluidity, which would have meant thousands of models crafted by sculptors for several years. Such a task, which had largely gone out of the budget, was simplified by using 3D techniques.
, mediante una técnica denominada RP (rapid prototyping), que usa una resina líquida que seca a base de rayos UV y modela a base de finas capas . This group used a 3D modeling computer recreated each and every one of the numerous facial expressions, and instead of being carved by hand were "printed" with 3D printer, using a technique called RP (rapid prototyping), which uses a liquid resin that dries UV-based and model-based thin layers. In this way we obtained the "sets" of facial animation that each facilitator would then combine to create each facial expression and interpretation of the characters.
In addition, each face was modeled in two parts, one for the upper face (eyes, eyebrows, forehead) and one for the bottom (nose, mouth), so that the junction between the two parts had to be deleted in post in every scene. In addition, each piece must be colored by hand, highlighting the work of painting each character Coraline freckles on each of the models.
3D animators, not only engaged in modeling the "sets" of faces, but also supplied the Stop Motion Animators by listing the sequence of "sets" to be used in every scene. Thus the traditional leaders could devote more time to the details of body animation and other details being released part of the facial animation process.
Not only were used 3D techniques in developing the film, but is also shot with stereoscopic technique to be played in theaters equipped for 3D projection. In particular was shot with two cameras Redlake , industrial high speed cameras used for the study of impacts on the automotive and aeronautics.
The film postproduction consistión mainly in the deletion of all remaining items such as cables, frames and "rigs" that were used to hold the puppets, as well as the deletion of the joints of the upper and lower faces of the characters.
Besides atmospheric effects like flames from candles, fire and smoke were necessarily added in post.
It was also necessary to stabilize some shots due to involuntary movements that could occur in the same shot as it rolled over several days or weeks.
In this video of Adam C. Sager, a post-production technicians who took part in the film, you can see a sample of the type of post that required the film.
It is definitely a movie worth seeing, not only by the admirable technical process behind it, but because it is a well-told story, dark with many reading levels also accompanied by an impeccable aesthetics. It is appreciated a bit of craftsmanship among both digital process.
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