V-Ray Film & VFX Demo Reel 2012: The Official V-Ray Demo Reel 2012 - Film & Visual Effects Industry
Credits:
a52
Atomic Fiction
AVI Studio
Burrows CGI Studio
COPA
Digital Idea
Factory Fifteen
Filmakademie Baden-Wurttemberg
Garyu
Genig
Incendii
Kevin Margo
Luxx Studios
Method Studios
The VFX Tour
Parasol Island
Plastic Wax
RealtimeUK
Unit Image
Vando
Vaya
Wednesday, August 29, 2012
V-Ray Animation Demo Reel 2012
V-Ray Animation Demo Reel 2012: The Official V-Ray Demo Reel 2012 - Animation
Credits:
Einstein Film
Frost FX
Locus Creative Studios
Morro Images
Space Patrol
Tax Free Film
Credits:
Einstein Film
Frost FX
Locus Creative Studios
Morro Images
Space Patrol
Tax Free Film
V-Ray Advertising Demo Reel 2012
V-Ray Advertising Demo Reel 2012: The Official V-Ray Demo Reel 2012 - Advertising Industry
Credits:
a52
Akama Studio
AVI Studio
Bubu Studio
Digital District
Javi Martinez - Lightrendergroup
Locus Creative Studios
Snowball VFX
Tax Free Film
Tobias Roesli
Unit Image
Credits:
a52
Akama Studio
AVI Studio
Bubu Studio
Digital District
Javi Martinez - Lightrendergroup
Locus Creative Studios
Snowball VFX
Tax Free Film
Tobias Roesli
Unit Image
V-Ray Architectural Demo Reel 2012
V-Ray Architectural Demo Reel 2012: The Official V-Ray Demo Reel 2012 - Architectural Design
Credits:
Atomic 3D
Factory Fifteen
Flood Slicer
Genig
Industriromantik
Lichtecht
Lightfeel
Neoscape
Uniform
Vaya
Virtual Resolution
Credits:
Atomic 3D
Factory Fifteen
Flood Slicer
Genig
Industriromantik
Lichtecht
Lightfeel
Neoscape
Uniform
Vaya
Virtual Resolution
V-Ray Automotive Demo Reel 2012
V-Ray Automotive Demo Reel 2012: The Official V-Ray Demo Reel 2012 - Automotive Design
Credits:
Akama Studio
Bubu Studio
Burrows CGI Studio
Dashing Collective
Drawiz Inc.
Efim Armand
INK
Locus Creative Studios
Mackevision
Parasol Island
Penxel
Pixlhut
RealtimeUK
Resolution Design
Taylor James
The Material Group
Vaya
Credits:
Akama Studio
Bubu Studio
Burrows CGI Studio
Dashing Collective
Drawiz Inc.
Efim Armand
INK
Locus Creative Studios
Mackevision
Parasol Island
Penxel
Pixlhut
RealtimeUK
Resolution Design
Taylor James
The Material Group
Vaya
First Animation Exercises at Pixar by Victor Navone
First Animation Exercises at Pixar by Victor Navone: All material is ©Disney/Pixar. by Victor Navone
- I recently discovered an old video tape of my first animation exercises at Pixar. They start with some basic bouncing ball stuff (or in this case, Life Savers Holes) and progress to a Woody dialog shot (which is kind of awful, in retrospect). Then there's my first production assignment: an acceptance speech by Jessie for her induction into the Cowgirl Hall of Fame. It's nice to look back and see how much I've learned!
- I recently discovered an old video tape of my first animation exercises at Pixar. They start with some basic bouncing ball stuff (or in this case, Life Savers Holes) and progress to a Woody dialog shot (which is kind of awful, in retrospect). Then there's my first production assignment: an acceptance speech by Jessie for her induction into the Cowgirl Hall of Fame. It's nice to look back and see how much I've learned!
Nefertiti's hand Shortfilm - Tad, the lost explorer
Nefertiti's hand Shortfilm - Tad, the lost explorer: Written and Directed by Guillermo García Carsí, the creator and Director of Pocoyo and Doomed.
This is a shortfilm that promotes the film "Tad, the lost explorer" developed by Lightbox Entertainment and produced by Telecinco Cinema and La Fiesta Producciones. Is going to be released this 31st of August. From El Señor Studio we also collaborated in the film producing the 2D opening titles.
This is a shortfilm that promotes the film "Tad, the lost explorer" developed by Lightbox Entertainment and produced by Telecinco Cinema and La Fiesta Producciones. Is going to be released this 31st of August. From El Señor Studio we also collaborated in the film producing the 2D opening titles.
Fundamentals of Mocha - 14 - Camera Solver - Solving for Moving Shapes
Fundamentals of Mocha - 14 - Camera Solver - Solving for Moving Shapes: What you'll learn:
• How to solve when objects move off-screen
• Add a new object to a solved camera
• Making the correct solve order
Sometimes it is not possible to track a feature throughout the entire shot. In this tutorial we see how to get a good solve with features that move offscreen.
We then see the possibilities for adding moving features to our tracked and solved camera. To test our solve we move to After Effects and check out the camera track and the object track.
• How to solve when objects move off-screen
• Add a new object to a solved camera
• Making the correct solve order
Sometimes it is not possible to track a feature throughout the entire shot. In this tutorial we see how to get a good solve with features that move offscreen.
We then see the possibilities for adding moving features to our tracked and solved camera. To test our solve we move to After Effects and check out the camera track and the object track.
Fundamentals of Mocha - 13 - Camera Solver - Parallax Change
Fundamentals of Mocha - 13 - Camera Solver - Parallax Change: What you'll learn:
• Tracking motion cameras
• What tracking shapes work
• How the Camera Solver works
This tutorial is about how to pick the right type of shapes to track for mocha to generate a 3D camera solve of a moving camera. The amount, size and placement of the track layers are crucial to getting good data.
We look at how we improve the initial solve to add further tracked features and demonstrate how mocha's Camera Solver differs from a regular 3D matchmaker.
• Tracking motion cameras
• What tracking shapes work
• How the Camera Solver works
This tutorial is about how to pick the right type of shapes to track for mocha to generate a 3D camera solve of a moving camera. The amount, size and placement of the track layers are crucial to getting good data.
We look at how we improve the initial solve to add further tracked features and demonstrate how mocha's Camera Solver differs from a regular 3D matchmaker.
Fundamentals of Mocha - 12 - Camera Solver - Pan Tilt Zoom
Fundamentals of Mocha - 12 - Camera Solver - Pan Tilt Zoom: What you'll learn:
• Solve problems with interlaced footage
• Pick the right type of shape for the Camera Solver
• Set up correct parameters for the shot type
• Check the solve quality in After Effects
Before we look at mocha's Camera Solver, we fix issues with incorrectly interpreted interlaced footage.
Next we identify what the camera motion is in the shot, to correctly create the type of tracked layers required to create the virtual camera. In this tutorial the movement is Pan Tilt Zoom, so we prepare the main track layer plus a track matte layer.
Once the camera is solved, we look at how to test it in After Effects using both a regular 3D text layer and a 3D particle layer.
• Solve problems with interlaced footage
• Pick the right type of shape for the Camera Solver
• Set up correct parameters for the shot type
• Check the solve quality in After Effects
Before we look at mocha's Camera Solver, we fix issues with incorrectly interpreted interlaced footage.
Next we identify what the camera motion is in the shot, to correctly create the type of tracked layers required to create the virtual camera. In this tutorial the movement is Pan Tilt Zoom, so we prepare the main track layer plus a track matte layer.
Once the camera is solved, we look at how to test it in After Effects using both a regular 3D text layer and a 3D particle layer.
Fundamentals of Mocha - 11 - Mask Shapes and Rotoscoping Part 2
Fundamentals of Mocha - 11 - Mask Shapes and Rotoscoping Part 2: What you'll learn:
• Effective rotoscoping with camera stabilization
• Unlink tracking
• Dealing with blur and motion blur
• mocha's überkey
Following on from the previous exercise, we look at another technique for using mocha for rotoscoping work.
We stabilize the camera using a technique called "Unlink tracking" to effectively track the background with the least amount of effort.
Once we have then created and animated our mask shape, we explore methods for dealing with roto work on motion blurred and out of focus objects. There a number of techniques, including mocha's built-in tools to deal with Motion Blur and Edge Width. We see how well this translate into After Effects upon export.
• Effective rotoscoping with camera stabilization
• Unlink tracking
• Dealing with blur and motion blur
• mocha's überkey
Following on from the previous exercise, we look at another technique for using mocha for rotoscoping work.
We stabilize the camera using a technique called "Unlink tracking" to effectively track the background with the least amount of effort.
Once we have then created and animated our mask shape, we explore methods for dealing with roto work on motion blurred and out of focus objects. There a number of techniques, including mocha's built-in tools to deal with Motion Blur and Edge Width. We see how well this translate into After Effects upon export.
Fundamentals of Mocha - 10 - Mask Shapes and Rotoscoping Part 1
Fundamentals of Mocha - 10 - Mask Shapes and Rotoscoping Part 1: What you'll learn:
• Effective tracking for rotoscoping
• Separating track shapes and mask shapes
• Different techniques for using mask shapes in After Effects
The first look at using mocha shapes as rotosplines. We discuss how methods for most effectively reducing the amount of hand roto by creating a master track layer to connect other layers to.
We look how to best animate our shapes, both in terms of speed and accuracy.
Finally we take our shape layers into After Effects and look at the advantages to using them as native mask layers or using the mochaShape plug-in. We finish the shot by adding motion blur to our object and our mask shapes.
• Effective tracking for rotoscoping
• Separating track shapes and mask shapes
• Different techniques for using mask shapes in After Effects
The first look at using mocha shapes as rotosplines. We discuss how methods for most effectively reducing the amount of hand roto by creating a master track layer to connect other layers to.
We look how to best animate our shapes, both in terms of speed and accuracy.
Finally we take our shape layers into After Effects and look at the advantages to using them as native mask layers or using the mochaShape plug-in. We finish the shot by adding motion blur to our object and our mask shapes.
Fundamentals of Mocha - 09b - Stabilization in Final Cut Pro & Motion
Fundamentals of Mocha - 09b - Stabilization in Final Cut Pro & Motion: What you'll learn:
• Use Stabilize in mocha, Final Cut Pro & Apple Motion
• Workaround limitations in Final Cut Pro
• Creating a smoothed shot
This tutorial is all about Stabilization; how it can help us in mocha and how we can use the tracking data in Final Cut and Motion. The limitations in FCP are explored again and workarounds are discussed. Once again though, Motion gives us the flexibility and offers more solutions. We see how to add animation to Motion's "Behaviors" to create a smoothed shot, which maintains the camera move but takes out the bumps.
We then see a couple of quick ideas to fill in missing edge details without scaling up too much.
Finally we look at an extreme stabilization of position, scale and rotation and a useful Behavior to smooth the shot without adding keyframes.
• Use Stabilize in mocha, Final Cut Pro & Apple Motion
• Workaround limitations in Final Cut Pro
• Creating a smoothed shot
This tutorial is all about Stabilization; how it can help us in mocha and how we can use the tracking data in Final Cut and Motion. The limitations in FCP are explored again and workarounds are discussed. Once again though, Motion gives us the flexibility and offers more solutions. We see how to add animation to Motion's "Behaviors" to create a smoothed shot, which maintains the camera move but takes out the bumps.
We then see a couple of quick ideas to fill in missing edge details without scaling up too much.
Finally we look at an extreme stabilization of position, scale and rotation and a useful Behavior to smooth the shot without adding keyframes.
Fundamentals of Mocha - 09a - Stabilization in After Effects
Fundamentals of Mocha - 09a - Stabilization in After Effects: What you'll learn:
• Use Stabilize in mocha & After Effects
• How to pick your focus point for Stabilization
• Creating a smoothed shot
This tutorial is all about Stabilization; how it can help us in mocha and how we can use the tracking data in After Effects. We discuss how to shift narrative focus within a shot just by changing the shape that we build the stabilized effect on. This gives us a good deal of control in the scene.
In After Effects we see the methods for stabilizing position, then scale and rotation using Expressions. We then work on creating a smoothed shot to maintain the camera move but take out the bumps. Along with this, we see some quick techniques for filling in missing edge details.
• Use Stabilize in mocha & After Effects
• How to pick your focus point for Stabilization
• Creating a smoothed shot
This tutorial is all about Stabilization; how it can help us in mocha and how we can use the tracking data in After Effects. We discuss how to shift narrative focus within a shot just by changing the shape that we build the stabilized effect on. This gives us a good deal of control in the scene.
In After Effects we see the methods for stabilizing position, then scale and rotation using Expressions. We then work on creating a smoothed shot to maintain the camera move but take out the bumps. Along with this, we see some quick techniques for filling in missing edge details.
Fundamentals of Mocha - 08b - Using Corner Pin Data in Final Cut Pro & Motion
Fundamentals of Mocha - 08b - Using Corner Pin Data in Final Cut Pro & Motion: What you'll learn:
• Exporting Corner Pin data to Final Cut Pro and Apple Motion
• Workarounds for problems and limitations
• How the Align Surface works in mocha
There are a number of different ways to use corner pin data effectively from mocha to both Final Cut Pro and Apple Motion. This looks at the strengths and limitations of the most common ones.
Firstly we see how to take corner pin data into Final Cut Pro and apply it to inserts that are of different sizes. We discuss the ways to ensure this is done correctly and the things that Final Cut Pro cannot do to make a convincing shot.
When we move over to Motion, things get more flexible. We see how to add realistic motion blur and offset our insert. Finally we use the Align Surface technique, which is useful for rig removal and background clean-up
• Exporting Corner Pin data to Final Cut Pro and Apple Motion
• Workarounds for problems and limitations
• How the Align Surface works in mocha
There are a number of different ways to use corner pin data effectively from mocha to both Final Cut Pro and Apple Motion. This looks at the strengths and limitations of the most common ones.
Firstly we see how to take corner pin data into Final Cut Pro and apply it to inserts that are of different sizes. We discuss the ways to ensure this is done correctly and the things that Final Cut Pro cannot do to make a convincing shot.
When we move over to Motion, things get more flexible. We see how to add realistic motion blur and offset our insert. Finally we use the Align Surface technique, which is useful for rig removal and background clean-up
Fundamentals of Mocha - 08a - Using Corner Pin Data in After Effects
Fundamentals of Mocha - 08a - Using Corner Pin Data in After Effects: What you'll learn:
• Check your track with your own clips
• The different types of Corner Pin data
• Using different size footage in After Effects
There are a number of different ways to use corner pin data out of mocha and in After Effects. In this exercise we look at three of them; raw corner pin data, corner pin data with motion blur and corner pin data offset with Align Surface.
The techniques shown here solve the most common problems people face bringing corner pin data in. We see how to deal with footage that is a different size or aspect ratio than our main composition. Plus how to use the Align Surface technique, which is useful for rig removal and background clean-up.
• Check your track with your own clips
• The different types of Corner Pin data
• Using different size footage in After Effects
There are a number of different ways to use corner pin data out of mocha and in After Effects. In this exercise we look at three of them; raw corner pin data, corner pin data with motion blur and corner pin data offset with Align Surface.
The techniques shown here solve the most common problems people face bringing corner pin data in. We see how to deal with footage that is a different size or aspect ratio than our main composition. Plus how to use the Align Surface technique, which is useful for rig removal and background clean-up.
Fundamentals of Mocha - 07a - Using Transform Data in After Effects
Fundamentals of Mocha - 07a - Using Transform Data in After Effects: What you'll learn:
• Export tracking data to After Effects
• Easily offset tracking data
• Take tracking data directly into Boris Continuum Complete filters
This tutorial shows how to take the tracked footage in mocha and use that data in After Effects. We start with a simple matchmove. Then see how to get more flexibility through the smart use of Null objects and parenting.
Finally we look at importing the same data directly into a Boris Continuum Complete lens flare plug-in.
• Export tracking data to After Effects
• Easily offset tracking data
• Take tracking data directly into Boris Continuum Complete filters
This tutorial shows how to take the tracked footage in mocha and use that data in After Effects. We start with a simple matchmove. Then see how to get more flexibility through the smart use of Null objects and parenting.
Finally we look at importing the same data directly into a Boris Continuum Complete lens flare plug-in.
Fundamentals of Mocha - 07b - Using Transform Data in Final Cut Pro & Motion
Fundamentals of Mocha - 07b - Using Transform Data in Final Cut Pro & Motion: What you'll learn:
• Export tracking data to Final Cut Pro & Apple Motion
• The limitations of Final Cut Pro plus some workarounds
• Offsetting raw data in Motion
This tutorial shows how to take the tracked footage in mocha and use that data in Apple Final Cut Pro & Motion. We start with a simple matchmove in Final Cut Pro and quickly see the limitations in the way it handles keyframes.
Next we look at how to take the same data into Apple Motion. This is much more flexible and higher quality than working in FCP alone. Finally we take the project back into FCP to be used as part of the final edit.
• Export tracking data to Final Cut Pro & Apple Motion
• The limitations of Final Cut Pro plus some workarounds
• Offsetting raw data in Motion
This tutorial shows how to take the tracked footage in mocha and use that data in Apple Final Cut Pro & Motion. We start with a simple matchmove in Final Cut Pro and quickly see the limitations in the way it handles keyframes.
Next we look at how to take the same data into Apple Motion. This is much more flexible and higher quality than working in FCP alone. Finally we take the project back into FCP to be used as part of the final edit.
Fundamentals of Mocha - 06 - Shear and Perspective
Fundamentals of Mocha - 06 - Shear and Perspective: What you'll learn:
• The difference between Shear and Perspective
• When to turn on Perspective
• How to adjust your shape during the track
One of the most frequent questions asked about mocha's settings is, when do you have to turn on Perspective modeling instead of just tracking Shear? This exercise demonstrates the different motion using CG footage, then shows how to translate that to real-world footage. This effectively shows when Shear is not enough to get the best track and how Perspective tracking should be used.
The second part of the tutorial demonstrates more techniques for dealing with large motion blur on the object you wish to track. We discuss shape size, placement and keyframing the shape to get the best results.
• The difference between Shear and Perspective
• When to turn on Perspective
• How to adjust your shape during the track
One of the most frequent questions asked about mocha's settings is, when do you have to turn on Perspective modeling instead of just tracking Shear? This exercise demonstrates the different motion using CG footage, then shows how to translate that to real-world footage. This effectively shows when Shear is not enough to get the best track and how Perspective tracking should be used.
The second part of the tutorial demonstrates more techniques for dealing with large motion blur on the object you wish to track. We discuss shape size, placement and keyframing the shape to get the best results.
Fundamentals of Mocha - 05 - Rotation
Fundamentals of Mocha - 05 - Rotation: What you'll learn:
• Problems when tracking rotation
• How big to make your shapes
• Fixing troublesome tracks in AdjustTrack
Tracking rotation in an object can be tough, even with mocha's planar tracker. It is made even trickier when tracking motion blur. This exercise discusses different techniques for getting the best track possible.
When a solid track is not possible, we move to the AdjustTrack module to fix our data for the perfect match.
• Problems when tracking rotation
• How big to make your shapes
• Fixing troublesome tracks in AdjustTrack
Tracking rotation in an object can be tough, even with mocha's planar tracker. It is made even trickier when tracking motion blur. This exercise discusses different techniques for getting the best track possible.
When a solid track is not possible, we move to the AdjustTrack module to fix our data for the perfect match.
Fundamentals of Mocha - 04 - Track Mattes
Fundamentals of Mocha - 04 - Track Mattes: What you'll learn:
• Tracking multiple objects
• The importance of track mattes
• Figuring our tracking order
When tracking objects, they will often get obscured by other things in the scene. We look at how we deal with tracking an object that disappears behind other shapes.
We go into detail about the importance of track mattes and what order we track the shapes.
• Tracking multiple objects
• The importance of track mattes
• Figuring our tracking order
When tracking objects, they will often get obscured by other things in the scene. We look at how we deal with tracking an object that disappears behind other shapes.
We go into detail about the importance of track mattes and what order we track the shapes.
Fundamentals of Mocha - 03 - Planar Tracking
Fundamentals of Mocha - 03 - Planar Tracking: What you'll learn:
• Setup a new project
• Create effective shapes for tracking
• How the Planar Tracker tracks
Starting a project in mocha, including tips on Pixel Aspect Ratio and handling interlaced footage.
When tracking our first object, we see the importance of picking the right size shape to track. We also see the separation between the shape we track and the data that mocha gives us.
A focus of this exercise are the tracking Parameters and how we adjust these to the footage we are tracking
• Setup a new project
• Create effective shapes for tracking
• How the Planar Tracker tracks
Starting a project in mocha, including tips on Pixel Aspect Ratio and handling interlaced footage.
When tracking our first object, we see the importance of picking the right size shape to track. We also see the separation between the shape we track and the data that mocha gives us.
A focus of this exercise are the tracking Parameters and how we adjust these to the footage we are tracking
Fundamentals of Mocha - 02 - User Interface
Fundamentals of Mocha - 02 - User Interface: What you'll learn:
• Navigate most important tools
• The difference between B-Splines and Bezier shapes
• Work with the Layer Controls
For differences between the different versions of mocha see here: http://www.imagineersystems.com/compare-products
A tour of mocha's tools and the most important keyboard shortcuts. We also explore the main differences between drawing with B-Splines and the Bezier tool.
Finally we check out the Layer Controls, and how to order and arrange multiple layers and shapes.
• Navigate most important tools
• The difference between B-Splines and Bezier shapes
• Work with the Layer Controls
For differences between the different versions of mocha see here: http://www.imagineersystems.com/compare-products
A tour of mocha's tools and the most important keyboard shortcuts. We also explore the main differences between drawing with B-Splines and the Bezier tool.
Finally we check out the Layer Controls, and how to order and arrange multiple layers and shapes.
Fundamentals of Mocha - 01 - Fundamentals of Tracking
Fundamentals of Mocha - 01 - Fundamentals of Tracking: What you'll learn:
• A look at traditional tracking techniques
• What mocha doesn't do
• The first Step into Planar Tracking
A short exercise mainly looking at point and feature trackers, to show what mocha does not use. We then take a brief look at mocha's Planar tracker and learn about the separation of Shape and Tracking data.
by www.curiousturtle.com
• A look at traditional tracking techniques
• What mocha doesn't do
• The first Step into Planar Tracking
A short exercise mainly looking at point and feature trackers, to show what mocha does not use. We then take a brief look at mocha's Planar tracker and learn about the separation of Shape and Tracking data.
by www.curiousturtle.com
Tuesday, August 21, 2012
RealFlow Showreel 2012
RealFlow Showreel 2012: Next Limit RealFlow 2012 SIGGRAPH Showreel
RealFlow is the definitive tool for creating flawless large- and small-scale fluid and dynamics simulations straight out of the box. www.realflow.com
RealFlow is the definitive tool for creating flawless large- and small-scale fluid and dynamics simulations straight out of the box. www.realflow.com
Counter-Strike: Global Offensive Trailer
Counter-Strike: Global Offensive Trailer: The cinematic trailer developed at Valve using the Source Filmmaker. CS:GO launches on August 21st
Plastic Wax Studio Reel 2012
Plastic Wax Studio Reel 2012: A collection of works from 3D Animation Studio Plastic Wax. Game Cinematic www.plasticwax.com
3D Printing - Process of Creating ParaNorman Faces
3D Printing - Process of Creating ParaNorman Faces: Behind the Scenes Process of Creating Faces of ParaNorman (3D Printing)
"Stop-motion has always had the advantage of beautiful sets, atmospheres and textures,” says McLean. “But the facial performances have always been a little limited. Now, with the advent of 3-D printing, there are no limitations.”
"Stop-motion has always had the advantage of beautiful sets, atmospheres and textures,” says McLean. “But the facial performances have always been a little limited. Now, with the advent of 3-D printing, there are no limitations.”
My Little Friend
My Little Friend: Short Film by Eric Prah made at the Ringling College of Art and Design
Maya short film play blast
Maya short film play blast: this something im working on cant wait to have it finished..done in Autodesk Maya
Friday, August 17, 2012
Environment Artist
Environment Artist: We are in need of an Environment Artist who
has worked on @ least one published console
title.
has worked on @ least one published console
title.
Texture Artist
Texture Artist: We are in need of a Texture artist with previous
video game industry experience.
video game industry experience.
U.I. Designer
U.I. Designer: We are in need of an experienced UI developer
preferably with video game experience.
preferably with video game experience.
Caustic Visualizer for Autodesk Maya
Caustic Visualizer for Autodesk Maya: Caustic Visualizer for Maya. It was running on the first PowerVR ray tracing hardware reference platform, accelerated by OpenRL. Caustic Visualizer for Maya is available at www.caustic.com/visualizer
Autodesk acquires Naiad fluid simulation technology from Exotic Matter
Autodesk acquires Naiad fluid simulation technology from Exotic Matter: Autodesk acquires Naiad fluid simulation technology
from Exotic Matter
In an effort to accelerate Autodesk’s research and development of simulation technologies for visual effects, Autodesk has acquired the Naiad fluid simulation techn...
from Exotic Matter
In an effort to accelerate Autodesk’s research and development of simulation technologies for visual effects, Autodesk has acquired the Naiad fluid simulation techn...
PIXOMONDO REEL 2012
PIXOMONDO REEL 2012: Pixomondo is an international visual effects company with a global network of studios in Berlin, Frankfurt, Munich, Stuttgart, Hamburg, Los Angeles, London, Shanghai, Beijing and most recently Toronto. www.pixomondo.com
Pixar Toy Story Toons "Partysaurus Rex" Sneak Peek
Pixar Toy Story Toons "Partysaurus Rex" Sneak Peek: The latest Toy Story Toon, "Partysaurus Rex," will play before Finding Nemo 3D, in theaters September 14
World of Warcraft: Mists of Pandaria Cinematic Trailer
World of Warcraft: Mists of Pandaria Cinematic Trailer: Cinematic trailer for World of Warcraft's fourth expansion set, Mists of Pandaria, originally debuted at Gamescom 2012 on August 16
Pixar Animation Studios Open Subdivision Technology
Pixar Animation Studios Open Subdivision Technology: A set of open source libraries that implement high performance subdivision surface (subdiv) evaluation on massively parallel CPU and GPU architectures. This codepath is optimized for drawing deforming subdivs with static topology at interactive framerates. The resulting limit surface matches Pixar’s Renderman to numerical precision. http://graphics.pixar.com/
Golaem Crowd V2 Full Workflow Overview
Golaem Crowd V2 Full Workflow Overview: This tutorial explains how to create a crowd scene using Golaem Crowd, from placement of characters to rendering. http://www.golaem.com/content/products/golaem-crowd/overview
Pixar Animation Studio Canada Recruiting Animators
Pixar Animation Studio Canada Recruiting Animators: Pixar Canada is looking for an experienced Animator for its Vancouver studio. Pixar Canada is a wholly-owned subsidiary of Pixar Animation Studios, the world leader in animated films. The Vancouver studio produces short-form animation focusing on legacy Pixar characters from films such as Toy Story and Cars. This is a great opportunity to be part of a diverse and talented team.
Rendering Realistic Apples using V ray
Rendering Realistic Apples using V ray: The rendering process of achieving a realistic look to a scene full of apples that he created, showing how to develop procedural shaders in 3ds Max.
Software used: 3ds Max 2012, V-Ray 2.30.01 and Adobe After Effects CS5.5 with plugins: Frischluft Lenscare, Color Finesse, ft-Vignetting, ft-Cubic Lens Distortion.
Software used: 3ds Max 2012, V-Ray 2.30.01 and Adobe After Effects CS5.5 with plugins: Frischluft Lenscare, Color Finesse, ft-Vignetting, ft-Cubic Lens Distortion.
LAIKA "ParaNorman" - Making of Stop Motion Feature Film
LAIKA "ParaNorman" - Making of Stop Motion Feature Film: LAIKA Animation Studio : ParaNorman - Making of Stop Motion Feature Film
Set to release on August 17, 2012
Set to release on August 17, 2012
Crysis 3 - CryEngine 3 Tech Trailer
Crysis 3 - CryEngine 3 Tech Trailer: Crytek has released a new video showcasing the capabilities of its latest engine - CryEngine 3 - which is what their upcoming shooter Crysis 3 is being developed on. The trailer shows the ability of the engine to render some stunning visuals, including gorgeous overgrown vegetation and extremely detailed objects and bodies (just check out that top-secret tessellated toad tech!). Featuring all in-game footage from Crysis 3, CryEngine 3 boasts a whole lot of features like volumetric cloud shadows, pixel accurate displacement mapping, tessellated vegetation, composite 3d lens flares & FX, procedural HDR flares and shapes, dynamic water volume caustics, volumetric fog shadows, and more. The quality of textures and amount of detail rendered in the previous Crysis games has been such that they have been used by most PC gamers as benchmarks. For some gameplay footage, head over here. Crytek has always impressed us with at least the graphic fidelity in their previous games, and Crysis 3 looks to be no exception. Here's hoping it doesn't make my antiquated system crawl.
Olympics BBC Campaign 'Stadium UK'
Olympics BBC Campaign 'Stadium UK': The BBC has unveiled its "Stadium UK" title sequence and marketing campaign for the London 2012 Olympics.
A fox tale
A fox tale: Directed by Thomas Bozovic, Alexandre Cazals, Julien Legay, Chao Ma.
Music by Guy-Roger Duvert
Sound Design by: Nicolas Titeux
WWW.AFOXTALEMOVIE.COM
Music by Guy-Roger Duvert
Sound Design by: Nicolas Titeux
WWW.AFOXTALEMOVIE.COM
The Foundry - What's new in MARI 1.5
The Foundry - What's new in MARI 1.5: New features now available in The Foundry MARI 1.5v1. Covering overlapping UVs, shadow support, new Photoshop ABR brush import and much more.
The Mill Behind The Scenes - Sinbad Episode 5
The Mill Behind The Scenes - Sinbad Episode 5: The Mill Sinbad Episode 5 Behind The Scenes
www.themill.com
www.themill.com
Autodesk Media and Entertainment Animation Show Reel SIGGRAPH 2012
Autodesk Media and Entertainment Animation Show Reel SIGGRAPH 2012: Check out some of the best work submitted by autodesk customers this year using Autodesk tools like 3ds Max, Maya and Softimage
Interactive 3D rendering with Autodesk Maya, Chaos Group V-Ray RT 2.0 and NVIDIA Maximus
Interactive 3D rendering with Autodesk Maya, Chaos Group V-Ray RT 2.0 and NVIDIA Maximus: Interactive 3D rendering with Autodesk Maya, Chaos Group V-Ray RT 2.0 and NVIDIA Maximus
Lon Grohs, VP of Business Development at Chaos Group, demonstrates interactive, physically-based rendering with the world's fastest, most efficient computing architecture--NVIDIA Maximus next generation technology based on NVIDIA Kepler.
Lon Grohs, VP of Business Development at Chaos Group, demonstrates interactive, physically-based rendering with the world's fastest, most efficient computing architecture--NVIDIA Maximus next generation technology based on NVIDIA Kepler.
Autodesk Media and Entertainment Animation Show Reel SIGGRAPH 2012
Autodesk Media and Entertainment Animation Show Reel SIGGRAPH 2012: Check out some of the best work submitted by autodesk customers this year using Autodesk tools like 3ds Max, Maya and Softimage
Interactive 3D rendering with Autodesk Maya, Chaos Group V-Ray RT 2.0 and NVIDIA Maximus
Interactive 3D rendering with Autodesk Maya, Chaos Group V-Ray RT 2.0 and NVIDIA Maximus: Interactive 3D rendering with Autodesk Maya, Chaos Group V-Ray RT 2.0 and NVIDIA Maximus
Lon Grohs, VP of Business Development at Chaos Group, demonstrates interactive, physically-based rendering with the world's fastest, most efficient computing architecture--NVIDIA Maximus next generation technology based on NVIDIA Kepler.
Lon Grohs, VP of Business Development at Chaos Group, demonstrates interactive, physically-based rendering with the world's fastest, most efficient computing architecture--NVIDIA Maximus next generation technology based on NVIDIA Kepler.
Autodesk Media and Entertainment Animation Show Reel SIGGRAPH 2012
Autodesk Media and Entertainment Animation Show Reel SIGGRAPH 2012: Check out some of the best work submitted by autodesk customers this year using Autodesk tools like 3ds Max, Maya and Softimage
Lighting reel 2011 - Igor Colaiacovo
Lighting reel 2011 - Igor Colaiacovo: In this video, I show some work, where I used my knowledge of lighting, shading and rendering. For detailed information and the complete video of the works, please enter my site: www.igorvfx.com
In this demo reel, I used Maya, mental ray and Arnold renderer (Mtoa) .
In the study of vray for maya, in my house, I used the 3D car model by Marcos Smirkoff, and I also like the composition study, using Nuke.
I hope that you like.
Thankss!
In this demo reel, I used Maya, mental ray and Arnold renderer (Mtoa) .
In the study of vray for maya, in my house, I used the 3D car model by Marcos Smirkoff, and I also like the composition study, using Nuke.
I hope that you like.
Thankss!
Michael Bay 2012
Michael Bay 2012: Michael Bay 2012 www.michaelbay.com
Transformers,Transformers Revenge of the Fallen,Transformers Dark of the moon,Bad Boys,Bad Boys 2,The Rock,Armageddon,Pearl Harbor,The Island
You can now view a reel that was shown at the Nickelodeon conference in which Michael Bay took part.
Transformers,Transformers Revenge of the Fallen,Transformers Dark of the moon,Bad Boys,Bad Boys 2,The Rock,Armageddon,Pearl Harbor,The Island
You can now view a reel that was shown at the Nickelodeon conference in which Michael Bay took part.
Industrial Light & Magic at SIGGRAPH 2012: LOS ANGELES
Industrial Light & Magic at SIGGRAPH 2012: LOS ANGELES: Industrial Light & Magic hiring Animators,Creature Assistant Technical Directors,Creature Technical Directors,Computer Graphic Technical Assistants,Digital Compositors,Digital Matte Artists,FX Technical Directors,Lighting Technical Directors,Matchmove/Layout rtists,Rotoscope/Paint Artists more..
Sunday, August 5, 2012
MAXON Announces CINEMA 4D Release 14
MAXON Announces CINEMA 4D Release 14: MAXON ANNOUNCES CINEMA 4D RELEASE 14
Breakthrough Innovations in Modeling, Performance and Product Integration Bring a High-Impact Creative Experience to 3D Professionals
Today, MAXON unveiled CINEMA 4D Release 14, (R14) a m...
Breakthrough Innovations in Modeling, Performance and Product Integration Bring a High-Impact Creative Experience to 3D Professionals
Today, MAXON unveiled CINEMA 4D Release 14, (R14) a m...
Saturday, August 4, 2012
Golaem Crowd 2.0 released at Siggraph 2012 Los Angeles
Golaem Crowd 2.0 released at Siggraph 2012 Los Angeles: Golaem Crowd 2.0 released at Siggraph 2012 Los Angeles
2012, August 7th - Los Angeles
Golaem sets new standards for crowd simulation in terms of performances and usability by releasing the new version of its plugin for Autodesk Maya : Golaem ...
2012, August 7th - Los Angeles
Golaem sets new standards for crowd simulation in terms of performances and usability by releasing the new version of its plugin for Autodesk Maya : Golaem ...
Luxology to Highlight Production Success with modo 601 at SIGGRAPH 2012
Luxology to Highlight Production Success with modo 601 at SIGGRAPH 2012: Luxology to Highlight Production Success with modo 601
at SIGGRAPH 2012
Customer Presentations Demonstrate the Power of modo Across an Array of Industries; Show-Specific Crossgrade Offer Makes Adding modo to Existing 3D Pipelines Easy
Los Angeles...
at SIGGRAPH 2012
Customer Presentations Demonstrate the Power of modo Across an Array of Industries; Show-Specific Crossgrade Offer Makes Adding modo to Existing 3D Pipelines Easy
Los Angeles...
Blue Sky Studios - Ice Age 4: Making The Movie
Blue Sky Studios - Ice Age 4: Making The Movie: Blue Sky Studios, creators of the wildly popular Ice Age series, for an exclusive look at the making of their latest film, Ice Age 4 Continental Drift
The Mill Behind The Scenes - Sinbad Episode 4
The Mill Behind The Scenes - Sinbad Episode 4: The Mill - Behind The Scenes - Sinbad Episode 4
www.themill.com
www.themill.com
Friday, August 3, 2012
Burp - Short Film
Burp - Short Film: Brusque farmer is driving the truck with his big fat pig in the back. Passing the dark and foggy road he suddenly be attacked by a huge UFO. The farmer and the pig have no sense why they are being attacked and running. The UFO is now attacking more heavier. What is the truth of this chase...How the farmer and the pig are going to get out of this danger?
The characters and background design are based on original South Korea country image. Even the road, traffic signs, mountains and accessories in the truck are reformed, and changed form the image of original South Korea country view. Using one of the South Korea popular music genre 'Teuroteu' while farmer drives in the truck, this makes more prefect image. You will have no sense why the UFO chase the farmer and the pig before the ending scene. Purpose of this work is provide laugh to the audience from unexpected situations and slapsticks.
The characters and background design are based on original South Korea country image. Even the road, traffic signs, mountains and accessories in the truck are reformed, and changed form the image of original South Korea country view. Using one of the South Korea popular music genre 'Teuroteu' while farmer drives in the truck, this makes more prefect image. You will have no sense why the UFO chase the farmer and the pig before the ending scene. Purpose of this work is provide laugh to the audience from unexpected situations and slapsticks.
Ubisoft AnvilNext Game Engine - Assassin's Creed III
Ubisoft AnvilNext Game Engine - Assassin's Creed III: Ubisoft's AnvilNext a radically redesigned game engine, proprietary technology renders seamless worlds of nearly infinite possibilities. Transporting you deep inside America before it was America.
Assassin's Creed III.
Assassin's Creed III.
Digital Domain Vancouver is currently hiring
Digital Domain Vancouver is currently hiring: Digital Domain Vancouver is currently hiring for the following positions:
-Animation Lead
-Compositor
-Compositor Lead, Nuke
-Digital Production Administrator Render/ IO
-Editor VFX
-Editor, Lead VFX
-FX Artist
-FX Lead
-FX TD
-Integration Artist
-Lighting Lead
-Look Development Artist
-Modeler, Organic
-Pipeline TD
-Production Coordinator
-Roto Artist
-Animation Lead
-Compositor
-Compositor Lead, Nuke
-Digital Production Administrator Render/ IO
-Editor VFX
-Editor, Lead VFX
-FX Artist
-FX Lead
-FX TD
-Integration Artist
-Lighting Lead
-Look Development Artist
-Modeler, Organic
-Pipeline TD
-Production Coordinator
-Roto Artist
Luma Pictures Seeking Animation Artist Position
Luma Pictures Seeking Animation Artist Position: Luma Pictures is an artist centric feature film VFX studio located two blocks from the beach in Santa Monica, California. We maintain a unique culture with an amazingly talented staff and are always on the lookout for exceptional people for full time and project positions.
Luma Picture Seeking VFX Supervisor
Luma Picture Seeking VFX Supervisor: Luma Pictures is an artist centric feature film VFX studio located two blocks from the beach in Santa Monica, California. We maintain a unique culture with an amazingly talented staff and are always on the lookout for exceptional people for full time and project positions.
Luma Pictures - JR Pipeline TD Position
Luma Pictures - JR Pipeline TD Position: Luma Pictures is an artist centric feature film VFX studio located two blocks from the beach in Santa Monica, California. We maintain a unique culture with an amazingly talented staff and are always on the lookout for exceptional people for full time and project positions.
Scanline VFX Vancouver Seeking CG Programmer
Scanline VFX Vancouver Seeking CG Programmer: Scanline VFX specializes in creating complex effects for high end feature films and commercials. With more than 20 years experience in the European VFX world, Scanline opened its Los Angeles facility in 2008, and most recently opened its Vancouver studio in August, 2011.
Method LA seeks Senior Tracking and Layout Artist
Method LA seeks Senior Tracking and Layout Artist: Method Studios is an award-winning international visual effects group with facilities in Los Angeles, Vancouver, New York, London, Sydney and Melbourne. As an artist-driven company known for its creativity, we service high-end feature film, commercial, television, games and motion graphics clients in the global marketplace.
Zoic Studios seeking Commercial AE compositor
Zoic Studios seeking Commercial AE compositor: Zoic Studios LA, an award winning visual effects studio, is now actively seeking Freelance Sr. level After Effects compositors for its LA commercial department.
Luma Pictures Seeking For System Administrator Position
Luma Pictures Seeking For System Administrator Position: Luma Pictures is an artist centric feature film VFX studio located two blocks from the beach in Santa Monica, California. We maintain a unique culture with an amazingly talented staff and are always on the lookout for exceptional people for full time and project positions.
Flame, Flare and Nuke Compositers Needed at Hydraulx Vancouver!
Flame, Flare and Nuke Compositers Needed at Hydraulx Vancouver!: Hydraulx is a uniquely designed and operated award-winning visual effects facility based in Santa Monica, California. As a full service visual effects house, Hydraulx has the versatility to provide high quality visual effects regardless of the size or scope of the project.
Cinesite is Looking to Hire an Experienced CG Supervisor
Cinesite is Looking to Hire an Experienced CG Supervisor: Cinesite is an award-winning film and television visual effects facility.
Wacom Touch the Future of Education at SIGGRAPH 2012
Wacom Touch the Future of Education at SIGGRAPH 2012: Touch the Future of Education at SIGGRAPH 2012
Professional Benefits of Interactive Tablets to be Demonstrated in Booth #819 and Autodesk Education Summit; New Partnership with Digital-Tutors Announced
VANCOUVER, Wash. – Aug. 2, 2012 – ...
Professional Benefits of Interactive Tablets to be Demonstrated in Booth #819 and Autodesk Education Summit; New Partnership with Digital-Tutors Announced
VANCOUVER, Wash. – Aug. 2, 2012 – ...
Solving an untrackable 3D Camera : Mocha V3 Tutorial
Solving an untrackable 3D Camera : Mocha V3 Tutorial: Product Manager Martin Brennand takes you through using the mocha Camera Solver for a shot that is difficult to solve with point tracking.
Kenan Doğulu Main Title by IDA Pictures
Kenan Doğulu Main Title by IDA Pictures: IDA Pictures Created new Kenan Doğulu Main Title http://www.idapictures.com/
Director: Kaan Özsoy
Creative Director: Kaan Özsoy
Producer: Irmak Atabek
Art Director: Bülent Şengül
Lighting, texturing, rendering: Kaan Özsoy
Compositing: Kaan Özsoy
Modeling&Texture: Ali Jalali
Fluid Simulations: Mirco Paolini
Animations: Emre Büyükbayram
Sound Design&Music: TriOsc
Director: Kaan Özsoy
Creative Director: Kaan Özsoy
Producer: Irmak Atabek
Art Director: Bülent Şengül
Lighting, texturing, rendering: Kaan Özsoy
Compositing: Kaan Özsoy
Modeling&Texture: Ali Jalali
Fluid Simulations: Mirco Paolini
Animations: Emre Büyükbayram
Sound Design&Music: TriOsc
Platige Image created new spot for Kellogg's
Platige Image created new spot for Kellogg's: Platige Image created new spot for Kellogg's brand in cooperation with Stink production house and Leo Burnett/ London agency. It was directed by Tomek Bagiński, produced by Agata Socha and CG supervised by Stanisław Marek.
Agency: Leo Burnett/ London
Production house: Stink
Postproduction house: Platige Image http://www.platige.com/
Agency: Leo Burnett/ London
Production house: Stink
Postproduction house: Platige Image http://www.platige.com/
PipelineFX’s Releases Qube! MobileView App
PipelineFX’s Releases Qube! MobileView App: PipelineFX’s Releases Qube! MobileView App
Customizable App Makes Viewing and Managing Render Farm Jobs Simple, In and Outside the Office; Live Demos at SIGGRAPH 2012 in Booth #516
Honolulu, HI – July 31, 2012 – No one l...
Customizable App Makes Viewing and Managing Render Farm Jobs Simple, In and Outside the Office; Live Demos at SIGGRAPH 2012 in Booth #516
Honolulu, HI – July 31, 2012 – No one l...
OptiTrack to Showcase New Camera Series at SIGGRAPH 2012
OptiTrack to Showcase New Camera Series at SIGGRAPH 2012: OptiTrack to Showcase New Camera Series at SIGGRAPH 2012
Precision Motion Capture and Tracking Technology for Full-Scale Productions; Live Demos and Presentations from Autodesk, Oblong Industries, Fabric Engine and Halon Entertainment in Booth&nb...
Precision Motion Capture and Tracking Technology for Full-Scale Productions; Live Demos and Presentations from Autodesk, Oblong Industries, Fabric Engine and Halon Entertainment in Booth&nb...
DreamWorks Animator Tal shwarzman Animation Reel
DreamWorks Animator Tal shwarzman Animation Reel: DreamWorks Animator Tal Shwarzman Showreel
Awesome Iron man suit test
Awesome Iron man suit test: It was a great day to test out my new Iron man suit !
LightWave 11.5 Coming Soon
LightWave 11.5 Coming Soon: LightWave 11.5 Coming Soon
LightWave 11 burst onto the scene in February this year to acclaim from journalists and users alike. Adding lots of functionality to an already robust package, artists appreciated the built-in instancing, Bullet...
LightWave 11 burst onto the scene in February this year to acclaim from journalists and users alike. Adding lots of functionality to an already robust package, artists appreciated the built-in instancing, Bullet...
Houdini Demo Reel 2012
Houdini Demo Reel 2012: Side Effects Software is proud to release the 2012 Demo Reel featuring the work of Houdini customers worldwide. From Dreamworks Animation in LA to Blue Sky Studios in New York, to Image Engine in Vancouver and Axis Animation in Scotland this has been a busy year for VFX. The high quality work shown in this reel is a small sampling of all the completed shots and demonstrates the power of Houdini's animation and VFX tools. Houdini Demo Reel 2012
Autodesk Post and VFX Show Reel
Autodesk Post and VFX Show Reel: Check out some of the best work from around the world created in Autodesk products like Flame, Smoke, Maya, 3ds Max and Softimage. Autodesk Post and VFX Show Reel:
Rodeo FX - Feature Film Reel 2012
Rodeo FX - Feature Film Reel 2012: Rodeo FX is proud of its reputation for consistently delivering unparalleled quality work, always creative and always with integrity. We are also proud to have maintained long-term relationships with film studios across the globe, advertising agencies all over the world and production companies of the highest caliber. Our Company Reel is a small look at some of our work. Rodeo FX - Feature Film Reel 2012
ZBrush 4R4 released - now available for download
ZBrush 4R4 released - now available for download: ZBrush 4R4 Released
We are pleased to announce the release of ZBrush 4R4 for both Windows & Mac.ZBrush 4R4 continues to expand on creative freedom with a focus on model topology and detail creation. These new features were...
ZBrush 4R4 released - now available for download:
We are pleased to announce the release of ZBrush 4R4 for both Windows & Mac.ZBrush 4R4 continues to expand on creative freedom with a focus on model topology and detail creation. These new features were...
ZBrush 4R4 released - now available for download:
Digital Makeup removing a Blemish using mocha Pro
Digital Makeup removing a Blemish using mocha Pro: mocha guru, Mary Poplin discusses Imagineer Systems' Remove Module, available in mocha Pro.
In this short tutorial, Mary will walk you through a medium difficulty shot with no tracking markers, plenty of lighting shifts, and lots of motion... using only a single cleanplate.Digital Makeup removing a Blemish using mocha Pro
In this short tutorial, Mary will walk you through a medium difficulty shot with no tracking markers, plenty of lighting shifts, and lots of motion... using only a single cleanplate.Digital Makeup removing a Blemish using mocha Pro
Dreamworks Animation Acquire Classic Media
Dreamworks Animation Acquire Classic Media: Dreamworks Animation Agrees to Acquire Classic Media
Casper the Friendly Ghost, Where's Waldo?, Lassie, George of the Jungle and Christmas Classics Among Extensive Portfolio of Intellectual Property Sold to DreamWorks Animation for $155 Million
GLEND... Dreamworks Animation Acquire Classic Media
Casper the Friendly Ghost, Where's Waldo?, Lassie, George of the Jungle and Christmas Classics Among Extensive Portfolio of Intellectual Property Sold to DreamWorks Animation for $155 Million
GLEND... Dreamworks Animation Acquire Classic Media
modo 601 a Main Attraction in CoSA VFX Pipeline
modo 601 a Main Attraction in CoSA VFX Pipeline: modo 601 a Main Attraction in CoSA VFX Pipeline
Invisible Effects for Major Feature Films and TV Shows Achieved with modo-to-Nuke Workflow
modo 601 a Main Attraction in CoSA VFX Pipeline
MOUNTAIN VIEW, Calif. – July 17, 2012 – VFX don’t always need to be blatant to be ef...
Invisible Effects for Major Feature Films and TV Shows Achieved with modo-to-Nuke Workflow
modo 601 a Main Attraction in CoSA VFX Pipeline
MOUNTAIN VIEW, Calif. – July 17, 2012 – VFX don’t always need to be blatant to be ef...
Western X Uses PipelineFX’s Qube! for Talking Puppies Feature
Western X Uses PipelineFX’s Qube! for Talking Puppies Feature: Western X Uses PipelineFX’s Qube! for Talking Puppies Feature
Render Farm Management Software Accelerates Premier Visual Effects Firm’s Animal and Environment-Based Content
Western X Uses PipelineFX’s Qube! for Talking Puppies Feature:
Los Angeles, CA – July 17, 2012 –&nb...
Render Farm Management Software Accelerates Premier Visual Effects Firm’s Animal and Environment-Based Content
Western X Uses PipelineFX’s Qube! for Talking Puppies Feature:
Los Angeles, CA – July 17, 2012 –&nb...
Golaem Crowd now offers procedural rendering directly in Maya Render Window
Golaem Crowd now offers procedural rendering directly in Maya Render Window: Golaem Crowd now offers procedural rendering directly in Maya Render Window
Already compatible in batch mode with the major renderers, Golaem Crowd now offers, with Golaem Crowd 1.5, its lightning fast crowd rendering directly inside the Maya re... Golaem Crowd now offers procedural rendering directly in Maya Render Window
Already compatible in batch mode with the major renderers, Golaem Crowd now offers, with Golaem Crowd 1.5, its lightning fast crowd rendering directly inside the Maya re... Golaem Crowd now offers procedural rendering directly in Maya Render Window
Cebas thinkingParticles 5 Released
Cebas thinkingParticles 5 Released: Cebas thinkingParticles 5 Released
With every major release of thinkingParticles new features are introduced, extending its power and flexibility by a magnitude compared to its predecessor. Release 5 represents a milestone in advancing the feature set... Cebas thinkingParticles 5 Released:
With every major release of thinkingParticles new features are introduced, extending its power and flexibility by a magnitude compared to its predecessor. Release 5 represents a milestone in advancing the feature set... Cebas thinkingParticles 5 Released:
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