That’s a test that I did using Unity3d particles system to create a “magic ball” with mouse tracking , “portal aurea” and other vfx . If you are proficent with other particles system like After Effects or other 3d software package you’ll see that is simple to create nice vfx Read more…
Here is a short demo of the Skinning Converter by Hans Godard. The algorithm is creating Bones, Bones Animations and Skinning Maps. Impressive , congrats Hans!
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Guillermo Del Toro is the original fan boy. The director who has been behind an amazing variation of creatively powerful work, from Hellboy to Pan’s Labyrinth, Del Toro is passionately engaged in the worlds of fantasy and sci-fi. So much so that he acknowledged his own obsession by dubbing his latest effort, Pacific Rim, “robot porn.”
Robot porn it is. The terrifying Kaiju — huge monsters from the depth of the ocean, each with its own physiognomy and personality — meet the 250-foot high Jaegers, man-made and man-directed battleship-like robots. The immensity of these main characters (who play alongside a cast of human actors with their human dramas) can’t be over-stated. Perhaps it’s no surprise that Industrial Light & Magic (ILM), a pioneer in all VFX, brought this all to life.
ILM hard surface modeler David Fogler enumerates some of the stats: The Jaeger ‘Gipsy Danger’ is so large that the Statue of Liberty would only reach its knees. It is 10 times taller than King Kong and its feet are as long as two city buses. She (in the tradition that battleships are referred to as females) takes only two steps to cross a football field.
(L-r) The United States’ Gipsy Danger and Australia’s Striker Eureka.
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First official early in-engine footage for Star Wars Battlefront direclty from E3 2014 ! The game is still clearly super early in development, but you’ll get to see some snippets of in-engine footage and some tantalising glimpses of what’s to come.
The Wolf of Wall Street Scanline VFX Shot Breakdowns Reel. A look at Scanline VFX’s visual effects in director Martin Scorsese’s THE WOLF OF WALL STREET, which received a Visual Effects Society Award nomination for Outstanding Supporting Visual Effects. Scanline VFX is a visual effects company with offices in Los Read more…
IT’S ART gives a behind the scenes peek at Game of Thrones Season 3 in an interview with Pixomondo VFX Supervisor Sven Martin.
Still looking for inspiration for our new exciting challenge based on ‘A Song of Ice and Fire’? We’ve the chance to interview Pixomondo VFX Supervisor, Sven Martin, about the VFX made for Game of Thrones Season 3, focusing on the making of the dragons. A perfect way to start a creative day!
IA: Pixomondo is working since the first season on the VFX of Game Of Thrones TV Show. Could you speak about the evolution of the work you’ve done for the series since 2 years?
SM: With the knowledge of the second season we could start right away with facing the new challenges. The dragons where not just bigger copies of the previous season, actually we had to build them from scratch spending a huge amount of time into design and developing the new features. This time the camera was also much closer to the dragons, so we had to go much more into detail. The jaw e.g. had a special mechanic which could hide in ‘normal’ position and slide out and extend when Dragon goes into threatening mode. The complete inner mouth section had to be very precise with tongue, glands (for fire breathing) and dangerous teeth covered in saliva with the camera facing right at it.
Making-of showing workflow for create hair using Maya, Zbrush, PaintEffect and/or Shave’n Haircut. Superman Project by WiziX Thanks to : Tarkan SarimSaber JlassiErick Miller
Cgi / Animation breakdown by Daniel Pexie by Bobby Pontillas
Warner Bros. Pictures and Village Roadshow have released four clips from the Doug Liman-directed Edge of Tomorrow, as well as almost five minutes of behind-the-scenes footage. Opening in 3D, 2D and IMAX 3D theaters on June 6, the sci-fi thriller stars Tom Cruise, Emily Blunt, Bill Paxton, Jeremy Piven, Ciaran Read more…
The Bafta-winning visual effects behind Gravity, Watch Making of Gravity by Framestore Studio built an astounding 2,200 models for Gravity, from large structures such as the International Space Station to the tiny props floating within it.
It was a remarkable number of asset builds – far more than in a traditional VFX-heavy film. “The number of assets to manage was more akin to that of a CG animated film, but this is on a different scale of complexity entirely as it’s all photo-real. I definitely wouldn’t classify this as a CG film, but it is certainly comparable in terms of the number of assets” says Gravity lead modeller, Ben Lambert.
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