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Sunday, May 29, 2011

Maya Intermediate NURBS Modeling Visual Effects Training Video



+ Dover Studios, Inc. today released Maya Intermediate NURBS Modeling, their latest visual effects training video. Maya Intermediate NURBS Modeling digs deeper into Maya's extensive NURBS modeling toolset. In this video visual effects artists, Andrew Hazelden and Russell Hazelden, explore the NURBS modeling techniques used to create an old-fashioned pocket watch. Essential topics include: drawing NURBS curves to define the shape of each watch component, constructing surfaces from curves using a variety of NURBS surfacing tools, reshaping surfaces using soft selection and reflection, and replicating objects along a motion path using the animation snapshot tool.
Discover how to create smooth junctions between surfaces using the circular and freeform fillet tools. Learn how to use the trim tool to remove regions from NURBS surfaces by projecting curves on surfaces and intersecting surfaces. Advanced topics include: fine-tuning NURBS Tessellation settings to produce smooth surfaces at render time and creating an ambient occlusion test render to evaluate the final pocket watch model using the mental ray renderer. Maya Intermediate NURBS Modeling features over 2 hours of crystal clear 1080p high definition video. No steps are left out and every detail is explained with easy to follow step-by-step instructions.

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SCRATCH Automates 2D and 3D VFX Dailies For Thor


+ ASSIMILATE, the leading provider of powerful post-production tools for digital workflows, today revealed details of how its SCRATCH® end-to-end digital cinema and broadcast imaging tool was used to streamline and automate the 2D and 3D stereo VFX dailies review processes during post production of Marvel Entertainment / Paramount Pictures' blockbuster motion picture Thor. SCRATCH was selected for Thor because of its superior capabilities over other systems, including easy integration with database management software, and the real-time playback of media in different resolutions and formats in the same timeline.
The deployment of SCRATCH on Thor was overseen by Danielle Costa, production manager for VFX, whose previous credits as digital production manager and VFX coordinator include 2012, Speed Racer, Spider Man 3, Alexander, The Matrix Revolutions, The Matrix Reloaded and Scooby Doo. For Thor, her role involved developing a workflow and pipeline between the production team and many different outside contributors, including the VFX vendors (BUF, Digital Domain, Whiskytree, Evil Eye Pictures, Fuel Visual Effects, Luma Pictures), the DI house EFilm, and Stereo D which handled the 2D-to-3D conversion.
SCRATCH was integrated with a FileMakerPro database to assemble each day's playlists of all the media connected with a particular shot. This enabled the VFX team, lead by supervisor Wesley Sewell, to constantly ingest and review shots-in-progress every day. Sewell then prepared daily afternoon shot reviews for key production staff, including director Kenneth Branagh and cinematographer Haris Zambarloukos BSC, as well as studio executives from Marvel and Paramount. Overnight, the various VFX vendors typically sent Costa’s team between 3,000 and 5,000 files – mostly image sequences. An individual playlist for one shot could reference upwards of 1,000 different media clips in whatever format might be associated with that shot, such as EXR, DPX, QT and JPEG. Towards the end of post-production, between 200 and 300 shots per day, along with all the associated files, were reviewed in SCRATCH, amounting to many thousands of image clips.
Moreover, Thor was shot anamorphically, so SCRATCH was automated to playback VFX shots in the correct aspect ratio, selectively applying LUTs to DPX frames while ignoring clips such as linear QT and JPEG files. SCRATCH also automatically applied the correct frame-offsets, so that scanned VFX plates and on-going comps would line up accurately. Thor was post-converted from 2D to 3D by LA-based facility Stereo D, and SCRATCH was the production's sole way of reviewing stereo internally at Marvel. Playlist stacks for left and right eye were created automatically, which could then be played back in dual mode for stereo review.
SCRATCH® Six Pricing and Availability
ASSIMILATE is advancing its position of price-performance leadership, with SCRATCH v6 for Mac and Windows at $17,995 USD. SCRATCH V6 ships during Q2 2011.
SCRATCH Lab™ Pricing & Availability
ASSIMILATE is advancing its position of price-performance leadership, with SCRATCH Lab for Mac and Windows at $4,995 USD, and will ship in Q2 2011. To learn more please visit www.assimilateinc.com.

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