Search results for: “pipeline”


  • Andreas Horn – Want cutting edge AI?

    𝗧𝗵𝗲 𝗯𝘂𝗶𝗹𝗱𝗶𝗻𝗴 𝗯𝗹𝗼𝗰𝗸𝘀 𝗼𝗳 𝗔𝗜 𝗮𝗻𝗱 𝗲𝘀𝘀𝗲𝗻𝘁𝗶𝗮𝗹 𝗽𝗿𝗼𝗰𝗲𝘀𝘀𝗲𝘀:

    – Collect: Data from sensors, logs, and user input.
    – Move/Store: Build infrastructure, pipelines, and reliable data flow.
    – Explore/Transform: Clean, prep, and detect anomalies to make the data usable.
    – Aggregate/Label: Add analytics, metrics, and labels to create training data.
    – Learn/Optimize: Experiment, test, and train AI models.

    𝗧𝗵𝗲 𝗹𝗮𝘆𝗲𝗿𝘀 𝗼𝗳 𝗱𝗮𝘁𝗮 𝗮𝗻𝗱 𝗵𝗼𝘄 𝘁𝗵𝗲𝘆 𝗯𝗲𝗰𝗼𝗺𝗲 𝗶𝗻𝘁𝗲𝗹𝗹𝗶𝗴𝗲𝗻𝘁:

    – Instrumentation and logging: Sensors, logs, and external data capture the raw inputs.
    – Data flow and storage: Pipelines and infrastructure ensure smooth movement and reliable storage.
    – Exploration and transformation: Data is cleaned, prepped, and anomalies are detected.
    – Aggregation and labeling: Analytics, metrics, and labels create structured, usable datasets.
    – Experimenting/AI/ML: Models are trained and optimized using the prepared data.
    – AI insights and actions: Advanced AI generates predictions, insights, and decisions at the top.

    𝗪𝗵𝗼 𝗺𝗮𝗸𝗲𝘀 𝗶𝘁 𝗵𝗮𝗽𝗽𝗲𝗻 𝗮𝗻𝗱 𝗸𝗲𝘆 𝗿𝗼𝗹𝗲𝘀:

    – Data Infrastructure Engineers: Build the foundation — collect, move, and store data.
    – Data Engineers: Prep and transform the data into usable formats.
    – Data Analysts & Scientists: Aggregate, label, and generate insights.
    – Machine Learning Engineers: Optimize and deploy AI models.

    𝗧𝗵𝗲 𝗺𝗮𝗴𝗶𝗰 𝗼𝗳 𝗔𝗜 𝗶𝘀 𝗶𝗻 𝗵𝗼𝘄 𝘁𝗵𝗲𝘀𝗲 𝗹𝗮𝘆𝗲𝗿𝘀 𝗮𝗻𝗱 𝗿𝗼𝗹𝗲𝘀 𝘄𝗼𝗿𝗸 𝘁𝗼𝗴𝗲𝘁𝗵𝗲𝗿. 𝗧𝗵𝗲 𝘀𝘁𝗿𝗼𝗻𝗴𝗲𝗿 𝘆𝗼𝘂𝗿 𝗳𝗼𝘂𝗻𝗱𝗮𝘁𝗶𝗼𝗻, 𝘁𝗵𝗲 𝘀𝗺𝗮𝗿𝘁𝗲𝗿 𝘆𝗼𝘂𝗿 𝗔𝗜.

    https://www.linkedin.com/posts/andreashorn1_%F0%9D%97%AA%F0%9D%97%AE%F0%9D%97%BB%F0%9D%98%81-%F0%9D%97%B0%F0%9D%98%82%F0%9D%98%81%F0%9D%98%81%F0%9D%97%B6%F0%9D%97%BB%F0%9D%97%B4-%F0%9D%97%B2%F0%9D%97%B1%F0%9D%97%B4%F0%9D%97%B2-%F0%9D%97%94%F0%9D%97%9C-%F0%9D%97%A7-activity-7276861752477184000-KvUy

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    Edit Canon R7 & R5C VR180 stereo footage in DaVinci Resolve with Kartaverse KartaVR – Free EOS VR Utility Alternative

     

     

    https://www.pixelsham.com/2024/06/20/capturing-stereo-images-with-the-rf-s7-8mm-f4-stm-dual-and-the-canon-rf-s3-9mm-f3-5-stm-dual-fisheye-lenses-for-eos-r7/

     

    https://kartaverse.github.io/Reactor-Docs/#/com.AndrewHazelden.KartaVR

     

    https://github.com/Kartaverse

     

    Kartaverse is a free open source post-production pipeline that is optimized for the immersive media sector. If you can imagine it, Kartaverse can help you create it in XR!

    “Karta” is the Swedish word for map. With KartaVR you can stitch, composite, retouch, and remap any kind of panoramic video: from any projection to any projection. This provides the essential tools for 360VR, panoramic video stitching, depthmap, lightfield, and fulldome image editing workflows.

    Kartaverse makes it a breeze to accessibly and affordably create content for use with virtual reality HMDs (head mounted displays) and fulldome theatres by providing ready to go scripts, templates, plugins, and command-line tools that allow you to work efficiently with XR media. The toolset works inside of Blackmagic Design’s powerful node based Fusion Studio and DaVinci Resolve Studio software.

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    R3DS Wrap4D – generate topology from animated textures

    https://www.russian3dscanner.com/wrap4d/

    R3DS Wrap4D is an extended version of Wrap designed specifically for 4D processing. It takes a sequence of textured 3D scans as an input and produces a sequence of meshes with a consistent topology as an output.

    The solution includes 12 new nodes. At the heart of the pipeline is the FacialWrapping node which combines the power of the BlendWrapping node with the results from the lip and eyelid detector. The idea behind the node is to provide a robust result that doesn’t require cleanup.

     

     

  • USD Alab open source scene

    animallogic.com/usd-alab/

    The USD ALab data set is the Animal Logic interpretation and implementation of real world production and pipeline concepts. There are two downloads available, including guiding documents and two sets of textures.

    The first download contains the ALab scene assets themselves, derived from our production assets and conformed for compatibility to allow them to load in any tool which supports USD.

    The second download is an optional extra, a “production rendering Texture Pack,” which delivers 4K OpenEXR textures with udims for production style rendering.

  • Walt Disney Animation Amps Up Production With New Vancouver Studio

    https://www.awn.com/blog/blame-canada-and-covid

     

    deadline.com/2021/08/walt-disney-animation-studios-vancouver-studio-what-if-1234809175/

     

    Effective next year, Walt Disney Animation Studios is throwing the doors open to a new facility in Vancouver, BC that will focus on long-form series and special projects for Disney+. The first in the pipeline is the anticipated, feature-quality musical series Moana.

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    Advanced Computer Vision with Python OpenCV and Mediapipe

    https://www.freecodecamp.org/news/advanced-computer-vision-with-python

     

    https://www.freecodecamp.org/news/how-to-use-opencv-and-python-for-computer-vision-and-ai

     

     

    Working for a VFX (Visual Effects) studio provides numerous opportunities to leverage the power of Python and OpenCV for various tasks. OpenCV is a versatile computer vision library that can be applied to many aspects of the VFX pipeline. Here’s a detailed list of opportunities to take advantage of Python and OpenCV in a VFX studio:

     

    1. Image and Video Processing:
      • Preprocessing: Python and OpenCV can be used for tasks like resizing, color correction, noise reduction, and frame interpolation to prepare images and videos for further processing.
      • Format Conversion: Convert between different image and video formats using OpenCV’s capabilities.
    2. Tracking and Matchmoving:
      • Feature Detection and Tracking: Utilize OpenCV to detect and track features in image sequences, which is essential for matchmoving tasks to integrate computer-generated elements into live-action footage.
    3. Rotoscoping and Masking:
      • Segmentation and Masking: Use OpenCV for creating and manipulating masks and alpha channels for various VFX tasks, like isolating objects or characters from their backgrounds.
    4. Camera Calibration:
      • Intrinsic and Extrinsic Calibration: Python and OpenCV can help calibrate cameras for accurate 3D scene reconstruction and camera tracking.
    5. 3D Scene Reconstruction:
      • Stereoscopy: Use OpenCV to process stereoscopic image pairs for creating 3D depth maps and generating realistic 3D scenes.
      • Structure from Motion (SfM): Implement SfM techniques to create 3D models from 2D image sequences.
    6. Green Screen and Blue Screen Keying:
      • Chroma Keying: Implement advanced keying algorithms using OpenCV to seamlessly integrate actors and objects into virtual environments.
    7. Particle and Fluid Simulations:
      • Particle Tracking: Utilize OpenCV to track and manipulate particles in fluid simulations for more realistic visual effects.
    8. Motion Analysis:
      • Optical Flow: Implement optical flow algorithms to analyze motion patterns in footage, useful for creating dynamic VFX elements that follow the motion of objects.
    9. Virtual Set Extension:
      • Camera Projection: Use camera calibration techniques to project virtual environments onto physical sets, extending the visual scope of a scene.
    10. Color Grading:
      • Color Correction: Implement custom color grading algorithms to match the color tones and moods of different shots.
    11. Automated QC (Quality Control):
      • Artifact Detection: Develop Python scripts to automatically detect and flag visual artifacts like noise, flicker, or compression artifacts in rendered frames.
    12. Data Analysis and Visualization:
      • Performance Metrics: Use Python to analyze rendering times and optimize the rendering process.
      • Data Visualization: Generate graphs and charts to visualize render farm usage, project progress, and resource allocation.
    13. Automating Repetitive Tasks:
      • Batch Processing: Automate repetitive tasks like resizing images, applying filters, or converting file formats across multiple shots.
    14. Machine Learning Integration:
      • Object Detection: Integrate machine learning models (using frameworks like TensorFlow or PyTorch) to detect and track specific objects or elements within scenes.
    15. Pipeline Integration:
      • Custom Tools: Develop Python scripts and tools to integrate OpenCV-based processes seamlessly into the studio’s pipeline.
    16. Real-time Visualization:
      • Live Previsualization: Implement real-time OpenCV-based visualizations to aid decision-making during the preproduction stage.
    17. VR and AR Integration:
      • Augmented Reality: Use Python and OpenCV to integrate virtual elements into real-world footage, creating compelling AR experiences.
    18. Camera Effects:
      • Lens Distortion: Correct lens distortions and apply various camera effects using OpenCV, contributing to the desired visual style.

     

    Interpolating frames from an EXR sequence using OpenCV can be useful when you have only every second frame of a final render and you want to create smoother motion by generating intermediate frames. However, keep in mind that interpolating frames might not always yield perfect results, especially if there are complex changes between frames. Here’s a basic example of how you might use OpenCV to achieve this:

     

    import cv2
    import numpy as np
    import os
    
    # Replace with the path to your EXR frames
    exr_folder = "path_to_exr_frames"
    
    # Replace with the appropriate frame extension and naming convention
    frame_template = "frame_{:04d}.exr"
    
    # Define the range of frame numbers you have
    start_frame = 1
    end_frame = 100
    step = 2
    
    # Define the output folder for interpolated frames
    output_folder = "output_interpolated_frames"
    os.makedirs(output_folder, exist_ok=True)
    
    # Loop through the frame range and interpolate
    for frame_num in range(start_frame, end_frame + 1, step):
        frame_path = os.path.join(exr_folder, frame_template.format(frame_num))
        next_frame_path = os.path.join(exr_folder, frame_template.format(frame_num + step))
    
        if os.path.exists(frame_path) and os.path.exists(next_frame_path):
            frame = cv2.imread(frame_path, cv2.IMREAD_ANYDEPTH | cv2.IMREAD_COLOR)
            next_frame = cv2.imread(next_frame_path, cv2.IMREAD_ANYDEPTH | cv2.IMREAD_COLOR)
    
            # Interpolate frames using simple averaging
            interpolated_frame = (frame + next_frame) / 2
    
            # Save interpolated frame
            output_path = os.path.join(output_folder, frame_template.format(frame_num))
            cv2.imwrite(output_path, interpolated_frame)
    
            print(f"Interpolated frame {frame_num}") # alternatively: print("Interpolated frame {}".format(frame_num))
    
    
    
    

     

    Please note the following points:

     

    • The above example uses simple averaging to interpolate frames. More advanced interpolation methods might provide better results, such as motion-based algorithms like optical flow-based interpolation.
    • EXR files can store high dynamic range (HDR) data, so make sure to use cv2.IMREAD_ANYDEPTH flag when reading these files.
    • OpenCV might not support EXR format directly. You might need to use a library like exr to read and manipulate EXR files, and then convert them to OpenCV-compatible formats.
    • Consider the characteristics of your specific render when using interpolation. If there are large changes between frames, the interpolation might lead to artifacts.
    • Experiment with different interpolation methods and parameters to achieve the desired result.
    • For a more advanced and accurate interpolation, you might need to implement or use existing algorithms that take into account motion estimation and compensation.

     

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    AnimationXpress.com interviews Daniele Tosti for TheCgCareer.com channel

    https://www.animationxpress.com/vfx/meet-daniele-tosti-a-senior-cg-artist-who-is-on-a-mission-to-inspire-the-next-generation-of-artists/

     

    You’ve been in the VFX Industry for over a decade. Tell us about your journey.

    It all started with my older brother giving me a Commodore64 personal computer as a gift back in the late 80′. I realised then I could create something directly from my imagination using this new digital media format. And, eventually, make a living in the process.
    That led me to start my professional career in 1990. From live TV to games to animation. All the way to live action VFX in the recent years.

    I really never stopped to crave to create art since those early days. And I have been incredibly fortunate to work with really great talent along the way, which made my journey so much more effective.

     

    What inspired you to pursue VFX as a career?

    An incredible combination of opportunities, really. The opportunity to express myself as an artist and earn money in the process. The opportunity to learn about how the world around us works and how best solve problems. The opportunity to share my time with other talented people with similar passions. The opportunity to grow and adapt to new challenges. The opportunity to develop something that was never done before. A perfect storm of creativity that fed my continuous curiosity about life and genuinely drove my inspiration.

     

    Tell us about the projects you’ve particularly enjoyed working on in your career

    I quite enjoyed working on live TV projects, as the combination of tight deadlines and high quality was quite an incredible learning platform as a professional artist. But working on large, high end live action feature projects was really where I learnt most of my trade. And gave me the most satisfaction.

    Every film I worked on had some memorable experiences. Right from Avatar to Iron Man 3 to Jungle Book to The Planet of the Apes to The Hobbits to name a few.

    But above all, the technical challenges and the high quality we reached in each and every of the projects that I worked on, the best memories come from working with amazing and skilled artists, from a variety of disciplines. As those were my true mentors and became my best friends.

    Post Production, Animation, VFX, Motion Graphics, Video Editing …

     

    What are some technologies and trends that you think are emerging in the VFX Industry?

    In the last few years there has definitely been a bias from some major studios to make VFX a commodity. In the more negative sense of the word. When any product reaches a level of quality that attracts a mass of consumers and reaches a plateau of opportunities, large corporation tend to respond with maximising its sale values by leveraging marketing schemes and deliverable more than the core values of the product itself. This is often a commoditisation approach that tends to empower agents who are not necessarily knowledgeable of a product’s cycles, and in that process, lowering the quality of the product itself for the sake of profits. It is a pretty common event in modern society and it applies to any brand name, not just VFX.

    One challenge with VFX’s technology and artistry is that it relies on the effectiveness of artists and visionaries for the most. And limiting the authority, ownerships and perspective of such a crowd has definitely directly impacted the overall quality of the last decade of productions, both technically and artistically. There are very few and apart creative forces who have been able to deliver project that one could identify as a truly creative breakthrough. While the majority of productions seem to have suffered from some of these commoditisation patterns.

    The other bigger challenge with this current trend is that VFX, due to various, historical business arrangements, is often relying on unbalanced resources as well as very small and feeble economic cycles and margins. Which make the entire industry extremely susceptible to marketing failures and to unstable leadership. As a few recent bankruptcies have demonstrated.

    It is taking some reasonable time for the VFX crowd to acknowledge these trends and learn to be profitable, as the majority has never been educated on fair business practices.

    But. Thankfully, the VFX circle is also a crowd of extremely adaptable and talented individuals, who are quite capable at resolving issues, finding alternatives and leveraging their passion. Which I believe is one of the drives behind the current evolution in the use of artificial intelligence, virtual reality, virtual production, real time rendering, and so on.

    There is still a long path ahead of us but I hope we are all learning ways to make our passion speaks in profitable ways for everyone.

    It is also highly likely that, in a near future, larger software and hardware corporation, thanks to their more profitable business practices, large development teams and better understanding of marketing, will eventually take over a lot of the cycles that the current production houses currently run. And in that process allow creative studios to focus back on VFX artistry.

     

    What effect has the pandemics-induced lockdown had on the industry?

    It is still early to say. I fear that if live action production does not start soon, we may see some of the economic challenges I mention above. At both studio and artists’ scale. There is definitely a push from production houses to make large distribution clients understand the fragility of the moment, especially in relation to payment cycles and economic support. Thus, there is still a fair risk that the few studios which adopted a more commoditised view to production will make their artists pay some price for their choices.

    But, any challenge brings opportunities. For example, there is finally some recognition into a momentum to rely on work-from-home as a feasible solution to a lot of the current office production’s limitations and general artistry restrictions. Which, while there is no win-win in this pandemic, could be a silver lining.

     

    What would you say to the budding artists who wish to become CG artists or VFX professionals?

    Follow your passion but treat this career as any other business.
    Learn to be adaptable. Find a true balance between professional and family life. Carefully plan your future. And watch our channel to learn more about all these.

    Being a VFX artist is fundamentally based on mistrust.
    This because schedules, pipelines, technology, creative calls… all have a native and naive instability to them that causes everyone to grow a genuine but beneficial lack of trust in the status quoThe VFX motto: “Love everyone but trust no one” is born on that.

     

    What inspired you to create a channel for aspiring artists?

    As many fellow and respected artists, I love this industry, but I had to understand a lot of business practices at my own expenses.
    You can learn tools, cycles and software from books and schools. But production life tends to drive its own rhythms and there are fewer opportunities to absorb those.

    Along my career I had some challenges finding professional willing to share their time to invest into me. But I was still extremely fortunate to find other mentors who helped me to be economically and professionally successful in this business. I owe a lot to these people. I promised myself I would exchange that favour by helping other artists, myself.

     

    What can students expect to learn from your channel?

    I am excited to have the opportunity to fill some of the voids that the current education systems and industry may have. This by helping new artists with true life stories by some of the most accomplished and successful talents I met during my career. We will talk about technology trends as much as our life experiences as artists. Discussing career advises. Trying to look into the future of the industry. And suggesting professional tips. The aim through this mentor-ship is to inspire new generations to focus on what is more important for the VFX industry. Take responsibilities for their art and passions as much as their families.

    And, in the process, to feel empowered to materialise from their imagination more and more of those creative, awe inspiring moments that this art form has gifted us with so far.

     

    http://TheCGCareer.com

     

  • Pandemic Production Prospects, Possibilities, Concerns

    www.shootonline.com/news/pandemic-production-prospects-possibilities-concerns

     

    “For many, production has stopped in its tracks due to the coronavirus pandemic. ”

     

    “Others have stepped up their in-house activity, tapping into their homegrown production and post capabilities.” [Or working from home]

     

    “While losing the physical proximity and communal nature of collaboration, creatives and artists have managed to stay connected through technology”

     

    “While some projects have “completely died,” said Gavin Wellsman [a creative director at The Mill in New York], others are still in the pipeline and have adapted to a world where social distancing is imperative and live-action production as we’ve known it is no longer feasible at the moment. Clients are turning to visual effects, CG and other options.”

     

    “Still, much work has fallen by the wayside. And many projects don’t translate properly from live action to another [full CG] discipline.”

     

    “London-based independent production house MindsEye launched HomeStudio…. HomeStudio brings together a lineup of directors who have their own equipment, DPs with studio space, and stop-frame animators who can turn out content in this period of imposed self-isolation. This isn’t a roster of talent that a company has signed in the traditional sense; rather it’s a collection of talent that’s being made available to agencies and brands.”

     

    “However, ingenuity, imagination and improvisation can only go so far when production and post companies are suffering from poor cash flow, a situation which is exacerbated by the COVID-19 crisis. …many companies would settle for–or at least welcome with open arms–getting paid in a timely fashion by marketers and ad agencies for services already rendered. ”

     

    “In a live poll of over 500 AICP member participants during a Zoom Town Hall last month, the issue of outstanding receivables was the most immediate concern. It was found that 28% of companies reported that they are owed in excess of $1 million, while 23% are owed between $500,000-$1 million and 34% are owed between $100,000-$500,000. The members were also polled on how late these payments are: 29% reported that payments are 45 or more days late (per their contracted terms), and one-third are 30-45 days late. Extrapolating across the industry, conservatively, this is well in excess of $200 million.”

     

    “Matt Miller, president and CEO of AICP: A healthy production and post community is integral to the overall economy’s recovery once we are clear of the pandemic. Production and post talent will be needed to help brands connect with the consumer marketplace and bring it back to life. It’s thus in the interest of [all] marketers and agencies to do what they can–and should do–to contribute to keeping the production and post sectors whole. “

  • , ,

    Ethan Roffler interviews CG Supervisor Daniele Tosti

    Ethan Roffler
    I recently had the honor of interviewing this VFX genius and gained great insight into what it takes to work in the entertainment industry. Keep in mind, these questions are coming from an artist’s perspective but can be applied to any creative individual looking for some wisdom from a professional. So grab a drink, sit back, and enjoy this fun and insightful conversation.



    Ethan

    To start, I just wanted to say thank you so much for taking the time for this interview!

    Daniele
    My pleasure.
    When I started my career I struggled to find help. Even people in the industry at the time were not that helpful. Because of that, I decided very early on that I was going to do exactly the opposite. I spend most of my weekends talking or helping students. ;)

    Ethan
    That’s awesome! I have also come across the same struggle! Just a heads up, this will probably be the most informal interview you’ll ever have haha! Okay, so let’s start with a small introduction!

    Daniele
    Short introduction: I worked very hard and got lucky enough to work on great shows with great people. ;) Slightly longer version: I started working for a TV channel, very early, while I was learning about CG. Slowly made my way across the world, working along very great people and amazing shows. I learned that to be successful in this business, you have to really love what you do as much as respecting the people around you. What you do will improve to the final product; the way you work with people will make a difference in your life.

    Ethan
    How long have you been an artist?

    Daniele
    Loaded question. I believe I am still trying and craving to be one. After each production I finish I realize how much I still do not know. And how many things I would like to try. I guess in my CG Sup and generalist world, being an artist is about learning as much about the latest technologies and production cycles as I can, then putting that in practice. Having said that, I do consider myself a cinematographer first, as I have been doing that for about 25 years now.

    Ethan
    Words of true wisdom, the more I know the less I know:) How did you get your start in the industry?
    How did you break into such a competitive field?

    Daniele
    There were not many schools when I started. It was all about a few magazines, some books, and pushing software around trying to learn how to make pretty images. Opportunities opened because of that knowledge! The true break was learning to work hard to achieve a Suspension of Disbelief in my work that people would recognize as such. It’s not something everyone can do, but I was fortunate to not be scared of working hard, being a quick learner and having very good supervisors and colleagues to learn from.

    Ethan
    Which do you think is better, having a solid art degree or a strong portfolio?

    Daniele
    Very good question. A strong portfolio will get you a job now. A solid strong degree will likely get you a job for a longer period. Let me digress here; Working as an artist is not about being an artist, it’s about making money as an artist. Most people fail to make that difference and have either a poor career or lack the understanding to make a stable one. One should never mix art with working as an artist. You can do both only if you understand business and are fair to yourself.



    Ethan

    That’s probably the most helpful answer to that question I have ever heard.
    What’s some advice you can offer to someone just starting out who wants to break into the industry?

    Daniele
    Breaking in the industry is not just about knowing your art. It’s about knowing good business practices. Prepare a good demo reel based on the skill you are applying for; research all the places where you want to apply and why; send as many reels around; follow up each reel with a phone call. Business is all about right time, right place.

    Ethan
    A follow-up question to that is: Would you consider it a bad practice to send your demo reels out in mass quantity rather than focusing on a handful of companies to research and apply for?

    Daniele
    Depends how desperate you are… I would say research is a must. To improve your options, you need to know which company is working on what and what skills they are after. If you were selling vacuum cleaners you probably would not want to waste energy contacting shoemakers or cattle farmers.

    Ethan
    What do you think the biggest killer of creativity and productivity is for you?

    Daniele
    Money…If you were thinking as an artist. ;) If you were thinking about making money as an artist… then I would say “thinking that you work alone”.

    Ethan
    Best. Answer. Ever.
    What are ways you fight complacency and maintain fresh ideas, outlooks, and perspectives

    Daniele
    Two things: Challenge yourself to go outside your comfort zone. And think outside of the box.

    Ethan
    What are the ways/habits you have that challenge yourself to get out of your comfort zone and think outside the box?

    Daniele
    If you think you are a good character painter, pick up a camera and go take pictures of amazing landscapes. If you think you are good only at painting or sketching, learn how to code in python. If you cannot solve a problem, that being a project or a person, learn to ask for help or learn about looking at the problem from various perspectives. If you are introvert, learn to be extrovert. And vice versa. And so on…

    Ethan
    How do you avoid burnout?

    Daniele
    Oh… I wish I learned about this earlier. I think anyone that has a passion in something is at risk of burning out. Artists, more than many, because we see the world differently and our passion goes deep. You avoid burnouts by thinking that you are in a long term plan and that you have an obligation to pay or repay your talent by supporting and cherishing yourself and your family, not your paycheck. You do this by treating your art as a business and using business skills when dealing with your career and using artistic skills only when you are dealing with a project itself.

    Ethan
    Looking back, what was a big defining moment for you?

    Daniele
    Recognizing that people around you, those being colleagues, friends or family, come first.
    It changed my career overnight.

    Ethan
    Who are some of your personal heroes?

    Daniele
    Too many to list. Most recently… James Cameron; Joe Letteri; Lawrence Krauss; Richard Dawkins. Because they all mix science, art, and poetry in their own way.

    Ethan
    Last question:
    What’s your dream job? ;)

    Daniele
    Teaching artists to be better at being business people… as it will help us all improve our lives and the careers we took…

    Being a VFX artist is fundamentally based on mistrust.
    This because schedules, pipelines, technology, creative calls… all have a native and naive instability to them that causes everyone to grow a genuine but beneficial lack of trust in the status quo. This is a fine balance act to build into your character. The VFX motto: “Love everyone but trust no one” is born on that.

     

  • , ,

    I’m Phil Tippett, stop-motion animator, director, dinosaur supervisor. And the status of VFX.

    http://www.reddit.com/r/IAmA/comments/1r5h9b/im_phil_tippett_stopmotion_animator_director

     

    LA Animator:
    What, in your opinion, is broken in the current VFX workflow? What things would you like to most see change?
    Endless revisions?
    Disconnect between Director and artists/VFX facility?
    Bidding process? etc?

     

    Phil Tippet:

    In the olden days, producers knew what visual effects were. Now they’ve gotten into this methodology where they’ll hire a middleman – a visual effects supervisor, and this person works for the producing studio. They’re middle managers.

     

    And when you go into a review with one of them, there’s this weird sort of competition that happens. It’s a game called ‘Find What’s Wrong With This Shot’. And there’s always going to be something wrong, because everything’s subjective. And you can micromanage it down to a pixel, and that happens all the time.

     

    We’re doing it digitally, so there’s no pressure to save on film costs or whatever, so it’s not unusual to go through 500 revisions of the same shot, moving pixels around and scrutinizing this or that.

     

    That’s not how you manage artists. You encourage artists, and then you’ll get – you know – art. If your idea of managing artists is just pointing out what’s wrong and making them fix it over and over again, you end up with artists who just stand around asking “OK lady, where do you want this sofa? You want it over there? No? Fine. You want it over there? I don’t give a fuck. I’ll put it wherever you want it.”

     

    It’s creative mismanagement, it’s part of the whole corporate modality. The fish stinks from the head on down. Back on Star Wars, Robocop, we never thought about what was wrong with a shot. We just thought about how to make it better.

     

    This resonates with the VES 2008′ Status Of VFX white-paper written by Renee Dunlop, Paul Malcolm, Eric Roth for the Visual Effects Society in July 2008. A critical effort in educating the production world on the status of the current use of visual effects:

     

    “While digital visual effects have opened the door wide to tremendous opportunity, those working in the
    pipeline are still jostling to claim their place in the process.

     

    Though it is understandable that different crafts want to protect their own territory, safeguarding
    the old ways of doing things often gets in the way of creating partnerships.

     

    · An oft-heard concern raised by Art Directors and Production Designers has been a lack
    of consistency throughout the pipeline and the impact new technologies used by VFX
    artists will have on their work. However, the fact is that part of a VFX Supervisor’s
    responsibility is to maintain communication with DPs and Art Directors to ensure that
    the final product reflects what those parties wanted.

     

    · Often it is difficult to determine who is in charge of certain creative decisions that
    overlap craft boundaries.

     

    · There are cultural and generational factors to consider. A lot of Directors don’t want to
    commit to what the shot’s going to be until they’re in post. However, many younger
    Directors are very open to manipulating images early on.

     

    · On many, if not most, projects, Art Directors and DPs are often on another project and
    no longer accessible to VFX artists after the shoot. Unfortunately, this is when VFX
    Supervisors are finalizing their work in post, which impacts the work done earlier by
    other craftspeople.

     

    Yet another factor is time. As studios continue to push for shorter production periods, putting
    together the perfect pipeline becomes increasingly difficult. As Alex Funke, Visual Effects
    Supervisor and DP says:

    “In a perfect world, the live action would be shot first, the miniatures would
    shoot second and then the digital effects would assemble and enhance the
    whole mix. But it doesn’t usually happen that way. It’s more likely that the
    miniatures will be shooting along with the live action, and the digital artists will
    be trying to get rough assemblies of shots done so they can find out just how
    much work they will have to do.””

     

    “Some of these cultural changes need to begin within the visual effects community itself.
    As VFX Supervisor and former Visual Effects Society Board Chair Jeffrey A. Okun noted:

    “In our earnest desire to get a seat at the ‘adults table’ of the business, we have
    been engaged in a 30-year publicity campaign to make everyone aware of what
    we do and how we do it. In this process we have focused on the success stories
    and hidden away the terrible truth of how we got to those successes. As far as
    the public, most directors and producers are concerned, they are not at all aware
    of how time and hands-on intensive the process really is. What we need to do is
    begin telling the painful truth.””

     

    “Visual effects artists need to bring other practitioners into the VFX production process as part of
    the education process. Unfortunately, this often proves difficult because of long-standing
    territorial issues. As productions are shared throughout the international production community,
    consistency and quality can be difficult for Department Heads to monitor.”

     

    “As anyone with even a modicum of experience in the entertainment industry knows, nothing
    ever changes unless producers can be convinced that it’s in their best economic interest. That
    said, visual effects professionals have a very convincing argument to make with producers
    about the need to re-evaluate the impact of VFX on the bottom line.

     

    Roughly 20 out of the top 25 highest grossing films of all time are visual effects films. Visual
    effects typically take 25-50% or more of an entire show’s budget, an estimate that is often
    admitted as low. In animated films, that number is far higher. Clearly, the work, the creative
    product, and the practitioners of the visual effects industry all have an enormous impact on the
    producers’ bottom line and the show’s eventual success in the marketplace.

     

    Essentially, if visual effects artists are included in decision making up front, productions costs
    will drop because the VFX artists can help streamline the production path in telling the
    Director’s story. They can be instrumental in offering more choices that help guide and
    generate better creative and production decisions and, therefore, a more efficient production
    schedule.”

     

  • ReelMatters.com

    The owner of ReelMatters is a creative Supervisor with over 34 years of production experience in various fields of the entertainment business.

    During this period he has contributed to Productions for some of the most distinguished and internationally recognized studios and facilities including Walt Disney Pictures, Sony Pictures Imageworks, Universal Pictures, Weta Digital, Image Engine, C.O.R.E Feature Animation, Framestore CFC, Moving Picture Company, UPN, Atari, Seneca Colleges, Hasbro, DKP Studios, Artech Studios and FOX.

    In 2001 he was awarded as one of the fifty most recognized Maya developers by French magazine: Pixelcreation. He has been named in various technical contributions published online for organizations such as VFX World, Autodesk Alias and Highend3D.

    Covering various production roles, such as HOD, CG Supervisor, Art Director, Lighting Supervisor, and lead Technical Director, he has led and supervised teams up to 40 people to successful deadlines in various production types; from video games, to broadcast television and theatrically released feature films.

    His expertise range from modeling and look development, to lighting, rendering, VFX and to pipeline implementation.

    PixelSham.com is now the direct portal for ReelMatters‘ blog and industry news.

     

  • An Open Letter to Ang Lee

    http://vfxsoldier.wordpress.com/2013/02/24/an-open-letter-to-ang-lee/

    Dear Mr. Lee, When asked about the bankruptcy of Rhythm + Hues, the visual effects house largely responsible for making your film “life of Pi” as incredible as it was, you said: “I would like it to be cheaper and not a tough business [for VFX vendors].

    (more…)

  • The Price Of The VFX Overtime Death March

    vfxsoldier.wordpress.com An article is making the rounds promoting the 40-hour week and explains how long work hours have proven to cost workers and their employers more of their time, their money, and their health.

    (more…)

  • An Open Letter To VFX Artists And The Entertainment Industry At Large Visual Effects Society 2.0‏


    http://www.visualeffectssociety.com/node/2425

    As an Honorary Society, VES has led the way in promoting the incredible work of VFX artists but so far no one has stood up to lead the way on the business side of our business. No one has been able to speak out for unrepresented artists and facilities – or the craft as a whole – in any meaningful way.

    (more…)

  • Fabric engine

    https://www.youtube.com/watch?v=50qCYaCapi0

    Fabric Software has discontinued work on Fabric Engine, its much-praised framework for developing custom tools for VFX and games pipelines, along with its supporting tools for DCC software.

    http://www.cgsociety.org/index.php/CGSFeatures/CGSFeatureSpecial/fabric_engine?utm_source=CGSociety+Newsletter&utm_medium=email&utm_campaign=CGSNL%232+December  

    a computational engine, that will enable web developers to tap into a computer’s multi-core power to bring multi-threaded performance in a web browser.

    Used for Image/video processing – 3D Interaction (games, storytelling, interactive manuals) – Perceptual/Visual computing – Simulation (physics, crowds, financial, etc) – Visualization for use in medical, engineering, and oil and gas – Raw computation – Data mining – Business intelligence – Semantic analysis – Recommendation engines – Large-scale simulations – Other computationally intensive applications

  • , ,

    OpenColorIO standard

    http://opencolorio.org/

     

    https://www.provideocoalition.com/color-management-part-11-introducing-opencolorio/

     

    OpenColorIO (OCIO) is a new open source project from Sony Imageworks.

     

    Based on development started in 2003, OCIO enables color transforms and image display to be handled in a consistent manner across multiple graphics applications. Unlike other color management solutions, OCIO is geared towards motion-picture post production, with an emphasis on visual effects and animation color pipelines.

     

pIXELsHAM