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BEN CAMPANARO digital compositor [email protected] | www.bencampanaro.com Los Angeles, CA | Member of The Animation Guild, IATSE Local 839 profile Emmy-Nominated digital compositor, with proven success as both an artist and an "in-the-trenches" supervisor of popular live-action and animated feature film, television, and commercial projects Excels in a fast-paced environment, specializing in efficiently solving the most daunting creative and technical challenges experience DreamWorks Feature Animation – Glendale, CA (Remote) Image Finaling Artist (Contract) Dec 2020 – Present Addressed detailed technical and creative notes on stereoscopic composites received from Lighting teams Typeset and composited replacement text elements for release in international markets Method Studios – Santa Monica, CA (Remote) Senior Compositor (Contract) Sep 2020 – Dec 2020 DNEG – Hollywood / Burbank, CA Senior Compositor (Contract) Feb 2019 – Jun 2019 Designed looks and composited magical effects, creatures, and environments for "The Dark Crystal: Age of Resistance" Prepared templates, triaged broken scripts, and finaled shots from fellow artists FuseFX – Burbank / Van Nuys, CA Digital FX Supervisor / Compositing Supervisor / Senior Compositor Nov 2015 – Jul 2018 Composited hero shots & sequences across more than 120 hours of Broadcast, Streaming, and Commercial productions Managed teams ranging from 2-50 artists with varying levels of experience Developed key looks, designed script templates for team continuity, and finaled sequences/episodes as needed -
Bachelorarbeit Performance Evaluation of Evotis Within a Visual Effects Environment
Bachelorarbeit im Studiengang Audiovisuelle Medien Performance Evaluation of Evotis within a Visual Effects Environment vorgelegt von Tim Klink an der Hochschule der Medien Stuttgart am 13. August 2018 zur Erlangung des akademischen Grades eines Bachelor of Engineering Erst-Prüfer: Prof. Katja Schmid (Hochschule der Medien) Zweit-Prüfer: David Harter (Scanline VFX GmbH) Eidesstattliche Erklärung „Hiermit versichere ich, Tim Klink, an Eides Statt, dass ich die vorliegende Bachelorarbeit mit dem Titel: „Performance Evaluation of Evotis within a Visual Effects Environment" selbstständig und ohne fremde Hilfe verfasst und keine anderen als die angegebenen Hilfsmittel benutzt habe. Die Stellen der Arbeit, die dem Wortlaut oder dem Sinn nach anderen Werken entnommen wurden, sind in jedem Fall unter Angabe der Quelle kenntlich gemacht. Die Arbeit ist noch nicht veröffentlicht oder in anderer Form als Prüfungsleistung vorgelegt worden. Ich habe die Bedeutung der eidesstattlichen Versicherung und die prüfungsrechtlichen Folgen (§26 Abs. 2 Bachelor-SPO (6 Semester), § 23 Abs. 2 Bachelor-SPO (7 Semester) bzw. § 19 Abs. 2 Master-SPO der HdM) sowie die strafrechtlichen Folgen (gem. § 156 StGB) einer unrichtigen oder unvollständigen eidesstattlichen Versicherung zur Kenntnis genommen.“ _____________________Fellbach, 13.08.2018 _____________________________________ Ort, Datum Unterschrift i Abstract Due to the rise of visual effects in film, TV, commercials, games and VR over the last decade and increased competition within the VFX industry it is integral for any major VFX company to always lead through innovations that streamline their production. However, the last big change to intermediate file types came with deep image technology, invented 18 years ago. To determine whether Evotis, a new rendering-sample based non- uniform image technology, has the potential to be the next improvement to the intermediate workflow several performance tests were conducted, benefits and disadvantages discussed, and potential improvements proposed. -
View the Revised S2018 Advance Program
PLAN YOUR EXPERIENCE ADVANCE PROGRAM The 45th International Conference & Exhibition on Computer Graphics and Interactive Techniques TABLE OF CONTENTS SCHEDULE AT A GLANCE ................................................... 3 CURATED CONTENT REASONS TO ATTEND ......................................................... 6 SIGGRAPH 2018 offers several events and sessions that are individually chosen by program chairs to CONFERENCE OVERVIEW ...................................................7 address specific topics in computer graphics and interactive techniques. CONFERENCE SCHEDULE ................................................ 10 Curated content is not selected through the regular APPY HOUR ..........................................................................19 channels of a comprehensive jury. ART GALLERY ......................................................................20 ART PAPERS........................................................................23 INTEREST AREAS SIGGRAPH brings together a wide variety of BUSINESS SYMPOSIUM ...................................................25 professionals who approach computer graphics and COMPUTER ANIMATION FESTIVAL: interactive techniques from different perspectives. ELECTONIC THEATER ........................................................26 Our programs and events align with five broad interest areas (listed below). Use these interest areas to help COMPUTER ANIMATION FESTIVAL: VR THEATER ........ 27 guide you through the content at SIGGRAPH 2018. COURSES .............................................................................28 -
УДК 624.01, 004.9 ББК 30.4С515 Ч56 Чехлов Д. А. Ч56 V-Ray Для
УДК 624.01, 004.9 ББК 30.4с515 Ч56 Чехлов Д. А. Ч56 V-Ray для Autodesk Maya. Руководство по визуализации. – М.: ДМК Пресс, 2020. – 808 с.: ил. ISBN 978-5-97060-870-8 В этом руководстве подробно описывается работа в системе визуализации V-Ray for Maya. Затрагиваются такие темы, как настройка ядра системы визуализации, создание материалов, установка освещения и камер. Приведены практические примеры и продемонстрированы современные технологии, используемые в про- цессе визуализации синтетических изображений. Профессиональные пользо- ватели смогут ознакомиться с форматом данных V-Ray и процессом экспорта сцены из Maya в V-Ray Standalone, а также разобраться с ручным развертыванием V-Ray. Издание адресовано в первую очередь специалистам в области разработки материалов, освещения и финальной визуализации. CG-художники и технические специалисты могут использовать книгу как справочное руководство. Пригодится она и начинающим пользователям Autodesk Maya и V-Ray for Maya, которые хотят разобраться в возможностях V-Ray и функциях, специфичных для этой системы визуализации. УДК 624.01, 004.9 ББК 30.4с515 Все права защищены. Любая часть этой книги не может быть воспроизведена в ка- кой бы то ни было форме и какими бы то ни было средствами без письменного разрешения владельцев авторских прав. © Чехлов Д. А., 2020 ISBN 978-5-97060-870-8 © Оф ормление, издание, ДМК Пресс, 2020 Содержание Введение ............................................................................................................11 От автора ...............................................................................................................11 -
Creación De Un Tráiler Usando Técnicas De VFX
Creación de un tráiler usando técnicas de VFX Trabajo Final de Grado Grado en Multimedia Apellidos: Fernández Garrido Nombre: Pau Plan: 2009 Director: Macià Farré, Francesc 1 Pau Fernández Garrido Rabbitlution: Creación de un tráiler usando técnicas de VFX Índice Índice ............................................................................................................................................. 2 Resumen ........................................................................................................................................ 4 Palabras clave ................................................................................................................................ 5 Enlaces ........................................................................................................................................... 5 Índice de tablas ............................................................................................................................. 6 Índice de figuras ............................................................................................................................ 7 Glosario ......................................................................................................................................... 9 1. Introducción ............................................................................................................................ 11 1.1 Motivación ................................................................................................................. -
From Production to Real-Time Ray Tracing with V-Ray GPU and Project Lavina
From Production to Real-Time Ray Tracing with V-Ray GPU and Project Lavina Vladimir Koylazov, CTO, ChaosGroup Phillip Miller, VP of Product Management, ChaosGroup Alexander Soklev, Lead Developer, V-Ray GPU, ChaosGroup creating powerful rendering and simulation technology to help you visualize anything imaginable ▪ global leader in computer graphics, with +20 years experience ▪ shaping the future of creative storytelling, VR, and digital design ▪ V-Ray is the industry standard within top design centers, architectural firms, advertising agencies, and visual effects studios ▪ 92 out of the world’s top 100 architecture firms depend upon V-Ray ▪ used in +200 feature films, such as Captain Marvel and Black Panther and cinematic TV like Game of Thrones SELECTED CLIENT LIST our mission Solving hard problems so you don’t have to ▪ Includes constantly looking into new technologies that may help our customers (and we love to play with new toys!) ▪ And looking for problems that need solving… GPU Ray Tracing Started in 2008 with “V-Ray RT” ▪ Using whatever it takes: GP-GPU, CUDA, OpenCL, OpitX, DXR, Vulkan, etc. Why? ▪ We believe increasing artist efficiency is equal in importance to image quality ▪ Faster Rendering ▪ = faster feedback ▪ = faster decisions ▪ = more design iterations ▪ = better results & better designs V-Ray GPU +10 years of development delivers the world’s most fully-featured GPU production renderer ▪ Uses same data and workflow as V-Ray ▪ Projects can start in V-Ray GPU and easily transition to V-Ray (if required) ▪ Maximizes performance -
Rendering Requires Use of Arnold
SENIOR WORKFLOW AKA “THE TECH TALK” EVENTS THURS 9/13 7:30P The Greatest Showman SVA Theater FRI 9/14 3:00-5:00P Harris Wu, Rigging Artist Talk Room 1022C 8:00P SVA Premieres SVA Theater SAT 9/15 2:00P Ferdinand (3D) w/ Morr Meroz SVA Theater 2:00P Diverse Toons w/ Monique Henry Hudson Room 301C 8:00P Black Panther (3D) w/ Ruel Smith SVA Theater SUN 9/16 2:00P Coco w/ Montaque Ruffin SVA Theater SAT 9/29 Epic Games: Unreal Training SVA Theater UPDATES ● Mocha VR ● CaraVR ● Red Giant plugins ● RevisionFX plugins ● Frischluft plugins ● Arnold 3.1 has a new GPU viewport mode and a new built in denoiser ● Unreal has to be started via the Editor Icon and not from the Launcher. ● Cinema 4D rendering requires use of Arnold. See a sysadmin for a detailed pipeline. WORKFLOW ● Maya 2018.4 ● Houdini 16.5 ● Arnold 3.1 ● Nuke 11.2v2 BACK UP YOUR DATA!!! BACK UP YOUR BACK-UP BACK UP YOUR BACK-UP BACK UP YOUR BACK-UP BACK UP YOUR BACK-UPBACK UP YOUR BACK-UPBACK UP YOUR BACK-UPBACK UP YOUR BACK-UPBACK UP YOUR BACK-UPBACK UP YOUR BACK- UPBACK UP YOUR BACK-UP BACK UP YOUR BACK-UP BACK UP YOUR BACK-UP BACK UP YOUR BACK-UP BACK UP YOUR BACK-UP BACK UP YOUR BACK-UP BACK UP YOUR BACK-UP BACK UP YOUR BACK-UP BACK UP YOUR BACK-UP BACK UP YOUR BACK-UP BACK UP YOUR BACK-UP BACK \\file\students is only for non-production storage (notes, handouts) \\hub\share is deleted every Sunday night \\prod is for production storage.