Houdini's High End 3D Magic
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October: Independence
N § ][ ==1 L.A. SIGGRAPHPRESENTS: THE DIGITAL VISUAL EFFECTS OF ~'INDEPENDENCE DAY" AT THE WRITERS GUILD THEATRE 135 S. DOHENY, BEVERLY HILLS- - TUESDAY, OCTOBER 8TH c...1 6:30 - 7:30 SOCIAL HOUR, 7:30 - 9:00 PRESENTATION Fees: Non-members/ $5; Members/$i. Note.' Members who paidthe now annual rate of $25 will be admitted free of charge. New members and renewals will be handled at the membership·table the night of the event Please bring your membership card or labeled newsletter asproof of membership. SEE MAP1NSTDEFOR DIRECTIONS: - PARKING: ~ $1 IN LOT ADJACENT TO THEATRE, $7 IN LOT ACROS$ THE STREET_ eel L.A. SIGGRAPH presents sequences; among them the digital visual effects Seven, The American supel"isor and producer, President, Immortal Tricia Ashford and the CG Beloved, True Lies, Quiz supervisors, Tara Turner Show, Wolf, The joy Luck and, Joseph Francis, of Club and Indecent Independence Day. Proposdl. As the digital visual effects' . After working with Tricia to supervisor and producer establish the infrastructure forlndependence Day, for the creation of digital ~I Tricia Ashford supel"ised ~ effects of Independence the 'creation 'of over 400 shots, more shots than~the number 01 days in Day, Tara Turner moved over to manage and supel"ise the computer the production schedule. With these visual effects totaling over 50 min- generated imagery for the film. Working with co-CG supel"iso( Joe utes on screen,' filmmaking history was made not only at the box office, FranCiS, Tara oversaw the two CG units that were used to create nearly but also with the Independence Day Digital Unit which was created 200 shots involving compu'ter generated imagery. -
The Hollywood Cinema Industry's Coming of Digital Age: The
The Hollywood Cinema Industry’s Coming of Digital Age: the Digitisation of Visual Effects, 1977-1999 Volume I Rama Venkatasawmy BA (Hons) Murdoch This thesis is presented for the degree of Doctor of Philosophy of Murdoch University 2010 I declare that this thesis is my own account of my research and contains as its main content work which has not previously been submitted for a degree at any tertiary education institution. -------------------------------- Rama Venkatasawmy Abstract By 1902, Georges Méliès’s Le Voyage Dans La Lune had already articulated a pivotal function for visual effects or VFX in the cinema. It enabled the visual realisation of concepts and ideas that would otherwise have been, in practical and logistical terms, too risky, expensive or plain impossible to capture, re-present and reproduce on film according to so-called “conventional” motion-picture recording techniques and devices. Since then, VFX – in conjunction with their respective techno-visual means of re-production – have gradually become utterly indispensable to the array of practices, techniques and tools commonly used in filmmaking as such. For the Hollywood cinema industry, comprehensive VFX applications have not only motivated the expansion of commercial filmmaking praxis. They have also influenced the evolution of viewing pleasures and spectatorship experiences. Following the digitisation of their associated technologies, VFX have been responsible for multiplying the strategies of re-presentation and story-telling as well as extending the range of stories that can potentially be told on screen. By the same token, the visual standards of the Hollywood film’s production and exhibition have been growing in sophistication. -
June: Godzilla
I Upcoming Meetings L.A. SlGGR;A.PH Chapter- Meeting: Tuesday, June 9th • Tuesday, June 9, 1998 A Special Screening 'of Godzilla ~A SPEC1AL SCREEN1NG- OF GODZ1LLA • July/August Issue The Making of GODZILLA 98-99 Calendar of EventS- 6:30 Doors Open (Priority entry for members) Centropolis Eriterlainment is a multi-faceted entertain- • Call the SIGPHONE, 310-288-1148 7:00 Introduction and Screening ment organization that develops and produces a variety , For recorded information on the time of ventures in all arenas, including film, television and and location of our next meetil1gc The Location interactive projects. Centropolis Entertainment fea-_ tures two sister comp,arues, Centropolis Effects, L.L.C., Announcements .. The Writers Guild, 135 S. Doheny Drive and Centropolis _Interactive, Inc. Centropolis Effects, Beve~ly Hills, CA • Dimension Advertising Specs: L.L.c. ~applied some of its digitaVcompositing magic to Directions Godzilla. $S per line (-70 char/line) /'- 1/4 Page (3.7S" x 4.7S") $SO From the 405 freeway exit Wilshire East; continue east Godzilla, whi~h Director Roland Emmerich co-wrote 112 Page Horiz. (7.5" x 4.7S") $100 with his longtime writing partner and producer Dean / on Wilshire to Doheny Drive. Tum right onto Doheny. 112 Page Vert. (3.7S" x 9.7S") $100 ". Devlin, stars, among others, Matthew Broderick, Jean Parking Full Page (7.5" x 9.7S") $200 Reno, Hank Azaria and Maria Pitillo,-is a Centropolis \ Entertainment production, released through TriStar Accepted Medul and Formats: Floppy, Parking is $1.75 at the parking lot next door to the Pictures Centropolis was the lead digital effects house Zip, Quark 3.3, FreeHand, Illustrator, Guild entrance. -
STUART LITTLE 2: Let the Feathers Fly
Course # 32, SIGGRAPH 2002 San Antonio, TX, USA STUART LITTLE 2: Let the Feathers Fly By: Debra Kaufman Based on interviews with Eric Armstrong, Jay Banks, Virginia Bowman, Rob Bredow, Aaron Campbell, Jerome Chen, Henry Darnell, Rob Engle, Kevin Hudson, Loree Perrett, Jay Redd, Pete Travers and Bob Winter Organizer: Rob Engle Presenters: Eric Armstrong Rob Bredow Jerome Chen Rob Engle Bob Peitzman Jay K. Redd Sony Pictures Imageworks, Culver City, CA, USA All Images – copyright 1999-2002 Sony Pictures Imageworks STUART LITTLE 2: Let the Feathers Fly Course Notes Production Team Rob Engle Debra Kaufman Leslie MacIver Noé Padilla Course #32/SIGGRAPH 2002 STUART LITTLE 2: Let the Feathers Fly Table of Contents Course Outline . .iii Presenter Biographies . .v INTRODUCTION AND OVERVIEW . .1 A Visual and Technical Comparison of SL and SL2 . .4 A Quick Review of Fur and Cloth/The First “Stuart Little” . .6 New Requirements . .8 Previsualization . .10 Location, Location, Location . .11 Aerial Effects Photography . .15 Planes, Trains and Automobiles . .17 CHARACTER DESIGN AND ANIMATION . .19 Birds Requirements for the Digital Birds . .20 Visual Design . .22 Modelling and Look Development . .36 Wings . .42 Animation . .46 Stuart and the Cats . .48 FEATHERS . .55 Fur vs Feathers . .56 Defining a Feather . .58 Feathering the Birds . .59 Creating Thousands of Feathers . .61 Grooming . .62 Solving Interpenetration (I14N) . .63 Manual Adjustments . .66 Shading the Feathers . .67 Falcon’s Feather Regions . .68 Course #32/SIGGRAPH 2002 i STUART LITTLE 2: Let the Feathers Fly DIGITAL CLOTHING . .71 Stuart’s Wardrobe . .72 Costumes for the Birds . .76 CG ENVIRONMENTS AND PROPS . .77 Constructing a Digital Skyscraper .