» Posts Tagged ‘vfx’

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Anomaly Kickstarter w jts

Here at No Film School, we focus a whole lot on the process of making feature films. However, long-form storytelling like television narratives and web series are entering a golden age in which in-depth character development is key and content and structure can be as creative as ever. For independent and low-budget filmmakers looking to take advantage of the creative freedoms of long-form storytelling, while simultaneously working on honing their craft, web series are definitely a great way to go (just ask our fearless leader, Ryan Koo, whose series The West Side won critical acclaim). But how does one go about getting started with creating a dramatic web series? It’s certainly not easy, but today’s interviewee, Terrell Lamont, has some answers. More »

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Game of Thrones VFXOf the multitude of tremendously cinematic shows that dominate our airwaves today, Game of Thrones is likely the most ambitious, and it’s almost certainly the one with the highest production value. From the absolutely massive (and excellent) ensemble cast — all fitted with highly stylized wardrobe items — to the dynamic digital cinematography that showcases some brilliant production design, the show looks like nothing else on television today. However, perhaps the most stunning aspect of Game of Thrones is the unmatched aesthetic and sheer magnitude of some of the locations and visual effects. Like many of the period and fantasy pieces shot today, the effects are comprised of a unique blend of traditional photography and heavy compositing, although it can sometimes be difficult to tell which is which, unless there happen to be VFX breakdowns and BTS featurettes. For Game of Thrones, these things exist in abundance. More »

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teleportationThere are several techniques that you can use to pull off a good teleportation effect. Most understand the basics — how to splice two (or three) different shots together, having your actors freeze while your teleporter gets into position. However, there are a few polishing moves that you might not know about that could really up your SFX game, as well as sell your effect. The always entertaining and enlightening crew at Film Riot has a brand new tutorial that shares a few of these tricks, including how to position your teleporter, what kinds of visual and sound effects you can use, and how to put it all together in After Effects. More »

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ILMEarlier in the week, we talked about how Industrial Light and Magic changed the cinematic world when they developed CGI and used it in Jurassic Park. Those computer generated dinosaurs marked the beginning of a creative revolution where filmmakers could actually take what was in their heads and put them into their films (and with as much or as little realism as they desired). ILM’s contribution to the filmmaking community is huge, and if you’re curious to see how the visual effects company came to be, as well as a view inside how they’ve advanced cinematic technology, then you should check out this documentary directed by Leslie Iwerks, with interviews with George Lucas, Steven Spielberg, and many, many others. More »

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Jurassic ParkDirector Steven Spielberg is responsible for more than his fair share of cinematic innovations; Jaws proved that a movie could completely dominate at the box office, ushering in the era of the blockbuster. And though that animatronic, man-eating shark was a sight to behold back in 1975, it was nothing compared to what audiences would see coming from the Spielberg effects camp 18 years later with Jurassic Parkthe film whose CGI dinosaurs managed to breathe life into an art form that wasn’t quite catching on. This short Academy Originals video explains how Spielberg’s digital dinos changed the way we make films. More »

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I frankensteinCutting Edge, a creative communications company, was given the challenge of working on some visual effects for director Stuart Beattie’s I, Frankenstein. What resulted were 116 shots of extraordinarily dynamic 3D descension and body destruction sequences of the fiery demon souls being sucked down into the bowels of hell, all made using a range powerful post-production programs, like Houdini and Maya. The team over at Cutting Edge have made a making-of video about their work on the horror/sci-fi film, in which they share how they approached creating disintegrating burning spirits (which proved to be quite a delicate and thoughtful process). Check it out after the break. More »

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RendermanIf you admire the animation of Pixar and are interested in getting your hands on the same software that they use to create all of those adorable characters (and not so adorable ones too, I guess), you are in luck, my friend. Due to a pricing restructure, the powerful VFX/3D rendering program RenderMan will be available for non-commercial use — for free — containing literally every single feature and capability of the commercial version, giving users (mostly) free rein to cut their teeth on the program free of charge. Continue on to find out when and where you can download it! More »

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Giger AlienThe Alien quadrilogy is a one of the greatest crown jewels of American sci-fi horror. It has been touched by many different producers, DPs, and screenwriters, even 4 of the biggest directors in the industry. The legions of fans suffering from horrific nightmares, however, is due largely to the love for and fear of that very grotesque, very angry alien, the design of which was inspired by Swiss surrealist artist H.R. Giger who unfortunately passed on Monday. To celebrate his incredible career, we’ve shared a few videos that highlight his delightfully terrifying work. More »

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autodesk mudbox 10 dollar monthly subscription perpetual license software 3d modelling animation design sculptingAdobe’s move to CC and a “software as a service” model is still met with much controversy. This is in no small part due to the lack of any perpetual license ownership choice for those (many) who want one. Such is not the case with Autodesk’s release of Mudbox 2015, a powerful CG 3D sculpting tool originally developed by artists of Weta Digital for Peter Jackson’s King Kong. This release comes with the option of a subscription — starting at $10 per month and scaling out to an annual plan — as well as the option for a traditional perpetual license. Read on for more on Mudbox 2015 and Autodesk’s Desktop Subscription plans. More »

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HologramDid anyone else lose complete emotional control of themselves when they saw the Tupac “hologram” perform at Coachella? Just me? Okay. One of the coolest things about that performance was the fact that it wasn’t actually a hologram — it was a reflection. In fact, the process used to resurrect the legendary hip-hop artist can be done easily in your backyard. The master of DIY practical effects, Joey Shanks, brings us another excellent tutorial on how to create the illusion of a hologram using projectors, mirrors, glass, fog, mist, even your own breath by implementing simple techniques — one of which is hundreds of years old. More »

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The DoubleRichard Ayoade, who you might remember for directing the coming-of-age comedy Submarine, has teamed up with DP Erik Wilson, VFX supervisor Matt Clarke, and Jesse Eisenberg to adapt Dostoyevsky’s 1846 novella The Double. The Creators Project caught up with Ayoade to talk about the film’s visual effects — how they designed the quasi-familiar, dystopian future world, as well as how they managed to get not one, but two Jesse Eisenbergs on-screen through rotoscoping. More »

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MotionPulse_BlackBox_BannerUsing dynamic (and believable) sound effects is absolutely essential in creating an immersive environment for our films, but oftentimes these sounds are difficult to find. This announcement from Video Copilot, however, might offer a great solution to your sound design woes. They’ve released MotionPulse, a collection of 2000 fully mastered, high def sound FX for motion design and editing — 5 libraries that include machine, organic, and atmospheric sounds. They’ve also released ShockWave, a stock footage collection of particle animations simulated with real world physics. Continue on to find out more. More »

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Only God Forgives VFX BreakdownThink big-budget Hollywood films like the new Spiderman film are the only ones using tons of visual effects? Wrong! Even some of the smallest indie films can use mountains of CGI to do things that would either be dangerous or difficult to shoot more than once, or to enhance whatever on-set effect they were trying to pull off. In this fantastic VFX breakdown from Nordisk Film Shortcut (Martin Madsen was the VFX Supervisor), go behind the scenes of Nicolas Winding Refn’s Only God Forgives and see just some of the many visual effects that were necessary to pull off the final vision, including removing dolly track and adding all sorts of blood and bullet hole effects. More »

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Red Giant UniverseBack in March, Red Giant Software announced the public beta of Universe, their innovative online post production platform/community — a potentially endless library of free tools, plugins, transitions, and effects.  Well, today is the big day — Red Giant has officially launched Universe with 50 tools, as well as the option to join their Premium Membership that will grant users paid access to premium content, which includes 12 effects and 7 transitions. Continue on to find out more about Universe’s official launch. More »

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Have you ever wanted to just make a “quick and easy” film? That was filmmaker Joey Ciccoline’s intention for his first narrative short, a sci-fi film entitled 88:88, which has now gone on to win a handful of awards (including a Vimeo Staff Pick) and screened at festivals all around the world. But his idea for a “simple short film” turned into an exercise in creating stunning and clever practical effects without a small crew and an even smaller budget. Now Ciccoline wants to let you in on how he captured (almost) all of those effects in-camera.

This is a guest post by Joey Ciccoline. More »

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Nodes 2There are many plugins out there for all sorts of post production platforms that make it possible to generate 3D models, creating amazing effects you wouldn’t be able to pull off otherwise. One such plugin is Yanobox’s Nodes, which has been used on major effects driven films, such as The Avengers, Planet of the Apesand Ender’s Game. Nodes fans may be happy to hear that version 2 of the powerful motion graphics plugin is now available. Continue on to find out all about Nodes 2, including its many features, tutorials on how to navigate it, which platforms it supports (it’s only for OSX unfortunately), and how much it’ll cost you. More »

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PE35_Pre-SyncEarlier in the month, Red Giant software introduced Universe, a new plugin platform that is also its own community. The biggest thing about Universe is that it is free to sign up, so you can get an idea of what it’s all about before committing any hard-earned cash. Now Red Giant is back with some updates to some of their most popular software, including PluralEyes, which is now integrated with BulletProof, and a new version of Magic Bullet Looks, which is now GPU accelerated and completely rebuilt on the Universe platform. More »

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WipsterKeeping up to date with what’s currently happening in the cinematic world is certainly an important part of being a filmmaker, as is being able to recognize and anticipate changes. We’ve heard many thoughts on where the future of cinema and filmmaking is headed, from the transmediatic, multi-celled film to the end of TV as we know it. Adding to the discourse through their new series of (very) short SXSW video interviews is Wipster, who asked industry professionals, like reps from Blackmagic, Adobe, and Vimeo, what they saw in the future of video. Continue on to find out what they said. More »

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Red Giant UniverseHere at No Film School, we love Red Giant. Their lineup of filmmaking tools, from PluralEyes to the Color Suite to BulletProof, has made the lives of countless filmmakers so much easier and more efficient. So imagine our excitement when Red Giant started to hint at a major announcement, one that would surely see the launch of new tools that would be equally, if not more helpful than their prior products. Well No Film Schoolers, today Red Giant unveiled Universe, an innovative online post production platform/community that not only includes over 50 brand-spankin’ new effects and transitions, but the resources necessary for the platform to grow infinitely. In fact, Universe might just revolutionize the way plugins are created and distributed. Read on for the full story. More »

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Neil CorbouldWhen the winner was read during the 2013 Academy Awards for Best Visual Effects, most people weren’t surprised to hear the names of the visual effects supervisors that worked on Gravity. Through an incredible process that incorporated using a “light box”, Bot & Dolly’s robotic arms, and masterful CGI to create stunning visuals, the filmmakers were able to revolutionize VFX and cinematography in film in a single, strenuous bound. One of those VFX supervisors that worked on the film, Oscar winner Neil Corbould, spoke with DP/30, sharing his experience working on the project, which was mainly focused on the physical aspect of the visual effects, as well as what he has learned from his 35 years in the VFX game. More »