My interpretation of what a real Portal gun would be like if one existed. Based on the video game, Portal. I tried to match the game as close as possible. This was the most challenging project I have ever undertaken, consisting of 3D tracking, seamless camera cuts and 3D camera projection. ENJOY! The Visual Effects. Can't view it on Vimeo watch it on Youtube: http://www.youtube.com/watch?v=AsdEXlPsobI For those of you that think the gun is a physical prop you can buy, well.....sorry to break the news to you, but it's entirely CG. The 3D Portal gun was replacing/covering up a painted up coffee can with tracking markers. Here's a 3D turntable of the model, https://vimeo.com/43795711 For everyone that wants to know the song used: Snakes On The Take - Freeplaymusic.com Software Used: Autodesk Maya - Modeling/ lighting Zbrush - Texturing PFTrack - 3D tracking After Effects - to composite HDR shop - to capture High Dynamic Range images for 3D lighting/ Refections Trapcode Particular - for particles+ More details
Personal project to promote the book Pincel de Zorro, now in its second edition, published by Ediciones Ondina. An illustrated tale from the Spanish author Sergio A. Sierra, Pincel de Zorro is a whimsical story set in Japan, full of tenderness, magic and sadness. The story is complemented by unique illustrations, all of which are hand drawn by Meritxell Ribas using a complex technique called grattage, in which paint is scraped off the canvas with a pointed tool. Pincel de Zorro tells the tale of Shiori, a little girl whose life changes the same night her father brings home a dead fox from a hunting trip. Mysteriously when her parents decide to sell the precious skin of the animal, they receive a visit from a magical woman. This project has been an amazing collaboration between my friends, Sergio and Meritxell, authors of the book, Albert Alay, the music composer, and me, taking the role of creative director. This has been a passion project of ours, done with no budget, and we hope that someday we can bring these wonderful characters to life in a feature film. For more information visit pinceldezorro.es Direction, Design and Animation: Hug Codinach Illustrations: Meritxell Ribas Text: Sergio Sierra Music: Albert Alay All illustrations were camera projected in C4D and composited in After Effects. The ink was generated with Turbulence 2D from Jawset. I used a Canon 5D MrkII to shoot the brush footage. Special thanks to Rick Gledhill at King & Country and Gabriela Effron.+ More details
Fontevraud Abbey is a religious building hosting a cultural centre and situated in the Loire Valley (France), an Unesco World Heritage Site. Today the Fontevraud Abbey invite young artists ( here dancer & motion designers ) to reappropriate this historical place through their discipline. Created with After Effect and Photoshop with vanishing point tool and camera projection. Shoot on Canon 7D. Directed by Francis Cutter & Vincent Nguyen at Ensad 2011 Choregraphy by Nick Mukoko Music & Sound design by Nodey & Omar Tryana VFX art & technical crew : Naïmé Perrette & Pierre-Yves Dougnac Photographer: Natalianne Boucher Contact & Info: fran6cutter[at]gmail[dot]com www.franciscutter.com+ More details
Working together with Onesize we created the Playgrounds festival opening titles. Basically it are two guys beating the shit out of each other. It was very important to give the movie a high end feeling. While there was a small budget it looks like it was created with a big budget. It has the look and feel of a movie filmed with an expensive high-speed camera. But actually the complete movie is build up out of photographs only. Quoted from Onesize (with whom I created this piece with): The film was created in little over 2 weeks. Playgrounds director Leon van Rooij asked us, like 6 months ago, if we wanted to do the titles for this years' fest. I quote: "Playgrounds is a two-day festival in Tilburg, the Netherlands, where you can see the best digital audiovisual art in the world, such as musicvideos, animations, commercials, character design, VFX and games AND you can find out how it's been made during artist lectures and Q&A's." Of course we said yes, because doing titles for festivals like these are rare opportunities. So we welcomed it with open arms. Next to that, we've been involved in the festival for 3 years now and we are the first ones to design a title sequence for this festival. What a burden... ;) With no creative brief and even less budget, we slowly started thinking, concepting, designing, thinking of how we could create something impressive, something new, something with a lot of production value but produce-able within 3 weeks and of course something we had not done before with our team, to challenge ourselves even more. We ended up with the idea to have 2 fighters fighting over whatever on a children's playground. Kind of a metaphor for a creative process, which can be a battle sometimes.. kill your darlings.. etc.. etc... Anyway, this could become visually very interesting, so we thought. We focused on the image, look and feel, a bit more than we used to this time, simply because we wanted to. We did some research, especially on the visual style in photography, the air we wanted the film to breath. Initially, the film needed to be very slow paced, almost like a dance on classical music in ultra slow motion, this was still the idea at the time when we shot the images. Just ultra slow motion, shooting with a phantom camera would not do the trick for us. We wanted to have more control over the slow motion in post production, still be be able to decide camera angles and motion. To do this we used the camera mapping technique in 3D. The production was made fairly simple compared to live-action shoots with high speed camera's shooting on location. By using this technique, simply because we only needed still images, we wrapped the shoot in 3 hours. Our photographer, Jasper Faber did an outstanding job by using only 2 flash lights, a camera and a macbook. In post production we changed the direction a little, we wanted more action. Jasper took a bunch of photo's which I found out could work just fine in a quick sequence. The contrast between the ultra slow-motion image and super fast paced short sequences made it more powerful and dramatized the impact of the slow motion sequence. Joris, our sound designer did what was necessary to enhance the impact even more. For the production of this shoot we contacted rotterdam based production company Revolver and asked them if they wanted to help us out producing the shoot. Luckily they said yes They just contracted photographer Jasper Faber who was willing to shoot the images and help us out with the production, since we knew that post production would be very time consuming. Revolver helped us out producing it, so we could focus on direction and post production. The people who saw it thus far, all responded to the film equally, asking the same question "... how did you shoot it, with a phantom?" .. no, it's all 3D. Credits: Direction & Post-Production - Onesize (http://www.onesize.com) Sound Design - Studio Takt (http://www.studio-takt.com) Production Company - Revolver (http://www.revolver.nl/) Producer - Dijana Olcay-Hot Photography - Jasper Faber (http://www.jasperfaber.com/photography.html) Fighter #1 - Jeroen Roos Fighter #2 - Cesario di Domenico Make-up - Elseline Hokke (http://www.elselinehokke.nl/) Location Scout - Hans v/d Berg Playgroundfestival: (http://www.playgroundsfestival.nl/)+ More details
Here's our latest test with camera projection and timelapse. The VFX Breakdown is available here: http://vimeo.com/34698590 This technique allows to create timelapse shots where the camera is moving in such way that is impossible to achieve in the real world. In this technique, the static timelapse shot is projected onto a 3D geometry and the virtual camera is created to film the scene. The geometry may be either recreated manually, generated basing on DEM models, LIDAR data or photogrammetrically. Many thanks to Greg Downing @ XREZ studio for inspirations. www.lookycreative.com+ More details
Here's our latest test with camera projection and timelapse explained. Clean final shot is here: http://vimeo.com/34456622 This technique allows to create timelapse shots where the camera is moving in such way that is impossible to achieve in the real world. In this technique, the static timelapse shot is projected onto a recreated 3D geometry and the virtual camera is created to film the scene. The geometry may be either recreated manually, generated basing on DEM models, LIDAR data or photogrammetrically. Many thanks to Greg Downing @ XREZ studio for inspirations. www.lookycreative.com+ More details
In the spring of 2011 I was granted a 3-month sabbatical at the Art Institute of Colorado which gave me the opportunity to play with some VFX tools and workflows. I am greatly indebted to Sal Christ who was infinitely patient and cooperative, and to Kip Kuepper who turned my incoherent thoughts into a soundtrack.+ More details
In this video I talk about the workflow to get a digital painting based on a Sketchup render back into the software for camera projecting. I also talk about the modelling/painting part. These are some of the links I mention in the video: www.germancasado.com firstname.lastname@example.org http://sketchup.google.com/download/ http://chrisoatley.com/ http://www.paperwingspodcast.com/ and some extra helpful links: Photo match - http://www.youtube.com/watch?v=fhzpqf7fywM Photoshop blending modes - http://www.northlite.net/ps/blend.htm I might do another video only about Photoshop techniques Feedback is appreciated. Thanks for watching!+ More details
Alessandro Durando // Daniele Gavatorta // Lorenzo Levrero YEAR: 2012 TYPE: Ident Breakdown WHAT: Concept, Design, 3D, Art Direction, Animations CHANNEL WRITER / PRODUCER: Giulio Tiberi, Silvia Morganti CLIENT: Discovery Channel MUSIC (Breakdown): Brandumize - www.brandumize.com Track: Cardiac tales Here you can see the final result: http://nerdo.tv/site/works/50/DISCOVERY+3.0/ © DISCOVERY CHANNEL ITALY+ More details
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