It is true, this year’s siggraph, possibly plagued by the challenging economy, is quite dissappointing.
Old friends are not here, many of the companies I look forward to checking out are not on the exhibition floor (Pixologic, The Foundry, SouthPaw, Gnomon, Boxx etc…), the newly released major applications from major players (Autodesk) are really weak.
Everyone keeps repeating that it’s not only due to the economy, but also due to the location. New Orleans isn’t really the hottest place, in terms of CGI technology. Also, everyone keeps saying that the next year’s Siggraph, hosted in L.A., will be huge, which is understandable and easy to believe.
The conferences were sweet as well as the user meetings, so thankfully this doesn’t show signs of the falling trend in recent years.
Well, we’ll see. I should have some photos from the show tomorrow, so I’ll treat you with a few actual views.
Here we go!
Yeah, finally, after a year, one of the biggest and, arguably, most important CG conferrences is open in New Orleans.
I’m lucky enough to be able to attend and see what’s up and what’s comming in the following years in the industry. Also, I’m proud to be a part of the Cebas group that’ll be showing off some of the new, hot stuff from Cebas at their booth, so if you’re around, drop by and say hi
I’ll go see some conferences today, but tomorrow, I’ll be on the exhibition hall.
If you haven’t seen this orgasmic ILM showreel, GO SEE IT NOW!
It’s simple, if you ever want to even think about calling yourself a VFX artist, forget about it! unless, of course, you work at ILM, in that case I bow down and disappear silently…
I’ve seen it twice already and once I get to the US (for this year’s Siggraph), I’ll go see it at a local IMAX as I feel it’s my duty as a VFX artist wannabe to honor this work of pure CG awesomeness in 4K!
Hats off to all those involved in making this VFX masterpiece… :bowdown:
I saw this amazing film with even more amazing VFX last night and I was stunned! Not only by the story, but mainly by the visual effects. If you haven’t seen this film yet, you simply have to go to see it! It’s definitely a milestone in making hyper-realistic human characters in super fine detail on the big screen! My kudos to Digital Domain for the VFX on the hero character, Benjamin. HATS OFF! :bowdown:
SideFX Software has announced an immediate release of Houdini 10 a very, very promising release to say the least.
I personally don’t use Houdini in my pipeline as I don’t do much of VFX work (explosions, fire, smoke, fluids etc…), however, Houdini is such an amazing package it deserves a spot here! Definitely give Houdini a try, it’s a very complex and difficult to master package, but once you get your head wrapped around it, you won’t have a problem finding a very good spot at the most amazing companies in the world.
I’m downloading Houdini as I type…
When I bought my first camcroder, Canon VIXIA HG20, I had VFX and animation on my mind, of course After a few initial test shoots I quickly realized that I couldn’t shoot anything without a solid camera stabilizer. The built in optical stabilizer has two major flaws, the first one is it doesn’t stabilize well and the second one is it offsets the optical vanishing center point, which isn’t really good for postproduction (namely camera tracking). Another flaw of the camera (well, most of the consumer cameras on the makret actually) is the CMOS sensor. While it has very nice colors representation, it suffers from what is commonly known as rolling-shutter distortion. Unfortunately the rolling-shutter distortion is introduced with the CMOS design and thus inavoidable, however, it can be more or less dealt with and one of the ways is to use a proper camera stabilizer.
Specialists demand special tools. This is what drove me to create these two, very specific, custom texture maps for VFX professionals. The first of the two is a custom UV texture map used for visually evaulating the level of precision and correctness of UV coordinates on 3D meshes. The other one is a custom TRACKING texture map developed for compositors for 2D tracking purposes of 3D renders or any other 3D elements that were 3D tracked and rendered.