Web3D Project by Eyes, JAPAN

Funny, with good pacing and well-done animation.

Stopover from LeMob on Vimeo.

An unplanned pit stop for a solitary spaceman turns into a close encounter of the third kind.
A short film directed and animated by Neil Stubbings.
Sound design by Gregor Rosenberger.

As director Dvein writes:
“A project that began as a job turned nearly into a personal project due to the creative freedom and the confidence that the director gave us. We were very inspired by the whole aesthetical universe of the film: the snow, the vintage laboratories, the old machinery… and we tried to put all this together in the titles so that they would slowly introduce the viewers to the world of ‘Eva’.”

Eva / Film Main Titles from Dvein on Vimeo.

これは盲点。

RESEAU FERRE DE FRANCE from W & CIE on Vimeo.

ティルト・シフトでミニチュア風の映像にするのはよく見かけますが、これはその映像にさらに手間を加えてすごく面白い映像に仕上げています。
こういう類いの映像表現は別に似たような構想を練ってた訳でもないのに、先にやられるととても悔しい気持ちになります。

A great indepth making of Dos Santos Nelson directorial début “Magnus”.

Source

The five-minute documentary, also called Moonshine, shows six DreamWorks staff doing their ‘other’ work, creating sketches and drawings for reference, for pleasure, or simply to fill time. DreamWorks boss Jeffrey Katzenberg even makes a cameo, talking about his love for Paris’ Musée d’Orsay.

Moonshine from alexis wanneroy on Vimeo.

Source

VFXとMotion Graphicsのチュートリアルを多数公開している「VIDEO COPILOT」に、また新しいチュートリアルが追加されました。
今までのチュートリアルはAfter Effects等を使ったコンポジット作業に焦点が当てられていましたが、今回のチュートリアルでは撮影からコンポジット、編集までの一連の流れが紹介されています。

映像系の業務に携わっていない人が見ても、映画のメイキングを見るように楽しむことが出来ます。もちろん映像系の人にとってはかなり参考になることうけあいです。

チュートリアル動画

2011年10月7日に日本公開を控えている「猿の惑星：創世記」のトレーラの第三弾が公開されました。

初代からのファンの方はもちろん、最近話題になって気になっているという方もチェックしてみるといいかもしれません。


Youtubeリンク


公開が待ち遠しくなりますね

トム・クルーズ主演のアクション映画「Mission Impossible 4 -Ghost Protocol」の公式トレーラーが公開されました。シリーズの4作目ということもあって多くのファンが公開を楽しみにしてるかと思われますが、ファンの方はこのトレーラーを見てさらに期待を高めておきましょう。



YouTube

Computer Graphics World has an online exclusive on the fourth film of the highly successful “Pirates of the Caribbean” film franchise.
“It would be up to Gibson, VFX Producer David Conley and Ben Snow of Industrial Light & Magic to ultimately convert the blacksuited swimmers into terrifying mermaids. “Based on what ILM had done with Bill Nighy and Davy Jones in ‘Dead Man’s Chest’ and ‘At World’s End,’” notes Gibson, “we knew that we could create fully synthetic characters with great fidelity that matched the performances of live-action characters. The actresses who played the mermaids were tracked wearing either special suits or, in some cases, transfer tattoos when they couldn’t be wearing suits. These were then blended so that we had the best of both worlds.””
Read more

An animated short produced by Paris’ ChezEddy, with an enjoyable art and narrative about a art burglar is available on Vimeo.
View on Vimeo

The animated short “Loom” by Polynoid won major prizes at Siggraph, the VES Awards and the VIEW conference last year.
Year: 2010
Length: 5’20″
Directors: Jan Bitzer, Ilija Brunck, Csaba Letay
Technical director: Fabian Pross
Production company: Filmakademie BW
video on Vimeo

Indiewire has released a still image of Pixar’s latest short film, La Luna, which is premiering at the Annecy International Animation Festival, running June 6-11.
The short’s director and Head of Story, Enrico Casarosa, began with Pixar in 2002, working as a story artist on Cars, followed by Ratatouille and Up. La Luna marks his directorial debut, and he is currently serving as Head of Story on an upcoming Pixar film “Brave”.
Source

Gobelins l’ecole de l’image school presents Parigot, an animated chase.
Official site

“Rango” marks ILM’s first foray into full-cg animated films, and utilized a lot of their in-house expertise with Pixologic’s Zbrush. Over at ZBrushCentral, they have an excellent interview with Rango’s Model Supervisor Geoff Campbell on how ILM utilized Zbrush in their workflow.
“The general flow was to sculpt and texture a three-day ZBrush maquette for each character and after approval, start in on the asset. A first pass model was sent to rigging while the model asset continued to be refined, hair and fur splines added, scales added, UV’s laid out etc. Once the finished model had gone to paint, the modeler would start on the facial library. We had a few weeks for each character model including wardrobe and two weeks on average for making our facial libraries.”
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Computer Graphics World has an online exclusive about the 3D comedy adventure animated film “RIO” describing the challenges faced by the production teams at Blue Sky Studios.
“Creating the magical world of RIO and its characters presented innumerable challenges to the scientists, animators, artists, modelers, riggers, 3D, and effects teams at Blue Sky Studios. Rendering the winged leads and creating their performances was a key focus. Blue Sky came up with a new feather-renderer called a Ruffle Deformer, which allowed the animators to pose and shape the feathers with unprecedented control, adding important levels of performance to the characters.
The film’s human characters were equally challenging to render. Blue Sky hadn’t created human forms since the first “Ice Age” picture – and those lacked significant emotions and speech. To meet those challenges for RIO, the studio’s lighting department developed a new way to render skin, making it feel alive, fresh and realistic on the exaggerated, stylized features of Linda, Tulio and other principal human characters.”
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fxguide.com talks with VFX supervisor Ray Chen and animation director Andy Arnett from the Rhythm & Hues team of “Hop” on how they realise anthropomorphised animals as CG creations.
Artists had to tackle E.B.’s long rabbit ears – and those of his father, the current Easter Bunny (voiced by Hugh Laurie) – to establish which poses worked best to maintain character and personality while still having the animal be quickly identifiable as a rabbit.
Source

ae tutsにてAfter Effectsを使用して映像中に群衆を作り出すチュートリアルが公開されています。
このチュートリアルでは、講堂を撮影した映像に複製した人物画像を合成しています。

合成にはモーショントラッキングが用いられていますが、今回の場合は撮影時にマーカーをセットしてそれを元にトラキングを行っています。もちろん、トラッキングに使用したマーカーは編集の時点で消されています。


チュートリアルページ

こちらの動画では、Adobe After Effectsを使用してギターの演奏映像に光(パーティクル)のエフェクトを合成する過程をみることができます。

こういったCGで光のエフェクトを追加するのは、静止画/動画問わず定番ですが、定番だからこそ一通り使いこなせるようになるとかなり強みになります。また、この動画ではパーティクル表現だけでなく、カラー変化/補正、モーショントラッキングについても学ぶことができます。


チュートリアル動画

VFX Supervisor Tim Alexander rounded up the crew of artists at Industrial Light & Magic to create ILM’s first animated feature film “Rango”. CG Society has an article about how Tim Alexander’s work as a VFX Supervisor, and how he worked on “Rango”.
Read full article here

2012年6月15日に欧米で公開予定の映画「Jack the Giant Killer」のトレイラー映像が公開されました。
「Jack the Giant Killer」は日本でも広く知られている童話「ジャックと豆の木」をベースにしたファンタジー映画で、X-menシリーズのBryan Singer氏が監督を行っています。

CGで描かれた巨人のスケール感に期待が高まります。
日本での公開も非常に楽しみですね。