The VES Awards are again right around the corner and, as I did last year, I have listed my picks in each category and my thoughts on the visual effects of the different films, tv episodes, games, and commercials.
I recently finished up two compositing projects. In both cases, I was asked to replace the screens in the videos. The videos are below with a description of my process for each. Continue reading
Digital-Tutors has published an excellent introductory guide to The Foundry’s NUKE. The guide gives a very basic interview to NUKE compositing, and the basic steps of creating a simple composite. With its strongly beginner-oriented approach, this article accomplishes its stated goal of making this powerful software appear less-intimidating to first-time users well.
The original post can be accessed here.
I put together some new tutorials for After Effects. They were made in CS6, but aren’t particular to that version. I made the first one because the idea has been with me for a fairly long time. I see other people color correcting using other methods, but not with the way that I’ve found. I’ve shared this with a few other people already because I believe that people don’t realize the good that Color Finesse can do in their lives.
The second tutorial is less of a tutorial and more of a walkthrough in “how I did this” about a movie poster that I made for “Strongman vs. The Metal Menace.” Goes over really basic compositing of 3D layers and some masking and color correcting tricks. Continue reading
This month I completed a project in compositing 3D rendered images into photographic images. This helped me to better understand how composite 3D render layers and passes. I believe that the term ‘Compositing’ has a few different meanings and is sometimes misunderstood, so I want to try to explain it here.
In most of the popular 3D applications, the user has an option to render in different layers or elements. For instance, if there is a scene with a boy and his dog standing in a park-like area with a tree, then the tree and the rest of the environment could exist on one layer, and the boy and the dog could be rendered out in another with proper alpha channels to preserve transparency. These layers could then be broken down further into diffuse, specular, shadow, and reflection/refraction, translucency, ambient occlusion, indirect lighting, and others as needed. This allows for maximum control over every part of the image while post processing. Continue reading