Die Hard 2… the last frame is an old, old school matte painting. and oddly animated even. relic from the time…
Keira Knightley:
They say he held the record for the fastest speeding ticket in Los Angeles – 170mph on a motorbike along Pacific Coast highway. They say he totalled two Porsches along Sunset Strip. I don't know if any of that's true and I don't care. He was a man people liked to tell stories about.
www.boston.com:
This is a compilation of images in which photographers have captured the beauty of our world, along with great moments among the living things we share this planet with. Most are from the reoccurring photo gallery The Natural World, in which photos of animals and our environment are selected from the many wire service photos moved throughout the year from all over the world. Many great photos of animals are taken in zoos, but this entry mostly shows creatures in their own habitat. -Leanne Burden Seidel(53 photos total)
Marc Levoy:
When you move the sensor in a digital camera relative to the lens, the plane in object space that is sharply focused moves as well. How far can you move the sensor before a sharply focused feature goes out of focus? To answer this question, we must first define what we mean by "out of focus". The standard definition is that the width of the blurred image of the feature has become larger on the sensor than some maximum allowable circle of confusion. This size of this circle is arbitrary, but a reasonable choice is to make it equal in diameter to the width of a pixel. The thick black vertical bar at the right side of the applet above represents one circle of confusion.
I hear that there is a node that compiles on the fly, when can we get that?
*Yes, there is! It’s rather cool and is built on the next stage of the Blink framework stuff I mentioned before. You write your algorithm in this c++ -esq language and coding standard, which could think of as a kind of shading language, and it handles compiling that up at run time for the hardware in your machine. Kind of like an expression node on steroids. It’s just as preliminary stages internally, focussed on solely image processing, but we’ll be adding support for other types in the future, and getting it included in the builds.*
Jon is right, the tracker is really very good. Making the complex tracking experience much better. I have found that nailing tracks in Nuke 7v2 easier than with Nuke 6.3v8.
ModelerBuilder keeps amazing me. I have used it to do fairly simple tasks. I can't wait to throw a huge shot at it.
This heterogeneous compute sounds interesting. Using every ounce of computing power you have. We need it. Images are only going to get more complex and larger.
Deep data from the scanline render will always be welcome. Particles will be that much more interesting to work with.
Sounds like the Foundry is implementing an planning great new features.
By Alex Wild:
David Breashears created this composite image in the spring of 2012 as part of Glacier Works’ effort to document the response of glaciers to a changing climate. Click on it to enter the rarefied air of the high Himalayas and to play a rousing game of “spot-the-climber”
VFX Law:
Overtime laws in California are clearly defined. You shall be paid overtime at the rate of 1.5x your normal hourly rate for any hour worked after an 8 hour day. For any employee working more than 12 hours in one day, each hour after the 12th shall be paid at 2x the hourly rate (double-time).
Why companies have to be reminded of this is beyond me. This isn't something you can wave your right to.
A over B:
This month we talk about new trailers, eyeon Generation AM, NUKE 7, OpenColorIO for After Effects and interview Mariana Acuña (The Foundry), Sean Devereaux (ZYNC) and Pieter Van Houte (Sony Pictures Imageworks).
Looking forward to other episodes.
“The answer is quite simple, all the photos we take from space are taken in the crew’s own personal time. No time is allotted in our work day normally for Earth pictures. So if we want to capture a specific point on the ground we have to first know exactly when we will fly over that spot, second be available to grab a camera and get to a window, and third have the weather and proper sun angles to get a great shot. Over the course of my six months in space I was never able to get all three of those to align for Mt. Everest.”
It's a wonder why so many directors have turned to visual effects. Sometimes it's just to long of a wait to get the shot. Sometimes the sun and clouds are not in the right position.
Here are the Documentation for the Geometry tools for Nuke.