SyncSketch - FREE - 8$ a month

https://vimeo.com/197534203

It's been fun watching SyncSketch grow into a full media collaboration tool. This is a little story about how we started this whole journey ...

I use this tool in my classrooms and pay the basic 8$ a month myself.

Schools can buy at educational pricing.

https://syncsketch.com/


Tool for Character Animation: Keyframe Pro - 79$

https://vimeo.com/185378694

Keyframe Pro is a feature rich, high-performance playback and review tool designed for professionals and students working in games, TV, and film. Built from the ground up, and focusing on the expanded needs of animators in production, Keyframe Pro is a powerful addition to any animator’s toolkit. This has a nice interface that docks into maya and you can make it always on top to use as reference without having to make an image place in Maya to project your reference onto.

zurbrigg.com/keyframe-pro

He has multi seat pricing too for schools.


bh_camZoom - FREE

https://vimeo.com/39028661

bh_camZoom

This a tool used in production often when you are working with a plate to zoom into the shot without changing the camera.

Maya has a 2D pan Tool that I do not like as much as Brian's.  It's Free.


ShotMask VP2 - FREE

https://vimeo.com/217512399

Shot mask enables you to burn shot info onto your playBlasts easily.

The recent update adds a custom Maya node that can leverage Maya’s Viewport 2.

ShotMask VP2 is the successor to the original shot labeling tool that was developed over 4 years ago. The script offers a more interactive approach to creating camera masks through it’s new user interface. The shot labeling tool also internalizes a simple python API that makes it possible to write custom scripts or automate the creation process as part of a larger pipeline.

Shot Mask VP2, as the name implies, is only meant to work with Maya’s ViewPort 2. The tool is written in Python, and comes with full source code provided so that you can extend or modify it as needed. Once again, Shot Mask VP2 is free, and is available for Maya 2015 and up.

Creating shot masks has never been easier in Maya.


bh_Ghost Onion Skin Tool for Maya - FREE

https://vimeo.com/218632770

bhGhost is a very useful (and free) onion-skin tool for Maya animators.

It was created by Artist and animator Brian Horgan.

It's Free

 

 


Goodbye Uncanny Valley

https://vimeo.com/237568588

It’s 2017 and computer graphics have conquered the Uncanny Valley, that strange place where things are almost real... but not quite. After decades of innovation, we’re at the point where we can conjure just about anything with software. The battle for photoreal CGI has been won, so the question is... what happens now?

CREDITS:

Written and animated by Alan Warburton with the support of Tom Pounder and Wieden + Kennedy.
Music by Cool 3D World (cool3dworld.com/)
Special thanks to: Leanne Redfern, Nico Engelbrecht, Iain Tait, Indiana Matine, Katrina Sluis, David Surman, Jacob Gaboury and Daniel Rourke.

Animated backgrounds generously provided by:

• Quixel (quixel.se/)
• Katarina Markovic (youtube.com/channel/UCcr4QTtAK9N96pf_Z_zVqWg)
• Roman Senko (vimeo.com/rendan)

Featuring work by:

• Al and Al (alandal.co.uk/)
• Albert Omoss (omoss.io/)
• Alex McLeod (alxclub.com/)
• Barry Doupe (barrydoupe.ca/)
• Claudia Hart (claudiahart.com/)
• Cool 3D World (cool3dworld.com/)
• Dave Fothergill (vimeo.com/davefothergillvfx)
• Dave Stewart (vimeo.com/davegrafix)
• Drages Animation (youtube.com/user/drakhean)
• El Popo Sangre (vimeo.com/elpoposangre)
• Esteban Diacono (estebandiacono.com)
• Eva Papamargariti (evapapamargariti.tumblr.com/)
• Filip Tarczewski (vimeo.com/ftarczewski)
• Geoffrey Lillemon (geoffreylillemon.com/website/)
• Jacolby Satterwhite (jacolby.com/home.html)
• Jesse Kanda (jessekanda.com/)
• John Butler (vimeo.com/user3946359)
• Jonathan Monaghan (jonmonaghan.com/)
• Jun Seo Hahm (vimeo.com/junseohahm)
• Kathleen Daniel (duh-real.com/)
• Katie Torn (katietorn.com/index.html)
• Kim Laughton (kimlaughton.tumblr.com/)
• Kouhei Nakama (kouheinakama.com/)
• LuYang (luyang.asia/)
• Mike Pelletier (mikepelletier.net/)
• Nic Hamilton (nichamilton.info/)
• Pussykrew (hybrid-universe-emulation.net/)
• Rick Silva (ricksilva.net/)
• Sanatorios (instagram.com/sanatorios/)
• Zeitguised (zeitguised.com)


Christoph Lendenfeld's Viewport 2 Extension Onion Skin for Maya Animators

https://vimeo.com/234188447

Onion Skin For Maya Viewport 2.0

Most Onion skin tools are a bit heavy to use in Maya. This is why Christoph Lendenfeld decided to make a new tool that was a viewport extension that mimicked the features of a 2D onion skin tool. “I wanted to have something like the ghosting functionality in Maya, but unfortunately this doesn’t work with skinned meshes”. Lendenfeld says. “I know there are solutions like bhGhost but they come with a render overhead and always display the same frame”. Lendenfeld’s OnionSkinRenderer is a plugin extension to Maya’s Standard Viewport 2 renderer. When Maya Renders a frame, a pass with the specified objects is created and stored. If you now tell the plugin to display information from another frame, it checks if that exists and if yes, draws it above the geometry.

Download Lendenfeld’s OnionSkinRenderer from his GitHub page, or visit to learn more about the OnionSkinRenderer Viewport plugin.

 


James Cameron Reveals Avatar Sequel Details

From Empire Online.com


James Cameron is not someone who does things by halves. The man who rebuilt the Titanic is currently hard at work on four sequels toAvatar, the first of which won't land until 2020. However, there are a few things about the upcoming sequels that fans will find familiar, not least of all the principal villain. Warning: Spoilers ahead.

It's long been confirmed that Stephen Lang's Colonel Quartich would return (despite taking a pair of four-foot arrows in the chest), but talking to Empire in our September issue, Cameron reveals that Quaritch won't be relegated to a supporting role or appear solely in flashbacks. Rather, he will continue to menace Jake, Neytiri and the other Na'vi throughout all five movies as the saga's main antagonist.

"The interesting conceit of the Avatar sequels is it’s pretty much the same characters," he says. "There are new characters and a lot of new settings and creatures, so I’m taking characters you know and putting them in unfamiliar places and moving them on this greater journey. But it’s not a whole bunch of new characters every time. There’s not a new villain every time, which is interesting. Same guy. Same motherfucker through all four movies. He is so good and he just gets better. I know Stephen Lang is gonna knock this out of the park."

Was Quaritch's body smuggled off-world by the departing Selfridge? Will he return more machine than man? Or, after being skewered deep within the Pandoran forest, might he himself end up transposed into an Avatar body, bringing a blue-skinned, eight-foot Na'vi Quaritch to bear on our heroes? The mind boggles.

Cameron's mammoth undertaking, shooting four sequels back-to-back is not only ambitious, it's a feat of scheduling that Stephen Lang himself described as "a Mongoian clusterfuck". Cameron's inspiration for said clusterfuck? One Peter Jackson.

"I said 'It’s your fault I’m doing this, motherfucker!'" He recalls. "It’s one big story. But I would say a little bit different from The Lord Of The Rings, which you knew was a trilogy and that allowed you to accept a sort of truncated ending for movies one and two and then a fulfilment. This is a greater narrative broken up into four complete stories.

For the complete, in-depth career interview with Cameron, covering everything from Terminator 2 to Aliens, Titanic and The Abyss, pick up the September issue of Empire, on sale from Thursday 10 August.Subscribe here.


Film Contact 1997 - Brilliant Tricky Mirror Shot Explained

https://youtu.be/Fxa3j8bK-c4

Contact visual effects supervisors Ken Ralston and Stephen Rosenbaum explain how this amazing scene was shot.


From VFX Blog... read more here.

 

vfxblog: So how did you plan it and how did you pull it off? I think people are still bamboozled by it.

Ralston: Well, the idea was to present it in a simple way. The beauty of it is, anywhere else, there’d be cutaways of course to show what you need to know. So first of all, once we had it boarded, and I don’t think we ever did previs in those days on most things, but we knew what we wanted. Plus you have to realise, when you’re on a set you have to be there to let the reality of what you’re shooting dictate the next step sometimes. So the first thing you obviously have to get is her.

Mirror1

Our camera operator, who was also a great Steadicam operator, had to keep running up those stairs with her over and over, and he was dying. I forget how many takes we got of her running up. Plus there’s this ramp slow down, which is also happening as she runs up, it goes into slow-mo.

So, using all of that as her timing reference, then I try to figure out, well, okay what’s the simplest way of shooting her? Do I have to tell her where to reach so that the hand coming in from the other side matches as if it was a mirror reflection? It’s all just, how fast do we pull out of this mirror?

I’m trying to remember all the pieces that we shot. I know that we pulled back, we had the medicine cabinet obviously that we come into, and then the mirror closes slowly. That’s all these separate pieces. And the only reason to separate them is you never know down the line when the director might say, ‘Could we…’, and then they want to change it somehow. If you can break if up into little minuscule little parts, you can make your job a little easier. Although I don’t think we ever did anything on that.

I know we added bevels on the mirror, because there was no mirror, and it was just a blue screen stuck to a medicine cabinet mirror that should have been there. And we just put a little schmutz on it so it looked like it was a real thing, and on you go.


The Making of Stranger Things with Aaron Sims Creative

https://youtu.be/v6TTzPOh79E

 

With the highly anticipated second series of Netflix cult show Stranger Things set for release this coming Halloween, we caught up with the team at Aaron Sims Creative - the award-winning VFX studio that brought the series’ eerie otherworldly landscapes and terrifying Demogorgon to life.


Manga Studio Review: Better than Adobe Photoshop

https://youtu.be/0MRZ4ytSkIQ

A review of Manga Studio 5 showcasing the features that are better than Adobe Photoshop for digital drawing and painting. I outline some of Manga Studio's exclusive features that make the program so powerful and enjoyable, from the point-of-view of freelance illustrator, Brian Allen.

See full review at: http://www.flylanddesigns.com/?p=3192
—————————

This video uses a custom set of 100 Manga Studio 5 brushes available for purchase here for $2.99: http://www.flylanddesigns.com/custom-manga-studio-5-clip-studio-paint-brushes/


WoodSwimmer

https://vimeo.com/196683500

 

A music video made entirely from wood for a song by bedtimes.xxx/music, WoodSwimmer is based on a concept I developed while designing a new stop-motion universe where wood is the primary element. The sequences are cross-sectional photographic scans of pieces of hardwood, burls and branches. It is a straightforward technique but one which is brutally tedious to complete.

More about the film at bfophoto.com/

More tunes at soundcloud.com/bedtimes


Strange Beasts

https://vimeo.com/209070629


Funky Low Poly Animation

https://youtu.be/KMo3tR1Mf3o


Brad Bird- Playful Cinema

https://youtu.be/KiXZMujutI0


Dynamics Reel - Will Wallace

https://vimeo.com/217795481

nice reel...


Pepsi Arabia ‘Hand in Hand, We Can’ – Making Of

https://vimeo.com/217631411

Glassworks Barcelona is glad to present the making of video for the spot directed by Ernest Desumbila in collaboration with Sauvage for the Pepsi Arabia's campaign ‘Hand in Hand, We Can’, launched earlier 2017.

In the spot we can see six top sport personalities from Saudi Arabia, from athletes to football players, joining efforts to fight against the obstacles appearing on their way.

Follow @glassworksbcn on Twitter, Facebook & Instagram for more updates.
Website: glassworksbarcelona.com/
Facebook: facebook.com/glassworksbcn
Twitter: twitter.com/glassworksbcn
Instagram: instagram.com/glassworksvfx

CREDITS

Client
Pepsi Arabia

Agency
Impact BBDO Jeddah

Production Company
Sauvage

Director
Ernest Desumbila

PEPSI TEAM

Production Company
Dejavu Dubai

Executive Producer
Manasvi Gosalia

Producer
Alison Steve Jennings
Kavya Iyer

IMPACT BBDO JEDDAH TEAM

Creative Director
Moe Sarhi
Wissam Chaar

Agency Producer
Diana Gebaly

SAUVAGE TEAM

Executive Producer
Eva Lafitte

Producer
Llibert Figueras

Editor
Lluis Murúa

GLASSWORKS TEAM

3D Lead
Carlos Cortés

2D Lead
Carlos Cortés

Executive Producer / Head of Production
Joan Amat

Producer
Belén Palos

VFX Supervisor
Carlos Cortés

3D Artists
Carlos Cortés
Javier Verdugo
Fabio Medrano
Frankie de Leonardis
Simon Glas
Marco Rossi
Rodrigo Torres
Anthony Vincent
Eric Moliner
Borja A. Ortiz
Sarah Gatefield
Igor Gouziev

2D Artists
Carlos Cortés
Ruben Llusià
Saúl Yowi
Gonzalo Moyano
Fabio Medrano
Dani Granado
Alexandre Hurtado
Joan Hurtado
Anna Mejuto

Colourist
Xavi Santolaya

Making of by Dani Barrio

3D car sequence and monster made in collaboration with Sauvage.

Song: a-is-to-b-as-b-is-to-c
itunes.apple.com/es/album/a-is-to-b-as-b-is-to-c/id281208446?i=281208609&l=en


Agent 327: Operation Barbershop

https://youtu.be/mN0zPOpADL4

This three-minute teaser for a full-length animated feature is based on Dutch artist Martin Lodewijk's classic comics series Agent 327. The Blender Animation Studio is currently developing the story and seeks for funding to bring this adventurous comedy animation film to an international audience.

More information: https://agent327.com

Entirely made in Blender, released as Creative Commons for Blender Cloud subscribers.

Join http://blender.cloud today, get 10 years of film production history, tutorials, and help us making more!


Black Tie Only | Marvel's Rocket & Groot | Disney XD

If you like this new show and want to try your hand at animation Rocket in maya.

Here is a rig!

Free Rocket Raccoon Character Rig

 


The Artistry Of 'Samurai Jack'

If you were watching Cartoon Network in the late '90s and early 2000s, you probably have Genndy Tartakovsky to thank for some of your favorite cartoons.

But one of his cartoons stands above the rest as a visual and animated masterpiece — "Samurai Jack." With it's unique drawing style, distinct minimalist feel, and perfectly choreographed action sequences "Samurai Jack" has gone down as a seminal work in cartoon history.

Never having received the ending it deserved, "Samurai Jack" is finally returning to Adult Swim this weekend to finish the epic animated tale started way back in 2001.


Maya 2017 for Motion Graphics

I have been playing with the new MASH tools for Motion Graphics and design in Maya 2017 and am really impressed. Currently, I am working on a piece for the Rhythms + Visions / Expanded + Live 3 show at USC. I will post when the piece has been shown there here for you all to see. the final output is over 6k wide to be projected on 4 screens.

Maya 2017 for Motion Graphics from Autodesk Media and Entertainment on Vimeo.

MASH - Eyes from Mainframe (North) on Vimeo.

MASH/Curve Warp - Specimen from Mainframe (North) on Vimeo.


What It Is Like To Be An Animator

Animating Mei’s Frosty :) Highlight Intro

Recording of David Gibson's animation process for animating Mei's "Frosty" Highlight Intro from Overwatch in Autodesk Maya. This video was originally made and presented as part of the Overwatch Exhibit in Blizzard's Irvine Museum.

Character Design by: Arnold Tsang
Character Model by: Renaud Galand
Character Rig by: Dylan Jones
Technical Support and Workflow Tools by: Lan Fang & Dylan Jones.

Overwatch Animation Team:
Ryan Denniston, Jesse Davis, Michael Biancalana, Matt Boehm, Adam York, David Gibson

Music:
"Prepare to Attack" from the Overwatch Collector's Edition Soundtrack available here:
us.blizzard.com/en-us/games/music/overwatch.html


A Conversation with Kubo and the Two Strings VFX Oscar Nominees

https://livestream.com/gnomon/kubo-two-strings-vfx

LAIKA’s Oscar-nominated VFX Supervisor, Animation Supervisor and Director of Rapid Prototype will discuss Kubo and the Two Strings at Gnomon ahead of the VES Awards. The panel will bring together Steve Emerson, Brad Schiff, and Brian McLean, and the discussion will be moderated by Emmy-winning character animator and Gnomon Instructor, Laura Barbera. Speakers will take questions from both the stage audience and Livestream viewers during the live event. Tweet questions using #gnomon on Twitter. If you’re in or near Los Angeles, attend for free at 1015 N Cahuenga Blvd, Los Angeles CA 90038. Campus tours will be available.


Mathematicians bring ocean to life for Disney's 'Moana'

UCLA mathematics professor Joseph Teran, a Walt Disney consultant on animated movies since 2007, is under no illusion that artists want lengthy mathematics lessons, but many of them realize that the success of animated movies often depends on advanced mathematics.
"In general, the animators and artists at the studios want as little to do with mathematics and physics as possible, but the demands for realism in animated movies are so high," Teran said. "Things are going to look fake if you don't at least start with the correct physics and mathematics for many materials, such as water and snow. If the physics and mathematics are not simulated accurately, it will be very glaring that something is wrong with the animation of the material."
Teran and his research team have helped infuse realism into several Disney movies, including "Frozen," where they used science to animate snow scenes. Most recently, they applied their knowledge of math, physics and computer science to enliven the new 3-D computer-animated hit, "Moana," a tale about an adventurous teenage girl who is drawn to the ocean and is inspired to leave the safety of her island on a daring journey to save her people.

Read more here


Sainsbury's OFFICIAL Christmas advert 2016 -The Greatest Gift

Our new Christmas advert tells the charming tale of a hard-working and devoted dad who comes up with an ingenious plan to make sure he can be with his family for Christmas. Beautifully animated for the screen by award winning director Sam Fell, the story is told via an original, joyful and humorous song ‘The Greatest Gift Is Me’, voiced by British actor James Corden and composed by Flight of the Conchords’ Bret McKenzie, a comedian, musician and producer who won the 2012 Oscar for best original song in The Muppets.

sainsburys1

the-greatest-gift-8

602480002

http://www.passion-pictures.com/uk/animation-studios/

http://www.passion-pictures.com/uk/animation-studios/


CGI Dreamworks Animation Studio Pipeline

I use this video every year to familiarize my students with the entire production process on a CG film.


The Mermaid - SNSM - Flying V

Making Of - SNSM - The Mermaid - Flying V from WIZZ design on Vimeo.

Credits

Agency: Publicis

Production: WIZZ
Directors Flying V

VFX: Fix Studio

Music : Chez Jean

source


Daloc The Robot

Daloc The Robot from Troll VFX on Vimeo.

Troll VFX’s “Daloc The Robot” Credits:

  • Client: Daloc
  • Agency: INGO Stockholm
  • Account Director: Håkan Karlsvard
  • Creative Directors: Josefine Richards, Björn Ståhl
  • Copywriter: Josefine Richards
  • Art Director: Line Lorentzen
  • Agency Producer: Pia Dueholm
  • Production Company: Stink
  • Director: Misko Iho
  • Executive Producer: Jon Chads
  • Head of production: Andrew Levene
  • Producer: Alicia Farren