All posts for the day May 22nd, 2011

Bugs fixed:

? Problem with the solid sources when the temperature channel is not active
? Crash when a body exits from an adaptive grid
? The fluid can pass through a thin object
? When Phoenix FD is installed the CAT can’t add fingers
? The vorticity does not affect certain areas in the simulation, especially the leading front of the flow.
? The GPU preview continues to update even when the window is invisible (performance bug).
? Crash when displacement is used in solid mode and the surface crosses the upper boundary
? Phoenix texture does not sample UVW and velocity channels if the node is not rendered
? The rendering hangs when the cell size is too small


Thanks to Sherlock_Holmes55 for cracking this!

Everything starts with an idea. In this chapter, we are going to start with a basic sketch and work our way up using reference photographs and color correction tools to create the basic feel of the painting. A very quick
and loose process, the idea of this step is to create a solid starting point. We will be looking for relevant photo references and elements to be used in the main painting, and roughly piecing them together to get the general idea on paper.

Time is money. One of the most important things while working in Photoshop with hundreds of layers, is organization. By organizing your layers in a logical way, you will not only make your own life a lot easier, but you will also work much faster, and help the artists working down the pipeline find layers quickly and easily. This translates directly to productivity, not to mention sanity. Afterward, you will never need to use “right click” to find a specific layer among hundreds again!

Sky’s the Limit
The Sky is the limit, and masking will get you there. Learn masking techniques to extract complex shapes from photographs. You will learn how to extract a city skyline from a cloudy, low contrast photo, in 2 minutes or less. Then we will learn to quickly clean the mask of unwanted elements and add details directly to the buildings and incorporate the sky and shoreline into the snowy scene by painting.

Ships Away
Multiple techniques will be used to mask the ship and remove it from its background. We can then paint in elements that were impossible to save with the mask and begin the process of actually incorporating the ship into the scene by painting on snow and ice. We will also look at the 3D tools built right into Photoshop to put together 3d shipping containers from scratch.

Color Grading
Color correction and grading can be an extremely powerful tool. With these simple, yet far-reaching concepts, we will compose the mood of the scene. By manipulating colors and contrast, adding environmental elements like fog, a vignette, and other filters we will create the final, dramatic appearance.

Now we have to clean up our PSD file by organizing and merging down layers where possible. The purpose of a matte painting is to be added to a live plate or to be animated. Naturally, for that we need to send it to camera projection or to compositing. Since we anticipate other artists accessing and working with this file, we need to prepare it in such a way that makes everything easy to find. We will flatten and rename the layers, organize by planes, apply filters, etc. Then we’re ready to send to composite.

Bring it to life! Here we will go over the final After Effects project to show how the animation and camera were created. You will be able to get an idea of how the project is set-up and what is needed to bring a matte painting to life as a 2D animation.

http://www.url-dead/file/1055649174/PhotoShop Matte Painting.rar Matte Painting.rar Matte Painting.rar


cmiVFX launches its latest Full Feature training video in E-on’s premiere digital environment generation tools names Vue. Whether your in the need for a digital back drop or detailed environment, Vue’s highly capable solution is right for you. The cmiVFX users have been requesting this training video for quite some time, and we agreed that the majority of both CG artists and VFX artists should have this knowledge for better completing their pieces of work. Never before have we felt so strongly about every artist watching one of our videos before now. This video is a MUST SEE. Compositors will use it for sky replacements and element fill. CG generalists will uses it for the construct for the majority of their scenes. Vue is highly compatible with most animation packages, so getting data back and forth is only a few clicks away.

Chapter 01 – DEM
A digital elevation model (DEM) is a digital representation of ground surface topography or terrain. It is also widely known as a digital terrain model (DTM). A DEM can be represented as a raster (a grid of squares, also known as a height map when representing elevation) or as a triangular irregular network. DEMs are commonly built using remote sensing techniques, but they may also be built from land surveying. DEMs are used often in geographic information systems, and are the most common basis for digitally-produced relief maps. In order to build a terrain based on a real location we need to find the elevation data first. We are going to find the data online, convert it to a Vue friendly format and import it into vue to start working. We will go over a couple of different ways of doing it.

Chapter 02 – Framing and Lighting
Lighting in Computer Graphics refers to the placement of lights in a scene to achieve some desired effect. Vue and other animation packages all contain different types of lights that can be placed in different locations and modified by changing the parameters. Too often, people who are creating images or animations ignore or place little emphasis on lighting. This is unfortunate since lighting is a very important part of image synthesis. The proper use of lights in a scene is one of the things that differentiates the talented CG people from the untalented. This is not a new topic as a large amount of work has been done on lighting issues in photography, film, and video. Because we will be working with a terrain which can’t be changed of moved, we will do what photographers do. We will find the best angle and frame for the scene with the camera alone. Then we will “wait” for the right light (by moving the sun around) to get the perfect light for our landscape.

Chapter 03 – Materials
Many real life surfaces are not just colored but also have textures and patterns. Many also have small or large surface displacements or bumps, gouges, etc. Texture mapping is used to simulate these surfaces and thus make images more realistic. Three techniques can be used to achieve the impression of natural colors, textures, and appearances: Texture Mapping, Bump Mapping, and Displacement Mapping. Here we are going to create materials based on photo references. We are going to create bump maps and specular maps, together with color. We will work on the distribution of the materials to create the randomness found in nature. An we will combine different material layers to achive the overall material.

Chapter 04 – Ecosystem
The EcoSystem behaves just like a regular material! You can save it as a material and create a whole library of EcoSystems, which can be used later for other scenes and objects. It also means that, just like mixed materials, you can mix two or more EcoSystems, with environment influences such as altitude, slope and orientation! Thanks to Vue’s Ecosystem technology we won’t have to plant each individual plant, but we will control the entire plant population with just a couple of buttons and sliders. We will control the density, altitude and color of the ecosystem, to keep it just where we want it to be.

Chapter 05 – Painting Details
Photoshop Digital painting thrives mostly in production art. It is most widely used in conceptual design for film, television and video games. Now that we have our Vue base render we will use Photoshoop to add more details. We will fix some texture issues, paint cracks on the rocks. Add some sediment under water and maybe a bit of extra land somewhere. Overall making the landscape look more believable. By now your probably worries that we are dealing with a 2d solution? BUT DON’T WORRY! We have found the fastest way to get the details that you need in the positions that you need it!

Chapter 06 – Camera Mapping
Camera Mapping is any method of mapping three-dimensional points to a two-dimensional plane. As most current methods for displaying graphical data are based on planar two-dimensional media, the use of this type of projection is widespread, especially in computer graphics and we will demonstrate that here. At this point we have our final painting. Now we just need to make it move. To do that we will create a camera projection inside Vue in a couple of simple steps. Then we will animate a camera to create the shot and prepare the file for final render. After that, well yes, we will render!

Chapter 07 – Compositing in After Effects
Adobe After Effects is primarily used for creating motion graphics and visual effects. After Effects allows users to animate, alter, and composite media in 2D and 3D space with various built-in tools and third party plug-ins, as well as individual attention to variables like parallax and user-adjustable angle of observation. Using After Effects, we’ll go over the project used to make the final animation. We will add some extra elements to bring the shot to life. Including birds, sound and lens flare. No stock footage here…everything will be hand made.

http://www.url-dead/file/1053687534/Vue Moving Matte Paintings.part1.rar
http://www.url-dead/file/1053687434/Vue Moving Matte Paintings.part2.rar Moving Matte Paintings.part1.rar Moving Matte Paintings.part2.rar Moving Matte Paintings.part1.rar Moving Matte Paintings.part2.rar