onlydigitalart must for those who are in animation or eaditing or compositing feild
शनिवार, 7 मार्च 2009
बुधवार, 4 मार्च 2009
compositor on Nuke compositing
this is orignaly taken by website http://www.highend3d.com/ with thanks
- Thanks for sharing those. Now a bit about you currently. What is your current position and where?I'm actually just between jobs. I finished up at Weta Digital as a lead compositor a couple of months ago and will go to LA end of July to work at Digital Domain as a comp TD.- Where have you worked in the past and What compositing applications have you used?My first job in the vfx industry was at "UPSTART! Filmproduktion" (later known as "Upstart Animation") in Wiesbaden, Germany where I started as an intern in 1997. After a few years of 3D work with 3dsMax and a little bit of poking around in AfterFX and DigitalFusion it became obvious that we needed more compositing people. At the time the first Shake GUI version has just come out so I started learning that (our only compositor was working on Media Illusion and there was no way we could afford another seat).Later, I think it was 2001, while still at UPSTART! I had a peak at Combustion because somehow we had ended up with three different softwares on a job; Media Illusion (which I unfortunately never got my hands on myself), Combustion and Shake. It was quite interesting to see the differences in those packages and figure out ways to link between them as we had to mimic each others set ups to conform all the shots.In 2002 I left Upstart Animation and went down to Munich to start a job at Arri Digital Film as a senior compositor. I worked almost exclusively on film projects using Shake but also snuck into our Flame/Inferno suits occasionally to do warping tasks which at the time was not yet possible in Shake without plugins. Not that I knew much about those Discreet products but I had fellow compositors show me the buttons I needed to know.In 2003 I moved to New Zealand to work at Weta Digital. After using Shake exclusively until late 2005 I started looking into Nuke during our work on King Kong. I used it primarily to create jungle environments at first but during the course of the project switched over entirely.In 2006 I went to work for Digital Domain for a few months where of course Nuke was the exclusive compositor. In mid 2006 I started working for Gallery of Media in Munich developing comp specific workflows and a Nuke based pipeline. They had just decided to make the switch from Shake and needed someone to help with the transition. The first few months I worked from home in Wellington writing custom tcl tools and Nuke gizmos before I went to Munich to implement the work on site, do Nuke training with the crew there and set up more pipeline tools such as network rendering via Discreet's BackBurner and I/O workflows between 3dsMax and Nuke.- What are some of your big creditsLord of The Rings, The Return of the KingI, RobotVan HelsingKing KongFlags of our Fathers- What was the first complicated compositing job you ever worked on and do you remember what you took from that experience?It's hard to single out a job over the last years. A lot of tasks that seemed hauntingly difficult at the time would probably be a lot easier now with more advanced tools and work environments.I took something from every single job I did in the last ten years and this learning process hardly ever stops for any of us. We just need to be aware of what we learn and sharing that knowledge with the team makes for the best work environment.There were deflicker jobs that I ended up creating single lookup tables per frame for or body match moves when I had to track bleeding wounds onto a heavily breathing actor's body without warp tools or a match move department.Some "keying" jobs come to mind as well of course; long blonde motion blurred hair that had been shot not in front of a bluescreen but in front of space lights pointing into camera. Or a ship with dangling ropes and chains and Venice Beach as the "screen colour". Tracking miniature models into life action shots that were shot with a completely different camera move is quite a challenge as well and so is keying actual blue screen when it is three to four stops under exposed and shot on grainy highspeed film stock.I'm pretty sure most compositors have had similar experiences though so I'll stop whining.All in all I believe most of the shots that I remember as complicated would have acquired their complexity via poorly prepared footage rather than requests for a highly complex effects.A lot of these things can be avoided by making sure there is good communication between the crew that shoots the plates and the guys that do the post which is something that is grossly neglected in the industry. Sometimes a simple phone call during pre-production can save you days of work but being on set and communicating with the producer, director and DOP as a vfx/plates supervisor is desirable and far more efficient.Funnily enough, the bigger the project the worse the plates seem to be and in my opinion people that make visual effect films should keep in mind that the creation of the effect shot starts on set, not in the post. - What is your overall impression of Nuke being acquired by the Foundry. I think it's very exciting to see the Foundry look after the development now.Bill Spitzak is still on board which was one of the most important things for me during the take over and with Matt Plec managing the development team Nuke finally is getting resources and coordination that it never had before. Matt is very experienced and talented when it comes to software development, client communications and production work and is therefore the perfect point person for the new team.He was of immense help during the NothingReal times and it's great to have him back on the radar.The Foundry's commitment to high end products and their excellent understanding of requirements in modern day digital compositing, bundled with their policy of collaboration with their customers (rather than the secrecy policies of others) pushes Nuke into a fantastic position. The Foundry has shown great support and commitment from day one and Matt is very communicative about new plans, ideas and changes they intend to make.So all in all you've got a software that has already proven it's worth in high end productions over 12 or so years with an extremely limited amount of coders working on it which is now getting full on resources and excellent coding/management talent looking after it. I've spoke to a few compers at DD and they seemed to be excited about it as well, so that's another good sign.Of course there is always a lot of things that can go wrong when you assemble a new team but in my opinion the existing potential has been multiplied with this move. .
- Thanks for sharing those. Now a bit about you currently. What is your current position and where?I'm actually just between jobs. I finished up at Weta Digital as a lead compositor a couple of months ago and will go to LA end of July to work at Digital Domain as a comp TD.- Where have you worked in the past and What compositing applications have you used?My first job in the vfx industry was at "UPSTART! Filmproduktion" (later known as "Upstart Animation") in Wiesbaden, Germany where I started as an intern in 1997. After a few years of 3D work with 3dsMax and a little bit of poking around in AfterFX and DigitalFusion it became obvious that we needed more compositing people. At the time the first Shake GUI version has just come out so I started learning that (our only compositor was working on Media Illusion and there was no way we could afford another seat).Later, I think it was 2001, while still at UPSTART! I had a peak at Combustion because somehow we had ended up with three different softwares on a job; Media Illusion (which I unfortunately never got my hands on myself), Combustion and Shake. It was quite interesting to see the differences in those packages and figure out ways to link between them as we had to mimic each others set ups to conform all the shots.In 2002 I left Upstart Animation and went down to Munich to start a job at Arri Digital Film as a senior compositor. I worked almost exclusively on film projects using Shake but also snuck into our Flame/Inferno suits occasionally to do warping tasks which at the time was not yet possible in Shake without plugins. Not that I knew much about those Discreet products but I had fellow compositors show me the buttons I needed to know.In 2003 I moved to New Zealand to work at Weta Digital. After using Shake exclusively until late 2005 I started looking into Nuke during our work on King Kong. I used it primarily to create jungle environments at first but during the course of the project switched over entirely.In 2006 I went to work for Digital Domain for a few months where of course Nuke was the exclusive compositor. In mid 2006 I started working for Gallery of Media in Munich developing comp specific workflows and a Nuke based pipeline. They had just decided to make the switch from Shake and needed someone to help with the transition. The first few months I worked from home in Wellington writing custom tcl tools and Nuke gizmos before I went to Munich to implement the work on site, do Nuke training with the crew there and set up more pipeline tools such as network rendering via Discreet's BackBurner and I/O workflows between 3dsMax and Nuke.- What are some of your big creditsLord of The Rings, The Return of the KingI, RobotVan HelsingKing KongFlags of our Fathers- What was the first complicated compositing job you ever worked on and do you remember what you took from that experience?It's hard to single out a job over the last years. A lot of tasks that seemed hauntingly difficult at the time would probably be a lot easier now with more advanced tools and work environments.I took something from every single job I did in the last ten years and this learning process hardly ever stops for any of us. We just need to be aware of what we learn and sharing that knowledge with the team makes for the best work environment.There were deflicker jobs that I ended up creating single lookup tables per frame for or body match moves when I had to track bleeding wounds onto a heavily breathing actor's body without warp tools or a match move department.Some "keying" jobs come to mind as well of course; long blonde motion blurred hair that had been shot not in front of a bluescreen but in front of space lights pointing into camera. Or a ship with dangling ropes and chains and Venice Beach as the "screen colour". Tracking miniature models into life action shots that were shot with a completely different camera move is quite a challenge as well and so is keying actual blue screen when it is three to four stops under exposed and shot on grainy highspeed film stock.I'm pretty sure most compositors have had similar experiences though so I'll stop whining.All in all I believe most of the shots that I remember as complicated would have acquired their complexity via poorly prepared footage rather than requests for a highly complex effects.A lot of these things can be avoided by making sure there is good communication between the crew that shoots the plates and the guys that do the post which is something that is grossly neglected in the industry. Sometimes a simple phone call during pre-production can save you days of work but being on set and communicating with the producer, director and DOP as a vfx/plates supervisor is desirable and far more efficient.Funnily enough, the bigger the project the worse the plates seem to be and in my opinion people that make visual effect films should keep in mind that the creation of the effect shot starts on set, not in the post. - What is your overall impression of Nuke being acquired by the Foundry. I think it's very exciting to see the Foundry look after the development now.Bill Spitzak is still on board which was one of the most important things for me during the take over and with Matt Plec managing the development team Nuke finally is getting resources and coordination that it never had before. Matt is very experienced and talented when it comes to software development, client communications and production work and is therefore the perfect point person for the new team.He was of immense help during the NothingReal times and it's great to have him back on the radar.The Foundry's commitment to high end products and their excellent understanding of requirements in modern day digital compositing, bundled with their policy of collaboration with their customers (rather than the secrecy policies of others) pushes Nuke into a fantastic position. The Foundry has shown great support and commitment from day one and Matt is very communicative about new plans, ideas and changes they intend to make.So all in all you've got a software that has already proven it's worth in high end productions over 12 or so years with an extremely limited amount of coders working on it which is now getting full on resources and excellent coding/management talent looking after it. I've spoke to a few compers at DD and they seemed to be excited about it as well, so that's another good sign.Of course there is always a lot of things that can go wrong when you assemble a new team but in my opinion the existing potential has been multiplied with this move. .
मंगलवार, 3 मार्च 2009
ANIMETION
SOMONE ASK ME ABOUT ANIMATION CORSE THAT FROM WHERE ONE SHOULD DO THIS CORSES I HAVE A REFRENCE ARTICAL MAY BE ITS HELP
FIRST of all dear friend, ALL these private institutes have hidden agendas. There is no hidden agenda in NID as they have chosen you to be a torchbearer in that discipline to meet the best requirements for an animation FILM MAKER. You graduate as FILM MAKER and not just an ANIMATOR. as a PURE animator, yes MAAC, all these other schools will give you an inotroduction to the medium, introduce you to the "WONDERFUL" world of 3d and its highly complex OVERDONE OVERRATED counterparts. Based on these skills you can work as an ANIMATOR in several companies if it is really a good job scene there. If you're looking for employment as just an ANIMATOR, then firstly noone cares WHERE you've graduated from , it could be canada, u.k. or mars. Because the skills are instantly evident by SOLELY your portfolio, it really really really doesnt matter. The animation ball is almost always lying in your court. And im saying, if you come out of NID, you come out as a FILM MAKER as a STORYTELLER. Are you content with working one someone elses content for years and years as long as you get to USE the medium? Are you happy with being handed down storybaords, charachters and keyframes for you to fill up those in betweens. If yes, then you're willing to be a labour intensive WORKER of a third world country satisfied with the thrills executing someone elses work. But if you are a STORYTELLER and see animation as a medium of YOUR expression(a strong inclination to creative expression is indicated ie) instead of a means of earning solely, then please try NID. WHY are you giving up NID even before trying. This test requires NO preparation and ive gotten in first for new media and then i quit and gave it again for aniamtion and i got in again but i decided not to spend anymore time on formal education so i quit. Its really not as diffu\icult as you think, you think it is because thats the way indian education system has made you. NID has much broader scopes of identifying your strenghts for this course. My personal warning is, no doubt maac arena etc will promise many things, but the animator's ball is always in his/her court after the basics. Realize they, the private insitutions, do not have any ideological bearings to serve YOU as much as serve themselves unlike NID which is government aided and sticks to 10 student orthodox intake for its non profit endeavours. Do not be tempted by so called, jobs at CREST/DISNEY etc where you'll 99% be working on someone elses ideas (that too if youre lucky) or for all we know, putting fur on some carpet or scales on some octopus from across the atlantic. Animation as a skill, requires LOTS of time and patience, and only NID with its post grad 2.5 yr program and similar places with dedicated curriculum can help you be a well rounded animator. Also if you're not getting to animate, dont get swayed by all these mighty fantastic worlds of maya/3d etc just because some matrixes or some shreks came out of it. Tell me, how uch is it going to be if i give you my recipe and my kitchen and ask you to just cook and i dont care what you think as long as you give me whats there on that paper, exactly at that time? As a balancing act, career in animation after maac etc is something im not sure of and i dont know, if you can manage this balancing act of doing your skill oriented tasks in your private lmtd. and build up your own creatures in the attic privately, if you're capable of taht , only then id advise you either MAAC or any other lucrative "career" in animation. Dont be tempted by the CREDENTIALS of your CEO or DIRECTOR. In animation, it usually ends up with you looking at yourself in the mirror saying, no where the hell do we go?? Else plaese dont give up on NID even without trying if your reasons are not valid enough to stop you from pursuing your heart.If by the strenght of your portfolio you can get a job in any "good" aniamtion firms in india, then see if you can join as a trainee and learn on your job. Else if you want to be a film maker and you think fiolm language is not inehrent in you, then take up GOOD formal training, either NID or IDC(which has a very good if not best animation faculty called Shilpa Ranade)However dont be in a rush, sit back on that lounge , take a deep breathe and consider all your options. I wanted to do animation because i have ridiculous goals like having my characeters beam down on 1 million homes for people to SEE and get entertained. Whats your goals in animation? And please, start thinking as a FILMMAKER and not just another fun loving animator. the chef and the cook are different.
FIRST of all dear friend, ALL these private institutes have hidden agendas. There is no hidden agenda in NID as they have chosen you to be a torchbearer in that discipline to meet the best requirements for an animation FILM MAKER. You graduate as FILM MAKER and not just an ANIMATOR. as a PURE animator, yes MAAC, all these other schools will give you an inotroduction to the medium, introduce you to the "WONDERFUL" world of 3d and its highly complex OVERDONE OVERRATED counterparts. Based on these skills you can work as an ANIMATOR in several companies if it is really a good job scene there. If you're looking for employment as just an ANIMATOR, then firstly noone cares WHERE you've graduated from , it could be canada, u.k. or mars. Because the skills are instantly evident by SOLELY your portfolio, it really really really doesnt matter. The animation ball is almost always lying in your court. And im saying, if you come out of NID, you come out as a FILM MAKER as a STORYTELLER. Are you content with working one someone elses content for years and years as long as you get to USE the medium? Are you happy with being handed down storybaords, charachters and keyframes for you to fill up those in betweens. If yes, then you're willing to be a labour intensive WORKER of a third world country satisfied with the thrills executing someone elses work. But if you are a STORYTELLER and see animation as a medium of YOUR expression(a strong inclination to creative expression is indicated ie) instead of a means of earning solely, then please try NID. WHY are you giving up NID even before trying. This test requires NO preparation and ive gotten in first for new media and then i quit and gave it again for aniamtion and i got in again but i decided not to spend anymore time on formal education so i quit. Its really not as diffu\icult as you think, you think it is because thats the way indian education system has made you. NID has much broader scopes of identifying your strenghts for this course. My personal warning is, no doubt maac arena etc will promise many things, but the animator's ball is always in his/her court after the basics. Realize they, the private insitutions, do not have any ideological bearings to serve YOU as much as serve themselves unlike NID which is government aided and sticks to 10 student orthodox intake for its non profit endeavours. Do not be tempted by so called, jobs at CREST/DISNEY etc where you'll 99% be working on someone elses ideas (that too if youre lucky) or for all we know, putting fur on some carpet or scales on some octopus from across the atlantic. Animation as a skill, requires LOTS of time and patience, and only NID with its post grad 2.5 yr program and similar places with dedicated curriculum can help you be a well rounded animator. Also if you're not getting to animate, dont get swayed by all these mighty fantastic worlds of maya/3d etc just because some matrixes or some shreks came out of it. Tell me, how uch is it going to be if i give you my recipe and my kitchen and ask you to just cook and i dont care what you think as long as you give me whats there on that paper, exactly at that time? As a balancing act, career in animation after maac etc is something im not sure of and i dont know, if you can manage this balancing act of doing your skill oriented tasks in your private lmtd. and build up your own creatures in the attic privately, if you're capable of taht , only then id advise you either MAAC or any other lucrative "career" in animation. Dont be tempted by the CREDENTIALS of your CEO or DIRECTOR. In animation, it usually ends up with you looking at yourself in the mirror saying, no where the hell do we go?? Else plaese dont give up on NID even without trying if your reasons are not valid enough to stop you from pursuing your heart.If by the strenght of your portfolio you can get a job in any "good" aniamtion firms in india, then see if you can join as a trainee and learn on your job. Else if you want to be a film maker and you think fiolm language is not inehrent in you, then take up GOOD formal training, either NID or IDC(which has a very good if not best animation faculty called Shilpa Ranade)However dont be in a rush, sit back on that lounge , take a deep breathe and consider all your options. I wanted to do animation because i have ridiculous goals like having my characeters beam down on 1 million homes for people to SEE and get entertained. Whats your goals in animation? And please, start thinking as a FILMMAKER and not just another fun loving animator. the chef and the cook are different.
film fare award
hi
i m not satisfied with film fare award its relay ridiculous how the hell likes jodha akbar i am very disappointed
गुरुवार, 26 फ़रवरी 2009
मंगलवार, 27 जनवरी 2009
हैप्पी रिपुब्लिक डे
"All over India, Muslims are coming out on the streets to condemn terrorism. We love India. We belong here. We must express our love of India in this crisis. We all are one and let others know that. We express solidarity with the victims of the terror attack and their relatives. We want to tell our country that we have nothing to do with terrorists or terrorism,"
रविवार, 25 जनवरी 2009
assalam,
abhi abhi kuch aisa padha jo kuch aisa hai
NEW DELHI: Happy with the UPA government's endorsement of the legislative proposal to give daughters from Hindu families an equal share in ancestral
property, women groups are now asking for a similar right for women of other religions.
what about muslim,kyun aisa nahe hota ki kuch baaten hotin kuch bahes hoti,lekin aisa kuch nahi hua sarkar ne jaise tay karliya hai ki shahbano ke baad hum kabhi bhi muslim ke liye koi bhi bhalai wala law banayege hi nahi,ab aaphi mujhe batyee ki ye doyem darze ka vahwar nahe to aur kya hai.
GAZA CRISIS
European governments and citizens hold the key to imposing accountability on Israel
but i dont think that it will work,and it is a half hearted and too late dicision by them.
but i dont think that it will work,and it is a half hearted and too late dicision by them.
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