Wow. Sometimes you think something will be easy and automatic, and then reality steps in and yells “Nope!” right in your face. This is one of those common things a compositor runs into almost daily – using a vector pass from a 3D program to add motion blur in post. Using a vector pass speeds up the 3D rendering and lets the compositor make adjustments to the motion blur without having to re-render any 3D elements. (more…)
If you’re going to use Blender in a professional environment, especially to compliment your work as a compositor (as I do), then moving your 3D scene from Blender and into The Foundry’s Nuke is more or less a necessity at some point. Thankfully, this has gotten much easier than it used to be. (more…)
Visual effects artists work in frames sequences. That’s what we expect to get from the client, and it’s what we give back to them. EXRs, DPXs, PNGs, TIFs, even TGAs and JPGs. Compressed movies are for reviewing, but our main means of delivery on feature films are frame sequences. Independent projects can have a variety of different formats for delivery, but even then, it’s recommended that you work from frame sequences and just create the delivery movie from the final frame sequence at the end. (more…)
I’ve been working at CoSA VFX for about 8 months now (although I did not work on the Gotham image above). It’s a great studio to work for, and we’re having lots of fun working on many different TV shows. I just stumbled across this article over at CG Society, where they talk a little about the studio and what we do there. Enjoy!