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The Tech Behind the Tools of Avatar Part 2 Naiad. Tech Behind the Tools of Avatar Part 2 Naiad. M Seymour. 2010. ‹ 1; 2; ›.On Avatar, the helmet camera was integral in recording the actors’ expressions with freedom of motion, along with accurate eye tracking. Weta tested the camera with a proof of concept, using a digital model of Gollum to map expressions from an actor’s markered face onto geometry.Fxguide fxphd. 38K likes. is the leader in pro online training for vfx, motion graphics, and production. Turn to fxguide for vfx news and.Fxguide Features Ari Shapiro and ICT’s Make You and Avatar Demo at SIGGRAPH 2014. July 18, 2014. A podcast spotlighting the SIGGRAPH RealTime Live session features Ari Shapiro and his work on the Make You an Avatar demonstration that will be part of the presentation. Broker dealer osj. And online human interaction with user-generated and personalized avatars. fxguide. August 6. CBS News. April 17. Two Minute Papers. March 15.FXGuide / Nuke / Ocula – WETA Digital Robin Hollander from Weta Digital talks us through their use of Nuke and Ocula on Avatar at NAB 2010. VFX Breakdown – Environments & Matte PaintingOur team achieved huge innovations in real-time performance capture, facial rigging, 3D animation and compositing for James Cameron's.

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Fxguide. The Art of Deep Compositing. fxguide has been following the development. Avatar © 2009 Twentieth Century Fox Film Corporation. All rights reserved.PaGAN Real-time Avatars Using Dynamic Textures Koki Nagano, Jaewoo Seo, Jun Xing, Lingyu Wei, Zimo Li, Shunsuke Saito, Aviral Agarwal, Jens Fursund.Mike Seymour. Fxguide/The University of Sydney. Australia. will meet in virtual reality with interactive real time avatars to. discuss a range of. H forex trading strategies. Prior to Avatar the assumption had been that Ocula would be needed to address the camera keystoning that occurs when you have two cameras converged (pointed in on each other or ‘toe in’ as it is sometimes referred to).Simple converging of the two viewing pyramids of each camera which are at a slight angle to each other will result in an image plane where the left eye is a bit taller on left of frame and the right eye is a bit taller on the right.Imagine projecting two video projectors at a wall – if you moved one to the left and one to the right and yet pointed them both at the same centre point – you’d expect cornerstoning on each image.

Of course this means, on paper anyway, that the sides of any stereo production filmed using the Converged or ‘toe in’ technique, will have poor alignment at the edges.Alignment is one of the key areas, therefore, that the Foundry have been focusing on with Ocula.“In reality,” explains Simon Robinson, “very subtle camera misalignments almost always dwarfed all the camera keystoning effects – certainly for fairly narrow camera separation on reasonably well set back filmed subjects.” As such Ocula 1 was targeted at keystoning whereas Ocula 2 has benefited from the real world forge of production and thus is much more focused on fixing and correcting for subtle camera misalignments. F forex. “That was the one thing across the board that (early adopters) found, and I think today it is still the number one issue that people need to solve in terms of their workflow,” says Robinson.The Ocula 2 alignment tool will now correct for: • keystoning (it will adjust for a vertical offset: in your head your left eye is always – always – fixed level to your right eye – skulls are very rigid bones) • it will also correct for a nodal move on one of the cameras (although in reality an actual nodal pan of a camera is highly unlikely as the most common pivot point of the camera is the base attachment to the camera plate which is well back from the actual nodal point of a lens) Correction may appear a trivial problem but it is far from it.At a maths level for just a nearest best approximation solution, it is assumed that adjustments are nodal (rarely prefectly true) and the cameras are at least mounted in an imaginary horizontal plane.When one considers that on most rigs the actual cameras are mounted at 90 degrees to each other with a mirror – even this base assumption is far from a given.

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Free iTunes Store subscription. vfxs092 credits Producer Mike Seymour Review and Show Notes Todd Scholton. Show Notes Avatar.Make sure you listen to FXGuide's January 15 podcast, where Mike Seymour interviews John Knoll, and goes deep into the specifics of our body of work, as well as a lengthy discussion of stereo 3D techniques scroll down to the "Avatar ILM" podcast. FXGuide podcast host John Montgomery actually mentions the CNet article in his introduction to the interview, concurring that the tone of the article was not faithful to the collaborative spirit of the work.He is also well known for his work as a writer, consultant and educator with the web sites and These sites provide an important link. Handel in der globalisierten welt youtube. Avatar is one of my favorite cartoon and I found this work really interesting. Please update your blog more often for us. I really appreciate this. Avatar - Effects Guide. FX design from the animated series "Avatar The Last AirWes Ball is a highly successful film director of movies such as The Maze Runner films. He is also a visual effects artist and animator in his own right. Last week Ball posted a video showing the real-time UE4 sizzle reel that got the film Mouse Guard greenlit at Fox Studios.Finally, there is no reason BabyX needs to be a Baby. As part of the wider problem of Agents, the team has developed the Auckland Face Simulator which we have covered in the past here at fxguide. This is an engine to allow for a much faster production of high quality faces, removing much of the manual time consuming artist repetitive work to produce any reasonable adult face.

Stereo disparity is the term used to describe the shift that occurs for a particular point in 3D space between the left and right images.In a stereo pair, the cameras are offset horizontally, so in a perfect world this would be a purely horizontal shift.The amount of the shift varies with distance from the camera and can vary pixel to pixel. [[In addition, one eye may see areas that were not visible to the other eye.The key, from Ocula’s point is view, is to assume that both images were captured exactly at the same moment.So any shift between the left frame and the right frame is NEVER due to anything moving or being in motion, but ONLY due to distance from camera.

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Furthermore, it is not even possbile to assume that the distance between the two cameras is the same from one frame pair to the next.This is not always true – even ‘rigid’ rigs flex during a shot, so for most shots it is assumed not to be fixed.But one improvement from Ocula 1 to Ocula 2 is that instead of assuming they are completely unrelated – the distance between the cameras is slowly merged or animated from one value to another – allowing key frames means that another source of jittering can be removed. Akademie handel termine. So regardless of whether the shot is dynamic or not – it is assumed the tiny distance between the lens moves from one value to the next rather than jumping around erratically producing noise.The Ocula software can build a picture of the stereo disparity by estimating the change in position of every point in the scene between one view and the other.In a method very similar to optical flow – but unlike optical flow – a few more things can be assumed to be known or fixed and most importantly nothing is moving between what is seen by the right and left eyes, they are both snapped at the same time.

In short – Ocula works out a ‘depth map’ on the layout of the scene.Once this map is created – one eye can be adjusted in very complex and useful ways in three dimensions – rather than just as a simple 2D transform or distort.These 3D adjustments produce vastly superior results and are on par with camera mapping, or projecting the scene back down on a rough model of itself, and then adjusting the digital camera’s position or photography and recapturing. Indicator forex close all yours. “Most of the core algorithms got rewritten between Ocula 1 and Ocula 2,” comments Robinson.“One of the key algorithmic things was to improve the disparity map generation between the two – and that is massively better, and second thing was to improve the workflow, with the benefit of real world experience (from Avatar) we learn a lot about having more control and just what was needed to make this work.A large part of the reworking of Ocula 2 was workflow, for example, every effects shot has a camera solve for it and so there is little point in that feature film workflow, for Ocula to re-do all that – we should instead inherit that work (tracking data) that may have already taken several hours to achieve a good track.” Under the hood the Foundry uses two different algorithms to generate their disparity maps.

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One is a variant on their highly successful Kronos optical flow approach but with the higher stability of having variables that stereo so generously provides.The second algorithm is a dynamic programming technique, which is a method of solving complex problems by breaking them down into simpler steps.(This is unrelated to computer programming – but rather it is a problem solving approach that is often implemented with recursive algorithms). Anyoption erfahrungen auszahlung kindergeld. A third algorithm is currently being explored to improve the frame to frame or “temporal stability” of the disparity maps.This research looks extremely promising but at the moment is still computationally expensive.Today Ocula 2 is still open to some temporal artifacts, such as noise or jitter frame to frame but as Robinson points out, “This stuff is very far from done, and what we are developing next is a lot more temporal consistence in the disparity fields, and a lot of this is being driven by wanting to make it better – but we also have customers doing some really interesting things and going to the next stage, especially extracting depth information from stereo shots – and having z-depth for each eye and partial geometry reconstruction.” Disparity estimation is a well-explored topic in the research community, with many papers being published in the last ten years highlighting a variety of approaches.

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The disparity maps can be used to map the world in 3D space in much the same way as a 3D tracking/camera solving software does – in fact both can use epipolar geometry triangulation to work out the depth map of the world in front of the lenses.All points then in the scene can be mapped to follow the calculated Epipolar lines.In fact you can convert from a disparity map to a depth map, if you know the camera calibrations and rig geometry – or in other words, if you have a stereo camera solve. Qatar international brokers. Color differences between the two views of a scene can also make it more difficult for the viewer to resolve objects, actors and scenes successfully.The problem is most camera rigs cannot move the lenses of the actual cameras close enough due to the physical size of the lenses and cameras and so a beam splitter/ mirror rig is used.This allows cameras to film on top of each other and yet capture footage a sensible interocular distance apart.