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But who knows if you ever find yourself needing to be located by a search dog, you never know, shejust might be more on the grid than you are. dog barks. i think paul may have made a new best friend there. now this time of year is movie nomination season, and for us at click that also means the opportunity to talk to some of the greatest minds in visual effects to see what they have been up to over the past year. first up, a look at the bafta nominated matrix: resurrections. i ve had dreams that weren tjust dreams. am i crazy? we don t use that word in here. for me, getting on board with the matrix was huge. i think a lot of people in this industry will probably have had the matrix affect them in different ways. there was a huge expectation on the movie s shoulders, but also on vfx, obviously we re revisiting a world that had been created 20 years ago, so we knew these assets ....
We have a sense of scale. our vfx work will always be better if we are building off the back of something real, or if we have something real to reference before we build out the effects. it will always look better, you can create whatever you like, you can create wonderful environments, as much imagination as you like, but as soon as you start putting something real into it you just need something to ground it. and i think if you do a partial set build of exactly the kind of idea that you want, you want to light your characters in a certain way, the background behaves a certain way behind them, so once you have got something captured on camera it is so much easier to extend that in cg and build on the same thing, and you know, be a part of that. after all these years, to be going back to where it all started? back to the matrix. great work, and next week we will have the second in our visual effects series, not to be missed. that s it for this week though, as ever you can keep up with ....
On the grid than you are. dog barks i think paul may have made a new best friend there. now, this time of year is movie nomination season, and for us at click that also means the opportunity to talk to some of the greatest minds in visual effects to see what they have been up to over the past year. first up, a look at the bafta nominated matrix: resurrections. i ve had dreams that weren tjust dreams. am i crazy? we don t use that word in here. for me, getting on board with the matrix was huge. i think a lot of people in this industry will probably have had the matrix affect them in different ways. there was a huge expectation on the movie s shoulders, but also on vfx, obviously we re revisiting a world that had been created 20 years ago, ....
Weren tjust dreams. am i crazy? we don t use that word in here. for me, getting on board with the matrix was huge. i think a lot of people in this industry will probably have had the matrix affect them in different ways. there was a huge expectation on the movie s shoulders, but also on vfx, obviously we re revisiting a world that had been created 20 years ago, so we knew these assets were alive somewhere, we just had to try and track them down and find them. and it wasn t, sadly, the case that they all just live in a nice hard drive and we can just ask warner brothers, hey, can we have the assets? , and they send them to us. lots of e mail threads, different people, old companies looking through their backups and finding whatever they can. we eventually managed to restore, i think, a sentinel, a harvester and a foetus egg stalk. we found all the files but then we were like, how do we open it? none of the modern 3d packages will open these files. we found an old version ....
Like the expanded city. that was one of our biggest builds. we had to break it down into lot of small sections, we wanted to try and create a believable city that you could feel people have lived there for a while and they have figured out how to irrigation channels, farming, dwellings, we tried to block out these different areas that you could buy as real, and then populate it with little people, little chimney stacks, atmospherics, it was set in a huge cabin so we want to make sure we have a sense of scale. our vfx work will always be better if we are building off the back of something real, or if we have something real to reference before we build out the effects. it will always look better, you can create whatever you like, you can create wonderful environments, as much imagination as you like, but as soon as you start putting something real into it you just need something to ground it. and i think if you do a partial set build of exactly the kind of idea that you want, you want ....