ＣＧアニメーターが在宅勤務出来る仕組みを構築してみた。｜ます｜note. 感染症が世界中で猛威を振るっていて、いよいよCG屋さんにも在宅勤務待ったなしの状況になってまいりました昨今。
世間ではリモートワークが云々言われててもCGアニメーターにとってはリモートソフトのわずかな遅延の積み重ねがストレス極まりない訳で、感染を覚悟して出勤を続けてるCGアニメーターもいるんじゃ・・？ という訳で、そんなCGアニメーターでも出来る自宅仕事の一例として試してみたらそこそこうまくいったのでシェアしてみます。 ゴールの想定としてはCG会社のＣＧアニメーターが仕事場で作業する環境をローカルで再現し、会社と同じようにファイルをシェアしたりやネットワークレンダリング環境を自宅で構築することです。 （ヘッダーの画像参照） Redshift について. ようこそ、Redshift by Autodesk へ。
Redshift (レッドシフト) とは天文学者が使う宇宙用語で、赤方偏移また赤色偏移と訳されます。 物体が地球から遠ざかる際、観測対象からの光のスペクトルが長周波側 (可視光では赤い方) へシフトする現象が起こります。 光の波長が引き延ばされた結果、赤く見えるのです。 面白いことに (そして怖ろしくもありますが) この宇宙は膨張を続けているため、銀河からのスペクトルはレッドシフトしているように見えます。 そして Redshift の編集チームも、宇宙が拡張するのに従って、最先端の建築や建設、インフラや製造のテクノロジーとともに進化したいと考えています。 Redshift は「創造の未来」を探訪し、明日の、そして 100 年後の世界では、製品や建物、都市がどのように生み出されるのかを考えていきます。
Digital Pyrotechnics at Industrial Light & Magic with Plume. Eidos-Montréal. The Future of Visual Effects (VFX) Add to favorites The future of visual effects in films, TV, and VR; from crossing the uncanny valley in human animation, to light-field camera technology that will change the way moving images are captured.
Benedikt Bitterli's Portfolio. Release Alembic 1.7.1 · alembic/alembic. VFX Reference Platform. SIGGRAPH Saturday: DigiPro 2016. Before SIGGRAPH 2016 began, there was Saturday's DigiPro conference at Disney's Grand Californian Hotel in Anaheim. fxguide will have coverage all week from the SIGGRAPH conference.
DigiPro, now in its fourth year, always sells out and as the capacity is normally around 250-300 people, the whole event has become the place for pipeline TDs, researchers and supervisors to get together to discuss production issues. The conference aims to present production proven, peer reviewed work to "the right people - together in a focused group" and once again the organizers are to be praised for making the day such a strong event in just a few years. Keynote: ILM's Jason Smith Keynote speaker was Jason Smith, Visual Effects Supervisor, Industrial Light & Magic who spoke about Performance Capture on Warcraft and the Role of Optimism in Production. Smith gave a compelling talk about reaching for the new while judging the risk of failing. Revolutionizing Animation Production — Efficiency Sparks Creativity. 創造の熱量は仕組みから生まれるか アニメーション業界の常識に挑む.
Universal Scene Description. Why CG Sucks (Except It Doesn't) CG自習部屋 Mayaの時間. ANITOON!: ディズニーのような見やすい３Dアニメーションを作る秘訣、アークとシルエット. About — risingtensions.com. Originally from Portugal, with a Graphic Design background from Hyper Island School in Sweden.
I am a Designer/Director that uses 3D as the main tool for communicating and bringing ideas to life whilst attempting to strike a balance between being technical and artistic at the same time. Working in teams or by myself I have drive and love pushing the envelope as far as I can with sometimes complex ideas. I have had the pleasure to work with several major studios in NY for the last 6 years on a multitude of projects on different roles such as Art director, Technical director, designer, animator, 3D generalist and Lighter. I enjoy dividing my time between commercial projects and personal art projects that keep the flame burning.
I am a creative thinker inspired by all things visual. Artistically if you notice on my body of work, I can create Photo-real and Stylized imagery. 30年のノウハウが詰まったツール。海外CGプロダクションBUFが社内CGソフトを公開予定。1つ目は無料ダウンロード予定っぽい. BUF Software Project. 2014 Top 100 Most Influential Animation Studios. Did you know...
Each year more than 25% of the student population of The Digital Animation & Visual Effects School (DAVE School) comes from outside the US to attend the school at Universal Studios in Orlando, Florida. There are currently students attending from Saudi Arabia, England, South Korea, Russia, Venezuela, and Dubai. DAVE School can provide assistance in securing student visas and student housing. Learn more at www.DaveSchool.com. A few years have passed since I wrote my Top 100 Most Influential Animation Studios of All Time list and I wanted to take the pulse of the current animation industry.
Disney’s new Production Renderer ‘Hyperion’ – Yes, Disney! At the Eurographics Symposium on Rendering last year, Brent Burley and a team from Walt Disney Animation Studios presented a paper called, ‘Sorted Deferred Shading for Production Path Tracing’.
This was the first major signal that Disney Animation was developing their own new production renderer from scratch, based around a new idea Burley had come up with. Burley had pitched the idea in 2011, ultimately to Disney Animation President Ed Catmull, who gave the team his encouragement to explore and build the new style of path tracer. Disney rendered its new animated film on a 55,000-core supercomputer. Disney's upcoming animated film Big Hero 6, about a boy and his soft robot (and a gang of super-powered friends), is perhaps the largest big-budget mash-up you'll ever see.
Every aspect of the film's production represents a virtual collision of worlds. The story, something co-director Don Hall calls "one of the more obscure titles in the Marvel universe," has been completely re-imagined for parent company Disney. Then, there's the city of San Fransokyo it's set in -- an obvious marriage of two of the most tech-centric cities in the world.
And, of course, there's the real-world technology that not only takes center stage as the basis for characters in the film, but also powered the onscreen visuals. The Monster Supercomputing Achievement That Lights Up Disney’s "Big Hero 6" The November 7 arrival of Disney’s Big Hero 6 is as much a supercomputing triumph as it is an animated feast.
It’s the coming out party for Hyperion—a cutting-edge light rendering software shaped by both Disney artists and engineers working in concert for two years. The system hauled 200 million computing hours, spawned a number of companion programs, and enabled animators to imbue the film's fantastical settings, elements, and characters with a realism and dimension that would have otherwise been impossible. "It allows us to put more on the screen with the same number of artists, creating a richer world that better supports the story," says Disney Animation chief technology officer Andy Hendrikson. The Japanese influenced film—directed by Don Hall and Chris Williams from an obscure Marvel property—chronicles of a group of social misfits and ingenuous robot as they attempt to save their city of San Fransokyo (a mash-up of San Francisco and Tokyo) from an evil technologist.
ディズニー新作「ベイマックス」制作の舞台裏. 映画「ベイマックス」では、抱きしめたくなるようなロボットがスクリーン上で世界中の観客を魅了しているが、真の主人公はベイマックスではない。
このDisney Animationの大ヒット作の制作に活用された最先端テクノロジを開発したアーティストとエンジニアのチームだ。 「ベイマックス」の制作には、そのDisneyチームが開発した光レンダリングソフトウェア「Hyperion」が初めて使用された。 Walt Disney Animation Studiosの最高技術責任者（CTO）であるAndy Hendrickson氏は、Hyperionの開発には2年と2億コンピューティング時間を要し、「ベイマックス」の制作が始まったときはHyperionがうまく機能するかどうか誰にも分からなかったと語る。 「こうした映画の制作には4年ほどかかる。